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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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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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.
Paul Graham – A1 project
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
Read Gareth Dent’s article ‘Dealing with the flood…’ on www.weareoca.com
- 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