Stéphanie Jamet-Chavigny : Ph.D. in History of Art, University of Paris Sorbonne.
Another look at the critical reception of the exhibition "The Art of Assemblage"
Stéphanie Jamet-Chavigny reconsider exposure historic William C. Seitz at the 1961 Modern Art in New York. The analogy Collage assembly is to be reviewed following the emergence of new artistic movements and theories. The collage is part of the evolution of modernism as the arrival of the oil painting at the time. The assembly is impure, but it contributes to the collapse of the theory of Greenberg on the uniqueness of the categories of art. The assembly does it correspond to a shipwreck of the company. In evoking a metaphor with castaway Robinson Crusoe which is a symbol of ingenuity and know-how with almost nothing. The new world of the twenty-first century is like an assembly sets up a blending heterogeneous elements that respects the identities.

Cecile Debray : conservative Heritage, special assistant to the director general of the National Museums Reunion. "
A new realism introduced a new naturalism. "
The new realism in the late fifties is part of a general movement of renewal of languages and themes plastic face of a consumer society and industry booming, and before the communication society today. Martial Raysse And Arman And introduce in France the assembly with everyday objects and recovered. The new realistic with Yves Klein also reiterated the concept of use of scrap and traces in their own way, for example, the table of a trace of the plough Yve Klein. These naturalistic displays of new closer realistic displays naturalistic novels of Zola particularly Bonheur des dames.

Muriel Badet, Dorteure in history, EHESS, associate researcher at the Centre Pierre francastel, Paris X Nanterre "The tables trambouille traps in practice artistic culinary Daniel Spoerri" Spoerri is the initiator of what he called Eat Art, Spoerri has increased around this concept different types of works whose table-traps are the most recurrent and most surprising. The tables are traps traces of culinary adventure, assembling a transition from the kitchen to the table around friendliness, a combination of flavours. The trap is the substance of evidence and exchange.

Gillian Whiteley, doctorate in art history, university of Leed Scavenging from margin to mainstream? = Trapping the margin to integrate? Artist as a handyman in the twenty-first century. The assembly has become at least temporarily the critical language anarchists and young artists. For William Seitz assembly is a special society of the years 1950 and 1960. In his catalogue he insists on the affinity with collage poetry. More importantly for him assembly offers an opposition to the system of raising money among the various arts. The artist and tinkerer ragpicker at that time a model of the new art.

Dr. Bertrand Clavez in Art History, University Lyon II
Little Agreement George Brecht with the art of assemblage.
The work of George Brecht presents as a box containing collections of objects. These assemblies without collage. These facilities interview time and space and that he joined John Cage. The preparatory work for these facilities pose to Brecht considerable work long and complex. Each object is an event and it was that scientific works as an artist. It refers implicitly to Hans Reichenbach, who in 1920 published the same year he published his first book on the philosophical implications of the theory of relativity.

Sophie Delpreux Mistress lecturer in art history University of Lyon II. Assembling and Happening environment and Allan Kaprow. "
The happening uses the human body as a material fact and violence in the use of the human body. The significant presence of women in these demonstrations interviews. It could be argued that the body combines with the environment. The body Meets body and other material used. In this context the artist Carole Schneemann seems protest against these practices provocative. She uses her body so provocative, through multiple formats: performance, dance, film, painting, drawing, photography, video… The works presented here are often black and white photographs which it is represented most often incorporated into materials. C is the photograph that integrates assembly.

Annie Claustres, teacher conferences in the history of art

The sculpture of Eduardo Paolozzi, a blend of surface
Paolozzi practice bonding assembly classic it is present in the exhibition catalogue Seitz, 1961. It applies the concept of sticking to his work in sculpture. The first frame is a model three-dimensional objects composed of recovery. "
Whole thus formed is not the final sculpture, it is then cemented and cast to be cast in bronze. The space is so unified in the matter. The objects are no longer present, but as the fossil footprints of the present time. At Paolozzi bonding is the result of a process.