Rauschenberg frequently transferred found photographs to drawing paper by coating them with lighter fluid and rubbing the reverse side with a pencil. But by the spring of 1962, he began experimenting with printmaking at the invitation of Tatyana Grosman, founder of Universal Limited Art Editions (ULAE) in West Islip, New York, where Jasper Johns had been working since 1960. During this time, Rauschenberg began producing lithographs, transitioning to silkscreen paintings soon afterwards. His silkscreens feature images drawn from a variety of magazines, including National Geographic, Life, Esquire, Boxing & Wrestling, and he compiled a library of pictures, sorting them into various categorized files from which he selected photographs to be sent to commercial screenmakers. Determined not to confine himself to any one medium or style, Rauschenberg abandoned his collection of silkscreens after being awarded the International Grand Prize in painting at the Venice Biennale in 1964, finding other ways to incorporate appropriated photography into his art, and transferring images onto Plexiglas, fabric, metal, and various other materials.
In Contemporary Photography The Term Vrai-faux Means
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The Trustfiles is a collaborative piece by Nadine Hilbert and Gast Bouschet. It is an ongoing process, updated periodically with new content, on which various artists have collaborated. The Trust project was awarded the 2002 SR-Medienkunstpreis. The Trustfiles presents a reduced platform that provides a way of accessing groups of works that analyze different aspects of contemporary society using a variety of artistic approaches. For the most part, the works are audiovisual, however we also find photography, sound, recordings of interventions in the manner of slideshows and animated pictures in ASCII code.
This explains why he asks what the consequences are for thought of such and such a film, bearing in mind that this question only applies to a film which exposes "the passage of an idea" effected through takes and editing; for only that kind of work is of interest to philosophy, as far as he is concerned (Badiou, 2007: 84). The film does so within what he sees as a context of prevailing neoclassicism in cinema (by this he means the cinema of Hollywood and its genres, mimesis as a replication of the status quo in terms of perception). So the distinction Badiou makes is between re-presentation of the status quo, an endless repetition of the encyclopedia, of the state of the situation, and a non-mimetic approach which constructs film as thought, as something entirely antithetical to entertainment which results in such a passage of an idea. This is only possible through subtraction, by filtering, displacement, all distancing operations which, in his writing, subtract it from the domination of representation (Badiou, 2007: 84-89).
In this second archive catalogue you will discover the Invitations and Brochures issued as of 1983 - our very first exhibition - up to 2019 with many examples of very fine and early Oceanic and Eskimo art-works that were not otherwise published, as well as outside exhibitions of photography offered in my space by Galerie Daniel Blau, other outside curated exhibitions, gallery contemporary art shows as well as a fun series of Christmas cards from the gallery... View Catalogue
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