{"id":13,"date":"2017-04-10T16:15:41","date_gmt":"2017-04-10T14:15:41","guid":{"rendered":"http:\/\/michaelwoolworth.com\/?page_id=13"},"modified":"2025-02-06T07:26:51","modified_gmt":"2025-02-06T06:26:51","slug":"atelier","status":"publish","type":"page","link":"https:\/\/www.michaelwoolworth.com\/?page_id=13&lang=fr","title":{"rendered":"Atelier"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":22,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"class_list":["post-13","page","type-page","status-publish","hentry"],"grid":"{\r\n  \"colCount\": 12,\r\n  \"colGutter\": 2,\r\n  \"rowGutters\": [\r\n    4,\r\n    4,\r\n    4,\r\n    4,\r\n    4,\r\n    4,\r\n    4,\r\n    4,\r\n    4,\r\n    4,\r\n    4,\r\n    4,\r\n    4,\r\n    4,\r\n    4,\r\n    4,\r\n    4,\r\n    4,\r\n    4,\r\n    4,\r\n    4,\r\n    4,\r\n    4,\r\n    4,\r\n    4\r\n  ],\r\n  \"frameMargin\": 15,\r\n  \"leftFrameMargin\": 15,\r\n  \"rightFrameMargin\": 15,\r\n  \"topFrameMargin\": 10,\r\n  \"bottomFrameMargin\": 10,\r\n  \"rowAttrs\": [\r\n    {\r\n      \"relid\": 10\r\n    },\r\n    {\r\n      \"relid\": 14\r\n    },\r\n    {\r\n      \"relid\": 16\r\n    },\r\n    {\r\n      \"relid\": 18\r\n    },\r\n    {\r\n      \"relid\": 21\r\n    },\r\n    {\r\n      \"relid\": 25\r\n    },\r\n    {\r\n      \"relid\": 28\r\n    },\r\n    {\r\n      \"relid\": 30\r\n    },\r\n    {\r\n      \"relid\": 31\r\n    },\r\n    {\r\n      \"relid\": 32\r\n    },\r\n    {\r\n      \"relid\": 33\r\n    },\r\n    {\r\n      \"relid\": 34\r\n    },\r\n    {\r\n      \"relid\": 35\r\n    },\r\n    {\r\n      \"relid\": 36\r\n    },\r\n    {\r\n      \"relid\": 37\r\n    },\r\n    {\r\n      \"relid\": 38\r\n    },\r\n    {\r\n      \"relid\": 39\r\n    },\r\n    {\r\n      \"relid\": 40\r\n    },\r\n    {\r\n      \"relid\": 41\r\n    },\r\n    {\r\n      \"relid\": 42\r\n    },\r\n    {\r\n      \"relid\": 43\r\n    },\r\n    {\r\n      \"relid\": 44\r\n    },\r\n    {\r\n      \"relid\": 45\r\n    },\r\n    {\r\n      \"relid\": 46\r\n    },\r\n    {\r\n      \"relid\": 47\r\n    },\r\n    {\r\n      \"relid\": 48\r\n    }\r\n  ],\r\n  \"bgColor\": null,\r\n  \"cont\": [\r\n    {\r\n      \"type\": \"img\",\r\n      \"cont\": \"\/wp-content\/uploads\/2022\/09\/atelier-web-about.jpg\",\r\n      \"align\": \"middle\",\r\n      \"row\": 0,\r\n      \"col\": 0,\r\n      \"colspan\": 12,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 391,\r\n      \"attid\": 4362,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2022\/09\/atelier-web-about.jpg\",\r\n        \"_4096\": \"\/wp-content\/uploads\/2022\/09\/atelier-web-about-4096x2731.jpg\",\r\n        \"_3840\": \"\/wp-content\/uploads\/2022\/09\/atelier-web-about-3840x2560.jpg\",\r\n        \"_3200\": \"\/wp-content\/uploads\/2022\/09\/atelier-web-about-3200x2133.jpg\",\r\n        \"_2560\": \"\/wp-content\/uploads\/2022\/09\/atelier-web-about-2560x1707.jpg\",\r\n        \"_1920\": \"\/wp-content\/uploads\/2022\/09\/atelier-web-about-1920x1280.jpg\",\r\n        \"_1280\": \"\/wp-content\/uploads\/2022\/09\/atelier-web-about-1280x853.jpg\",\r\n        \"_1024\": \"\/wp-content\/uploads\/2022\/09\/atelier-web-about-1024x683.jpg\",\r\n        \"_768\": \"\/wp-content\/uploads\/2022\/09\/atelier-web-about-768x512.jpg\",\r\n        \"_512\": \"\/wp-content\/uploads\/2022\/09\/atelier-web-about-512x341.jpg\",\r\n        \"_265\": \"\/wp-content\/uploads\/2022\/09\/atelier-web-about-265x177.jpg\"\r\n      },\r\n      \"w\": 4500,\r\n      \"h\": 3000,\r\n      \"ar\": 0.6666666666666666,\r\n      \"alt\": \"\",\r\n      \"absolute_position\": false,\r\n      \"frameOverflow\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<p class=\\\"_Default\\\">Imprimeur et \u00e9diteur, Michael Woolworth, am\u00e9ricain d\u2019origine, s\u2019installe \u00e0 Paris o\u00f9 il \u00e9tablit son atelier en 1985. Se sp\u00e9cialisant dans les techniques de lithographie sur pierre, avec impression exclusivement sur presses manuelles, il r\u00e9alise \u00e9galement des oeuvres en bois grav\u00e9, monotype, linogravure et eau-forte ainsi que des multiples. L\u2019atelier est \u00e0 l\u2019initiative d\u2019\u00e9v\u00e9nements et d\u2019expositions tout au long de l\u2019ann\u00e9e in situ, dans les galeries, les mus\u00e9es, les librairies et les foires d\u2019art.<\/p><p class=\\\"_Default\\\">En 2011, Michael Woolworth est nomm\u00e9 Chevalier dans l\u2019ordre des arts et des lettres par le ministre de la Culture et de la Communication. Il est \u00e9galement honor\u00e9 par l\u2019\u00e9tat fran\u00e7ais en 2011 avec le titre officiel de Ma\u00eetre d\u2019art ainsi qu\u2019en 2012, avec le label EPV, ou Entreprise du Patrimoine Vivant. En 2015, il co-cr\u00e9e, avec Sylvie Boulanger, ex-directrice du CNEAI, le salon <a rel=\\\"noopener\\\" href=\\\"http:\/\/multipleartdays.fr\/\\\" target=\\\"_blank\\\">MAD (Multiple Art Days)<\/a> \u00e0 Paris pour promouvoir l\u2019activit\u00e9 des artistes contemporains dans l\u2019\u00e9dition originale. Chaque ann\u00e9e une centaine d\u2019\u00e9diteurs se r\u00e9unissent \u00e0 MAD, montrant leurs nouvelles aventures. Entre 2021 et 2023, Paul Moragues, Ga\u00ebtan Girard et L\u00e9a Tupper sont devenus les collaborateurs, les imprimeurs et compagnons de route de l'atelier.<\/p>\",\r\n      \"align\": \"top\",\r\n      \"row\": 1,\r\n      \"col\": 2,\r\n      \"colspan\": 8,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 0,\r\n      \"push\": 2,\r\n      \"relid\": 4,\r\n      \"absolute_position\": false\r\n    },\r\n    {\r\n      \"type\": \"video\",\r\n      \"cont\": \"https:\/\/i.vimeocdn.com\/video\/616129121_640.jpg\",\r\n      \"iframe\": \"<iframe src=\\\"\/\/player.vimeo.com\/video\/202123694?api=1&title=0&amp;byline=0&amp;portrait=0&amp;color=ffffff\\\" width=\\\"640\\\" height=\\\"360\\\" frameborder=\\\"0\\\" webkitallowfullscreen mozallowfullscreen allowfullscreen><\/iframe>\",\r\n      \"url\": \"https:\/\/vimeo.com\/202123694\",\r\n      \"align\": \"bottom\",\r\n      \"row\": 2,\r\n      \"col\": 1,\r\n      \"colspan\": 10,\r\n      \"ar\": 0.5625,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 0,\r\n      \"push\": 1,\r\n      \"caption\": \"<p class=\\\"_Cartel\\\">Filmed interview by Arthur Ancion of Michael Woolworth during retrospective at Centre de la Gravure et de l\u2019Image Imprim\u00e9e in La Louvi\u00e8re, Belgium, 2017. A show curated by Catherine de Braekeleer and Marie Van Bosterhaut.<\/p>\",\r\n      \"relid\": 6,\r\n      \"frameOverflow\": \"\",\r\n      \"absolute_position\": false\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<p class=\\\"_Shop_Big\\\" style=\\\"text-align: center;\\\">Les premi\u00e8res ann\u00e9es : 1979 - 1985<\/p>\",\r\n      \"align\": \"middle\",\r\n      \"row\": 3,\r\n      \"col\": 0,\r\n      \"colspan\": 12,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 5,\r\n      \"absolute_position\": false,\r\n      \"frameOverflow\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"attid\": 1916,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2017\/12\/MW-Guillemites.jpg\",\r\n        \"_1024\": \"\/wp-content\/uploads\/2017\/12\/MW-Guillemites-1024x703.jpg\",\r\n        \"_768\": \"\/wp-content\/uploads\/2017\/12\/MW-Guillemites-768x527.jpg\",\r\n        \"_512\": \"\/wp-content\/uploads\/2017\/12\/MW-Guillemites-512x352.jpg\",\r\n        \"_265\": \"\/wp-content\/uploads\/2017\/12\/MW-Guillemites-265x182.jpg\"\r\n      },\r\n      \"cont\": \"\/wp-content\/uploads\/2017\/12\/MW-Guillemites.jpg\",\r\n      \"align\": \"top\",\r\n      \"row\": 4,\r\n      \"col\": 1,\r\n      \"colspan\": 5,\r\n      \"ar\": 0.6866666666666666,\r\n      \"alt\": \"\",\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 0,\r\n      \"push\": 1,\r\n      \"caption\": \"<p class=\\\"_Cartel\\\">1979 - Michael Woolworth (gauche) et Franck Bordas dans leur premier atelier dans le Marais.<\/p>\",\r\n      \"relid\": 7,\r\n      \"frameOverflow\": \"\",\r\n      \"absolute_position\": false,\r\n      \"w\": 1200,\r\n      \"h\": 824\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"cont\": \"\/wp-content\/uploads\/2022\/10\/Michael-Guillemites-1.jpg\",\r\n      \"align\": \"onethird\",\r\n      \"row\": 4,\r\n      \"col\": 6,\r\n      \"colspan\": 6,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 393,\r\n      \"attid\": 4387,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2022\/10\/Michael-Guillemites-1.jpg\",\r\n        \"_2560\": \"\/wp-content\/uploads\/2022\/10\/Michael-Guillemites-1-2560x1713.jpg\",\r\n        \"_1920\": \"\/wp-content\/uploads\/2022\/10\/Michael-Guillemites-1-1920x1285.jpg\",\r\n        \"_1280\": \"\/wp-content\/uploads\/2022\/10\/Michael-Guillemites-1-1280x857.jpg\",\r\n        \"_1024\": \"\/wp-content\/uploads\/2022\/10\/Michael-Guillemites-1-1024x685.jpg\",\r\n        \"_768\": \"\/wp-content\/uploads\/2022\/10\/Michael-Guillemites-1-768x514.jpg\",\r\n        \"_512\": \"\/wp-content\/uploads\/2022\/10\/Michael-Guillemites-1-512x343.jpg\",\r\n        \"_265\": \"\/wp-content\/uploads\/2022\/10\/Michael-Guillemites-1-265x177.jpg\"\r\n      },\r\n      \"w\": 3000,\r\n      \"h\": 2008,\r\n      \"ar\": 0.6693333333333333,\r\n      \"alt\": \"\",\r\n      \"absolute_position\": false,\r\n      \"frameOverflow\": \"\",\r\n      \"caption\": \"<p class=\\\"_Cartel\\\">Michael Woolworth scrutant une pierre dessin\u00e9e par Claude Yvel en 1980 pour l'affiche <em>Lithographie Bordas<\/em>.<\/p>\"\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<p class=\\\"_Default\\\">\u00c0 son arriv\u00e9e \u00e0 Paris, en 1979, le jeune am\u00e9ricain Michael Woolworth a rencontr\u00e9 Franck Bordas (petit-fils du lithographe Fernand Mourlot), qui venait d\u2019\u00e9tablir un atelier de lithographie. Il y travaille pendant six ann\u00e9es avec des artistes tels que Roberto Matta, Jean Dubuffet, Gilles Aillaud, Jorge Camacho, Henri Cueco, Err\u00f3, Daniel Pommereulle, Jean Messagier, Herv\u00e9 Di Rosa, Fran\u00e7ois Boisrond et Guy Rougemont.<\/p>\",\r\n      \"align\": \"top\",\r\n      \"row\": 5,\r\n      \"col\": 2,\r\n      \"colspan\": 8,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 0,\r\n      \"push\": 2,\r\n      \"relid\": 9,\r\n      \"frameOverflow\": \"\",\r\n      \"absolute_position\": false\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"attid\": 1915,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2017\/12\/MW-Clignancourt-2.jpg\",\r\n        \"_1024\": \"\/wp-content\/uploads\/2017\/12\/MW-Clignancourt-2-1024x689.jpg\",\r\n        \"_768\": \"\/wp-content\/uploads\/2017\/12\/MW-Clignancourt-2-768x516.jpg\",\r\n        \"_512\": \"\/wp-content\/uploads\/2017\/12\/MW-Clignancourt-2-512x344.jpg\",\r\n        \"_265\": \"\/wp-content\/uploads\/2017\/12\/MW-Clignancourt-2-265x178.jpg\"\r\n      },\r\n      \"cont\": \"\/wp-content\/uploads\/2017\/12\/MW-Clignancourt-2.jpg\",\r\n      \"align\": \"top\",\r\n      \"row\": 6,\r\n      \"col\": 1,\r\n      \"colspan\": 5,\r\n      \"ar\": 0.6725,\r\n      \"alt\": \"\",\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 0,\r\n      \"push\": 1,\r\n      \"caption\": \"<p class=\\\"_Cartel\\\">1981 - Michael Woolworth, sculptor Jean Clareboudt (center) and Franck Bordas in their workshop, rue de Clignancourt. (photo Clare Wildsmith)<\/p>\",\r\n      \"relid\": 8,\r\n      \"absolute_position\": false,\r\n      \"w\": 1200,\r\n      \"h\": 807\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"cont\": \"\/wp-content\/uploads\/2022\/10\/Michael-presse-Clignancourt-1.jpg\",\r\n      \"align\": \"top\",\r\n      \"row\": 6,\r\n      \"col\": 6,\r\n      \"colspan\": 6,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 621,\r\n      \"attid\": 4381,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2022\/10\/Michael-presse-Clignancourt-1.jpg\",\r\n        \"_2560\": \"\/wp-content\/uploads\/2022\/10\/Michael-presse-Clignancourt-1-2560x1718.jpg\",\r\n        \"_1920\": \"\/wp-content\/uploads\/2022\/10\/Michael-presse-Clignancourt-1-1920x1288.jpg\",\r\n        \"_1280\": \"\/wp-content\/uploads\/2022\/10\/Michael-presse-Clignancourt-1-1280x859.jpg\",\r\n        \"_1024\": \"\/wp-content\/uploads\/2022\/10\/Michael-presse-Clignancourt-1-1024x687.jpg\",\r\n        \"_768\": \"\/wp-content\/uploads\/2022\/10\/Michael-presse-Clignancourt-1-768x515.jpg\",\r\n        \"_512\": \"\/wp-content\/uploads\/2022\/10\/Michael-presse-Clignancourt-1-512x344.jpg\",\r\n        \"_265\": \"\/wp-content\/uploads\/2022\/10\/Michael-presse-Clignancourt-1-265x178.jpg\"\r\n      },\r\n      \"w\": 3000,\r\n      \"h\": 2013,\r\n      \"ar\": 0.671,\r\n      \"alt\": \"\",\r\n      \"absolute_position\": false,\r\n      \"frameOverflow\": \"\",\r\n      \"caption\": \"<p class=\\\"_Cartel\\\">Michael \u00e0 la presse, rue de Clignancourt, circa 1981. Nous \u00e9tions tr\u00e8s fier de notre mur d'affiches dans le fond. (photo Clare Wildsmith)<\/p>\"\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"cont\": \"\/wp-content\/uploads\/2022\/10\/Michael-Fernand-Marcel.jpg\",\r\n      \"align\": \"middle\",\r\n      \"row\": 7,\r\n      \"col\": 3,\r\n      \"colspan\": 7,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 3,\r\n      \"relid\": 849,\r\n      \"attid\": 4388,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2022\/10\/Michael-Fernand-Marcel.jpg\",\r\n        \"_265\": \"\/wp-content\/uploads\/2022\/10\/Michael-Fernand-Marcel-265x174.jpg\"\r\n      },\r\n      \"w\": 277,\r\n      \"h\": 182,\r\n      \"ar\": 0.6570397111913358,\r\n      \"alt\": \"\",\r\n      \"absolute_position\": false,\r\n      \"frameOverflow\": \"\",\r\n      \"caption\": \"<p class=\\\"_Cartel\\\">Michael, Fernand Mourlot et Marcel Trousson \u00e0 la machine plate en 1983, rue Princesse.<\/p>\"\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<p class=\\\"_Shop_Big\\\" style=\\\"text-align: center;\\\">Le premier atelier sur l'\u00cele Saint Louis<br \/>1985 - 2000<\/p>\",\r\n      \"align\": \"onethird\",\r\n      \"row\": 8,\r\n      \"col\": 0,\r\n      \"colspan\": 12,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 850,\r\n      \"absolute_position\": false,\r\n      \"frameOverflow\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"attid\": 1889,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2017\/11\/Ile-St-Louis-88.gif\",\r\n        \"_265\": \"\/wp-content\/uploads\/2017\/11\/Ile-St-Louis-88-265x180.gif\"\r\n      },\r\n      \"cont\": \"\/wp-content\/uploads\/2017\/11\/Ile-St-Louis-88.gif\",\r\n      \"align\": \"top\",\r\n      \"row\": 9,\r\n      \"col\": 0,\r\n      \"colspan\": 6,\r\n      \"ar\": 0.6779661016949152,\r\n      \"alt\": \"\",\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 0,\r\n      \"push\": 0,\r\n      \"caption\": \"<p class=\\\"_Cartel\\\">1987 - Assistant Jeff Weber and Woolworth (right) at the first workshop, rue Saint\u2011Louis\u2011en\u2011l\u2019\u00cele.<\/p>\",\r\n      \"relid\": 11,\r\n      \"frameOverflow\": \"\",\r\n      \"absolute_position\": false,\r\n      \"w\": 295,\r\n      \"h\": 200\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"attid\": 1918,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2017\/12\/MW-Ile-1.jpg\",\r\n        \"_1024\": \"\/wp-content\/uploads\/2017\/12\/MW-Ile-1-1024x677.jpg\",\r\n        \"_768\": \"\/wp-content\/uploads\/2017\/12\/MW-Ile-1-768x508.jpg\",\r\n        \"_512\": \"\/wp-content\/uploads\/2017\/12\/MW-Ile-1-512x338.jpg\",\r\n        \"_265\": \"\/wp-content\/uploads\/2017\/12\/MW-Ile-1-265x175.jpg\"\r\n      },\r\n      \"cont\": \"\/wp-content\/uploads\/2017\/12\/MW-Ile-1.jpg\",\r\n      \"align\": \"top\",\r\n      \"row\": 9,\r\n      \"col\": 6,\r\n      \"colspan\": 5,\r\n      \"ar\": 0.6608333333333334,\r\n      \"alt\": \"\",\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 0,\r\n      \"push\": 0,\r\n      \"caption\": \"<p class=\\\"_Cartel\\\">1988 - Woolworth in the Ile St. Louis studio.<\/p>\",\r\n      \"relid\": 12,\r\n      \"frameOverflow\": \"\",\r\n      \"absolute_position\": false,\r\n      \"w\": 1200,\r\n      \"h\": 793\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<p class=\\\"_Default\\\">En 1985, il ouvre son propre atelier parisien, rue Saint-Louis en l\u2019\u00eele. Son premier projet, avec le surr\u00e9aliste Matta, rassemble 90 sc\u00e8nes inspir\u00e9es par <em>Don Quichotte<\/em>, de Cervant\u00e8s. Apr\u00e8s diverses collaborations avec Daniel Pommereulle et Jorge Camacho, il invite diff\u00e9rents artistes \u00e0 venir \u00e0 l\u2019atelier, beaucoup venant de l\u2019\u00e9tranger : le peintre am\u00e9ricain William MacKendree, le compositeur Marc Marder, l\u2019Autrichien Gunter Damisch, le cubain Jorge Camacho, les russes Yuri Vasjenko et Igor Markevitch. Il y a \u00e9galement des Fran\u00e7ais : l\u2019hyperrealiste Claude Yvel, R\u00e9mi Blanchard du mouvement <em>Figuration Libre<\/em>, Catherine Viollet, Loulou Picasso, Christian Babou ; les peintres abstraits Fr\u00e9d\u00e9rique Lucien, St\u00e9phane Bordarier, Jean-Fran\u00e7ois Maurige et Pierre Mabille ; ainsi qu\u2019Arman, avec lequel il r\u00e9alise le livre <em>Afrikan Matricule<\/em>, qui illustre une po\u00e9sie de Joseph Guglielmi, avec 26 lithographies originales.<\/p>\",\r\n      \"align\": \"top\",\r\n      \"row\": 10,\r\n      \"col\": 2,\r\n      \"colspan\": 8,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 0,\r\n      \"push\": 2,\r\n      \"relid\": 13,\r\n      \"frameOverflow\": \"\",\r\n      \"absolute_position\": false\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"attid\": 2050,\r\n      \"sizes\": {\r\n        \"_768\": \"https:\/\/www.michaelwoolworth.com\/wp-content\/uploads\/2018\/02\/MW-Seville-768x1149.jpg\",\r\n        \"_512\": \"https:\/\/www.michaelwoolworth.com\/wp-content\/uploads\/2018\/02\/MW-Seville-512x766.jpg\",\r\n        \"_265\": \"https:\/\/www.michaelwoolworth.com\/wp-content\/uploads\/2018\/02\/MW-Seville-265x397.jpg\",\r\n        \"full\": \"https:\/\/www.michaelwoolworth.com\/wp-content\/uploads\/2018\/02\/MW-Seville.jpg\"\r\n      },\r\n      \"cont\": \"https:\/\/www.michaelwoolworth.com\/wp-content\/uploads\/2018\/02\/MW-Seville-768x1149.jpg\",\r\n      \"align\": \"top\",\r\n      \"row\": 11,\r\n      \"col\": 1,\r\n      \"colspan\": 5,\r\n      \"ar\": 1.4962593516209477,\r\n      \"alt\": \"\",\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 0,\r\n      \"push\": 1,\r\n      \"caption\": \"<p class=\\\"_Cartel\\\">1985 - Michael Woolworth (sur l'\u00e9chelle) \u00e0 Seville, accrochant les travaux de Pierre Mabille dans un des 5 mus\u00e9es andalous pour une exposition itin\u00e9rante pendant 2 ans.<\/p><p>\u00a0<\/p><p>\u00a0<\/p>\",\r\n      \"relid\": 15,\r\n      \"frameOverflow\": \"\",\r\n      \"absolute_position\": false\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"cont\": \"\/wp-content\/uploads\/2022\/10\/Michael-Saga-88.jpg\",\r\n      \"align\": \"top\",\r\n      \"row\": 11,\r\n      \"col\": 6,\r\n      \"colspan\": 5,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 1078,\r\n      \"attid\": 4382,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2022\/10\/Michael-Saga-88.jpg\",\r\n        \"_1920\": \"\/wp-content\/uploads\/2022\/10\/Michael-Saga-88-1920x2670.jpg\",\r\n        \"_1280\": \"\/wp-content\/uploads\/2022\/10\/Michael-Saga-88-1280x1780.jpg\",\r\n        \"_1024\": \"\/wp-content\/uploads\/2022\/10\/Michael-Saga-88-1024x1424.jpg\",\r\n        \"_768\": \"\/wp-content\/uploads\/2022\/10\/Michael-Saga-88-768x1068.jpg\",\r\n        \"_512\": \"\/wp-content\/uploads\/2022\/10\/Michael-Saga-88-512x712.jpg\",\r\n        \"_265\": \"\/wp-content\/uploads\/2022\/10\/Michael-Saga-88-265x369.jpg\"\r\n      },\r\n      \"w\": 1996,\r\n      \"h\": 2776,\r\n      \"ar\": 1.3907815631262526,\r\n      \"alt\": \"\",\r\n      \"absolute_position\": false,\r\n      \"frameOverflow\": \"\",\r\n      \"caption\": \"<p class=\\\"_Cartel\\\">Le stand au SAGA (FIAC Edition) en 1988 ou les premiers travaux de Jos\u00e9 Maria Sicilia furent expos\u00e9s.<\/p>\"\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<p class=\\\"_Default\\\">L\u2019atelier comportait deux presses manuelles, qui restent ses outils principaux : une presse lithographique Brisset format 63\u00d790 cm qui a autrefois appartenu \u00e0 Jean Fautrier ; et une presse \u00e0 gravure format 120\u00d7250 cm fabriqu\u00e9e dans les ann\u00e9es 70 pour l\u2019artiste su\u00e9dois Bengt Lindstr\u00f6m. Aujourd\u2019hui, six presses \u2013 toujours manuelles \u2013 sont op\u00e9rationnelles : trois lithographiques et trois taille-douces pouvant imprimer des formats jusqu\u2019\u00e0 3m\u00d71m50.<\/p><p class=\\\"_Default\\\">Pendant que l\u2019atelier se d\u00e9veloppe, il devient de plus en plus une sorte de laboratoire pour la cr\u00e9ation, o\u00f9 l\u2019art de l\u2019impression est constamment r\u00e9invent\u00e9. Dans les ann\u00e9es 90, c\u2019est la rencontre avec plusieurs artistes espagnols avec lesquels il collabore : Jos\u00e9 Manuel Broto, Miguel \u00c1ngel Campano, Jaume Plensa, Miquel Mont et, en particulier, Jos\u00e9 Maria Sicilia, avec lequel il se lance dans une \u00e9troite collaboration de plus de 200 \u00e9ditions. Parmi ces \u00e9ditions, on peut citer : <em>You\u2019re Alone<\/em> (1992), livre d\u2019artiste fait de lithographies plong\u00e9es dans la cire d\u2019abeille et cousues avec du fil ; <em>En Flor<\/em> (1999\u20132000), une s\u00e9rie monumentale, faite \u00e0 partir de fleurs fra\u00eeches plac\u00e9es directement sous la presse ; et <em>Le Livre des Mille et une Nuits<\/em> (1997\u201398), qui transforme une \u00e9dition fran\u00e7aise de 1910 en livre d\u2019artiste, en imprimant sur les pages ou sur des feuilles de Japon translucides ins\u00e9r\u00e9es dans les volumes.<\/p>\",\r\n      \"align\": \"top\",\r\n      \"row\": 12,\r\n      \"col\": 2,\r\n      \"colspan\": 8,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 0,\r\n      \"push\": 2,\r\n      \"relid\": 17,\r\n      \"frameOverflow\": \"\",\r\n      \"absolute_position\": false\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"cont\": \"\/wp-content\/uploads\/2022\/10\/Michael-Uzerche-2.jpg\",\r\n      \"align\": \"onethird\",\r\n      \"row\": 13,\r\n      \"col\": 0,\r\n      \"colspan\": 7,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 1306,\r\n      \"attid\": 4385,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2022\/10\/Michael-Uzerche-2.jpg\",\r\n        \"_1920\": \"\/wp-content\/uploads\/2022\/10\/Michael-Uzerche-2-1920x1366.jpg\",\r\n        \"_1280\": \"\/wp-content\/uploads\/2022\/10\/Michael-Uzerche-2-1280x911.jpg\",\r\n        \"_1024\": \"\/wp-content\/uploads\/2022\/10\/Michael-Uzerche-2-1024x729.jpg\",\r\n        \"_768\": \"\/wp-content\/uploads\/2022\/10\/Michael-Uzerche-2-768x546.jpg\",\r\n        \"_512\": \"\/wp-content\/uploads\/2022\/10\/Michael-Uzerche-2-512x364.jpg\",\r\n        \"_265\": \"\/wp-content\/uploads\/2022\/10\/Michael-Uzerche-2-265x189.jpg\"\r\n      },\r\n      \"w\": 2378,\r\n      \"h\": 1692,\r\n      \"ar\": 0.7115222876366695,\r\n      \"alt\": \"\",\r\n      \"absolute_position\": false,\r\n      \"frameOverflow\": \"\",\r\n      \"caption\": \"<p class=\\\"_Cartel\\\">Un assistant Jeff Weber, Michael et Ren\u00e9 Taz\u00e9 \u00e0 leur stand partag\u00e9 pour la seconde foire du livre d'artiste \u00e0 Uzerche en 1988. Les clients inexistants nous ont pouss\u00e9 \u00e0 offrir un stand de tir de fl\u00e9chettes pour esp\u00e9rer de la petite monnaie. Le panneau comportait des photomatons des artistes que nous \u00e9ditions \u00e0 l'\u00e9poque. Si vous en touchiez trois, nous offrions une estampe originale.<\/p>\"\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"cont\": \"\/wp-content\/uploads\/2022\/10\/Michael-Cagnes-sur-Mer-1989.jpg\",\r\n      \"align\": \"middle\",\r\n      \"row\": 13,\r\n      \"col\": 7,\r\n      \"colspan\": 5,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 1534,\r\n      \"attid\": 4376,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2022\/10\/Michael-Cagnes-sur-Mer-1989.jpg\",\r\n        \"_1920\": \"\/wp-content\/uploads\/2022\/10\/Michael-Cagnes-sur-Mer-1989-1920x2943.jpg\",\r\n        \"_1280\": \"\/wp-content\/uploads\/2022\/10\/Michael-Cagnes-sur-Mer-1989-1280x1962.jpg\",\r\n        \"_1024\": \"\/wp-content\/uploads\/2022\/10\/Michael-Cagnes-sur-Mer-1989-1024x1570.jpg\",\r\n        \"_768\": \"\/wp-content\/uploads\/2022\/10\/Michael-Cagnes-sur-Mer-1989-768x1177.jpg\",\r\n        \"_512\": \"\/wp-content\/uploads\/2022\/10\/Michael-Cagnes-sur-Mer-1989-512x785.jpg\",\r\n        \"_265\": \"\/wp-content\/uploads\/2022\/10\/Michael-Cagnes-sur-Mer-1989-265x406.jpg\"\r\n      },\r\n      \"w\": 1957,\r\n      \"h\": 3000,\r\n      \"ar\": 1.5329586101175268,\r\n      \"alt\": \"\",\r\n      \"absolute_position\": false,\r\n      \"frameOverflow\": \"\",\r\n      \"caption\": \"<p class=\\\"_Cartel\\\">Une autre foire du livre d'artiste, cette fois \u00e0 Cagnes-sur-Mer en 1989 o\u00f9 \u00e9tait d\u00e9voil\u00e9 le livre <em>M\u00e9t\u00e9ores<\/em> de William MacKendree.<\/p>\"\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"attid\": 1892,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2017\/11\/MWoolworthJJS-1997.jpg\",\r\n        \"_1024\": \"\/wp-content\/uploads\/2017\/11\/MWoolworthJJS-1997-1024x794.jpg\",\r\n        \"_768\": \"\/wp-content\/uploads\/2017\/11\/MWoolworthJJS-1997-768x596.jpg\",\r\n        \"_512\": \"\/wp-content\/uploads\/2017\/11\/MWoolworthJJS-1997-512x397.jpg\",\r\n        \"_265\": \"\/wp-content\/uploads\/2017\/11\/MWoolworthJJS-1997-265x206.jpg\"\r\n      },\r\n      \"cont\": \"\/wp-content\/uploads\/2017\/11\/MWoolworthJJS-1997.jpg\",\r\n      \"align\": \"top\",\r\n      \"row\": 14,\r\n      \"col\": 2,\r\n      \"colspan\": 8,\r\n      \"ar\": 0.7758333333333334,\r\n      \"alt\": \"\",\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 0,\r\n      \"push\": 2,\r\n      \"caption\": \"<p class=\\\"_Cartel\\\">1998 - Michael Woolworth (au centre) \u00e0 ABI (Artist Book International dirig\u00e9 par Rik Gadella) \u00e0 Cologne en 1998.<\/p>\",\r\n      \"relid\": 19,\r\n      \"frameOverflow\": \"\",\r\n      \"absolute_position\": false,\r\n      \"w\": 1200,\r\n      \"h\": 931\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"cont\": \"\/wp-content\/uploads\/2022\/10\/Michael-Basel-2000.jpg\",\r\n      \"align\": \"middle\",\r\n      \"row\": 15,\r\n      \"col\": 2,\r\n      \"colspan\": 8,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 2,\r\n      \"relid\": 1762,\r\n      \"attid\": 4375,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2022\/10\/Michael-Basel-2000.jpg\",\r\n        \"_2560\": \"\/wp-content\/uploads\/2022\/10\/Michael-Basel-2000-2560x1686.jpg\",\r\n        \"_1920\": \"\/wp-content\/uploads\/2022\/10\/Michael-Basel-2000-1920x1265.jpg\",\r\n        \"_1280\": \"\/wp-content\/uploads\/2022\/10\/Michael-Basel-2000-1280x843.jpg\",\r\n        \"_1024\": \"\/wp-content\/uploads\/2022\/10\/Michael-Basel-2000-1024x674.jpg\",\r\n        \"_768\": \"\/wp-content\/uploads\/2022\/10\/Michael-Basel-2000-768x506.jpg\",\r\n        \"_512\": \"\/wp-content\/uploads\/2022\/10\/Michael-Basel-2000-512x337.jpg\",\r\n        \"_265\": \"\/wp-content\/uploads\/2022\/10\/Michael-Basel-2000-265x175.jpg\"\r\n      },\r\n      \"w\": 3000,\r\n      \"h\": 1976,\r\n      \"ar\": 0.6586666666666666,\r\n      \"alt\": \"\",\r\n      \"absolute_position\": false,\r\n      \"frameOverflow\": \"\",\r\n      \"caption\": \"<p class=\\\"_Cartel\\\">ArtBasel en 2000 o\u00f9 nous exposions sur le stand la s\u00e9rie <em>Pasacalle<\/em> de Miguel \u00c1ngel Campano. L'\u00e9quipe de l'\u00e9poque : Michael, Dan Clarke, Paul Laufer et Marta Marugan.<\/p>\"\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<p class=\\\"_Shop_Big\\\" style=\\\"text-align: center;\\\">Le second atelier: Montparnasse\u00a0<br \/>2000 - 2001<\/p>\",\r\n      \"align\": \"onethird\",\r\n      \"row\": 16,\r\n      \"col\": 0,\r\n      \"colspan\": 12,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 1763,\r\n      \"absolute_position\": false,\r\n      \"frameOverflow\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"attid\": 1920,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2017\/12\/MW-Mont-Tonnerre.jpg\",\r\n        \"_768\": \"\/wp-content\/uploads\/2017\/12\/MW-Mont-Tonnerre-768x1058.jpg\",\r\n        \"_512\": \"\/wp-content\/uploads\/2017\/12\/MW-Mont-Tonnerre-512x705.jpg\",\r\n        \"_265\": \"\/wp-content\/uploads\/2017\/12\/MW-Mont-Tonnerre-265x365.jpg\"\r\n      },\r\n      \"cont\": \"\/wp-content\/uploads\/2017\/12\/MW-Mont-Tonnerre.jpg\",\r\n      \"align\": \"top\",\r\n      \"row\": 17,\r\n      \"col\": 3,\r\n      \"colspan\": 7,\r\n      \"ar\": 1.3777267508610793,\r\n      \"alt\": \"\",\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 0,\r\n      \"push\": 3,\r\n      \"caption\": \"<p class=\\\"_Cartel\\\">2000 - Les \u00e9preuves de William MacKendree s\u00e8chent Impasse du Mont Tonnerre, avant d'\u00eatre expos\u00e9es \u00e0 notre stand \u00e0 la Fiac\u00a0<\/p><p>\u00a0<\/p>\",\r\n      \"relid\": 23,\r\n      \"absolute_position\": false,\r\n      \"frameOverflow\": \"\",\r\n      \"w\": 871,\r\n      \"h\": 1200\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<p class=\\\"_Default\\\">En 2000, Michael Woolworth s\u2019installe dans un lieu plus grand \u00e0 Montparnasse, Impasse du Mont Tonnerre. Il y entame une collaboration avec l\u2019artiste autrichien Otto Zitko, avec, entre autres, le livre d\u2019artiste <em>Polyne<\/em> ; et avec l\u2019artiste fran\u00e7ais Vincent Corpet, avec lequel il r\u00e9alise de nombreux monotypes et un livre imprim\u00e9 sur des feuilles en plastique transparent. Il r\u00e9alise \u00e9galement des travaux g\u00e9om\u00e9triques de Miquel Mont ; un triptyque lithographique figuratif de Marc Desgrandchamps\u00a0; et, avec l\u2019artiste conceptuel australien Mark Themann, <em>The Surrogate Cartographer<\/em>, une s\u00e9rie d\u2019impressions rassemblant des interventions typographiques et de la cire \u00e0 cacheter rouge, le tout r\u00e9uni en coffret.<\/p>\",\r\n      \"align\": \"top\",\r\n      \"row\": 18,\r\n      \"col\": 2,\r\n      \"colspan\": 8,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 0,\r\n      \"push\": 2,\r\n      \"relid\": 20,\r\n      \"frameOverflow\": \"\",\r\n      \"absolute_position\": false\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<p class=\\\"_Shop_Big\\\" style=\\\"text-align: center;\\\">Le troisi\u00e8me atelier : Malakoff<br \/>2002 - 2005<\/p>\",\r\n      \"align\": \"onethird\",\r\n      \"row\": 19,\r\n      \"col\": 0,\r\n      \"colspan\": 12,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 1764,\r\n      \"absolute_position\": false,\r\n      \"frameOverflow\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"attid\": 1922,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2017\/12\/Malakoff.jpg\",\r\n        \"_1024\": \"\/wp-content\/uploads\/2017\/12\/Malakoff-1024x768.jpg\",\r\n        \"_768\": \"\/wp-content\/uploads\/2017\/12\/Malakoff-768x576.jpg\",\r\n        \"_512\": \"\/wp-content\/uploads\/2017\/12\/Malakoff-512x384.jpg\",\r\n        \"_265\": \"\/wp-content\/uploads\/2017\/12\/Malakoff-265x199.jpg\"\r\n      },\r\n      \"cont\": \"\/wp-content\/uploads\/2017\/12\/Malakoff.jpg\",\r\n      \"align\": \"top\",\r\n      \"row\": 20,\r\n      \"col\": 2,\r\n      \"colspan\": 7,\r\n      \"ar\": 0.75,\r\n      \"alt\": \"\",\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 0,\r\n      \"push\": 2,\r\n      \"caption\": \"<p class=\\\"_Cartel\\\">2002 - Malakoff. Des travaux d'H\u00e9l\u00e8ne Delprat s\u00e8chent suspendus, pendant que Michael et Dan Clarke impriment les premiers Jim Dine.<\/p>\",\r\n      \"relid\": 22,\r\n      \"absolute_position\": false,\r\n      \"frameOverflow\": \"\",\r\n      \"w\": 1200,\r\n      \"h\": 900\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<p class=\\\"_Default\\\">L\u2019atelier emm\u00e9nage en 2002 dans un espace encore plus grand \u00e0 Malakoff, o\u00f9 il\u00a0 commence, notamment, ses premiers projets avec Jim Dine : une s\u00e9rie somptueuse de planches botaniques en grand format et, plus tard, <em>Pinocchio<\/em>. Il entreprend \u00e9galement une collaboration avec l\u2019Irlandais Sean Scully, avec Jean-Pierre Pincemin et H\u00e9l\u00e8ne Delprat, ainsi que la r\u00e9alisation du\u00a0<em>Nuancier<\/em> de Marie-Ange Guilleminot. In 2004, avec Jos\u00e9 Maria Sicilia, il a r\u00e9alis\u00e9 une des plus importantes oeuvres de l\u2019atelier : un immense \u00ab tapis \u00bb, 9m\u00d73m, imprim\u00e9 en lithographie sur un ensemble de 84 carreaux de pl\u00e2tre. Pr\u00e9sent\u00e9e pour la premi\u00e8re fois au mus\u00e9e du Louvre en 2004, aujourd\u2019hui cette oeuvre a \u00e9t\u00e9 expos\u00e9e dans le monde entier.<\/p>\",\r\n      \"align\": \"top\",\r\n      \"row\": 21,\r\n      \"col\": 2,\r\n      \"colspan\": 8,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 0,\r\n      \"push\": 2,\r\n      \"relid\": 24,\r\n      \"frameOverflow\": \"\",\r\n      \"absolute_position\": false\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<p class=\\\"_Shop_Big\\\" style=\\\"text-align: center;\\\">Le quatri\u00e8me atelier : Bastille<br \/>2005 \u00e0 nos jours<\/p>\",\r\n      \"align\": \"top\",\r\n      \"row\": 22,\r\n      \"col\": 0,\r\n      \"colspan\": 12,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 1765,\r\n      \"absolute_position\": false,\r\n      \"frameOverflow\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"attid\": 1923,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2017\/12\/Vintage.jpg\",\r\n        \"_1024\": \"\/wp-content\/uploads\/2017\/12\/Vintage-1024x769.jpg\",\r\n        \"_768\": \"\/wp-content\/uploads\/2017\/12\/Vintage-768x577.jpg\",\r\n        \"_512\": \"\/wp-content\/uploads\/2017\/12\/Vintage-512x384.jpg\",\r\n        \"_265\": \"\/wp-content\/uploads\/2017\/12\/Vintage-265x199.jpg\"\r\n      },\r\n      \"cont\": \"\/wp-content\/uploads\/2017\/12\/Vintage.jpg\",\r\n      \"align\": \"bottom\",\r\n      \"row\": 23,\r\n      \"col\": 1,\r\n      \"colspan\": 10,\r\n      \"ar\": 0.7508333333333334,\r\n      \"alt\": \"\",\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 0,\r\n      \"push\": 1,\r\n      \"caption\": \"<p class=\\\"_Cartel\\\">2013 - L'exposition \\\"Vintage\\\", dans le lieu actuel de la Bastille, est consacr\u00e9 \u00e0 l'activit\u00e9 de l'atelier pendant les ann\u00e9es 80.<\/p>\",\r\n      \"relid\": 26,\r\n      \"frameOverflow\": \"\",\r\n      \"absolute_position\": false,\r\n      \"w\": 1200,\r\n      \"h\": 901\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<p class=\\\"_Default\\\">L\u2019atelier revient \u00e0 Paris en 2005, pour s\u2019installer dans un lieu historique \u00e0 la Bastille. Outre les projets continus avec Jim Dine, Marc Desgrandchamps et Sean Scully, l\u2019atelier y a \u00e9galement initi\u00e9 diverses aventures avec Yuri Kuper, G\u00fcnther F\u00f6rg, A.R. Penck, Barth\u00e9l\u00e9my Toguo, Djamel Tatah, St\u00e9phane Pencr\u00e9ac\u2019h, Fr\u00e9d\u00e9rique Loutz, Ofer Lellouche, St\u00e9phane Bordarier, Richard Gorman, Jean-Michel Othoniel, Bertrand Lavier, Allen Jones, David Shrigley, Vittorio Santoro, Jason Dodge, Blaise Drummond, Carole Benzaken et M\u00e9lanie Delattre-Vogt.<\/p><p class=\\\"_Default\\\">Depuis 2016, hormis l\u2019arriv\u00e9e d\u2019artiste chevronn\u00e9s tels Philippe Favier ou Carole Benzaken, une nouvelle vague de bien plus jeunes a d\u00e9marr\u00e9 avec Abdelkader Benchamma, Cl\u00e9ment Bagot, Claire Chesnier, Eva Nielsen et Brecht Evens. Ils poussent le m\u00e9dium loin \u00e0 leur fa\u00e7on.<\/p><p class=\\\"_Default\\\">En 2019 et 2020, furent publi\u00e9s pour la premi\u00e8re fois les am\u00e9ricains Matt Magee et Peter Soriano, ainsi que la fran\u00e7aise roumaine M\u00efrka Lugosi et le graveur belge Bruno Hellenbosch.<\/p>\",\r\n      \"align\": \"top\",\r\n      \"row\": 24,\r\n      \"col\": 2,\r\n      \"colspan\": 8,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 0,\r\n      \"push\": 2,\r\n      \"relid\": 27,\r\n      \"frameOverflow\": \"\",\r\n      \"absolute_position\": false\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"attid\": 1891,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2017\/11\/Petit-imprimeur.gif\",\r\n        \"_265\": \"\/wp-content\/uploads\/2017\/11\/Petit-imprimeur-265x245.gif\"\r\n      },\r\n      \"cont\": \"\/wp-content\/uploads\/2017\/11\/Petit-imprimeur.gif\",\r\n      \"align\": \"top\",\r\n      \"row\": 25,\r\n      \"col\": 4,\r\n      \"colspan\": 4,\r\n      \"ar\": 0.923728813559322,\r\n      \"alt\": \"\",\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 0,\r\n      \"push\": 4,\r\n      \"relid\": 29,\r\n      \"absolute_position\": false,\r\n      \"w\": 472,\r\n      \"h\": 436\r\n    }\r\n  ]\r\n}","phonegrid":"","_links":{"self":[{"href":"https:\/\/www.michaelwoolworth.com\/index.php?rest_route=\/wp\/v2\/pages\/13"}],"collection":[{"href":"https:\/\/www.michaelwoolworth.com\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.michaelwoolworth.com\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.michaelwoolworth.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.michaelwoolworth.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=13"}],"version-history":[{"count":0,"href":"https:\/\/www.michaelwoolworth.com\/index.php?rest_route=\/wp\/v2\/pages\/13\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.michaelwoolworth.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=13"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}