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
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?
The sequential nature of documenting a journey is illustrated by classic ‘road trip’ series such as Paul Graham’s A1 project, Stephen Shore’s American Surfaces, Alec Soth’s Sleeping by the Mississippi and Robert Frank’s The Americans.
Go online and find out more about the bodies of work listed above.
The A1 project was carried out in 1981 and 1982 by Graham, and was a road trip up and down the A1 (The Great North Road that linked the north and south of England), documenting life in areas around the A1 through photographs. The pictures … Read the rest
If you use social media, spend a few minutes reflecting on how you use photography within it, particularly if you engage in photography in other contexts as well.
I use Facebook and Instagram, Instagram more than Facebook nowadays. Instagram is obviously a very photo-based platform, but I rarely post much on my personal account anymore. I do post on my weight loss account though, progress pictures and other random shots of me. I used to post a lot of photos of my kids when they were younger, mostly when I … Read the rest
This research point asks us to make notes on John A. Walker’s essay ‘Context as a Determinant of Photographic Meaning’ (available here) along with our own thoughts on the issue.
Firstly, Walker talks about the range of contexts that photographs can be found and how this changes the meaning.
He goes on to say that a photograph is enclosed within its own frame and that ‘…it is natural for us to mentally place in brackets the context in which the photograph is viewed…’. i.e. we do not usually consider the context that we are viewing the photo in, we … Read the rest
This first research point in the photography section asks us the read the introductory sections of The Pencil of Nature by William Henry Fox Talbot (available at www.thepencilofnature.com and also as a PDF file here – both accessed 22/02/20) and answer the following:
Do you see photography as mechanical or creative? Can any process be both?
Having been interested in photography for many years, I have always believed that it is both mechanical and creative. In other words, both science and art.
In Talbot’s introduction to The Pencil of Nature, he mostly discusses the mechanics and chemical processes involved in … Read the rest
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.
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.
Explore a range of websites or other forms of new media (games, video, other interactive media, etc.) and identify examples of what you would consider cutting edge or inventive forms of visual communication. You could conduct your search in terms of the aesthetics used, the functionality of the site, or simply the ideas being explored. Pick examples that you find intriguing, exciting or novel and reflect on what makes them interesting to you. Think back to Project 1 and see if these examples still conform to messages that persuade, inform, or entertain.