Long considered to be uninteresting, the photographic error is the object of a renewed interest. Considering the photographic error, this thesis intends to deepen the knowledge on photography history and conceptual art. The photographic error appears to be an operational tool of analysis, able to give an original meaning to both the artistic production and the nature of the medium. Due to a study of a significant part of conceptual art, the photographic error turned out to be an engine of artistic production in terms of aesthetic contest and a key of interpretation of conceptual work.
© John Baldessari, Wrong, 1967
Research: François Maheu
Supervision: Alexander Streitberger