Assignment 1: Research

Produce either a series of four to six portraits (looking at Stezaker and Stenram) or a series of four to six landscape-based images based on your immediate surroundings (as with Gill’s Hackney Marshes series).  Complete Parts 1 and 2 of the assignment and upload the finished images to your learning log together with a short reflection (500 – 1,00 words) on your motivations, references and methods for both parts of the assignment.

Part 1

Use traditional ‘cut-and-paste’ techniques (scissors/scalpel and glue) to produce a series of simple photomontages using elements from two to five original or found photographs.  these can be found images and/or images that you’ve shot yourself.  Re-photograph your finished photomontages and present the work in your learning log as a digital file.

Part 2

Using digital montage techniques (Photoshop or similar image-editing software) produce a digital montage using elements from a minimum of two and a maximum of five digital files.  Use components the you have shot yourself rather than found images for this exercise

Reflection

Before you send your work to your tutor, check it against the assessment criteria listed in the introduction to this course guide and make sure that it meets all the criteria.

Reworking your assignment

Following feedback from your tutor, you may wish to rework some of your assignment, especially if you plan to submit your work for formal assessment.  If you do this, make sure you reflect on what you’ve done and why in your learning log.

Assignment One research

Assignment One: Combined Image

I have a few ideas swimming around my head for this task, and in order to put everything in one place, I have produced a mind-map of thoughts surrounding the two parts of this assignment; this is something I have found very useful in the past, helping me to reach a final outcome for my assignments more easily.

Even though we have been given a choice of subject for this assignment, as you can see, I have decided to continue along the landscape theme for my work; further exploration of the land is something I want to continue through my studies, especially as I am not particularly drawn to people photography.

Part 1 of this assignment seems straightforward enough and drawing on the work of Stephen Gill, Helen Sear and Stan Dickenson looks to be the way forward; Kennard and Phillips do create interesting collages however, their images lead me to question whether photomontages always need to be politically motivated?  Dada, of course were the leaders in this type of art and much of the work we have looked at through this part of the course highlights propaganda and equality issues through the photomontage, nonetheless Sear and Dickenson found a way to steer clear from political satire in their imagery and this is certainly something I would like to achieve.

‘Four Seasons Layered Image’ [Digital Montage] [Photograph] c.2017 Artist: Julie Harding

Part 2 on the other hand could be a little trickier, especially as we have been tasked with using our own photographs for this part of the assignment.  Initially, my ideas surrounding these images came from the work of Shimon Attie (The writing on the Wall) or Peter Kane (Significant Space) both of whom we studied during the Landscape module; using the theme ‘then and now’ both artists, utilising different methods highlighted how a landscape can change over time.  Unfortunately, I would need to use found images to achieve exactly what I was looking for in my imagery and therefore the final outcome of my work would not sit within the assignment brief.  An alternate idea I have been playing with involves the production of work similar to Idris Khan and Corinne Vionnet; for our last Photography 2: Landscape assignment I produced a 3D image of the landscape using four photographs layered on top of each other using Photoshop however, these images were taken over the course of one year so I would need to look into ways of capturing my 2-5 photographs immediately.  Another seed of doubt I have is that the two projects could lead to different subject matter being used, do parts 1 & 2 need to have the same theme to bring coherence to my work?

As I type, new ideas are formulating in my head and my creativeness is starting to be challenged as I work out what I need to do to achieve this assignment; I am thinking about the images I already have, what I can find on the internet or through print materials and what photos I need to go out and take, what processes do I already know, and what needs to be learnt, and can I really be trusted with a pair of scissors and pot of paste …

[posted 7th November 2017]

The History of the Photomontage – abridged

Narrowly speaking, photo-collage began with the cut-and-paste work of album-makers such as Lady Filmer and the combination printing of photographers such as Oscar Rejlander.  But the anti-establishment photographic experiments that originated in both Soviet and German experimental photography had different social roots and dissimilar social aims from these Victorian forebears.

Marien (2014 p.244)

Best known for its use by the Dadaists movements in post-World War I Europe (1916-1924), the actual origins of the Photomontage have long been debated (Marien 2014 p.243); the Photomontage, originally known as combination printing[1], first made an appearance during the Victorian era (1837-1901) through the creation of theatrical tableau[2] however, artists such as Henry Peach Robinson (Fading Away (1858)) and Oscar Rejlander (The Two Ways of Life (1857)) challenged this unpretentious form of photography, creating more weighty combination prints taken from real life experiences.  These montages were created using multiple exposures (negatives) combined together to make one single image.

For many throughout Europe, Dada represented a protest against the establishment, against conformity and against nationalism, all of which its members believed to be the root cause of the first World War.  Its output through art and literature was wildly diverse and influenced by other avant-garde movements such as futurism, cubism, constructivism and expressionism;

Dada was the first conceptual art movement where the focus of the artists was not on crafting aesthetically pleasing objects but on making works that often upended bourgeois sensibilities and that generated difficult questions about society, the role of the artist, and the purpose of art.

The Art Story (n.d.)

The Photomontage became more than just an aid to disparage the establishment, as artists such as Marcel Duchamp and Man Ray became champions of questioning art itself as they sought to deconstruct day-to-day items and experiences in challenging and rebellious ways; “The key to understanding Dada works lies in reconciling the seemingly silly, slapdash styles with the profound anti-bourgeois message.” (The Art Story).

Central to the production of the Photomontage is the ‘found image’ which is cut, manipulated and rearranged to form a new image containing different perspectives that are bound by a common theme.  Such imagery seeks to abandon any perceived literal recording of the world we see (such as through modernist photography) and encourages a new visual awareness implied by the abstraction produced through the Photomontage.

Even though Dada disband after eight short years, the work of Dadaists, such as Hannah Höch, John Heartfield and Raoul Hausmann continued to transform art, especially with the establishment of the Surrealist movement in Paris 1924, which was influenced by the words of Freud and Marx, both believing that our conscious mind represses the power of our imagination, something often needed to understand Dada art.

The Photomontage never really went away and although the nineteenth century saw an increase in the number of deliberately manipulated images, it was the twentieth century that saw the rise in production of said images as part of a sustained artistic aesthetic.  Clark (1997 p.200) states;

The montage creates its effect through the use of exaggeration, juxtaposition, the use of the unexpected, and visual hyperbole, but also through a wonderful attention to detail which gives the message a rich visual density.

‘Photo Op’ [Photomontage] C.2005 Artist: Kennardphillipps

Jumping forward roughly one hundred years, the evolution of digital technology and the increasing popularity of digital cameras and their ‘digital darkrooms’ has seen a reinvention of the Photomontage with artist such as Peter Kennard and Cat Phillips continuing the political fight through their controversial work; Photo Op is probably their most recognisable Photomontage and one that had defined a generation.

During its origins, the Photomontage was used as a political tool however, artists such as Jeff Wall ‘Dead Troops Talk’ (2012), Wendy McMurdo ‘In a Shaded Place – The Digital and the Uncanny’ (1995) and Adrian Brannan ‘The London Underground – Euston Station’ (n.d.) use this method of image capture to produce a new kind of theatrical tableau.

‘In A Shaded Place – The Digital and the Uncanny – Helen, Sheffield’ [photomontage] c.1996 Artist: Wendy McMurdo

Instead of using tools such as paper, scissor and glue to produce these works, pixels, layers and digital code are used to produce the Photomontage’s of today, and although these images are more aesthetically pleasing than the crude messages produced by the Dadaists of the early 20th-century, it does not mean that the task to assimilate these is any simpler or that in some cases their messages are more palatable.

When I started this course only a short while ago, I was sceptical about the production of Photomontages, especially digital-montages however, now that I have spent the last few days looking at this subject, I have come to realise a few things:

  • I can understand why the Dada adopted the Photomontage as their method of disparaging the first world war. The Dada movement was about bucking against the establishment, not only politically but also artistically and the crude nature of the original Photomontage is a perfect vessel for doing this.
  • Digital-montages afford us a new way of expression, gone are the days where we thought that photography was the ‘one true vision’ of the world in which we live and aside from photojournalism and fashion photography, which in my opinion must categorically show the truth in its subject, I feel more comfortable looking at these kinds of image. Art should be used not only as an expression but also as a distraction and different ways of looking at the world can only encourage us to look at the world differently.

[posted 8th November 2017]

Defining Assignment One: Combined Image Part 1

Being quite patriotic, and with armistice day fast approaching, I have decided to use the theme of war heroes for the first part of this assignment.

Having parents who grew up during the second world war, I have heard many stories from their lives as children surrounded by this conflict, they have regaled their experiences of the American soldiers, who would share confectionary rations with the kids, and told tales of the antics older siblings were mixed up in during these troubled times.  I am lucky to have never experienced this kind of conflict during my lifetime and have only admiration and respect for those who put their life on the line to make a better world for us to live in.  I understand that this subject has been covered many times in the past however, I would like to tackle it from my own perspective using local locations I know were involved during the war effort.

It is my ambition to use my own photographs as the base of my Photomontage’s and local areas I would like to record include our fort, which played a major role during the second world-war, along with its riverside location.  Other poignant places would be the nearby church, as well as a local cemetery.

As I know the locations I want to include, it is now my mission to find appropriate images to help tell my story.  Even though this is a cut-and-paste exercise, I have been looking at the internet to find some inspiration.  Poppies, of course, will play a major role in my images and remembering the ceramic poppy installation at the Tower of London a few years ago, I would like to incorporate the effect created by this artwork in some way.

I have found other inspiring images surrounding this theme, which may not be achievable for this assignment, but they certainly give one cause for thought.

With remembrance weekend a few days away, I will look at local papers as well as the broadsheets over the coming days to see if I can find appropriate images of soldiers, and if that fails I will head to the local library to explore this topic further.

Sitting and thinking about my subject for this assignment is sobering, I just hope I can produce some interesting images that justify the actions of these lost souls.

[posted 9th November 2017]

Assignment One: Combined Image – Part 1 Trial

Over the past week I have been playing with the assembly of my tangible Photomontage, I have not actually taken scissors to my final choice of images, although I have been trying to reproduce the final layout with the aid of my computer.  Having trawled both the national and local press for appropriate images to use in this assignment, I must report my disappointment in the lack of reports I found surrounding armistice day; perhaps I was looking in the wrong places to find what I was looking for however, turning to the internet, I have been able to locate some images in order to achieve the four Photomontages for this assignment.

As I wrote before, my theme for part 1 of this assignment is to make the heroes of war the centrepiece within my work, showcasing images taken during conflict against the local backdrop as it stands today; the four photographs used as the base for my Photomontages each represent the local landscape that became part of the local effort.

These four images are not the final product of this assignment, but each of the elements contained within have been printed ready for placement within the frame and as this is done, the final outcome will certainly be different to that seen above, which is okay as the creative process will continue to evolve until I reach the scene I am happy to portray.

I decided to use monochrome as the foundation of my work, therefore tying it into the genre of images found during the early part of the 20th-century, this will also highlight the added elements of the Photomontage, which have mostly been printed on acetate; I came to this decision as I wanted the images of war to be represented by the fading of time.  This method may not be exactly what the Dada or other Photomontage specialists used however, taking advantage of these materials enable me to get the look and feel I want within my final images.

[posted 16th November 2017]

Assignment One: Combined Image – Part 2 Trial

The second part of this assignment calls for us to use our post-processing skills to produce a single digital-montage using the elements from a minimum of two and a maximum of five digital files; the components of our final image should be from our own photographs rather than from found images

‘The culture that we live in has become such a sort of cut-and-paste culture’, states the Whitechapel Gallery’s Daniel Herrmann, ‘Collage has become a representative for the state of cultural production.  It offers an alternative to an ever-shifting, ever-fluid image world and reminds people of tactility, texture, and the reality of the world we live in.’  (Herrmann 2016).  To be honest, I had never thought of the photomontage as a fluid, representative image however, reading the Widewalls article surrounding the history of the photomontage, it has made me think of the montage in a different light.  Of course, there are artists such as Antonio Mora and Joachim Beyrowski who use the photomontage to create surreal, expressionist images however, there are artists such as Adrian Brannan and David Hockney who create an ever-evolving story of the scene they find before them in their work.

After re-reading the second part of this assignment, I am relieved to find that I only have to recreate one digital montage (I was under the impression that I had to create more), meaning that it is a little easier than I initially thought however, in light of the revelation that the photomontage can be used fluidly, this also means that I have had a rethink about the kind of image I want to recreate.  Initially overlaying multiple images was the path I was looking to follow however, I have been inspired by the work of Brannan and Hockney and therefore have decided to create a collage of sorts that enables me to tell the story of a scene within the landscape.

To see how this could work, I have made a rough photomontage of a scene that I have visited a few times over the weekend and using this as my starting point, feel that I could achieve my objective for the assignment.

‘The Gruffalo’ [Digital Photomontage] c.(2017) Artist: Julie Harding

Obviously, this is a rough interpretation, but it is a good place to start, especially as it has made me think about what I want to show in my image.  Now I need to think about a location and understand its transition over time and show this in my composition.

[posted 21st November 2017]

Reference:

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Harding, J.  (2017) Little Thurrock Cemetery [photograph].  Artists own.

Harding, J.  (2016) Coalhouse Fort Riverside Tower [photograph].  Artists own.

Harding, J.  (2016) Coalhouse Fort Gunnery [photograph].  Artists own.

Harding, J.  (2016) Coalhouse Fort Riverside Access I [photograph].  Artists own.

Harding, J.  (2017) The Gruffalo [Digital Photomontage].  Artists own.

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Peach Robinson, H.  (1858) Fading Away [composite photograph made from five negatives] [online image].  Available at: https://www.britannica.com/biography/Henry-Peach-Robinson [Accessed 7 November 2017].

Rejlander, O.G.  (1857) The Two Ways of Life [combination print from over 30 negatives] [online image].  Available at: https://collections.vam.ac.uk/item/O1276365/the-two-ways-of-life-photograph-rejlander-oscar-gustav/# [Accessed 7 November 2017].

Wall, J.  (1992) Dead Troops Talk [Transparency in lightbox, Cinematographic photograph] [online image].  Available at: http://www.tate.org.uk/whats-on/tate-modern/exhibition/jeff-wall/jeff-wall-room-guide/jeff-wall-room-guide-room-8 [Accessed 8 November 2017].

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[1] Combination Printing: abutting images from more than one negative to create one image, as in creating a panoramic scene usually by joining prints and re-photographing, or combining the same image repeated to form repetitive or kaleidoscope effects

[2] Tableau: a group of models or motionless figures representing a scene from a story or from history; tableau vivant “living picture”