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
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?
Think about the two views below – what you can see – as compared to a landscape taken from ground level, a map, or Google Earth, and make some brief notes in your learning log.
Both these photographs are taken from a high viewpoint – both at an angle, but one shallower than the other. Photographing from high up allows us to see elements that we couldn’t see in the same way if these photos were taken from street level.
In the first photo, we get to see the patterns of lines that go around the little area of trees … Read the rest
One of the photographers who took part in New Topographics, Robert Adams, has continued to produce subtle, thought-provoking and environmentally aware photographs of natural scenery, juxtaposed with urban sprawl. He has been followed by many other photographers who have campaigned around environmental issues.
Review some of your holiday photos. Without worrying about the quality of the image to begin with, try and remember your motivation for taking them. You’ll probably identify a range of reasons – from wanting to record a view that took your breath away to thinking ‘I’ll never see the Taj Mahal again so I probably ought to take a picture’.
Of all my online photo albums, the one with photos that I remember the best is from a holiday to the Dominican Republic in 2011.
I remember the sunset on this night very vividly as it was just beautiful. … Read the rest
Make some notes in your learning log on the difference between these images in terms of point of view and the information the viewer can get from each of them.
The zoomed-out shot shows a much wider view of this townscape, and you’re probably seeing for miles. This is much like the photographer would have been able to see with the naked eye if he were stood in this position. We see the path, the field, the town, and the sky and clouds. Only the items nearest to us (the foreground) have a lot of visible detail. The further you … Read the rest
Conclude your work on photography and time by reflecting on the role of photography in the work you’ve just looked at – and similar projects.
In the photography section of the course, we have looked at the following photos/artworks:
It’s About Time
– Photographs from the 1800s that required several minutes exposure time
– Cousin Bichonnade In Flight by Jacques-Henri Lartigue
– Passing Place by Derek Trillo (2006)
– Bullet and Apple by Harold Edgerton (c.1964)
– Multiflash Tennis Serve by Harold Edgerton (1949)
– Jockey on a Galloping Horse by Eadweard Muybridge (1887)
– Benzie Building by Derek Trillo … Read the rest
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
Family photos are often cited as being the possessions that people would most want to save from a house fire. Why do you think that photographs are such a significant part of our lives? Write down how you feel about photos – or videos – from your family’s past.
I think the reason that people love photographs is that it is so hard to remember things clearly. I remember very little from my childhood, for instance, and although photos don’t really jog memories of my very young years, I do love to see what I was like back then. Some … Read the rest