Assignment 4 Research – Part 3

I’ll now focus on the second part of the question which is about the message that Hockney is trying to convey.

Hockney’s work is very much concerned with human vision and the way we perceive reality. As mentioned previously, his issue with photography is the single, static viewpoint that a regular photograph depicts. He also disliked the way there was a void between the photographer and the scene, which is why you’ll find his feet in some of his photographic collages.

The message in his photography, is that photography doesn’t have to be this static, frozen thing. He likened his … Read the rest

Assignment 4 Research – Part 2

Here I will look at the first part of the question we’re trying to answer; the creative aspects of David Hockney’s ‘joiner’ photographs.

David Hockney took a lot of influence from Picasso and the cubist movement.

From Linda Bolton’s Cubism:

For centuries, most artists tried to capture exactly how things looked. Paintings were like photos of the real world. But, by about 1900, some artists  were experimenting, for example by using non-realistic colors to convey  feelings.

The Cubists went much further than this. They broke their subjects down into fragments and facets, and then rearranged the parts. These parts might

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Assignment 4 Research – Part 1

I have chosen to use David Hockney and his ‘joiners’ for my essay subject and plan to answer the following question:

What is your opinion of the relationship between the creative aspects of David Hockney’s ‘joiner’ photographs, the message that Hockney is trying to convey, and to what extent you feel that photography is a necessary part of the process?

From the book ‘Photographs By David Hockney’ and websites like https://thedavidhockneyfoundation.org/chronology/1982 and https://www.dailyartmagazine.com/david-hockney-photographs/ I have made some notes about how these photographs came about:

  • Joiners came about because Hockney didn’t like the fact that photography was so static
  • He didn’t
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Part 3 – Assignment 3: Re-appropriating Images – Notes 2

  • Also reflect on where the original is currently located. Where did you access it?

The original is currently back at it’s 90 year home of the Art Institute of Chicago. The last time it was somewhere else, was a 3 month stint at New York’s Whitney Museum of American Art.

I was able to see it online.

  • Did you see the original or have you seen a reproduction in print, online or  elsewhere?

I have not seen the original. I have seen it in various art books over the years, but in this instance, I have online viewed … Read the rest

Part 3 – Assignment 3: Re-appropriating Images – Notes 1

  • Look at the original image and do a semiotic analysis. Describe its contents (denotation) and possible meanings (connotation) as you did in Part Three.

We are asked to look at the image and do a semiotic analysis, so I will start with the denotation, or the literal description.

The painting shows a rather bald man wearing glasses and holding a pitch fork, with a blonde woman next to him. Both of them are stood in front of a house, with a red building off the the right of the painting.

The man is facing front with his eyes focused … Read the rest

Part 3 – Assignment 3: Re-appropriating Images – Research

Identify an example of re-appropriation within visual communication. As the Botero example suggests, this could be illustrators or designers drawing from wider visual culture within their work, advertisers using ideas from films, the satirical reuse of media images for political ends, or the reuse of text and image within collage. The reuse could be within visual communication, such as designers re-purposing typography, illustrations or iconic designs, or examples where visual communicators have taken ideas from wider, perhaps global, visual cultures.

First, some definitions from Merriam-Webster:

appropriate
verb

ap·​pro·​pri·​ate | \ə-ˈprō-prē-ˌāt\
appropriated; appropriating
transitive verb

1 : to take exclusive Read the rest