Dominique Delpoux or the faces of labour
Dominique Delpoux ou les visages du travail
Résumé
The representation of the world of labour in contemporary photography raises the question of the visibility of the 'working class' today. It also reactivates a series of aesthetic problems that have been continuously present in the history of photography, whether documentary or not, since entering the era of artistic modernism in the early twentieth century. So as to try and understand it, my reflection revolves around a series of twenty-four contemporary photographs by French artist Dominique Delpoux in 2010, which was part of a "corporate photography" order but was intended to belong to the realm of contemporary art and exhibition, through a subsequent specific formatting. This dual function, as both a document and work of art, is worth considering as it enables us to consider not only the world of labour but also the functioning of the image in the space organising reception and aesthetic perception.
aujourd'hui. Elle réactive aussi une série de problèmes esthétiques qui n'ont cessé de traverser l'histoire de la photographie, documentaire ou non, depuis son entrée dans l'ère du modernisme artistique au début du XX e siècle. Pour tenter de le comprendre, notre réflexion s'articulera autour d'une série de vingt-quatre photographies contemporaines réalisées par l'artiste français Dominique Delpoux en 2010 dans le cadre d'une commande de « photographie d'entreprise » mais destinées à s'inscrire ensuite, grâce à une mise en forme particulière, dans le champ de l'art contemporain et de l'exposition. Cette double fonction, à la fois document et objet d'art, mérite d'être examinée en regard de ce qu'elle donne à voir du monde du travail et de ce qu'elle révèle du fonctionnement de l'image dans l'espace qui en organise la réception et la perception esthétique. The representation of the world of labour in contemporary photography raises the question of the visibility of the 'working class' today. It also reactivates a series of aesthetic problems that have been continuously present in the history of photography, whether documentary or not, since entering the era of artistic modernism in the early twentieth century. So as to try and understand it, my reflection revolves around a series of twenty-four contemporary photographs by French artist Dominique Delpoux in 2010, which was part of a "corporate photography" order but was intended to belong to the realm of contemporary art and exhibition, through a subsequent specific formatting. This dual function, as both a document and work of art, is worth considering as it enables us to consider not only the world of labour but also the functioning of the image in the space organising reception and aesthetic perception. Index terms Mots-clés : documentaire moderniste, art contemporain, style documentaire, portrait, corporate photography, histoire de la photographie, Evans (Walker), Sander (August)
Domaines
Art et histoire de l'art
Origine : Fichiers éditeurs autorisés sur une archive ouverte
Licence : Copyright (Tous droits réservés)
Licence : Copyright (Tous droits réservés)