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Stezaker, John

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Un grand livre d'artiste de John Stezaker proposant une série de collages effectués à partir d'images trouvées et dont l'esthétique rappelle l'âge d'or hollywoodien. A travers ces pages, l'artiste britannique leur redonne la vie et un sens nouveau, sinon une aura. Le travail de John Stezaker (né en 1949 à Worcester, Grande-Bretagne, vit et travaille à Londres) procède au réexamen des diverses fonctions de l'image photographique en tant que document de vérité, pourvoyeur de mémoire et symbole de la culture contemporaine. Dans ces collages, Stezaker s'approprie des images glanées dans des ouvrages, des magazines et des cartes postales, les utilise comme des ready-made et les parent d'un sens nouveau, poignant et spirituel. Son utilisation de l'esthétique liée à l'âge d'or d'Hollywood rappelle son intérêt pour le surréalisme. Placés dans un contexte contemporain, ses portraits conservent une aura de glamour tout en opérant comme les artefacts exotiques d'une culture obsolète. De manière identique aux photographies primitives de George Bataille dans la revue Documents, les portraits de Stezaker célèbrent le grotesque et interprètent la romance avec la modernité de façon également fascinante et perverse.

Stezaker, John. --- Photocollage --- Found objects (Art) --- Illustration --- Photographie --- Collage --- Ready made --- Stezaker, John, --- Hollywood --- Photocollage - Catalogs --- Found objects (Art) - Illustration - Catalogs --- Stezaker, John, - 1949- - Catalogs --- Stezaker, John, 1949 --- -Hollywood --- Found objects (Art) - Illustration --- -Stezaker, John, - 1949

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Arnatt, Keith --- Burgin, Victor --- Dye, David --- Fulton, Hamish --- Gilbert & George --- Hilliard, John --- Lamelas, David --- Newman, Gerald --- Stezaker, John

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Within the realm of science, the uncertainty principle speaks of the fundamental limits of knowledge and measurement vis-à-vis the external world, and how the very act of seeing alters what is seen. Martin Herbert's The Uncertainty Principle is a collection of essays that reveals layers of unknowing and open-endedness within a diversity of contemporary art practices since the 1970s. If a work of art is always completed by the viewer, as Marcel Duchamp put it, then the works considered here equate completion with construction. In navigating us through a succession of artists' approaches, Herbert also discloses how constructed experiences of “not knowing” can lead to deep engagements with a range of specific issues and themes: from history to politics, from epistemology to mortality.

Rapport du spectateur à l'objet créé --- Epistémologie --- Dumas, Marlène --- Bove, Carol --- Campbell, Duncan --- Man, Victor --- Pivi, Paola --- Stezaker, John --- Warren, Rebecca --- Šarčevič, Bojan --- Wyn Evans, Cerith

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There is a lot of casual talk about photography, just as there is a lot of casual photography. But there have always been articulate voices, able to see past the obvious, around the distracting, and through the trivial to say something about the more profound aspects of the medium. Many of those voices have belonged to image makers.0The critic and exhibitions curator David Campany, often invited by photographers and museums to write about their practice during his career, talked with world-class artists - Adam Broomberg and Oliver Chanarin, Daniel Blaufuks, Robert Cumming, LaToya Ruby Frazier, Lewis Baltz, John Stezaker, Paul Graham, Rut Blees Luxemburg, Jeff Wall, Lucas Blalock, Susan Meiselas, Victor Burgin, William Klein, Stephen Shore - to interrogate them about their past, the various creative phases they crossed over, and above all their rapport with photographic medium and reality. That is why these conversations transcend the dimension of the simple interview to reveal the close connection between art and author photography, between photography and the world, between thought and speech. Because, as noted by the author in his introduction, "whether long or short, nearly all these conversations were open-ended. Neither party knew where we might be going or where things would end up. For me, that is always the real value of a conversation, as opposed to an interview (or a questionnaire). There is risk and excitement, a sense of mutual exploration and speculation."

Photographers --- Photography, Artistic --- Photographic criticism --- fotografie --- fotografietheorie --- fotografen --- Broomberg & Chanarin --- Blaufuks Daniel --- Cumming Robert --- Frazier Latoya Ruby --- Baltz Lewis --- Stezaker John --- Graham Paul --- Blees Luxemburg Rut --- Wall Jeff --- Blalock Lucas --- Miselas Susan --- Burgin Victor --- Klein William --- Shore Stephen --- 77.01 --- Artists --- Photography --- Photography criticism --- Criticism --- Artistic photography --- Photography, Pictorial --- Pictorial photography --- Art --- Aesthetics --- interviews --- photography [process] --- artistieke fotografie