tag:blogger.com,1999:blog-57434117218860351432024-02-18T17:55:14.168-08:00THEMESEXAM THEMESjfkturnerhttp://www.blogger.com/profile/04292497470976112213noreply@blogger.comBlogger97125tag:blogger.com,1999:blog-5743411721886035143.post-28395822957052350862013-03-27T02:49:00.000-07:002013-03-27T06:41:36.786-07:00Abstraction<div class="separator" style="clear: both; text-align: center;">
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<a href="http://www.moma.org/collection/artist.php?artist_id=3607">Morris Louis</a> 'Where' 1960</div>
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All art is Abstract. It is a sign to something else - a story, a landscape, an event, an idea. Whether the art is two dimensional, sculptural or conceptual it relies on us to use abstract thought to understand it. By the same rule all Art, on some level, is conceptual. An Idea lies behind an Art Work.</div>
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Abstract Art can be inspired by things from the real world that are then stylised and simplified (<a href="http://www.britishmuseum.org/research/projects/technologies_of_enchantment.aspx">Celtic Art</a>, <a href="http://www.vam.ac.uk/page/a/art-nouveau/">Art Nouveau</a>). Abstract Art can be Pure Abstraction - only referring to itself and not objects from the real world (<a href="http://www.metmuseum.org/toah/hd/geom/hd_geom.htm">Islamic Art</a>, <a href="http://www.tate.org.uk/art/artworks/malevich-dynamic-suprematism-t02319">Suprematism</a>, <a href="http://www.telegraph.co.uk/culture/art/3653012/The-man-who-heard-his-paintbox-hiss.html">Wassily Kandinsky</a>, <a href="http://www.moma.org/collection/theme.php?theme_id=10051">Abstract Expressionism</a>)</div>
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<span class="Apple-style-span" style="font-size: large;">'We should remember that a picture, before being a war horse, a nude women, or telling some other story, is essentially a flat surface covered with colours arranged in a particular pattern'</span></div>
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<span class="Apple-style-span" style="border-collapse: collapse;"><a href="http://en.wikipedia.org/wiki/Maurice_Denis">Maurice Denis</a></span><span class="Apple-style-span" style="border-collapse: collapse;"> 1890</span></div>
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Sehzade Mosque Istanbul, Turkey - <a href="http://en.wikipedia.org/wiki/Mimar_Sinan">Mimar Sinan</a> 1548</div>
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All art is Abstract and Abstract values can be seen in Art that we would not consider to be connected to Abstraction.</div>
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Giovanni Bellini - '<a href="http://www.nationalgallery.org.uk/paintings/giovanni-bellini-madonna-of-the-meadow">Madonna of the Meadow</a>' c1500</div>
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The art Critic Matthew Collings has discussed the use of geometric abstract compositions in Renaissance art and modernist abstract art. In this painting Bellini uses geometry to create his composition. He has used a number of triangles to build up the composition. </div>
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The Madonna is a large triangle taking up the whole composition. </div>
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Within that triangle there are three smaller triangles.</div>
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Kazimir Malevich 'Suprematism with Blue Triangle and Black Square' 1915</div>
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Malevich's Supremacist painting seemed revolutionary at the time - and it was. It seems to have nothing to do with the past and is a truly new type of art. However, the modernists were very interested in the art of the pasts use of geometry.</div>
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Figurative art is held together by abstract values and abstract art uses traditional ideas.<br />
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<a href="http://www.youtube.com/watch?v=wNNAfLXR1gw&feature=related">Paul Cezanne </a>'Still life with plaster cupid' 1895</div>
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<span class="Apple-style-span">Pablo Picasso </span><a href="http://www.guardian.co.uk/culture/2007/jan/09/2">'Les Demoiselles d'Avignon'</a><span class="Apple-style-span"> 1907</span></div>
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Humans have always stylised and abstracted images. However, Western Art has been dominated by figurative Art and the pursuit of realism. Modernism moved away from the figurative and the 20th Century was dominated by abstraction and questioning what Art is and what it could be. </div>
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There are numerous reasons for this transition but there are two key influences. The first reason is connected to the invention of photography and its influence on the way Artists created images (<a href="http://thedelightsofseeing.blogspot.co.uk/search/label/Photorealism%20and%20the%20Relationship%20Between%20Photography%20and%20Painting">read here for an in-depth look at Photography's influence on Modern Art</a>). The second reason (which is connected to the first) is Picasso's Cubists paintings (influenced by Cezanne) and the influence these approaches had on Modern Art (<a href="http://thedelightsofseeing.blogspot.co.uk/search/label/Cubism">read here for a study of Cubism</a>).</div>
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The Modernist Artists of the 20th Century continued to push the limits of Art.</div>
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<span class="Apple-style-span" style="font-size: x-small;">Henri Matisse left to right 'The Back I' 1908-1909, 'The Back II' 1913, 'The Back III' 1916, 'The Back IV' 1931 Bronze</span></div>
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<span class="Apple-style-span" style="font-size: large;">"I sculpted as a painter, I did not sculpt like a sculptor. Sculpture does not say what painting says."</span></div>
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<a href="http://www.henri-matisse.net/sculpture.html">Henri Matisse</a></div>
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For over 20 years <a href="http://www.metmuseum.org/exhibitions/listings/2012/matisse">Henri Matisse, primarily known as a painter</a>, returned to the same subject of a female back. However, each time <a href="http://venetianred.net/tag/matisses-back-series/">the form was simplified</a>. Even though the figure is made from Bronze Matisse is still working like a Painter. The work is more of a relief than a sculpture - with the figure emerging from the rock. In the first sculpture, from 1908/09, we can see the curves and contours of the figure and we get the sense of a physical human form in front of us. Five years later we can still see the figure clearly but the curved lines are becoming more straight and harsh. There is a more dramatic shift when Matisse approaches the sculpture for a third time. The spine, a subtle line on his initial sculpture, becomes a bold central line that holds the figure together. It has been combined with the head and hair from the original form to become a dominating presence. By the final sculpture the form has been reduced to almost an abstract state while retaining a quality of a child's drawing. In fact it <a href="http://www.nga.gov/exhibitions/matisseinfo.shtm">the last sculpture has the same qualities as Matisse's late work</a> - his <a href="http://www.henri-matisse.net/cut_outs.html">Cut Outs</a>. </div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">The Modernist painter <a href="http://www.pietmondrian.org/">Piet Mondrian</a> broke painting down into its basic components - vertical lines, horizontal lines, black, white and the primary colours. His mature paintings are full of <a href="http://thedelightsofseeing.blogspot.co.uk/">Golden Rectangles</a> and they have no reference to the world - the natural conclusion to this is a pure white painting.</span></div>
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<a href="http://madamepickwickartblog.com/wp-content/uploads/2010/08/mondrian5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="278" src="http://madamepickwickartblog.com/wp-content/uploads/2010/08/mondrian5.jpg" style="cursor: move;" width="400" /></a></div>
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1908</div>
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<a href="http://pages.cpsc.ucalgary.ca/~sheelagh/personal/reps/mond/tree4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="http://pages.cpsc.ucalgary.ca/~sheelagh/personal/reps/mond/tree4.jpg" style="cursor: move;" width="400" /></a></div>
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<a href="http://emuseum2.guggenheim.org/media/full/49.1228_ph_web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="365" src="http://emuseum2.guggenheim.org/media/full/49.1228_ph_web.jpg" style="cursor: move;" width="400" /></a></div>
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1913</div>
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<a href="http://www.abstract-art.com/abstraction/l2_grnfthrs_fldr/g0000_gr_inf_images/g022_mondrian_gray_lines.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="326" src="http://www.abstract-art.com/abstraction/l2_grnfthrs_fldr/g0000_gr_inf_images/g022_mondrian_gray_lines.jpg" style="cursor: move;" width="400" /></a></div>
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1918</div>
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<a href="http://t3.gstatic.com/images?q=tbn:3qADYNmNTq1L4M:http://witcombe.sbc.edu/modernism-b/images/mondrian-compositionA.jpg&t=1" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="391" src="http://t3.gstatic.com/images?q=tbn:3qADYNmNTq1L4M:http://witcombe.sbc.edu/modernism-b/images/mondrian-compositionA.jpg&t=1" style="cursor: move;" width="400" /></a></div>
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1923</div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">However, <a href="http://www.youtube.com/watch?v=RAjVj1ZeTJg&feature=player_embedded#!">Mondrian</a>'s development to this high modernist style did start with paintings of actual things from the real world. When Mondrain saw the work of the <a href="http://thedelightsofseeing.blogspot.co.uk/search/label/Cubism">Cubist's</a> in <a href="http://www.guggenheim.org/new-york/collections/collection-online/show-full/piece/?search=Tableau%20No.%202%2FComposition%20No.%20VII&page=&f=Title&object=49.1228">Paris 1911</a> he style began to change.</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Trees were a continuous theme in Mondrian's work between 1900 to 1914. He initially began with landscapes but gradually focused on single trees. The branches became solid lines that divided the empty space (sky). <a href="http://emptyeasel.com/2007/04/17/piet-mondrian-the-evolution-of-pure-abstract-paintings/">The images became more abstract</a> with simplified planes, lines and colours. The tree becomes an almost skeleton for the paintings that helped organise the space within the composition.</span><br />
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Theo van Doesburg <a href="http://pereiradasilva.blogspot.co.uk/2010_10_01_archive.html">'Aesthetically Transformed Subject' 1917</a></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><a href="http://www.guardian.co.uk/artanddesign/2010/jan/23/theo-van-doesburg-avant-garde-tate">Theo van Doesburg</a>, the founder of <a href="http://www.moma.org/collection/theme.php?theme_id=10199">De Stijl</a>, also simplified images into stylised abstracted compositions.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAubikP4Zbr2WJlqzGEvXZCzZ3MNstiibSeOLdYnP9CAT6GArb3ASRFt7DRoIrY_hPWfYJpaGOgHEq-nf6rBgzffx-fBzHwfFEoGE38QSF7DA0rmihyphenhyphen5Xkx-HzWAxBwoUI297l0STKe0WN/s1600/Picture+7.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAubikP4Zbr2WJlqzGEvXZCzZ3MNstiibSeOLdYnP9CAT6GArb3ASRFt7DRoIrY_hPWfYJpaGOgHEq-nf6rBgzffx-fBzHwfFEoGE38QSF7DA0rmihyphenhyphen5Xkx-HzWAxBwoUI297l0STKe0WN/s400/Picture+7.png" width="321" /></a></div>
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<a href="http://www.vangoghmuseum.nl/vgm/index.jsp?page=4500&lang=en">Vincent van Gogh</a> 'The Sower' (after <a href="http://www.mfa.org/collections/object/the-sower-31601">Millet</a>) 1889</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8gsKV8osSaZnQUEHTq9KuPbrmPNkaCR9FjO4TzMu2F_yIRIN4zrqMCRBwuFz6N6owQGO3u3wh3GjueLzhfZpLLSe36Xp1E-NmV6Sv3r1zNDxwh_M8DuPxB3zpqJHfdEfl2VybyZ0dEJsj/s1600/van-doesburg2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8gsKV8osSaZnQUEHTq9KuPbrmPNkaCR9FjO4TzMu2F_yIRIN4zrqMCRBwuFz6N6owQGO3u3wh3GjueLzhfZpLLSe36Xp1E-NmV6Sv3r1zNDxwh_M8DuPxB3zpqJHfdEfl2VybyZ0dEJsj/s320/van-doesburg2.jpg" width="271" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ_3_4hOuaFigmsp4monB0zFS4E6lTEIOxYynLqomA9UbdJdG_na1Ns-hk8O4NCbDl6_8ToFMbMXNGBY4ca4KMh-Wej5Htw-pQsddlVN5-MX6V32f0lj2_k8N18k1sRs-8TqMIZoVKnr_O/s1600/van-doesburg.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ_3_4hOuaFigmsp4monB0zFS4E6lTEIOxYynLqomA9UbdJdG_na1Ns-hk8O4NCbDl6_8ToFMbMXNGBY4ca4KMh-Wej5Htw-pQsddlVN5-MX6V32f0lj2_k8N18k1sRs-8TqMIZoVKnr_O/s640/van-doesburg.jpg" width="340" /></a></div>
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Theo van Doesburg - <a href="http://www.midcenturia.com/search?updated-max=2011-09-21T18%3A13%3A00-07%3A00&max-results=12">Study for The Sower</a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfXgvwaEotpX_-898v7DhU30aXfEdKSv3sxfOv5EqWzCoaplP6BqgvWDwE2BhA-yllQ_HVRo07cXj8Lh-02-3xzRxKbEs1noPb-KPKvphHlZCCTkwnUcZLm4m3YwCzZ5Pqh7GrDtSOAEug/s1600/Picture+10.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="190" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfXgvwaEotpX_-898v7DhU30aXfEdKSv3sxfOv5EqWzCoaplP6BqgvWDwE2BhA-yllQ_HVRo07cXj8Lh-02-3xzRxKbEs1noPb-KPKvphHlZCCTkwnUcZLm4m3YwCzZ5Pqh7GrDtSOAEug/s400/Picture+10.png" width="400" /></a></div>
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Theo van Doesburg Stained Glass Window in Drachten</div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-family: Times;"><a href="http://www.tate.org.uk/whats-on/tate-modern/exhibition/van-doesburg-and-international-avant-garde">Theo van Doesburg</a>'s studies for his Great Pastoral Scene and his colour draft for the Small Pastoral scene in Drachten shows the artists process of abstraction. The changing figure of The Sower shows, step by step, van Doesburg's process of rendering the figure into geometric shapes. The figure was based on van Gogh's famous painting 'The Sower', itself based on a painting by Millet. The initial sketches show van Doesburg stylising the figure and gradually decomposing it into individual planes. He uses triangles and rectangles to structure his design. </span></span><br />
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photographic equivalent - nagy, man ray</div>
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Pure Abstraction</div>
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jfkturnerhttp://www.blogger.com/profile/04292497470976112213noreply@blogger.comtag:blogger.com,1999:blog-5743411721886035143.post-23308160598687007982012-11-10T12:39:00.000-08:002012-12-12T00:12:18.201-08:00Typography - A Brief History of 20th Century Type<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoSj73ofZTEw6hsACzr-n5_ym44L6PRz-j-WpsK2mu49SrNrfXgPL200U3aBqdO17Ef8kk2rdr6RxDncSP1V2nmsz09hXs8sP18hvVtUIL8GwJd2gL1OYuq45DUmGzMKG19fCJF4-1KV7c/s1600/seven.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoSj73ofZTEw6hsACzr-n5_ym44L6PRz-j-WpsK2mu49SrNrfXgPL200U3aBqdO17Ef8kk2rdr6RxDncSP1V2nmsz09hXs8sP18hvVtUIL8GwJd2gL1OYuq45DUmGzMKG19fCJF4-1KV7c/s320/seven.jpg" width="292" /></a></div>
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<a href="http://www.linotype.com/382/ottoeckmann.html">Eckmann Schmuck</a> Typeface designed by <a href="http://www.nga.gov/education/tchan_5_09.shtm">Otto Eckmann</a> c 1900</div>
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<span style="-webkit-composition-fill-color: rgba(175, 192, 227, 0.230469); -webkit-composition-frame-color: rgba(77, 128, 180, 0.230469); -webkit-tap-highlight-color: rgba(26, 26, 26, 0.296875); font-family: '.HelveticaNeueUI'; font-size: 15px; line-height: 19px; text-align: -webkit-auto; white-space: nowrap;">http://doublemesh.com/tutorials/30-fantastic-photoshop-text-effect-tutorials/ </span></div>
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Look at this number 7. Seven is a number - a bit of information. However, this little seven is soft and curly. It has an organic quality - it's swaying. I don't just think of the number seven. I think of <a href="http://thedelightsofseeing.blogspot.co.uk/search/label/Art%20Nouveau">Art Nouveau</a>, Natural forms, maybe I am in <a href="http://www.guardian.co.uk/books/2012/feb/03/william-boyd-viennese-waltz">Vienna</a>, Old Europe, another world, another time - maybe the start of the 20th century. Blimey - it's only a number 7.</div>
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Letters have personality. They can be soft, strong, harsh, friendly, quiet or loud. Words are often given expression before we have read the word. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrgHrBrJmo1tzTSwdNPOkovwvyIBEXcEIHX0QUsgwfPZsJbu505_X6AfvAqvhIMfAr6s42nyDWHOvH2MrXFvTmtaJ2NZAERT_FH_IGIJ5ahTgZVSASKNUWxY6RF3eeuay84ZeF-B4YzjQ7/s1600/roundel-original-c1925.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrgHrBrJmo1tzTSwdNPOkovwvyIBEXcEIHX0QUsgwfPZsJbu505_X6AfvAqvhIMfAr6s42nyDWHOvH2MrXFvTmtaJ2NZAERT_FH_IGIJ5ahTgZVSASKNUWxY6RF3eeuay84ZeF-B4YzjQ7/s400/roundel-original-c1925.jpg" width="400" /></a></div>
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Edward Johnson - <a href="http://designmuseum.org/design/london-transport">Underground Sign</a> 1915</div>
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Where are we now? London, there's a war on and the 20th century has definitely started. <a href="http://www.ejf.org.uk/">Edward Johnson</a>'s iconic <a href="http://www.creativereview.co.uk/cr-blog/2007/december/design-at-the-centre-of-the-new-london-transport-museum">London Underground roundel</a> and font are based on <a href="http://www.ejf.org.uk/Resources/Tom%20Perkins.pdf">Classical Roman Proportions</a> (with the letter 'O' being a perfect circle) yet seem a lot more 'modern' than Eckmann's. This simple sans serif font is easy to recognize and read. When you are in a rush, or speeding past a sign, you need the font to be simple. It was so successful <a href="http://www.ltmcollection.org/roundel/about/detailedhistory.html?IXpage=2">it is still used today.</a> </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiokrttuM_8ga1ghZyUtt95ZxMPVI5TReArvl6dYgR-Hc-y_rgOYQ3Wma0084_qZIh8xxRkFw7dts5Bzopq0zkgLNM1PENjpQaSNs25aNF-zfC3KgSSdRXuTk3Vrm1ZZy8DF7cK4N0qVW6L/s1600/12224.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="350" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiokrttuM_8ga1ghZyUtt95ZxMPVI5TReArvl6dYgR-Hc-y_rgOYQ3Wma0084_qZIh8xxRkFw7dts5Bzopq0zkgLNM1PENjpQaSNs25aNF-zfC3KgSSdRXuTk3Vrm1ZZy8DF7cK4N0qVW6L/s400/12224.jpg" width="400" /></a></div>
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<a href="http://rahaddadi.wordpress.com/term2/london-underground-edward-johnston/">'Underground'</a> is still used by designers to suggest London in the 20th century. Its simple, yet classic, quality suggest austerity and a certain period in British history. Mid twentieth century photographs are combined with the font on this album cover of <a href="http://www.youtube.com/watch?v=dGt21q1AjuI">Highlife and Jazz</a> compilation to give a sense of an era and place.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiac55_YgxtfguQmLFxzt89-6vk1g-gvVq7Q1CH1SrObzOmB6RQZoIO5DDH2ix559u1S-FqT6Ck3KvOhKmYnlPaaEOnlqjVzXQaucXE_rADVjoC1A31eX9kKtkjAC_6fq9cHq0usKKdummJ/s1600/bayer.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="215" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiac55_YgxtfguQmLFxzt89-6vk1g-gvVq7Q1CH1SrObzOmB6RQZoIO5DDH2ix559u1S-FqT6Ck3KvOhKmYnlPaaEOnlqjVzXQaucXE_rADVjoC1A31eX9kKtkjAC_6fq9cHq0usKKdummJ/s400/bayer.jpg" width="400" /></a></div>
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Herbert Bayer - <a href="http://nadinechicken.wordpress.com/tag/herbert-bayer/">'Universal' 1925</a></div>
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It is 1925 in Germany and the first world war is over. At the <a href="http://www.guardian.co.uk/artanddesign/2012/apr/27/bauhaus-art-as-life-barbican">Bauhaus</a> Herbert Bayer designs the 'Universal' font and this is an example of pure modernism. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtG9m9ApuKDdyI8P3srGxyNnBzgHXqt4-7RI_hbQNK15k-Yf0jZTQmuwipN_bcmSxwRAO-xS8XufLvi6V4J2NaCnRK5sUSfXjV6RiCnQ2uSp24m1rSv98YTVocTZ5AjDN2HelAnRKYCZNI/s1600/Picture+2.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="202" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtG9m9ApuKDdyI8P3srGxyNnBzgHXqt4-7RI_hbQNK15k-Yf0jZTQmuwipN_bcmSxwRAO-xS8XufLvi6V4J2NaCnRK5sUSfXjV6RiCnQ2uSp24m1rSv98YTVocTZ5AjDN2HelAnRKYCZNI/s320/Picture+2.png" width="320" /></a></div>
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In Otto Eckmann's 'Eckmann Schmuck' Typeface (shown at the start) we can see <a href="http://graphicdesign.stackexchange.com/questions/288/how-are-serif-and-sans-serif-fonts-different-and-when-should-one-use-one-over-t">the difference between a Serif Face and a Sans Serif Face. </a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjqD3VDM3ZiuMeKpqKzdbI_j5rgbnfH27dAYgoNyRFseMPWI1wivgCFxKHMAH5n7ZRr4gmeSQzxGVMRmpliGs2M3L5ASYKxd9-ikgsNITKQkWlhg9BVuU76BeWy_6sc9-MWjCGFg66huHd/s1600/Picture+1.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="58" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjqD3VDM3ZiuMeKpqKzdbI_j5rgbnfH27dAYgoNyRFseMPWI1wivgCFxKHMAH5n7ZRr4gmeSQzxGVMRmpliGs2M3L5ASYKxd9-ikgsNITKQkWlhg9BVuU76BeWy_6sc9-MWjCGFg66huHd/s400/Picture+1.png" width="400" /></a></div>
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A serif face is flambouyant and has terminal strokes - a little flick. They seem closer to handwriting and therefore more old fashioned.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAuRRduwack6hzRFJMhgEbNt0XZ0FDRTz7BHuIvGWQhF4QesCw0Jv2RLb2H0l2ytoZOmjovVWDVy64pYPyrcXxX5tGPhtb_nlUjlCxqwtKy4ojF_M2VeR0_S_pLR3SzaeP4taTlbCGXUoY/s1600/Picture+3.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="64" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAuRRduwack6hzRFJMhgEbNt0XZ0FDRTz7BHuIvGWQhF4QesCw0Jv2RLb2H0l2ytoZOmjovVWDVy64pYPyrcXxX5tGPhtb_nlUjlCxqwtKy4ojF_M2VeR0_S_pLR3SzaeP4taTlbCGXUoY/s320/Picture+3.png" width="320" /></a></div>
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A sans serif typeface does not have terminal strokes - it is no nonsense, simple bold and modern. <a href="http://anasokolovic.hotglue.me/?herbert">Herbert Bayer</a> and the Bauhaus designers felt the flicks of Serifs were looking backwards - Bayer's 'Universal' font was looking towards the future. It was Modern.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJsJhTNE4l393k3l4bYjCGHnEKeeAvVuftS6IQJA7lTFsUBRkEOCYEd1DfC-Jb11Royk4NkK5v4pQY6oDNxud4yMohRFEz5Ur16BHOuhSIg1tf1g2fh0b-qQLbiMHPuXxu5lBY_LlAf_jm/s1600/43183984.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="257" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJsJhTNE4l393k3l4bYjCGHnEKeeAvVuftS6IQJA7lTFsUBRkEOCYEd1DfC-Jb11Royk4NkK5v4pQY6oDNxud4yMohRFEz5Ur16BHOuhSIg1tf1g2fh0b-qQLbiMHPuXxu5lBY_LlAf_jm/s320/43183984.jpg" width="320" /></a></div>
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Herbert Bayer 'Design for Cinema' 1924-1925</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhq4nynPXKOTUa199vE_0jsHCFQZkjWZdd96IpqWHemk7i3Xc3HqoOOwtVWRRApgJHjpMhoHK0pa6wVwyv33IniRHt4eAsZlAEjham4VqxZJxfOK3V2o0FUf9yRtuBfOSeiO0PTX4Jty_G4/s1600/gallery3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhq4nynPXKOTUa199vE_0jsHCFQZkjWZdd96IpqWHemk7i3Xc3HqoOOwtVWRRApgJHjpMhoHK0pa6wVwyv33IniRHt4eAsZlAEjham4VqxZJxfOK3V2o0FUf9yRtuBfOSeiO0PTX4Jty_G4/s400/gallery3.jpg" width="292" /></a></div>
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Joost Scmidt - Bauhaus Journal 'Offset' 1926</div>
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<a href="http://www.harvardartmuseums.org/art/search?search_api_aggregation_1=&field_artist_search=Herbert%20Bayer&field_title_search=&field_artist_search_1=&field_title_search_1=&field_object_number=&field_date_begin=&field_date_end=&field_department=&field_classification=&field_technique=&field_century=&field_period=&field_culture=&field_creation_place=&field_on_view=0&field_has_image=0&page=2">Bayer's</a> simple, geometric typeface did not use capital letters. It was used in <a href="http://www.smashingmagazine.com/2009/08/02/bauhaus-ninety-years-of-inspiration/">the Bauhaus </a>publication 'Offset'. In this example above we can see the bold modern look - a combination of design and typography.</div>
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'Contruction de la lettre G' from the <a href="http://www.google.co.uk/#hl=en&output=search&sclient=psy-ab&q=%27Contruction+de+la+lettre+G%27+from+the+Imprimerie+Royale%2C+Paris+1716&oq=%27Contruction+de+la+lettre+G%27+from+the+Imprimerie+Royale%2C+Paris+1716&gs_l=hp.12...3028.3028.1.4332.1.1.0.0.0.0.0.0..0.0.les%3B..0.0...1c.2.HJapAMX6-xs&psj=1&bav=on.2,or.r_gc.r_pw.r_qf.&fp=abf28ecc988f8db4&bpcl=35466521&biw=1340&bih=695">Imprimerie Royale, Paris 1716</a></div>
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The shapes had been designed around circles and parallel lines and set against a background grid. The use of geometric has been used to design many typefaces.</div>
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<a href="http://idsgn.org/posts/know-your-type-gill-sans/">Gill Sans</a> 'g' designed by <a href="http://www.guardian.co.uk/artanddesign/2006/jul/22/art.art">Eric Gill</a>, 1933</div>
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Eric Gill's 'Gill Sans' used geometry - and it is especially evident in the lower case 'g'. Circles and arches combine to make a beautifully simple font. The font has a modernist look and is similar to <a href="http://en.wikipedia.org/wiki/Paul_Renner">Paul Renner</a>'s - '<a href="http://www.guardian.co.uk/artanddesign/gallery/2009/sep/02/ikea-font-futura#/?picture=352473558&index=0">Futura</a>' (read article <a href="http://digitalarchive.gsu.edu/cgi/viewcontent.cgi?article=1001&context=art_design_theses&sei-redir=1&referer=http%3A%2F%2Fwww.google.co.uk%2Furl%3Fsa%3Dt%26rct%3Dj%26q%3Dpaul%2520renner%2520futura%26source%3Dweb%26cd%3D10%26ved%3D0CFIQFjAJ%26url%3Dhttp%253A%252F%252Fdigitalarchive.gsu.edu%252Fcgi%252Fviewcontent.cgi%253Farticle%253D1001%2526context%253Dart_design_theses%26ei%3D55eqULrhL4mX1AWrh4H4DA%26usg%3DAFQjCNFqyDwwHUkJzdvxGYZkUZuV5lBxjg#search=%22paul%20renner%20futura%22">here</a>). However, it is slightly more fluid - making it easier to read. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitSPzXHiS1go17AFsE6paArLLeE-xWl_aqGtQ620BdvQNi4AttL42gGIN-J6gZQa0_ibMGm3MGqLGm1M46sjWWIJh0MMWZzC2YqANYy4YbXBBcRCsxnb7laHxZK2Kr5EC0cq93oixzb3DX/s1600/penguin.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitSPzXHiS1go17AFsE6paArLLeE-xWl_aqGtQ620BdvQNi4AttL42gGIN-J6gZQa0_ibMGm3MGqLGm1M46sjWWIJh0MMWZzC2YqANYy4YbXBBcRCsxnb7laHxZK2Kr5EC0cq93oixzb3DX/s640/penguin.jpg" width="611" /></a></div>
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Penguin book covers using Gill's '<a href="http://mikedempsey.typepad.com/graphic_journey_blog/2009/02/from-caveman-to-spray-can.html">Gill Sans</a>'</div>
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Eric Gill was a sculptor, type designer and letter cutter who trained under Edward Johnston (see above) and also created the type face 'Pepetua'. You can sketch out your own fonts and turn them into usable fonts with Font Capture <a href="http://www.yourfonts.com/">here</a>. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNnvD7iHAUfHL5INVjSGtSkdaJtyOSs8KwmWfDQNjQxHirBnz8EIsy-OnYPBmSRCT8XJT_Y80a63Mv_pXtRvkuk6PdZN7JhYux67UvYkitSN3fkQxqF0Vuu7LFnqIScr__vgmtloKK7Q7o/s1600/NEVILLE-BRODY-ALPHABET-SIX.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNnvD7iHAUfHL5INVjSGtSkdaJtyOSs8KwmWfDQNjQxHirBnz8EIsy-OnYPBmSRCT8XJT_Y80a63Mv_pXtRvkuk6PdZN7JhYux67UvYkitSN3fkQxqF0Vuu7LFnqIScr__vgmtloKK7Q7o/s640/NEVILLE-BRODY-ALPHABET-SIX.png" width="640" /></a></div>
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Neville Brody - Typeface Six 1986</div>
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This is an example of Typeface Six designed by <a href="http://www.designishistory.com/1980/neville-brody/">Neville Brody</a> (see The typefaces of Neville Brody <a href="http://testpressing.org/2012/01/the-typefaces-of-neville-brody/">here</a>). Neville <a href="http://www.architectural-review.com/archive/1986-august-an-interview-with-neville-brody-art-director-of-the-face/8611931.article">Brody</a> came to prominence as the art editor of the British music and style magazine 'The Face' during the 1980's. </div>
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Brody<a href="http://kingygraphicdesignhistory.blogspot.co.uk/2010/05/roxy-1980s-face-neville-brody.html"> created layouts that combined photography, art and typography to create a look that would define the 1980's.</a> As well as being of its time Brody's style was influenced by modernist design (particularly early <a href="http://thedelightsofseeing.blogspot.co.uk/2010/11/photomontage.html">20th century Russian</a> artist's like <a href="http://www.tate.org.uk/whats-on/tate-modern/exhibition/rodchenko-popova">Alexanda Rodchenko</a>). </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlRoD8FTkCMEDjh_ZInUpWrMDiXOJ0vBc2RnqUQUPVp2Do3uQFZ_Vv-rDtYR9Bka_QZU931EBcgPpUG509R9EQ4OL3l9d8mykaTVlveItWQDx0VaYVwm7OTnrRqe9zXTwGS_qtlX7slUNf/s1600/brody1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlRoD8FTkCMEDjh_ZInUpWrMDiXOJ0vBc2RnqUQUPVp2Do3uQFZ_Vv-rDtYR9Bka_QZU931EBcgPpUG509R9EQ4OL3l9d8mykaTVlveItWQDx0VaYVwm7OTnrRqe9zXTwGS_qtlX7slUNf/s400/brody1.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdfJyPD4etrLjasOafNFbuCAiqqfcSQyF0am8bzjAhXZH-V8iSCm37xgsCfwvYX2rBmN3SDWeryQx9RbJ3K9YKvRwg7DSaxvOObn5JUEi5FdLBBFnIxre_6cNVkio_-BnJFAZw0L3PwaO2/s1600/brody2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdfJyPD4etrLjasOafNFbuCAiqqfcSQyF0am8bzjAhXZH-V8iSCm37xgsCfwvYX2rBmN3SDWeryQx9RbJ3K9YKvRwg7DSaxvOObn5JUEi5FdLBBFnIxre_6cNVkio_-BnJFAZw0L3PwaO2/s400/brody2.jpg" width="382" /></a></div>
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Brody was one of the key designers who took advantage of technological advances to break away and reinvent traditional print setting. Brody often used a computer to design his various typefaces - the letter forms themselves used as a dramatic part of the composition. It is the 1980's and Brody's freedom to mix images and text hints at an approach that will be used by website designers a decade later.</div>
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jfkturnerhttp://www.blogger.com/profile/04292497470976112213noreply@blogger.comtag:blogger.com,1999:blog-5743411721886035143.post-68872787697818221952012-10-22T03:47:00.000-07:002012-12-01T12:37:45.098-08:00Typography - Inspiration and Experimentation<div class="separator" style="clear: both; margin: 0px; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJDjEf4jyzOZNzie39xmjBXSI4_27I2ZYPxaY19JsFPgxtWowYcpDZHoZtAlU-UA4blOK_55HHbyhuYWjcyIjjj9N7h-Vtw5wB-6BfrAnKial-2Zqs7B19scCrg3p9gAr35VR_AtrJ88Dw/s1600/ceci-nest-pas-une-pipe-renc3a9-magritte.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="276px" kca="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJDjEf4jyzOZNzie39xmjBXSI4_27I2ZYPxaY19JsFPgxtWowYcpDZHoZtAlU-UA4blOK_55HHbyhuYWjcyIjjj9N7h-Vtw5wB-6BfrAnKial-2Zqs7B19scCrg3p9gAr35VR_AtrJ88Dw/s400/ceci-nest-pas-une-pipe-renc3a9-magritte.jpg" width="400px" /></a></div>
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<a href="http://www.guardian.co.uk/artanddesign/gallery/2011/jun/19/magritte-tate-liverpool-in-pictures">Rene Magritte 'The Treachery of images</a> (Ceci n'est pas une pipe)' 1928-29</div>
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Words are all around us. They are everywhere we look. We probably do not stop to consider how they influence us. In the painting above <a href="http://blog.tate.org.uk/?p=7747">Rene Magritte</a> has painted an image of a pipe and underneath it, in French, he has written 'This is not a pipe'. At first this seems ridiculous as it is clearly a pipe. However, there is no pipe there, only paint smeared on a canvas creating the illusion or representation of a pipe. Magritte is write - this is not a pipe and he has used words and images to play a game with us.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMNSEQZvLqVlk5gKriNufWWYu8KsXQBOvrpQhyphenhyphenzX_CZflwtsPmd3K8vgKlPxAC6q4LIsXl0Hmtbcw9AVCVAwCYNcYGOG2MjKPOww7otjFvua1KQt3VvUSTOICyhzLyCP-DDb7-t61-u9zI/s1600/martin-parrcommonsense.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="262px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMNSEQZvLqVlk5gKriNufWWYu8KsXQBOvrpQhyphenhyphenzX_CZflwtsPmd3K8vgKlPxAC6q4LIsXl0Hmtbcw9AVCVAwCYNcYGOG2MjKPOww7otjFvua1KQt3VvUSTOICyhzLyCP-DDb7-t61-u9zI/s400/martin-parrcommonsense.jpg" width="400px" /></a></div>
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<a href="http://www.tate.org.uk/modern/exhibitions/cruelandtender/parr.htm">Martin Parr "Common Sense'</a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoJDo4XgGY5QLy7xsBlCqag0VDwCNcPO8SatORHzrEC8e_Co-6Oe1MYB7nbeJ9bGPe1EjKXQqn7s6DwAWlwpuOIBUJEeiz5FSdMB7F9mCulH4IyqwE7rDeI51KMB4G4Ioe4cVBqTmtV7A/s1600/eggleston.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266px" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoJDo4XgGY5QLy7xsBlCqag0VDwCNcPO8SatORHzrEC8e_Co-6Oe1MYB7nbeJ9bGPe1EjKXQqn7s6DwAWlwpuOIBUJEeiz5FSdMB7F9mCulH4IyqwE7rDeI51KMB4G4Ioe4cVBqTmtV7A/s400/eggleston.jpg" style="cursor: move;" width="400px" /></a></div>
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<a href="http://www.egglestontrust.com/">William Eggleston</a>: Karco, 1983–1986</div>
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<a href="http://realite.files.wordpress.com/2008/10/jacques-villegle.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="191px" n4="true" src="http://realite.files.wordpress.com/2008/10/jacques-villegle.jpg" style="cursor: move;" width="400px" /></a></div>
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<a href="http://www.centrepompidou.fr/Pompidou/Manifs.nsf/AllExpositions/2DDA4F5D0DA91260C125748F0051CABF?OpenDocument&sessionM=2.2.1&L=2">Jacques Villegle</a></div>
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'Signs, New York' 1928–30 Walker Evans</div>
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We are surrounded by Type and we encounter it every minute of every day - almost everywhere we look. Type is on the keyboard I am typing on, on the computer screen you are viewing now, on books we read, on adverts - telling us what to buy, instructions and information signs - telling us what to do, on street signs - telling us where to go, graffiti ... the list goes on and on.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKjtJHDWXOsWgSDBhudzAuIt7YW0XtiknQkDzWeUM4UeP0DTmhiDXSew86Gr0Wz_wjqV4hPxRUogdKZ-3mnrNhKxBVvz8Li9foGM95RtaPmLHGzrZobZ8o8RjcVHQ-CYuGRmFqqzRcV6w/s1600/blake_abcd.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320px" n4="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKjtJHDWXOsWgSDBhudzAuIt7YW0XtiknQkDzWeUM4UeP0DTmhiDXSew86Gr0Wz_wjqV4hPxRUogdKZ-3mnrNhKxBVvz8Li9foGM95RtaPmLHGzrZobZ8o8RjcVHQ-CYuGRmFqqzRcV6w/s320/blake_abcd.jpg" width="261px" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjloGNFWIPVUsYS1q41nL5m-dBxN4-4t4aSwlX0KTfzwSrmH_qqOD4q_fgCjd7F7ZICfaEfbAOdkqN5QjnSrBLSXUc-5Ofta17FHhyHARnBu2aSUcyVTz3Z1Gd8FTCZhNan2KMSgtCVBS8/s1600/blake_nopqr.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320px" n4="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjloGNFWIPVUsYS1q41nL5m-dBxN4-4t4aSwlX0KTfzwSrmH_qqOD4q_fgCjd7F7ZICfaEfbAOdkqN5QjnSrBLSXUc-5Ofta17FHhyHARnBu2aSUcyVTz3Z1Gd8FTCZhNan2KMSgtCVBS8/s320/blake_nopqr.jpg" width="263px" /></a></div>
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A section from <a href="http://www.google.co.uk/imgres?imgurl=http://www.tate.org.uk/magazine/issue8/images/blake_ijklm.jpg&imgrefurl=http://www.tate.org.uk/magazine/issue8/blake.htm&usg=__T9n91QthKHtJkayochOPC4dFygU=&h=506&w=415&sz=65&hl=en&start=14&zoom=1&um=1&itbs=1&tbnid=iYH5hZHn4xsD-M:&tbnh=131&tbnw=107&prev=/images%3Fq%3Dpeter%2Bblake%2Balphabet%26um%3D1%26hl%3Den%26sa%3DN%26rls%3Dcom.microsoft:en-US%26rlz%3D1I7SKPB_en%26tbs%3Disch:1&ei=rIc1TfzRGYmLhQfc7uCqCw">Peter Blake's Alphabet</a> (after Walker Evan) 2003</div>
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The British Pop artist Peter Blake created a whole <a href="http://www.tate.org.uk/magazine/issue8/blake.htm">alphabet </a>by taking close up shots of street signs. Blake was inspired by the American photographer <a href="http://www.getty.edu/art/gettyguide/artMakerDetails?maker=1634">Walker Evans</a> who, after a life of black and white photography, used a cheap colour Polaroid camera to photograph the every day and mundane. Blake, like many artists, has several collections. Like a magpie he collects anything that captures his eye. <a href="http://www.youtube.com/watch?v=tGYuE5KJhfg">Blake's collection</a> was shown at the <a href="http://www.museumofeverything.com/">Museum of Everything #3</a> in an old warehouse. Here he has simply collected all the fonts found around him.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicunuM452PzSuCuBpCh3h67N0YWhl9rzN4qk9ZfKI4il_xTG4SYLHB_268JC5JONsHQH4clT6AUrWCdbZDZo5NyOSTgRjaRsvYGsTP2KWRrM8pAEB9EUvrk3RAk6Und-R5_3hVXK4V7cY/s1600/LettersBkpg10b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicunuM452PzSuCuBpCh3h67N0YWhl9rzN4qk9ZfKI4il_xTG4SYLHB_268JC5JONsHQH4clT6AUrWCdbZDZo5NyOSTgRjaRsvYGsTP2KWRrM8pAEB9EUvrk3RAk6Und-R5_3hVXK4V7cY/s400/LettersBkpg10b.jpg" width="382" /></a></div>
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<a href="http://www.edfella.com/photographs.html">Ed Fella</a> - 'Letters on America'</div>
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In his book <a href="http://www.typotheque.com/articles/edward_fella_letters_on_america">'Letters on America'</a> Ed Fella explores the folk typography found on his travels. This simple task results in a rich body of work and a great resource for typography designers.</div>
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Still from <a href="http://www.tate.org.uk/whats-on/tate-modern/exhibition/william-klein-daido-moriyama">William Klein</a>'s - 'Broadway by Light' 1958</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv6t5hEXuYNsRWN95xA07F2F054Q9NJJAwuWb3OLO1KiUEN0HIZhyphenhyphenagfInRMHnaqdwM7AaXxp4onFLs2eYDv1U3Pd_ZoBur9fNneU4jFCrpsST4WPcJwPAlI-u8sOZKatLRd_4yWhohAY/s1600/william_klein_broadway.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="277" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv6t5hEXuYNsRWN95xA07F2F054Q9NJJAwuWb3OLO1KiUEN0HIZhyphenhyphenagfInRMHnaqdwM7AaXxp4onFLs2eYDv1U3Pd_ZoBur9fNneU4jFCrpsST4WPcJwPAlI-u8sOZKatLRd_4yWhohAY/s400/william_klein_broadway.jpg" style="cursor: move;" width="400" /></a></div>
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stills from William Klein's 'Broadway by Light' 1958</div>
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These still images from William <a href="http://www.guardian.co.uk/artanddesign/2012/apr/28/william-klein-interview-sony-photography">Klein</a>'s mediative study of New Yorks Times Square is a <a href="http://www.tate.org.uk/whats-on/tate-modern/eventseries/william-klein-films-1958-99">12 minute expressionistic film</a> (watch it <a href="http://www.youtube.com/watch?v=UmSx-bwLLCE">here</a>). It focusses on iconic advertising - especially the neon typography and bold colours.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcrddUaCqoRQ7t1H2gK7SPq9KBgBF8oFSSWvxrb8hOsxf0MBaWoUeZspdviMyjDsRHBF-UF-KQV5xNYnlSxmZ5ON8M6Yc539tCP6H7uwwTEb0DuyWGxhKS0Gl6leaM0i_xWSE0qpdQnMjN/s1600/102_4Lg.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="255px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcrddUaCqoRQ7t1H2gK7SPq9KBgBF8oFSSWvxrb8hOsxf0MBaWoUeZspdviMyjDsRHBF-UF-KQV5xNYnlSxmZ5ON8M6Yc539tCP6H7uwwTEb0DuyWGxhKS0Gl6leaM0i_xWSE0qpdQnMjN/s400/102_4Lg.jpg" width="400px" /></a></div>
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<a href="http://www.alanfletcherdesign.co.uk/">Alan Fletcher</a> - Detail of a Pirelli poster for a double Decker Bus 1961</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZKtBaEaF35SZVkvJJWWyfwPBRIogcTa7iGobuLJ1F4rsXHcWQQrq0vFapqCCZUWmuQVrRQ7AynZ-YgWSDDYggq29-SiHKm03DFvbdQnJc2T0QoLBz1K6iZF41JSCA15K7WgV9m8BV1u50/s1600/typographica9.tif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="290px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZKtBaEaF35SZVkvJJWWyfwPBRIogcTa7iGobuLJ1F4rsXHcWQQrq0vFapqCCZUWmuQVrRQ7AynZ-YgWSDDYggq29-SiHKm03DFvbdQnJc2T0QoLBz1K6iZF41JSCA15K7WgV9m8BV1u50/s400/typographica9.tif" width="400px" /></a></div>
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Images of found type by Robert Brownjohn from 'Street Level' 1961 in <a href="http://www.laurenceking.com/product/Typographica.htm">'Typographica'</a> design magazine.</div>
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Ideas are all around us - and ideas for typography can be found on our own door steps. These images show how ephemeral and vernacular signs can inspire graphic design. The collection of images above show how type can become distorted - on an umbrella, on an old sack, painted onto shutters or behind distorted glass. This distortion can then be used in a new type design - for example the 'Pepsi Cola World' advert above or <a href="http://designmuseum.org/design/alan-fletcher">Alan Fletcher</a>'s Pirelli poster.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2KVhEJHq-whyri9mK9Cif8C7U6R5LtXnE8RbYe_V44TlS-6uto-pV_uZRF16Iw-Xdo5NucRJ_Z4pPyQVofIDfhC0fiSGy3Yh25gmcElSOmDsSVT9ScW_1crYzkVnObu43RzNba0LpUcAY/s1600/typographica8.tif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="135px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2KVhEJHq-whyri9mK9Cif8C7U6R5LtXnE8RbYe_V44TlS-6uto-pV_uZRF16Iw-Xdo5NucRJ_Z4pPyQVofIDfhC0fiSGy3Yh25gmcElSOmDsSVT9ScW_1crYzkVnObu43RzNba0LpUcAY/s400/typographica8.tif" width="400px" /></a></div>
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All these images come from an article in <a href="http://kemistrygallery.co.uk/shows/2009/typographica">'Typographica' (1949 - 1967)</a> - a pioneering graphic design magazine edited by <a href="http://www.modernism101.com/spencer_typographica_set.php">Herbert Spencer </a> (the name Typographica is now used by a website about typography - <a href="http://typographica.org/">typographica.org</a>). <a href="http://www.guardian.co.uk/media/2002/mar/15/guardianobituaries.pressandpublishing1">Spencer</a> used layout and images to tell a story or make an argument, creating photo essays by combining type and images.In addition to this photography was key to much of the graphic design produced. This particular article was based on photographs taken by Robert Brownjohn that he then compared to typography designed by his colleagues.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFVTrAr6vtbLRGUbe-3VAHFd9EGjKGdm03ln7DmD2sF3oDarwBNNo1h4CzsXTwyiD0ftX967f59GC6WriaiNsyG7zTcLc_jSnNw7s_1mrEe3UncklcE0lP2IBPA0EwcvyKLd5ttTdhdXBY/s1600/Q1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFVTrAr6vtbLRGUbe-3VAHFd9EGjKGdm03ln7DmD2sF3oDarwBNNo1h4CzsXTwyiD0ftX967f59GC6WriaiNsyG7zTcLc_jSnNw7s_1mrEe3UncklcE0lP2IBPA0EwcvyKLd5ttTdhdXBY/s400/Q1.jpg" width="288px" /></a></div>
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Poster by <a href="http://www.youtube.com/watch?v=meKUDU0sH5w">Alan Fletcher</a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoPmtlhQ2paQr1D-oO1pbhVkRpmwVMrzIEFM0NTZdvTU-AO99-ywvJoYmKs8I18ctkme7UoLA1aIfBsTHyirBmoPUgkXvuX7AHfLMgaPC90Y-lZkUP1REz7Blk6yoz1H16pIo81C1Ti-r2/s1600/typographica4.tif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="352px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoPmtlhQ2paQr1D-oO1pbhVkRpmwVMrzIEFM0NTZdvTU-AO99-ywvJoYmKs8I18ctkme7UoLA1aIfBsTHyirBmoPUgkXvuX7AHfLMgaPC90Y-lZkUP1REz7Blk6yoz1H16pIo81C1Ti-r2/s400/typographica4.tif" width="400px" /></a></div>
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Jumbled wonky wooden letters raised on stilts are transformed into a dynamic moving poster design.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvZZS1Eei9JR-7Bx0-5eSbbhJ-l3OySlzT2z7hE6acvN96egxfw1EPlQZtvcSWioYiPuMGGNy3s6R9hEw8oc2CmQNlEcKWXHRV1377EJM5dXf6y_SZjIj7q83l1Hzju5K01i0-1FxOY3al/s1600/typographica7.tif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="160px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvZZS1Eei9JR-7Bx0-5eSbbhJ-l3OySlzT2z7hE6acvN96egxfw1EPlQZtvcSWioYiPuMGGNy3s6R9hEw8oc2CmQNlEcKWXHRV1377EJM5dXf6y_SZjIj7q83l1Hzju5K01i0-1FxOY3al/s400/typographica7.tif" width="400px" /></a></div>
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Fonts seen through glass becomes a distorted vibrant font.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgVI7gD0XPL2lHku3AtvfU85hMpJh0MN6kMaawKb-eYyImfW5ENZ2pBvVfuV7V7acl-bVwws5AVTDCJOJBBB9000uZcLKeopKS9wtscKojMwsii-0pVl-KZ7K_N-SuXq4CiwUg6DhNrZQ_/s1600/typographica6.tif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="153px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgVI7gD0XPL2lHku3AtvfU85hMpJh0MN6kMaawKb-eYyImfW5ENZ2pBvVfuV7V7acl-bVwws5AVTDCJOJBBB9000uZcLKeopKS9wtscKojMwsii-0pVl-KZ7K_N-SuXq4CiwUg6DhNrZQ_/s400/typographica6.tif" width="400px" /></a></div>
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Tarmac over a road sign provides inspiration for a broken font.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg957HHeXzB0QgwYZ5MA5o3hb1cXkiulD8Rt0Z31xpVuqRCpqCS8r-fQ6hfJZr1FSrMkNfHJuqgemgqjVY4RZYnuD8dkPlovOuK7ox8qobenJnRpONRO_8TANqjmCV30FBczB-GU6lhB6kR/s1600/6a00d83451c2d869e200e54f80f8378834-800wi.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="194px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg957HHeXzB0QgwYZ5MA5o3hb1cXkiulD8Rt0Z31xpVuqRCpqCS8r-fQ6hfJZr1FSrMkNfHJuqgemgqjVY4RZYnuD8dkPlovOuK7ox8qobenJnRpONRO_8TANqjmCV30FBczB-GU6lhB6kR/s320/6a00d83451c2d869e200e54f80f8378834-800wi.jpg" width="320px" /></a></div>
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Alan Fletcher</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUotzib3jkO4xtMjz1hngbcWFwr8fEmcp2fEUtLN5Wx3YlEEX354ITyo7c9PLAWBpdFCiUGGr4Va5IGpxPxXV7FDpK-JhQm1vU5vWhVWPYzyZdPYV45MyakTmCj96-gkMMnDZqI8RU_hQj/s1600/typographica1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUotzib3jkO4xtMjz1hngbcWFwr8fEmcp2fEUtLN5Wx3YlEEX354ITyo7c9PLAWBpdFCiUGGr4Va5IGpxPxXV7FDpK-JhQm1vU5vWhVWPYzyZdPYV45MyakTmCj96-gkMMnDZqI8RU_hQj/s400/typographica1.jpg" width="325px" /></a></div>
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A weather decayed painted sign reveals an older sign. This jumbling of letters can be seen in the two type design above. Different fonts merge together combined with the dramatic contrast between black and white.</div>
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These images and the alphabet by Blake show that photography can be used to document ideas for typography projects. All that is needed is a keen eye and an open mind.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvUgJOhQZ-cEfN2RyYSjfZgavbMQv-RhZLwEb2EnOCe2qF8NA9eAc2huo2SycUWsC-vC7yPCj2re2qcwMfyTi8YRCpjpyBMPE61-MNoBEwkevYawFU339XWLsh4ou275U_yfQqE6_qYaUc/s1600/Picture+5.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvUgJOhQZ-cEfN2RyYSjfZgavbMQv-RhZLwEb2EnOCe2qF8NA9eAc2huo2SycUWsC-vC7yPCj2re2qcwMfyTi8YRCpjpyBMPE61-MNoBEwkevYawFU339XWLsh4ou275U_yfQqE6_qYaUc/s320/Picture+5.png" width="304" /></a></div>
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We can see this process in action - a modern typographer taking inspiration from the built environment. <a href="http://thevectorlab.com/">The Vector Lab</a> has documented their evolution of the design on a you tube video. The photograph above provided the inspiration for the typographers initial sketch.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfL7HZyreBwEWBR9w9-ggsJhpLH08NgJKFF4ltSonavdswPT7Eh029xlWg0DBPLCe21UzDYWOp79cwP-iLf1lReKgaglcf4sGH9Y8S0Sqy8YeRzY7EbXN1g3SYUNEwoh4nsXesknwpb4VD/s1600/Picture+6.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfL7HZyreBwEWBR9w9-ggsJhpLH08NgJKFF4ltSonavdswPT7Eh029xlWg0DBPLCe21UzDYWOp79cwP-iLf1lReKgaglcf4sGH9Y8S0Sqy8YeRzY7EbXN1g3SYUNEwoh4nsXesknwpb4VD/s320/Picture+6.png" width="286" /></a></div>
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The sketch was then scanned into Illustrator and used as the basis of the design.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6wemJzXuwIaKyLk_kQUeFo5iHw7HVWJUJJdL773v_sdXLDShKM3rwGCID6fwbhjtj1F7Rer3kyrkhL1QFxMF1daXocdUc-k7m1LYwD6Ql4YxTXYrdO5ROg2pCXU7U8Ea0UqFp2hA_StPg/s1600/Picture+8.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="172" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6wemJzXuwIaKyLk_kQUeFo5iHw7HVWJUJJdL773v_sdXLDShKM3rwGCID6fwbhjtj1F7Rer3kyrkhL1QFxMF1daXocdUc-k7m1LYwD6Ql4YxTXYrdO5ROg2pCXU7U8Ea0UqFp2hA_StPg/s320/Picture+8.png" width="320" /></a></div>
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The design was then printed out on a ink jet printer.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji9qCA_oGjnyl3qgCIPdzfdN_LQH0zSyDpK1o93fSfFornD9fNUSmITSVAXMNDHFkRKTuBckyL8ZjPG5sc7N3yYevPu4uugEWmsTUEvIG3X5KHp4xvfe1qM8NfwA2vKYc-QsWHSl7U-Q12/s1600/Picture+7.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji9qCA_oGjnyl3qgCIPdzfdN_LQH0zSyDpK1o93fSfFornD9fNUSmITSVAXMNDHFkRKTuBckyL8ZjPG5sc7N3yYevPu4uugEWmsTUEvIG3X5KHp4xvfe1qM8NfwA2vKYc-QsWHSl7U-Q12/s320/Picture+7.png" width="320" /></a></div>
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This allowed water to be added and then the design was worked into with pencil, then scanned back into Illustrator.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmQ9r1YZhmdR6iT4S2_SVOlfNgfQt1p3XsBcDhABivF_dva3lcgoTII-KyyxXJHrNLX99C_gzXcYVe1OyQdz8NM2b4n4C2eaf2bjLOvSJaqWGwdnjhFEQqSkyr3nuhgQnbG_673039m2XP/s1600/Picture+4.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmQ9r1YZhmdR6iT4S2_SVOlfNgfQt1p3XsBcDhABivF_dva3lcgoTII-KyyxXJHrNLX99C_gzXcYVe1OyQdz8NM2b4n4C2eaf2bjLOvSJaqWGwdnjhFEQqSkyr3nuhgQnbG_673039m2XP/s320/Picture+4.png" width="320" /></a></div>
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The final design combines digital technology with more a more traditional approach. You can watch the whole process <a href="http://www.youtube.com/watch?v=AWyiMvjP2UI">here</a>. The flowing letter forms are reminiscent of the ornate lettering designs on late 19th century/early 20th century insurance maps.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgECWt9MOUhB0hoic6azxN3LUsI1_xbUwVpUKK0pZui0wwbDCaUomxsK52Z1QadUW6Q-QYVphStpzQyVBpNU6Z_Dck0nMJuWa-U3k-zep3JnE7aTGkmwZlxoJAHdtnP9taaO0vFek3F9wVv/s1600/5440458977_96f93f75c0_z.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgECWt9MOUhB0hoic6azxN3LUsI1_xbUwVpUKK0pZui0wwbDCaUomxsK52Z1QadUW6Q-QYVphStpzQyVBpNU6Z_Dck0nMJuWa-U3k-zep3JnE7aTGkmwZlxoJAHdtnP9taaO0vFek3F9wVv/s640/5440458977_96f93f75c0_z.jpg" width="500" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYVigwt6ZgUDEk_r9SMnj75fVOT-L4xZa5cLAFhv1oW04ZCwJqwg1kbAUUtFjj_zQ2m6yP-BJ_i33CQiPttQHb37GQxqhHHyjIOLeiO_Do_GPwliSM9rNEybcU3731fZYbp01ozYPHbxvA/s1600/5441054058_44188fb4a0_z.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYVigwt6ZgUDEk_r9SMnj75fVOT-L4xZa5cLAFhv1oW04ZCwJqwg1kbAUUtFjj_zQ2m6yP-BJ_i33CQiPttQHb37GQxqhHHyjIOLeiO_Do_GPwliSM9rNEybcU3731fZYbp01ozYPHbxvA/s640/5441054058_44188fb4a0_z.jpg" width="537" /></a></div>
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These ornate letterforms were taken from title pages and headings from Sanborn Fire Insurance Maps issued between 1880 and 1920 (see more <a href="http://bibliodyssey.blogspot.co.uk/2011/02/sanborn-fire-insurance-map-typography.html">here</a>).</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXEjWPVjC0aTT6oz9sSLBeruqJkfOx8xVZA-hS_fbFy3R0C_mVwy1Hw01hly4J7Q0dofrz1BPQjuVsVauuViCIqIrGdn5w6HaxVTCPWEkb2Fu7w93I13_4-xc027LeisH8pggVJCrgWJU7/s1600/cecil-touchon.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXEjWPVjC0aTT6oz9sSLBeruqJkfOx8xVZA-hS_fbFy3R0C_mVwy1Hw01hly4J7Q0dofrz1BPQjuVsVauuViCIqIrGdn5w6HaxVTCPWEkb2Fu7w93I13_4-xc027LeisH8pggVJCrgWJU7/s400/cecil-touchon.jpg" width="360" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLl3vaazY0Sn7fduyYGlMgNiAIQA7KwpTUx12NE_rdUucLUiAVE9wxSJ-cBndzXN0p43yDlPTL5Y1cb-xwC-Q8MClnP_1k6HxfJTzJjU7rXuK0gjyCHnvfvP6lf7ZQpiMyVJ-BP5NRz3yW/s1600/cecil40554Untitled.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLl3vaazY0Sn7fduyYGlMgNiAIQA7KwpTUx12NE_rdUucLUiAVE9wxSJ-cBndzXN0p43yDlPTL5Y1cb-xwC-Q8MClnP_1k6HxfJTzJjU7rXuK0gjyCHnvfvP6lf7ZQpiMyVJ-BP5NRz3yW/s400/cecil40554Untitled.jpg" width="307" /></a></div>
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<a href="http://cecil.touchon.com/">Cecil Touchon</a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvy2_kI4cDsXqa_Wb09weYeAxc8RZ52yEGD_jI9s-t_zBlfGd4izbAgOV7W1wkEfU89Smb67Zaig-0FlDmrRXorVhbeo86ciiX8vc18HB1wIyh-ffubyTW4dbJTfF0SE-cqkXkhLQQevn3/s1600/word_project.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="226px" q6="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvy2_kI4cDsXqa_Wb09weYeAxc8RZ52yEGD_jI9s-t_zBlfGd4izbAgOV7W1wkEfU89Smb67Zaig-0FlDmrRXorVhbeo86ciiX8vc18HB1wIyh-ffubyTW4dbJTfF0SE-cqkXkhLQQevn3/s400/word_project.gif" style="cursor: move;" width="400px" /></a></div>
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In this Classic typography exercise, students interpret the meaning of a word by adjusting the spacing, scale, and position of letters on a page (for more information go <a href="http://www.papress.com/thinkingwithtype/teachers/word_project.htm">here</a>). </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp9MugARH9Uw7HNn8sQm9tJ4fi3F4cRMP_25skC2V7j_HCtLef2RuRtC4weO0V_VNEfD-pRLVcTb4xbuP_Y1GBAxKYhF7BMIkdyntq3ju3ZkSsrLgwJ3oQbYqluzmQ21j1csg2wJPetVag/s1600/Death_by_Typography_by_GCORE1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="282px" q6="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp9MugARH9Uw7HNn8sQm9tJ4fi3F4cRMP_25skC2V7j_HCtLef2RuRtC4weO0V_VNEfD-pRLVcTb4xbuP_Y1GBAxKYhF7BMIkdyntq3ju3ZkSsrLgwJ3oQbYqluzmQ21j1csg2wJPetVag/s400/Death_by_Typography_by_GCORE1.jpg" width="400px" /></a></div>
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<a href="http://www.arras.net/brown_ewriting/wp-content/uploads/2006/02/cage-mesostic.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="http://www.arras.net/brown_ewriting/wp-content/uploads/2006/02/cage-mesostic.jpg" style="cursor: move;" width="331px" /></a></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The musician John Cage also created poetry and </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.independent.co.uk/arts-entertainment/art/features/john-cage-once-more-without-feeling-2006776.html"><span style="color: #2288bb;">art </span></a></span></span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">using elements such as chance. His images often have the fluidity of a piece of music – giving visual form to sound. Cage’s ‘Mesostics’ are his chance experiments with writing creating visually striking graphic texts.</span></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Cage worked closely with </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.moma.org/collection/artist.php?artist_id=4823"><span style="color: #2288bb;">Robert Rauschenberg</span></a></span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> at the </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.arthistoryguide.com/Black_Mountain_College.aspx"><span style="color: #2288bb;">Black Mountain College</span></a></span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Create your own drawings out of fonts <a href="http://fontpark.morisawa.co.jp/">here</a> or whole words <a href="http://www.storyabout.net/typedrawing/">here</a>. This could also be done with photocopied text and glue.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCJ2d0kblbu1syczGD-0jQwejULX6Pkie6EyQWWMjaZXeHcce3T_BvUXV_0slBw6qCpf0DxrilmTmlUgaaP-Bq2-5m3fbiomi3MFM5xKlj466rtdpcD_Yy22sYQ8nyp8GkRfajhBdeJreU/s1600/audi-ad.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="331px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCJ2d0kblbu1syczGD-0jQwejULX6Pkie6EyQWWMjaZXeHcce3T_BvUXV_0slBw6qCpf0DxrilmTmlUgaaP-Bq2-5m3fbiomi3MFM5xKlj466rtdpcD_Yy22sYQ8nyp8GkRfajhBdeJreU/s400/audi-ad.jpg" width="400px" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTvUSMaSWJ831dDjxwSuIwaXvOmvzz-3jod4ea8G_Ap3eviGRF_L83PEthvvdI3JW-Hmzb9QnMwCXG1G5r2-Y4RAWE4Mi43TQH4Hp_N6OpxMiAZD1w3yONCB6a1APsf17WZ91lFYViCdep/s1600/lost-and-found.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTvUSMaSWJ831dDjxwSuIwaXvOmvzz-3jod4ea8G_Ap3eviGRF_L83PEthvvdI3JW-Hmzb9QnMwCXG1G5r2-Y4RAWE4Mi43TQH4Hp_N6OpxMiAZD1w3yONCB6a1APsf17WZ91lFYViCdep/s640/lost-and-found.jpg" width="403px" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8K1UtgOpY4nEY4SrDndj-2ZxJ6DD6Q-8wC05LLIiA8wPBeY6PdOgWYG1aGVqv_iLRIgV0D3V0l8KbkT5iTc4ooznENgOOZqjdmKFquB-5zQb_pB-TO18xk5UKs4-KtoyZZ1BtyLHR6sht/s1600/type-ad.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="250px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8K1UtgOpY4nEY4SrDndj-2ZxJ6DD6Q-8wC05LLIiA8wPBeY6PdOgWYG1aGVqv_iLRIgV0D3V0l8KbkT5iTc4ooznENgOOZqjdmKFquB-5zQb_pB-TO18xk5UKs4-KtoyZZ1BtyLHR6sht/s400/type-ad.jpg" width="400px" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuKJubQV3D-bvFJZU9kAap9WTRzeib8qUYDNyl9FxNut6ALTI5E5hFa3XRV-RW9fRzjsDvjCYBOv8oQzMO5Qe8BcLmRALVaG1qRxLhMFQopLY1ZIs3ejBOrieuOEOUz6bmMgHv1esgJbFi/s1600/Elliman_My-Typographies-2-305x400.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuKJubQV3D-bvFJZU9kAap9WTRzeib8qUYDNyl9FxNut6ALTI5E5hFa3XRV-RW9fRzjsDvjCYBOv8oQzMO5Qe8BcLmRALVaG1qRxLhMFQopLY1ZIs3ejBOrieuOEOUz6bmMgHv1esgJbFi/s400/Elliman_My-Typographies-2-305x400.jpg" width="305" /></a></div>
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Paul Elliman 'My Typographies (2)' 1994 (read an interview <a href="http://www.eyemagazine.com/feature/article/other-spaces">here</a>)</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgm6WoA89VYqCfHt76Gd3KE0FDiX3rKihBgqsBA98bnrdOS0LqekeE73vhoEqPWtae0U6iwzMCVEt-jpDZ2SWVx9-6f70aO2xu8qnUO86Fd30n_iIu4QisGwxetTqMw5pWmdNKTko-PXWQs/s1600/paul+elliman+found+font2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgm6WoA89VYqCfHt76Gd3KE0FDiX3rKihBgqsBA98bnrdOS0LqekeE73vhoEqPWtae0U6iwzMCVEt-jpDZ2SWVx9-6f70aO2xu8qnUO86Fd30n_iIu4QisGwxetTqMw5pWmdNKTko-PXWQs/s400/paul+elliman+found+font2.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBc4-R7I8KmXHQz4ZQ9vsRWoq1RM_WTspy_ZooE7Cr5PzoKewsI0PTw-cngfb-wfSfo88sSFJeyCk6zERqLRTw3GBdnckb8h9VJ7ZSM1TA-GTTog2kKqJLEdYlhSEjraBUJGOu0AkOSU7v/s1600/tumblr_m4acn65j8w1qasbu7o1_1280.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBc4-R7I8KmXHQz4ZQ9vsRWoq1RM_WTspy_ZooE7Cr5PzoKewsI0PTw-cngfb-wfSfo88sSFJeyCk6zERqLRTw3GBdnckb8h9VJ7ZSM1TA-GTTog2kKqJLEdYlhSEjraBUJGOu0AkOSU7v/s400/tumblr_m4acn65j8w1qasbu7o1_1280.jpg" width="400" /></a></div>
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Paul Elliman 'Found Fonts' - section of <a href="http://www.moma.org/visit/calendar/exhibitions/1231">MOMA</a> exhibition "Ecstatic Alphabets/Heaps of Language"</div>
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Found object - from <a href="http://imprint.printmag.com/featured/letter-man-paul-ellimans-found-font-comes-to-moma/">cardboard boxes to ambiguous pieces of plastic trash, inspire the typography of Paul Elliman.</a> He displayed some of his inspirations at the MOMA exhibition <a href="http://www.moma.org/interactives/exhibitions/2012/ecstaticalphabets/">'Ecstatic Alphabets/Heaps of Language'.</a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbnzwEoBttf1MAoE-3K0R0rhMZXqJ9My0HVM99UobdKWcXBtcRnA8jpVfE_Oyb8brbO59MOdaKe2gcN-53mv8YLB0YqpbGE5w8Y64lQUrYpjiuGsUWvryL-4vRq7jjY3UhzQGbePzyXb3d/s1600/paul+elliman+found+font.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbnzwEoBttf1MAoE-3K0R0rhMZXqJ9My0HVM99UobdKWcXBtcRnA8jpVfE_Oyb8brbO59MOdaKe2gcN-53mv8YLB0YqpbGE5w8Y64lQUrYpjiuGsUWvryL-4vRq7jjY3UhzQGbePzyXb3d/s400/paul+elliman+found+font.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqO80pBTtzAeoKTiD9AvbcfH2SCILYUHXWC3IwPE77yeGDHSuDzLMLLTqbCWH70NXUuQRnPnDoQmZIsiWXcscIZnXDFPCgmCHgnyofvI6ybUkhQ2E5pV_65iyh6ortNYdzxMsJtTcVG2dh/s1600/bits_elliman.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqO80pBTtzAeoKTiD9AvbcfH2SCILYUHXWC3IwPE77yeGDHSuDzLMLLTqbCWH70NXUuQRnPnDoQmZIsiWXcscIZnXDFPCgmCHgnyofvI6ybUkhQ2E5pV_65iyh6ortNYdzxMsJtTcVG2dh/s400/bits_elliman.jpg" width="285" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg73g2W2i13mwzBfFke7pNZdQGY95kD-jhLzeZHQ2W-DC3ohFlgkNKm4TZPFIgAvjXctuhbs8GL-daXbXe1Ulm5NCCbBKyazdVG1zqQ9hItdmrEO7Aq-EYq5brPpHlaoSbNrSFPKVfm-sT4/s1600/paul+elliman.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="160" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg73g2W2i13mwzBfFke7pNZdQGY95kD-jhLzeZHQ2W-DC3ohFlgkNKm4TZPFIgAvjXctuhbs8GL-daXbXe1Ulm5NCCbBKyazdVG1zqQ9hItdmrEO7Aq-EYq5brPpHlaoSbNrSFPKVfm-sT4/s320/paul+elliman.jpg" width="320" /></a></div>
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Paul Elliman</div>
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In this sequence of images above we can see <a href="http://www.typotheque.com/articles/designed_screens">Elliman</a>'s collection of found objects (or <a href="http://www.peterbilak.com/graphic_design_in_the_white_cube/elliman.html">Found Fonts</a>) along with an alphabet and font designed using this technique.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtKrqNfFjLDTMqemzsdzogr5EuV-XDSOAL3iDIXd2bbJHURnXhgMZGGoIbjdOpSZ37-fUbn3V49VQwDFibQ9wEl5F0R4PBLEERaAhAWV3o7t4snzuwv07jKLoh589i_rDXP6UA0sBu_4L1/s1600/david+buckingham1.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="301px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtKrqNfFjLDTMqemzsdzogr5EuV-XDSOAL3iDIXd2bbJHURnXhgMZGGoIbjdOpSZ37-fUbn3V49VQwDFibQ9wEl5F0R4PBLEERaAhAWV3o7t4snzuwv07jKLoh589i_rDXP6UA0sBu_4L1/s400/david+buckingham1.png" width="400px" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTLEub7C4OiAR9GXAWmU4F2jrpIwqZSNEILEOX3rg0IblvqNav10yJ-D9XVwDasOBf81MJ8-9i4qBgCiBnf48Bqj36R6MdWCCBEt-8hOGhiUQ4yqm7xc5xMgBv6CEM1zBqe48_P9DMbhp1/s1600/david+buckingham2.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTLEub7C4OiAR9GXAWmU4F2jrpIwqZSNEILEOX3rg0IblvqNav10yJ-D9XVwDasOBf81MJ8-9i4qBgCiBnf48Bqj36R6MdWCCBEt-8hOGhiUQ4yqm7xc5xMgBv6CEM1zBqe48_P9DMbhp1/s400/david+buckingham2.png" width="400px" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4j-WvoPHcrG-M03gO1YKhu1CT6v_EHZ_07uJrVX-5wyZ27LywzBb1UfVIdMggBOO_04yc-Vpz1WMHAxxhCX9aNQntJ0Dd4TMQ8YSXThyx1JuhyFMMoVM1fS2zo2dY3J31mjdLnmhIMerV/s1600/david+buckingham3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="305px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4j-WvoPHcrG-M03gO1YKhu1CT6v_EHZ_07uJrVX-5wyZ27LywzBb1UfVIdMggBOO_04yc-Vpz1WMHAxxhCX9aNQntJ0Dd4TMQ8YSXThyx1JuhyFMMoVM1fS2zo2dY3J31mjdLnmhIMerV/s400/david+buckingham3.jpg" width="400px" /></a></div>
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In this sequence of images we can see how <a href="http://www.buckinghamstudio.com/">David Buckingham</a> reuses old metal to constructs his work. This piece is from a series where <a href="http://robertmars.blogspot.com/2009/01/david-buckingham-studio-los-angeles.html">Buckingham</a> quotes from cinema - giving physical solid form to words. <a href="http://www.body-pixel.com/2010/01/05/human-body-and-typography-gallery/">http://www.body-pixel.com/2010/01/05/human-body-and-typography-gallery/</a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVkBCuWn51I5SkbBvX1qoBdtG2XZccjw3p9uRNWkxxvDVImVT2mHTB0oJHXZPEiPUi8TYA-ImEF7AyINtd4bempvqmSJB4cYUrQSIDlueNhRKukMfF_mXXFqT_dvQiglt_8rzKJtssHM2u/s1600/anthony-burrill-prints-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVkBCuWn51I5SkbBvX1qoBdtG2XZccjw3p9uRNWkxxvDVImVT2mHTB0oJHXZPEiPUi8TYA-ImEF7AyINtd4bempvqmSJB4cYUrQSIDlueNhRKukMfF_mXXFqT_dvQiglt_8rzKJtssHM2u/s400/anthony-burrill-prints-1.jpg" width="282" /></a></div>
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Anthony Burrill<br />
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Anthony Burrill uses the Letterpress protest to create his bold graphic posters base around slogans.</div>
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Bob and Roberta Smith</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBagY9P0c5f0m11Gsh-tf4MKXcRGjYzKSFE7kLmb5obmVWCXXa0QyxCljgSGHmqoIfllmhr0I2s2rMiDcIu8ZxPjavBWwnwhOxDFmxoDZtTbFCtshpX7Uqgy8UGWhNiBhSK58xqp1jUqBg/s1600/15377-.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBagY9P0c5f0m11Gsh-tf4MKXcRGjYzKSFE7kLmb5obmVWCXXa0QyxCljgSGHmqoIfllmhr0I2s2rMiDcIu8ZxPjavBWwnwhOxDFmxoDZtTbFCtshpX7Uqgy8UGWhNiBhSK58xqp1jUqBg/s320/15377-.jpg" width="271" /></a></div>
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Bob & Roberta Smith 'Great Artist' 1999</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwSOarijF35Q64lhKwABTIeFSORavENg-aUGQA23fVpDQjT4FrpNmOy_aWpk-RCMQ_pts-thT2Dd_EopD_4dE3-K3yC3ABwSe-oQLtMoFGELgyFWVPirchKXaOub8y5BHlGILSCtswDx2A/s1600/bob-and-roberta-smith-turner.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwSOarijF35Q64lhKwABTIeFSORavENg-aUGQA23fVpDQjT4FrpNmOy_aWpk-RCMQ_pts-thT2Dd_EopD_4dE3-K3yC3ABwSe-oQLtMoFGELgyFWVPirchKXaOub8y5BHlGILSCtswDx2A/s1600/bob-and-roberta-smith-turner.jpg" /></a></div>
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Bob and Roberta Smith 'I believe in <a href="http://www.nationalgallery.org.uk/artists/joseph-mallord-william-turner">Joseph Mallard William Turner</a>' 1998</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB8jLwATp3osCJefzDTxEn77ZUi9GPtWeqwKUQkfEA5CKdqWmpMIGr6ocZ0lq8mKF4EFCsXU3ujKWriodargCvhHby8BIClf4b8rADyqCUqjt4lp-4mZDpi91E1yZR_pkF5JJ3Ly64R2cs/s1600/Picture+46.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB8jLwATp3osCJefzDTxEn77ZUi9GPtWeqwKUQkfEA5CKdqWmpMIGr6ocZ0lq8mKF4EFCsXU3ujKWriodargCvhHby8BIClf4b8rADyqCUqjt4lp-4mZDpi91E1yZR_pkF5JJ3Ly64R2cs/s400/Picture+46.png" width="400" /></a></div>
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Bob & Roberta Smith <a href="http://bobandrobertasmith.zxq.net/">official website</a><br />
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Ed Ruscha<br />
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Ideas for typography can be taken from anywhere - we are surrounded by type. Anything, anywhere has the potential to start a piece of design or influence an artwork. Old shop signs, hand painted signs, trash, objects, collage.....they can all be potential starting points.</div>
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jfkturnerhttp://www.blogger.com/profile/04292497470976112213noreply@blogger.comtag:blogger.com,1999:blog-5743411721886035143.post-588086447015214322012-10-22T01:26:00.003-07:002012-11-18T04:31:12.012-08:00Typography and the Letterpress<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2RWn_FafVAjKhxrhvCbUkYV-rCp1Gx3hPsu2O2De28NzajY9iqn7xEJ36s_h15utSbXMBRnYefB8i4yyh3pdKzZPBeuAYTvCkOeTleUJR40VBJFFNnVJaEkwUQ6Kbxr_0BtRqD0-JwGOn/s1600/gutenberg_11358_md.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2RWn_FafVAjKhxrhvCbUkYV-rCp1Gx3hPsu2O2De28NzajY9iqn7xEJ36s_h15utSbXMBRnYefB8i4yyh3pdKzZPBeuAYTvCkOeTleUJR40VBJFFNnVJaEkwUQ6Kbxr_0BtRqD0-JwGOn/s400/gutenberg_11358_md.gif" width="330" /></a></div>
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Johannes Gutenberg Printing Press c1450</div>
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There are certain inventions that have a dramatic effect on our lives. The latest would be <a href="http://www.history.com/topics/invention-of-the-internet">the invention of the Internet.</a> We could also include<a href="http://thedelightsofseeing.blogspot.co.uk/search/label/The%20First%20Photograph"> the invention of Photography</a>. However, before these two inventions there was the invention of the Printing Press.</div>
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What do these three inventions have in common? They allow information to be communicated more quickly and easily than ever before. <a href="http://www.newscientist.com/blogs/onepercent/2011/01/egypt.html">Why do some governments stop access to the Internet?</a> Why are '<a href="http://en.wikipedia.org/wiki/Photography_and_the_law">No Photography' signs </a>abundant? <a href="http://www.ushmm.org/wlc/en/article.php?ModuleId=10005852">Why do books get burnt?</a> Because they are about the spread of knowledge and ideas - and that has power.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOptr64faVTR0v6ZQDNymVj_WrFZSE3mOkUgfaZnsuHc45jJjyEkqSp3_a2yg7t3nz4SbBBEDGynHnJyNyzlqn_HtBFOEPjbNlmAI1pi02NiU04T3t16DBSz22CDwufQoz0jrxBCtvre43/s1600/Picture+1.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOptr64faVTR0v6ZQDNymVj_WrFZSE3mOkUgfaZnsuHc45jJjyEkqSp3_a2yg7t3nz4SbBBEDGynHnJyNyzlqn_HtBFOEPjbNlmAI1pi02NiU04T3t16DBSz22CDwufQoz0jrxBCtvre43/s400/Picture+1.png" width="376" /></a></div>
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A example of moveable type (from the <a href="http://stbride.org/">st Bride Foundation</a>)</div>
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<a href="http://en.wikipedia.org/wiki/History_of_printing">Printmaking has a long tradition that goes back 5000 years.</a> However, with Johannes Gutenberg's invention of the printing in 1450 brought with it the widespread use of <a href="http://en.wikipedia.org/wiki/Movable_type">movable type</a> (his most famous example is the <a href="http://www.gutenberg-bible.com/">Gutenberg Bible</a>).The design, selection and combination of letters on a page led to almost, but not quite, the first use of <a href="http://www.britannica.com/EBchecked/topic/611830/typography">Typography</a>.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwAeJurVQBUGszJfRY0Qn_gpJ8EIIn_DGohMkznsGT_hn7GWjJb6hP9aV61IbdAUpNcbhgmYlDw9_lao9mjyd1D2cRZbkNUroopXsj5iAdLUJgPTXMqn5vckTr8W541Vh44E5NzJUX_mL8/s1600/bm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwAeJurVQBUGszJfRY0Qn_gpJ8EIIn_DGohMkznsGT_hn7GWjJb6hP9aV61IbdAUpNcbhgmYlDw9_lao9mjyd1D2cRZbkNUroopXsj5iAdLUJgPTXMqn5vckTr8W541Vh44E5NzJUX_mL8/s640/bm.jpg" width="489" /></a></div>
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<a href="http://www.britishmuseum.org/research/search_the_collection_database/search_results.aspx">Woodcut</a> Portrait of <a href="http://www.masterworksfineart.com/inventory/durer/">Albrecht Durer </a>1781 from <a href="http://www.britishmuseum.org/research/search_the_collection_database/search_object_details.aspx?objectid=1468083&partid=1&output=Terms%2F!!%2FOR%2F!!%2F1516%2F!%2F%2F!%2Fletterpress%2F!%2F%2F!!%2F%2F!!!%2F&orig=%2Fresearch%2Fsearch_the_collection_database%2Fadvanced_search.aspx&currentPage=8&numpages=10">The British Museum</a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_SiLDGBhmtBE6WAjFGyEYQU2VC-xcGQ5m1RBuShP9hKZZnIwDSk3ChzfETPf306iGNo8SXlranZa2WYcqpUn41Dmpn9FdzpZoJlnyW4OVIJ_i8qlTf0-OKWj-P654fTTG-XeUdQ6oWqt0/s1600/woodcut-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="396" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_SiLDGBhmtBE6WAjFGyEYQU2VC-xcGQ5m1RBuShP9hKZZnIwDSk3ChzfETPf306iGNo8SXlranZa2WYcqpUn41Dmpn9FdzpZoJlnyW4OVIJ_i8qlTf0-OKWj-P654fTTG-XeUdQ6oWqt0/s400/woodcut-1.jpg" width="400" /></a></div>
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Woodcut - Artist Unknown - February c.1484 From a German Almanac</div>
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As well as type the printing press could also be used to print images. This image above is from the <a href="http://www.moma.org/explore/multimedia/audios/54/1044">MOMA exhibition 'The Printed Image'</a> and was made in Europe in the late 15th century. The image has been printed with black printing ink (black pigment held in oil) onto paper. <a href="http://en.wikipedia.org/wiki/Paper">Paper is a wonderful invention</a> - light, cheap and it can be passed around. If an image had been carved in stone it stayed where it was - <i>you</i> would have to travel to see that image. With the combination of paper and printing images could be passed from one person to another. Ideas could spread easily and this was powerful. If you are reading this on a laptop or tablet that is a revolution - information at to touch of a button. However, relatively, a printed piece of paper is a more revolutionary invention.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVrQkudKLo8yA6J90FJBdM73aEoGy_dKicpOcUc6OtggFUk3THuodmbw8EO7lhZ0VreM1WRI-OF0D0-qUGf6LOES6YXcSXJhruO4Dj70Ib1VQ_lV4xH0jpwKNCrxbB7d01ePt15BLCMmy3/s1600/woodcut-detail-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVrQkudKLo8yA6J90FJBdM73aEoGy_dKicpOcUc6OtggFUk3THuodmbw8EO7lhZ0VreM1WRI-OF0D0-qUGf6LOES6YXcSXJhruO4Dj70Ib1VQ_lV4xH0jpwKNCrxbB7d01ePt15BLCMmy3/s320/woodcut-detail-1.jpg" width="320" /></a></div>
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Detail of the Legs</div>
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'The design of the picture is fundamentally linear. The use of lines as descriptive tools, found as far back as cave painting, is perhaps the most remarkable innovation in the entire history of picture making. While lines appear in the nature of many forms - from a blade of grass to winding rivers - in pictorial terms they are completely artificial. In life the leg and foot of the person we see here are soft and rounded; the lines that describe them in the picture are artificial, yet their meaning is absolutely clear. There must be some remarkable circuitry in our brain that we can so effortlessly see the lines and imagine the objects'</div>
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<a href="http://www.benson.readandnote.com/">Richard Benson - 'The Painted Picture' 2008</a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEOKEUCjdaKRbh-Eb6HJyQ2viziuIwKhrit6vAlwq0SsefpayGtTqAnBkVq8U6spxWPIWK6hts8CoMSuHyHbDRBdvEHyrLnEyCvcQ5swQMFhjlyF8KQbc7L2XO63OKlrA2ojGDvwkwubPH/s1600/woodcut-detail-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEOKEUCjdaKRbh-Eb6HJyQ2viziuIwKhrit6vAlwq0SsefpayGtTqAnBkVq8U6spxWPIWK6hts8CoMSuHyHbDRBdvEHyrLnEyCvcQ5swQMFhjlyF8KQbc7L2XO63OKlrA2ojGDvwkwubPH/s320/woodcut-detail-2.jpg" width="320" /></a></div>
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Detail of Flames<br />
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''Those areas that were not intended to print were carved away, and the remaining surface of the wood, after being inked, transferred the ink to a sheet of paper."</div>
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<a href="http://www.photoeye.com/magazine/reviews/2009/02_18_Printed_Picture.cfm">Richard Benson</a> - '<a href="http://books.google.co.uk/books/about/The_Printed_Picture.html?id=DH9_dGFbekQC&redir_esc=y">The Painted Picture</a>' 2008<br />
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The Woodcut is an example of <a href="http://www.youtube.com/watch?v=rLIFCUSECNI&list=LPtu61DsDc3rE&index=1&feature=plcp">Relief printing</a>. This is where the highest part of the printing block, in this case wood, is the part that has ink on it. The carved part, and therefore the lowest part, has no ink on it and therefore remains white. The black lines we see are the part the crafts person has not carved away. Below is an example of a woodblock and its print.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjklDcZeREcCrS_0hKhruNygZPAP03fPKx41UShhmept9m7CY3H900lfU5zMkwfbJPALokPRB3oOcvyCs78YnGiTxs-zKVsuL_6cYfAmwjlGDBBAm-FNjJt8EhXz-nBKcp70sRpvtpc7QNx/s1600/leter-pres-q-copy-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjklDcZeREcCrS_0hKhruNygZPAP03fPKx41UShhmept9m7CY3H900lfU5zMkwfbJPALokPRB3oOcvyCs78YnGiTxs-zKVsuL_6cYfAmwjlGDBBAm-FNjJt8EhXz-nBKcp70sRpvtpc7QNx/s400/leter-pres-q-copy-2.jpg" style="cursor: move;" width="297" /></a></div>
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Louis John Puchee - Ornamented type c.1822</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJt9i7sH969qV3caZUhceV5Vau4eeuiqIs4rRILwVvLpGhdUzpQmmUWRUMumFlA_Iq2sKPDpyYw3xP-z5q6c1KI6GWSozod8puP4wYXayP-tBmXsDUERcyFroxwfd-j_9eORkKa6KT-gSL/s1600/leter-pres-q-copy-3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJt9i7sH969qV3caZUhceV5Vau4eeuiqIs4rRILwVvLpGhdUzpQmmUWRUMumFlA_Iq2sKPDpyYw3xP-z5q6c1KI6GWSozod8puP4wYXayP-tBmXsDUERcyFroxwfd-j_9eORkKa6KT-gSL/s320/leter-pres-q-copy-3.jpg" style="cursor: move;" width="320" /></a></div>
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Woodblock for the letter Q shown above 1822</div>
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In this woodblock for an ornate letter Q the crafts person has <a href="http://www.youtube.com/watch?v=avfEqD0hhRM&list=LPtu61DsDc3rE&index=2&feature=plcp">carved away at the negative areas</a> and the areas he has not carved are the areas that show up on the print (the above images). The print is a reverse of the block - so when you write whole words the letters and words must be back to front.</div>
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<a href="http://blog.typoretum.co.uk/2009/05/17/the-highly-ornamented-columbian-press/">Columbian Press </a>invented in 1813</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVTDL8VCK15OuZrBiVFhQb61Ihxw-qhGp8Z4_8ZVzn0bMzML4ptwstDZ9ehvlipG7yXFdDmYYTfS8bfpYEk1GxCjZveLXVjoAsJVJuZleLWdr0h_x9pEGOEaZqti5Zauua4rlHKKzZvoIe/s1600/theatre_royal_leeds_heart_is_young.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVTDL8VCK15OuZrBiVFhQb61Ihxw-qhGp8Z4_8ZVzn0bMzML4ptwstDZ9ehvlipG7yXFdDmYYTfS8bfpYEk1GxCjZveLXVjoAsJVJuZleLWdr0h_x9pEGOEaZqti5Zauua4rlHKKzZvoIe/s640/theatre_royal_leeds_heart_is_young.jpg" width="292" /></a></div>
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Example of a 2 <a href="http://flyergoodness.blogspot.co.uk/2010/05/vintage-circus-posters-and-flyers-from.html">Colour Letterpress Poster </a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFBHBzecJBz9k8JapZonJAIq_g1MSOgIjuiO0XZan_sUFFH-kvkgHAtCG1kOIfBhGZkxlv6S6qgJGOQ5Y-kHZeuvuEiDUwgWd9rwNP5j0Vlyh_x6VLs7wcRizGcy5vwesknW_3TADoZeKe/s1600/antique_vintage_old_leeds_circus_poster.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFBHBzecJBz9k8JapZonJAIq_g1MSOgIjuiO0XZan_sUFFH-kvkgHAtCG1kOIfBhGZkxlv6S6qgJGOQ5Y-kHZeuvuEiDUwgWd9rwNP5j0Vlyh_x6VLs7wcRizGcy5vwesknW_3TADoZeKe/s640/antique_vintage_old_leeds_circus_poster.jpg" width="260" /></a></div>
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An example of a 19th Century circus poster (1860 -1890)</div>
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These posters are from <a href="http://www.leodis.net/playbills/default.asp">The Leeds Playbill Gallery</a> archive that has a selection of beautiful <a href="http://woodtyper.com/917">Letterpress posters</a>. Notice the use of more than one colour. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzVbJF1SdOfaHEe43JZpo9XxKPM-mRyeYijEqB0heaJXFFsP9ZQFdcwLBgSGPF8qj84W4A5uZM-7a1w_tnP7KkJNnWR1Qz4QEsdXyDkXrE4TVPBnIYqLt1MxRUIw-zWGWVEja0o8S_3kYB/s1600/200344_52186221-500x500.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzVbJF1SdOfaHEe43JZpo9XxKPM-mRyeYijEqB0heaJXFFsP9ZQFdcwLBgSGPF8qj84W4A5uZM-7a1w_tnP7KkJNnWR1Qz4QEsdXyDkXrE4TVPBnIYqLt1MxRUIw-zWGWVEja0o8S_3kYB/s320/200344_52186221-500x500.jpg" width="320" /></a></div>
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The areas of black letters would have gone through the press first and then another set of letter wood have been ink up with blue in. The added decoration around 'BIMBO!' would also have been separate and would have to be lined up.</div>
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Gutenburg's press only went through a few modifications (<a href="http://www.po-sho.com/Comm2680/GraphicsInID/history.html">particularly during the industrial revolution</a>).</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjukQM7w4KAFsOFzioHstWS5-TtDylkDYbbez2Cz8G6s1tegxDsfiDwBG5wzRZYR8Bcf69fpKqSmR1PMmMDGSFM-qHJlCpgPvM52-4D2673rvn7dvNHP5tA8owT3KKi_l_31BSoUa4j2cxh/s1600/arl.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="440" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjukQM7w4KAFsOFzioHstWS5-TtDylkDYbbez2Cz8G6s1tegxDsfiDwBG5wzRZYR8Bcf69fpKqSmR1PMmMDGSFM-qHJlCpgPvM52-4D2673rvn7dvNHP5tA8owT3KKi_l_31BSoUa4j2cxh/s640/arl.jpg" width="640" /></a></div>
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<a href="http://thedelightsofseeing.blogspot.co.uk/search/label/Photomontage">Aleksandr Rodchenko</a> - Letterpress Poster for <a href="http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A4975&page_number=27&template_id=1&sort_order=1">Theater of the Revolution production of 'Inga'</a> - <a href="http://www.radford.edu/rbarris/art428/constructivism%20introduction.html">1929</a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ2cAIiAP8iWLaMV8g9hIxzQ621SzmakzmO4ZVBskR2rukSL6Vs9CgMIaxi3lalowzlRFQqfoaK7eYIZ0E9TAyu2c_VBjgFvaufvXhmPsmQvUEaHXik6y7p2hjr631f-jjpaJ_haPyN2GX/s1600/indian-print.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ2cAIiAP8iWLaMV8g9hIxzQ621SzmakzmO4ZVBskR2rukSL6Vs9CgMIaxi3lalowzlRFQqfoaK7eYIZ0E9TAyu2c_VBjgFvaufvXhmPsmQvUEaHXik6y7p2hjr631f-jjpaJ_haPyN2GX/s320/indian-print.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM92ALcUP6-x6MNCbxzQZSgrfri8U9jZv1vnPjqNmzhr-n17cu3ESTCiI4ED4bTC0u8hNvWhA-9X4HxK7YX8TzEWlqE-vwJcOe6aLYGUnKC8p1LJHawJugYGaPJNbmqxWP0zScARG57IXs/s1600/indian-print2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM92ALcUP6-x6MNCbxzQZSgrfri8U9jZv1vnPjqNmzhr-n17cu3ESTCiI4ED4bTC0u8hNvWhA-9X4HxK7YX8TzEWlqE-vwJcOe6aLYGUnKC8p1LJHawJugYGaPJNbmqxWP0zScARG57IXs/s640/indian-print2.jpg" width="408" /></a></div>
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These bold colourful designs are examples of <a href="http://civicarchives.org/matchbox-labels-indian-co/">Indian matchboxes</a>. These were not made using a letterpress/relief printing press. Instead they use the offset printing process (watch this video <a href="http://www.youtube.com/watch?v=cGyKdvT1fV4">here</a> and then this video <a href="http://www.youtube.com/watch?v=0gEEaFT5z84">here</a> to see how the CMYK process works). We are looking at it for several reasons - because they are wonderful bold designs and they show how a print can be made by building up separate colours.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbMKnKw5SQO_Xf2L4Lue_TD4bDvuNbPdl5dL9q5IWQK_kBrc7BJPp06ZTv83Ww7EFUGDa5HoPMUDdAqYKL0R1CEsKNs9udOjl0DyLg8TqMXCImIjnPLaV3Z8AjLCh0wPmSRsu1QsxvMBsI/s1600/indian-print2-detail.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbMKnKw5SQO_Xf2L4Lue_TD4bDvuNbPdl5dL9q5IWQK_kBrc7BJPp06ZTv83Ww7EFUGDa5HoPMUDdAqYKL0R1CEsKNs9udOjl0DyLg8TqMXCImIjnPLaV3Z8AjLCh0wPmSRsu1QsxvMBsI/s400/indian-print2-detail.jpg" width="400" /></a></div>
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Indian Matchbox Detail</div>
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The matchboxes where printed cheaply and often misalignment of the colours would occur. In this detail you can see how the green arch is going over the line and the reds are too far to the left. This is obviously a mistake but it adds a visual jump and drama to the designs.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAx79zQVkbFTTjPfzqhIUmTexOOCcka7MUh2f0Cb-sBoxLNTFQ34uL0Ag2Q6fET2f7H6XJBqA4gDhKjIURy1bEL4VDuH_D0Fv-kB9ThjJHwSWAoi-dfk2fc-7UBs7BqmsrYroz7SvJqJA/s1600/SupergirlAction304.jpg.scaled1000.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="341px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAx79zQVkbFTTjPfzqhIUmTexOOCcka7MUh2f0Cb-sBoxLNTFQ34uL0Ag2Q6fET2f7H6XJBqA4gDhKjIURy1bEL4VDuH_D0Fv-kB9ThjJHwSWAoi-dfk2fc-7UBs7BqmsrYroz7SvJqJA/s400/SupergirlAction304.jpg.scaled1000.jpg" style="cursor: move;" width="400px" /></a></div>
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A close up of a comic showing the beauty of a half tone pattern - see more at <a href="http://4cp.posterous.com/">4pc</a></div>
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If you look closely at a magazine you'll notice it is built up of small dot. The four colour process uses halftone patterns - small dots built up - to create images. <a href="http://en.wikipedia.org/wiki/Halftone">The halftone pattern</a> has an aesthetic quality all of its own and is now incorporated into design and art work. </div>
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The final reason that we have just looked at this offset lithography images is it is ultimately the reason for the decline of the letterpress. It was the wide spread use of <a href="http://en.wikipedia.org/wiki/Offset_printing">offset lithography</a> printing that changed the nature of the printing industry. The old printing presses shut down and the equipment slowly began to rust and decay.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHSMibM_SjDbGP4wEksf9-QjYzVtxTF7ewewVWTdtFOqx62cXFutajoBUBIsdSOMg10CXCHYzHIGWVMYqhEBrYDIoFgXy5QqMS6byl3k8avR345qF-n7sDJyCA_p0oxaIkJK6oL2s7ZWZ8/s1600/Picture+2.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHSMibM_SjDbGP4wEksf9-QjYzVtxTF7ewewVWTdtFOqx62cXFutajoBUBIsdSOMg10CXCHYzHIGWVMYqhEBrYDIoFgXy5QqMS6byl3k8avR345qF-n7sDJyCA_p0oxaIkJK6oL2s7ZWZ8/s640/Picture+2.png" width="640" /></a></div>
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An Abandoned <a href="http://www.flickr.com/photos/bealebo/5297162091/">Printing Press</a></div>
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We live in a time where we have mp3's instead of records, ebooks instead of traditional books and, increasingly, screens instead of printed images. This is a revolution but people seem to miss the <i>things</i> themselves - records, books and the printed image. Maybe this is why the IPad and other technologies are such converted objects - they fill that gap of a tangible <i>thing</i>.</div>
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However, people do turn back to analogue and physical techniques (see <a href="http://www.guardian.co.uk/music/2011/jun/02/total-recall-retromania-all-rage">Simon Reynold's book 'Retromania'</a> which questions modern societies love of the past - in music, film, clothes and <a href="http://thedelightsofseeing.blogspot.co.uk/search/label/Ground%20Glass">photography</a>). </div>
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Letterpress is undergoing a modern revival and contemporary print maker are returning to this old process.</div>
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Anthony Burrill <a href="http://www.anthonyburrill.com/">website</a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimlXOqLUczeEpJWFzAbdkioeyVWhqcl8OqSH8fpi7x0n1S0t2bjvu0I-AtvIHiys4WUTRgojhcLSbnTvXsmHQIZvnh7gZvVC_nsMN7E73FyrJHfMo3LXtqElgsbZa5o1lsbqrsRYrKQ4Vy/s1600/anthony1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" dda="true" height="193px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimlXOqLUczeEpJWFzAbdkioeyVWhqcl8OqSH8fpi7x0n1S0t2bjvu0I-AtvIHiys4WUTRgojhcLSbnTvXsmHQIZvnh7gZvVC_nsMN7E73FyrJHfMo3LXtqElgsbZa5o1lsbqrsRYrKQ4Vy/s400/anthony1.jpg" style="cursor: move;" width="400px" /></a></div>
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<a href="http://blog.artsthread.com/2011/03/pick-me-up-interview-with-anthony-burrill/">Anthony Burrill</a></div>
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Anthony Burrill places bold designs and quotes on top bold coloured backgrounds. Burrill does not print the posters himself - he designs them but uses <a href="http://www.briarpress.org/3535">Adams of Rye</a> to print his work for him. If you go to East Sussex of Rye, and walk to the top of the high street. There you will find a post office where you can buy magazines, envelopes and tea towels. However, behind the post office is a printshop working as if there had never been a decline in the use of Letterpress.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitucWSr6QaBjerHEGc50L_OrK2FspVrqzGlu1FiRcdHhRMcgsY9Wu9CjAh_Hs1P6AjD4SDwgvzIJC7Q5wYIZiVTfbMNLT3pZ4puAWgwuk8bhGNAWXnb8G4rl846MyrgW3SfKVhk3IPltua/s1600/8d3e7088feac60bc75a0af025dd5d549e35f72c2_m.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitucWSr6QaBjerHEGc50L_OrK2FspVrqzGlu1FiRcdHhRMcgsY9Wu9CjAh_Hs1P6AjD4SDwgvzIJC7Q5wYIZiVTfbMNLT3pZ4puAWgwuk8bhGNAWXnb8G4rl846MyrgW3SfKVhk3IPltua/s640/8d3e7088feac60bc75a0af025dd5d549e35f72c2_m.jpg" width="464" /></a></div>
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Watch this poster being printed <a href="http://www.youtube.com/watch?v=semPZmL3uDE">here</a>.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkSYgOmSLG5qXsKlQ6VmtOFskEUJtFi-yQ_3hqKgcGTzVjGJ8LreqmFTyUHEIGOcvR_hlW90WAFOAZPK4R0OYyEmXjrLDi6wqRoNz6RShlrNjkjHKYKEVjd5DtghmQpGKd0XXRtuh2DIjO/s1600/il_570xN.193101259-390x600.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkSYgOmSLG5qXsKlQ6VmtOFskEUJtFi-yQ_3hqKgcGTzVjGJ8LreqmFTyUHEIGOcvR_hlW90WAFOAZPK4R0OYyEmXjrLDi6wqRoNz6RShlrNjkjHKYKEVjd5DtghmQpGKd0XXRtuh2DIjO/s640/il_570xN.193101259-390x600.jpg" width="416" /></a></div>
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Letterpress posters by Yee-Haw Industries</div>
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These contemporary posters by <a href="http://www.yeehawindustries.com/home.html">Yee-Haw Industries</a> are reminiscent of 19th century theatre poster but with a modern twist. Watch this wonderful video <a href="http://www.youtube.com/watch?v=mvtX2-Q5ZaY&NR=1&feature=endscreen">here</a> to see how they do what they do.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZnoqs7l_s-od_6YP9KD2DxqeBSVCn4wHyDYW1gEmTuwNaQQj9p7fMJLPv_uYw9C8E6lfjLQ_ybmb2cxOov7-pgkBSNJD4Kcm4MZvsnxmRQ1cp7mjRYkgbWmlvBjk9ERI4hSXZ8DMnh_G4/s1600/9_chicago.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZnoqs7l_s-od_6YP9KD2DxqeBSVCn4wHyDYW1gEmTuwNaQQj9p7fMJLPv_uYw9C8E6lfjLQ_ybmb2cxOov7-pgkBSNJD4Kcm4MZvsnxmRQ1cp7mjRYkgbWmlvBjk9ERI4hSXZ8DMnh_G4/s640/9_chicago.png" width="406" /></a></div>
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<a href="http://www.youtube.com/watch?v=2S8ZrQG0y6g&feature=related">Earth, Wind & Fire</a> Poster by Hatch Show Print studios</div>
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The Hatch Show Print workshop was established in the 19th century but is still going strong today. They use tradition type and printing blocks to create their contemporary posters. However, like Yee-Haw industries, they carve there own images from wood - adding to a large archive of printing blocks.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYrkpQ0yCVq_QVBBIOKmd_1ezEAsfWj4RgayesD8cVEeeooj1NSISQJk2RWCG4o-SfO3JxgYPUfxOJC2sBYqndlh4Kh9RYgdYimqxchMK0Xs1DNFW6sHFYPmDu-n24e8updxfXM-RGUBOb/s1600/hatchtype.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYrkpQ0yCVq_QVBBIOKmd_1ezEAsfWj4RgayesD8cVEeeooj1NSISQJk2RWCG4o-SfO3JxgYPUfxOJC2sBYqndlh4Kh9RYgdYimqxchMK0Xs1DNFW6sHFYPmDu-n24e8updxfXM-RGUBOb/s320/hatchtype.jpg" width="320" /></a></div>
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In this above image you can see how the text and letters are laid out and then printed from.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPaSx6PCm3y3IzhSGKYZMmdAQ9vmcbq0QLbhYjOxyC5Qjm31na_urFrEdv6pBx_0GisJGqNvoTWX2kQhwJuGXBCVxTVZt-L2k9j27vItvC2GDB2Jr6B8T9byJwL6PhmFcS2kbMAL71KlQ9/s1600/nashville-poster_lrg.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPaSx6PCm3y3IzhSGKYZMmdAQ9vmcbq0QLbhYjOxyC5Qjm31na_urFrEdv6pBx_0GisJGqNvoTWX2kQhwJuGXBCVxTVZt-L2k9j27vItvC2GDB2Jr6B8T9byJwL6PhmFcS2kbMAL71KlQ9/s400/nashville-poster_lrg.jpg" width="246" /></a></div>
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You can see the Hatch Show Print workshop in action <a href="http://www.youtube.com/watch?v=Pniaea9CsBY&NR=1">here</a>.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJoTZhVn6oZ3tIu2yeze0cmdn72gbwaImIuAddvQbuUKHETAauG2HvES5ekKWkceuBU60HigEuoPtwdwUCwrUBxxehsyH3viyx3SSGg0ZIkZ1ALdrgF2yhbqFJUho30GnVIZw6_VfN-AW7/s1600/36432045_p.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJoTZhVn6oZ3tIu2yeze0cmdn72gbwaImIuAddvQbuUKHETAauG2HvES5ekKWkceuBU60HigEuoPtwdwUCwrUBxxehsyH3viyx3SSGg0ZIkZ1ALdrgF2yhbqFJUho30GnVIZw6_VfN-AW7/s400/36432045_p.jpg" width="310" /></a></div>
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Pablo Picasso 'Portrait of a Woman after <a href="http://flipsideflorida.wordpress.com/category/lucas-cranach-the-younger/">Cranach the Younger</a>", 1958, <a href="http://www.sapergalleries.com/PicassoPrintmakingTechniques.html">Linocut</a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1DEERt_KkFEKJNn86OlXBMhn_81my_qTnnb8XzSNSuvwpmArmuGaIg9FOXdMV_G1Okapf5yPc-AcNLbkbHw1OrYtxZ0rVrhDQHp06VTkPsfMnuOSSUCJSUm_ahDwMzh_06ZRSuTEUR_qn/s1600/miat1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1DEERt_KkFEKJNn86OlXBMhn_81my_qTnnb8XzSNSuvwpmArmuGaIg9FOXdMV_G1Okapf5yPc-AcNLbkbHw1OrYtxZ0rVrhDQHp06VTkPsfMnuOSSUCJSUm_ahDwMzh_06ZRSuTEUR_qn/s320/miat1.jpg" width="320" /></a></div>
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<a href="http://www.armina.info/">Armina Ghazaryan</a> combining found fonts and illustrations</div>
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Armina Ghazaryan combines existing printing blocks to create contemporary graphic designs. Yee-Haw industries carve their own wood blocks and merge them with existing blocks.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibYCm9S_a4el9bjPw-pDvqimGlkn8yemET5eyUQVmuVg3YJhduIbAe8qCuqzAvRa5FDRpbdPW_7gJKe8uM8nf-XAjIs98Th1hrzm6d6z13QyrXLBYNCaRjbFMjWd8MsMysOJKfa9Y6vDVg/s1600/Picture+1.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibYCm9S_a4el9bjPw-pDvqimGlkn8yemET5eyUQVmuVg3YJhduIbAe8qCuqzAvRa5FDRpbdPW_7gJKe8uM8nf-XAjIs98Th1hrzm6d6z13QyrXLBYNCaRjbFMjWd8MsMysOJKfa9Y6vDVg/s640/Picture+1.png" width="640" /></a></div>
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An example of <a href="http://www.1stdibs.com/furniture_item_detail.php?id=639539">Wood Carved Circus Poster Letterpress</a> (different woodblocks for different colours) mid 20th Century</div>
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You can make your own printing block by carving from <a href="http://www.1000woodcuts.com/Studionotes/wood.html">wood</a>, <a href="http://en.wikipedia.org/wiki/Linocut">lino</a> or building up with <a href="http://www.londongraphics.co.uk/products/Graphic-Supplies/Board-Card-Paper-Film/Stencil-Card/WN6453476_Oiled-Manilla-Stencil-Card-Sheet">Stencil card</a>. Printing blocks are .918" inch - if you glue your lino onto a piece of wood that is the right thickness you would have a printing block.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoS1XQHqaQGXPutNiecfNXp8gTT78Jh7Bhb6TSqydF2S0iTx_1l6xb8aWWN6OSyFqBTJvp6dtKdluDzpN1l-5XPfC3HDcTQFtJxdVpIc6Vp-MNItxLGV11u8dkIem0IXBbLd7s2Jkb1IQp/s1600/polymer-plate3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoS1XQHqaQGXPutNiecfNXp8gTT78Jh7Bhb6TSqydF2S0iTx_1l6xb8aWWN6OSyFqBTJvp6dtKdluDzpN1l-5XPfC3HDcTQFtJxdVpIc6Vp-MNItxLGV11u8dkIem0IXBbLd7s2Jkb1IQp/s400/polymer-plate3.jpg" width="400" /></a></div>
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This plate has been designed using a computer and created using <a href="http://www.boxcarpress.com/platemaking/faqs.html">Photopolymer</a> - not carved out of wood or lino.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxZpV7J5C6erdLk1RA0H8OgS5uRHfTBZhulomfrqLg905csV8G3nCNS6416t2CNI47UydXmLbx3Fs5C-S70_lvUi-wpJm4sd08sGNsVOPZx3jgw_RVPiIdNGYju2LzcUBnsOQKKOh4AffJ/s1600/polymer-plate.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxZpV7J5C6erdLk1RA0H8OgS5uRHfTBZhulomfrqLg905csV8G3nCNS6416t2CNI47UydXmLbx3Fs5C-S70_lvUi-wpJm4sd08sGNsVOPZx3jgw_RVPiIdNGYju2LzcUBnsOQKKOh4AffJ/s400/polymer-plate.jpg" width="318" /></a></div>
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It has a smoother feel than images cut out of wood - it is a combination of new and old technologies.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcH4aUMOyfyuZWPuqDYphUpRDSEC4vxxM4Y1rc8AWaQPWFEOEJe-B1GM4uwbbvJ221cEMl4b3QEXVExl553Tzm6UeeozmiLTLFVdlbBk2kPVP02WU5D68DDbvxUv2hEieAQqTuq4sFL-uD/s1600/polymer-plate4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="304" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcH4aUMOyfyuZWPuqDYphUpRDSEC4vxxM4Y1rc8AWaQPWFEOEJe-B1GM4uwbbvJ221cEMl4b3QEXVExl553Tzm6UeeozmiLTLFVdlbBk2kPVP02WU5D68DDbvxUv2hEieAQqTuq4sFL-uD/s320/polymer-plate4.jpg" width="320" /></a></div>
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By placing the plate and the print side by side you can see the relationship between the two. It is a magazine designed by <a href="http://translate.google.co.uk/translate?hl=en&sl=no&u=http://www.skin.no/&prev=/search%3Fq%3Dskin%2Bdesignstudio%26hl%3Den%26client%3Dsafari%26rls%3Den%26prmd%3Dimvnsa&sa=X&ei=sIaJUNuzL83I0AXyuoCIBA&ved=0CCYQ7gEwAA">Skin Designstudio</a> and appeared in the <a href="http://www.amazon.co.uk/Reinventing-Letterpress-Prints-Contemporary-Practitioners/dp/2888930935">'Reinventing Letterpress'</a> book.</div>
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Some modern designer use Photoshop or illustrator to design their plates. They print theses images out in (black and white) on acetate and <a href="http://www.youtube.com/watch?v=RWgISP5D8XY">expose in onto Photopolymer</a>. They stick the result onto a block creating their printing plate. <a href="http://www.briarpress.org/3140">Photopolymer</a> is harder to get hold of in Britain (try <a href="http://lymebaypress.com/">here</a> and <a href="http://www.caslon.co.uk/Adana_Photopolymer_Plate_making_Kit_Update_0512.pdf">here</a>) but you could try <a href="http://www.ehow.com/how_4489546_make-photopolymer-rubber-stamps.html">a stamp making kit</a> (see a video demonstration <a href="http://www.youtube.com/watch?v=L02VLe5poF8">here</a>).</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSDukUvRbfGOqZMDkqJe7CWBwU3w0FlmSbBMu5Dsk4I-gyBJsGYVYKfkoohs4bLy2MltXAk64r7NIhc39C9ctotV1GkiUZ_jOf1ARnFqN8ILwB4XWMZa2GW4_O1gRt3Qmq2Hvg4wE0RVUn/s1600/LD_hydro74_8.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSDukUvRbfGOqZMDkqJe7CWBwU3w0FlmSbBMu5Dsk4I-gyBJsGYVYKfkoohs4bLy2MltXAk64r7NIhc39C9ctotV1GkiUZ_jOf1ARnFqN8ILwB4XWMZa2GW4_O1gRt3Qmq2Hvg4wE0RVUn/s400/LD_hydro74_8.jpg" width="400" /></a></div>
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<a href="http://www.letterpress.dwolske.com/category/custom-letterpress/">Laser cut Block and Print</a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVVgZa9eZCcMVCFIzS6pV8G_Y-2h2lvTo3lG3d6ecu1Pq_R7qiQPk4skOqa3ROFqENzFpCibg5tbzPbmY0qJIN4gtb661Vh1Pcni5QMXlizZgcm7j9R1sN2gl3y1Uew74S_zb825Fnh6GH/s1600/news-letterpress-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: black;"></span></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVVgZa9eZCcMVCFIzS6pV8G_Y-2h2lvTo3lG3d6ecu1Pq_R7qiQPk4skOqa3ROFqENzFpCibg5tbzPbmY0qJIN4gtb661Vh1Pcni5QMXlizZgcm7j9R1sN2gl3y1Uew74S_zb825Fnh6GH/s1600/news-letterpress-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="140" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVVgZa9eZCcMVCFIzS6pV8G_Y-2h2lvTo3lG3d6ecu1Pq_R7qiQPk4skOqa3ROFqENzFpCibg5tbzPbmY0qJIN4gtb661Vh1Pcni5QMXlizZgcm7j9R1sN2gl3y1Uew74S_zb825Fnh6GH/s200/news-letterpress-1.jpg" width="200" /></a><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: black;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdWJ-kR9AlVUjIDKGedYGkjzEWz6_c_PY4RF0edxOVZzg0A_cvaEir9hXxrVtCch_EpTniU_2nZyrl1KTuHJwfoe5-h2OlJcbWdIP2FCUIm5J-bJpiH6izK8WLLEQPdB4T0XI3cK01moj6/s1600/news-letterpress-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdWJ-kR9AlVUjIDKGedYGkjzEWz6_c_PY4RF0edxOVZzg0A_cvaEir9hXxrVtCch_EpTniU_2nZyrl1KTuHJwfoe5-h2OlJcbWdIP2FCUIm5J-bJpiH6izK8WLLEQPdB4T0XI3cK01moj6/s200/news-letterpress-2.jpg" width="200" /></a></span></div>
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Examples of laser cut letterpress blocks</div>
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<a href="http://imagesurgeryinfo.wordpress.com/2011/04/26/laser-cut-letterpress-experiments/">A laser cutter can also be used to create a printing block</a> (this approach could also be use <a href="http://blog.makezine.com/2012/01/22/how-to-lasercut-letterpress-plates/">to create Intaglio plates</a>).</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpkcyBS0yEJtCnpf1oHNcf5sKoqAu58nV4NFTHKrlT-44R9yXkS7AVutyfPe0-PWh2OSVKSOQ2T247K8Ud6HzgFiX6ioZcbtYj_j5ks_SFTQOHAGEEJDU14TVKRFDyGtXJnQRahS2qjiwK/s1600/lego_letterpress_01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpkcyBS0yEJtCnpf1oHNcf5sKoqAu58nV4NFTHKrlT-44R9yXkS7AVutyfPe0-PWh2OSVKSOQ2T247K8Ud6HzgFiX6ioZcbtYj_j5ks_SFTQOHAGEEJDU14TVKRFDyGtXJnQRahS2qjiwK/s400/lego_letterpress_01.jpg" width="400" /></a></div>
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Could Lego blocks be used to make prints?</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8haQEWsO9NzE8GczvZjMtJmYiQOMkD64ebbslJmjgPoJx90jYaeWR0-OXM9lHlAiAqTpFvv5_7WIUFywktAes162S6K4QQ7qCrYvbboDJRDn8a2b2ZCr0UNeh2fpYP5-PQIXehzht4Mmi/s1600/physical-fiction4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="376" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8haQEWsO9NzE8GczvZjMtJmYiQOMkD64ebbslJmjgPoJx90jYaeWR0-OXM9lHlAiAqTpFvv5_7WIUFywktAes162S6K4QQ7qCrYvbboDJRDn8a2b2ZCr0UNeh2fpYP5-PQIXehzht4Mmi/s400/physical-fiction4.jpg" width="400" /></a></div>
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A print made by <a href="http://cargocollective.com/physicalfiction/PHYSICAL-FICTION">Physical Fiction</a> out of Lego blocks</div>
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Physical Fiction use Lego blocks to create their letterpress prints - they look like <a href="http://booktwo.org/notebook/sxaesthetic/">1980's computer graphics</a> (pixels loved by the <a href="http://www.wired.com/beyond_the_beyond/2012/04/an-essay-on-the-new-aesthetic/">New Aesthetic</a> movement). What other objects could be printed from?</div>
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Of course you can cheat - there is <a href="http://www.lettermpress.com/LetterMpress/Home.html">an App that replicates the Letterpress experience.</a> However, the renewed interest in this form of image making is in its tactile, physical quality. <a href="http://www.youtube.com/watch?v=Iv69kB_e9KY">The slightly embossed quality modern</a> letterpress printers prefer reminds you of the pressure that the paper has been through. How long will it last - we don't know. In a digital high speed world a little bit of mess, and <a href="http://www.youtube.com/watch?v=3G-E7DcVkAQ&feature=related">a slower approach</a>, has its own appeal.</div>
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jfkturnerhttp://www.blogger.com/profile/04292497470976112213noreply@blogger.comtag:blogger.com,1999:blog-5743411721886035143.post-45368893038118754032012-08-01T05:53:00.006-07:002012-12-01T13:49:20.701-08:00Shapes<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz7R_Kpotgs2ZtnXBOUNQyg3tVs1__W0hjHV-QsCU5bd0-0DNXxrj57IG7s1EyDBIgJ73qcQB3DT7aTuxH4FD-Bzyr2lwbWUIsKNoHi03w_FmwGGR72pfeAILM7ciqz4yeBDh_laC3ppkA/s1600/herbert" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz7R_Kpotgs2ZtnXBOUNQyg3tVs1__W0hjHV-QsCU5bd0-0DNXxrj57IG7s1EyDBIgJ73qcQB3DT7aTuxH4FD-Bzyr2lwbWUIsKNoHi03w_FmwGGR72pfeAILM7ciqz4yeBDh_laC3ppkA/s320/herbert" width="307" /></a></div>
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Front cover of <a href="http://www.designers-books.com/?p=826">'Pioneers of Modern Typography' Herbert Spencer</a> 1969 - combining a circle, a square and a triangle to create a graphic composition.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisENUj20_w-4g1KdAM3c61PafhyphenhyphenTN3F2gIdqrtWXHSXslKZdUL5UUK4ZHn4WjiWnfQ-QUvqVcYnVxOt35wQ_qEpyOEi2Y2ljoaqNlZkIXav2BmmNUxT4YpCRMVkX-8wwK1pYGNt1F5g8_p/s1600/MoholyNagyYellowCircle.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisENUj20_w-4g1KdAM3c61PafhyphenhyphenTN3F2gIdqrtWXHSXslKZdUL5UUK4ZHn4WjiWnfQ-QUvqVcYnVxOt35wQ_qEpyOEi2Y2ljoaqNlZkIXav2BmmNUxT4YpCRMVkX-8wwK1pYGNt1F5g8_p/s320/MoholyNagyYellowCircle.jpg" width="269" /></a></div>
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Laszlo Moholy-Nagy '<a href="http://arttattler.com/archivegeometryofmotion.html">Yellow Circle'</a> 1921</div>
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<span class="Apple-style-span" style="font-size: large;">"All art strives to simplify and geometric arrangement is a way of doing that."</span></div>
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<a href="http://www.telegraph.co.uk/culture/culturepicturegalleries/6545910/What-is-beauty-the-10-qualities-that-make-art-beautiful.html">Matthew Collings 'What is Beauty?' </a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-v21hJBOWib83B8s60eitaKH_z5gtgiesjzrMM9H6HS8d9quyYdIN0JcuDXuV_qx1Q3J-zKCDi0zS82EZqOon7YCupfb7Pk2KJOmtkHtIR5Co4KRku-wLMQhg9bwjZ6iQ15CHEu9wWCBO/s1600/Picture+3.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="331" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-v21hJBOWib83B8s60eitaKH_z5gtgiesjzrMM9H6HS8d9quyYdIN0JcuDXuV_qx1Q3J-zKCDi0zS82EZqOon7YCupfb7Pk2KJOmtkHtIR5Co4KRku-wLMQhg9bwjZ6iQ15CHEu9wWCBO/s400/Picture+3.png" width="400" /></a></div>
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Giovanni Bellini - '<a href="http://www.nationalgallery.org.uk/paintings/giovanni-bellini-madonna-of-the-meadow">Madonna of the Meadow</a>' c1500</div>
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The art Critic Matthew Collings has discussed the use of geometric abstract compositions in Renaissance art and modernist abstract art. In this painting Bellini uses geometry to create his composition. He has used a number of triangles to build up the composition. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiGZoi0fBKwPU7uE_rCuW8pvw_jUpeXee6HnQdChRksAK9dHGXyHIGjUfB2guLwC6bwKVYACCAbpk3xRxw0DuU4AtoIam2kIaBi3tVC4jRv5-MdeGd7tzXe7U9rcVKS9_c9-UCy-uJ-Wpo/s1600/Picture-3-copy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="331" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiGZoi0fBKwPU7uE_rCuW8pvw_jUpeXee6HnQdChRksAK9dHGXyHIGjUfB2guLwC6bwKVYACCAbpk3xRxw0DuU4AtoIam2kIaBi3tVC4jRv5-MdeGd7tzXe7U9rcVKS9_c9-UCy-uJ-Wpo/s400/Picture-3-copy.jpg" width="400" /></a></div>
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The madonna is a large triangle taking up the whole composition. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpfAZMkmjc2c8nhZJeyohiRGWUAcxMnxgYcZqJ_cOyTWlmJap9JweT9ozKOgMvFVKIY39WZubICVdGGkXjwXQBJdLvrw-jRLS51uhyw8lUhvwx8F8ZQkqNWzOxXixJREAPs4exB394n1jE/s1600/Picture-3-copy-3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="331" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpfAZMkmjc2c8nhZJeyohiRGWUAcxMnxgYcZqJ_cOyTWlmJap9JweT9ozKOgMvFVKIY39WZubICVdGGkXjwXQBJdLvrw-jRLS51uhyw8lUhvwx8F8ZQkqNWzOxXixJREAPs4exB394n1jE/s400/Picture-3-copy-3.jpg" width="400" /></a></div>
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Within that triangle there are three smaller triangles.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgw4dhCHYnHaPbROWNb6ubAQyP6RrvM2sZW-hBpe7AFiQsVsalETg4nAV8tMQMK_JeoYv5L01oEIV7QaBM48g4W993H8SY4dEL9DGxkLJzfPd7wMyDR9TXsREpdDt9NUS4U-OuvMpumLlBw/s1600/suprematism-with-blue-triangle-and-black-square-1915.jpg!Blog.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgw4dhCHYnHaPbROWNb6ubAQyP6RrvM2sZW-hBpe7AFiQsVsalETg4nAV8tMQMK_JeoYv5L01oEIV7QaBM48g4W993H8SY4dEL9DGxkLJzfPd7wMyDR9TXsREpdDt9NUS4U-OuvMpumLlBw/s400/suprematism-with-blue-triangle-and-black-square-1915.jpg!Blog.jpg" width="328" /></a></div>
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Kazimir Malevich 'Suprematism with Blue Triangle and Black Square' 1915</div>
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Malevich's Supremacist painting seemed revolutionary at the time - and it was. It seems to have nothing to do with the past and is a truly new type of art. However, the modernists were very interested in the art of the pasts use of geometry.</div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; font-size: large;">"It is the olds pure geometric that the new is very interested in."-</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; font-size: large;">"a visual tradition for future artist to draw on" </span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; font-size: large;">Collings</span></div>
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Figurative art is held together by abstract values and abstract art uses traditional ideas.</div>
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THE CIRCLE<br />
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<a href="http://www.ascmag.com/blog/wp-content/uploads/2010/09/02_Rembrandt-self-portrait.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" ox="true" src="http://www.ascmag.com/blog/wp-content/uploads/2010/09/02_Rembrandt-self-portrait.jpg" style="cursor: move;" width="336px" /></a></div>
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Rembrandt, “<a href="http://www.blogger.com/"><span id="goog_1109668016"></span>Self-Portrait in Painter's Costume<span id="goog_1109668017"></span></a>.” 1660-62</div>
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The circles behind Rembrandt transform the <a href="http://thedelightsofseeing.blogspot.co.uk/search/label/Negative%20Space">negative space</a> to make a simple, but dramatic, composition.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1AE4fSBB7sInmf68ssI5gOsVXW_cGaldY5fCr9MhctxScYtFMv-wabKM0Xm8BBvfLcp7v_xgFzL0y4l4T6mKHJ8H7KTk8km_X2rgn4rDn8b6J2s5kaBhcDdeFb1IY5lnxKmm8cfqkhwjS/s1600/Watercolor+illustration+of+the+Toltec+Calendar,+%5B19th+century%5D.+mssa.library.yale.madid+mexico+coll.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1AE4fSBB7sInmf68ssI5gOsVXW_cGaldY5fCr9MhctxScYtFMv-wabKM0Xm8BBvfLcp7v_xgFzL0y4l4T6mKHJ8H7KTk8km_X2rgn4rDn8b6J2s5kaBhcDdeFb1IY5lnxKmm8cfqkhwjS/s320/Watercolor+illustration+of+the+Toltec+Calendar,+%5B19th+century%5D.+mssa.library.yale.madid+mexico+coll.jpg" width="308" /></a></div>
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<a href="http://bibliodyssey.blogspot.co.uk/2006/08/assorted-plunder.html">Mexican Watercolour Illustration</a> of the Toltec Calender - 19th Century (from the Yale University Library.)</div>
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<a href="http://www.youtube.com/watch?v=dXINTf8kXCc&feature=related"><img border="0" height="281" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZGnwm4iviets6SK0Btk0NBrKIiWnCINuBEbptLqSAc_mSrBHg5UZRABBE8Qvw8_HNKXDOsczDITfGa_Oc9jn945MuZgRr38mp1dMjhB66knV3C7vIcR9hcU9fSTFxWBwl6eYge4HAbTQ/s320/MarcelDuchamp+Rotorelief+EggAndChicken+1935+PompidouCenter-Paris.jpg" style="cursor: move;" width="320" /></a></div>
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Marcel Duchamp </div>
During the 1920's <a href="http://www.understandingduchamp.com/">Marcel Duchamp</a> created a series of kinetic works that he conceived as optical toys. Making apparent the deceptions that visual perceptions play on our minds fascinated Duchamp. Beginning as a series of lithographs, The Rotoreliefs work as a series of gyrating discs that the artist dubbed an <a href="http://www.youtube.com/watch?v=dXINTf8kXCc&feature=related">'Anemic Cinema'</a>. When the discs are spun on a turntable, they appear as three-dimensional objects, making visual symphonies that also parody traditional art.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihwhcehehCtOy7GIN4C8ekopzk3j9wlkLOYoaggAIeRx9LJiMxz-LKtFmoRxMcKeNMxW390haiukGb9E4wnFHpif91n_GF4j0kD6utaWpSRwDY_DQ3sXL8QPYHMmFO2LWAz0NQCJtdhDJP/s1600/shape-copy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihwhcehehCtOy7GIN4C8ekopzk3j9wlkLOYoaggAIeRx9LJiMxz-LKtFmoRxMcKeNMxW390haiukGb9E4wnFHpif91n_GF4j0kD6utaWpSRwDY_DQ3sXL8QPYHMmFO2LWAz0NQCJtdhDJP/s400/shape-copy.jpg" width="281" /></a></div>
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<a href="http://www.josef-muller-brockmann.net/">Josef Muller-Brockmann</a> - 'Beethoven' 1955</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJDvvq9PrEZkzhrOBzm52h-IgPRecI0I1grLHG4UWwwdPPXhG53XBU5cAOc1hg-oFb_cslMyWrVom2cIeRFa1sg43_gzw70OQHY-W211pkICdkJULPRnvRdMHc7DAl-ly4y1NbTrH1e36v/s1600/shape-copy-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJDvvq9PrEZkzhrOBzm52h-IgPRecI0I1grLHG4UWwwdPPXhG53XBU5cAOc1hg-oFb_cslMyWrVom2cIeRFa1sg43_gzw70OQHY-W211pkICdkJULPRnvRdMHc7DAl-ly4y1NbTrH1e36v/s400/shape-copy-2.jpg" width="276" /></a></div>
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<a href="http://www.eyemagazine.com/feature/article/josef-mller-brockmann">Muller-Brockmann</a> - 'Beethoven' poster design scheme</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGh29iEvh3gbhj9_TStuiQ8cB-Es-xq00gxgB3DlF9_J_7SQV0QZAfR92KS_4FrtcOeBASylEKaWJDghdf3utPoPHODSNM1xyRY-jpd6DhSiUN9-BSLgCaDsnmI-UskJsvtnAfDhvIrpcr/s1600/g-design.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGh29iEvh3gbhj9_TStuiQ8cB-Es-xq00gxgB3DlF9_J_7SQV0QZAfR92KS_4FrtcOeBASylEKaWJDghdf3utPoPHODSNM1xyRY-jpd6DhSiUN9-BSLgCaDsnmI-UskJsvtnAfDhvIrpcr/s400/g-design.jpg" style="cursor: move;" width="293" /></a></div>
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'Contruction de la lettre G' from the <a href="http://www.google.co.uk/#hl=en&output=search&sclient=psy-ab&q=%27Contruction+de+la+lettre+G%27+from+the+Imprimerie+Royale%2C+Paris+1716&oq=%27Contruction+de+la+lettre+G%27+from+the+Imprimerie+Royale%2C+Paris+1716&gs_l=hp.12...3028.3028.1.4332.1.1.0.0.0.0.0.0..0.0.les%3B..0.0...1c.2.HJapAMX6-xs&psj=1&bav=on.2,or.r_gc.r_pw.r_qf.&fp=abf28ecc988f8db4&bpcl=35466521&biw=1340&bih=695">Imprimerie Royale, Paris 1716</a></div>
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The shapes had been designed around circles and parallel lines and set against a background grid. The use of geometric has been used to design many typefaces.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJywibiu2zPzM5_80pWCvQq-Ut1PUlNxrNf6ZlMsvqqWsQjx8zRRja9QQ6bq2KIMEQGx42UAFCVPhwp4o22V3-ZS8tli95qhqAKlYW1Oc9VDDA9tdgXcbJBdTe-daZE7KKpOQzQfUcB8ED/s1600/type-copy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJywibiu2zPzM5_80pWCvQq-Ut1PUlNxrNf6ZlMsvqqWsQjx8zRRja9QQ6bq2KIMEQGx42UAFCVPhwp4o22V3-ZS8tli95qhqAKlYW1Oc9VDDA9tdgXcbJBdTe-daZE7KKpOQzQfUcB8ED/s400/type-copy.jpg" style="cursor: move;" width="355" /></a></div>
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<a href="http://idsgn.org/posts/know-your-type-gill-sans/">Gill Sans</a> 'g' designed by <a href="http://www.guardian.co.uk/artanddesign/2006/jul/22/art.art">Eric Gill</a>, 1933</div>
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Eric Gill's 'Gill Sans' used geometric - and it is especially evident in the lower case 'g'. You can sketch out your own fonts and turn them into usable fonts with Font Capture <a href="http://www.yourfonts.com/">here</a>. </div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://photos.liveauctioneers.com/houses/galeriebassengeberlin/11035/4235_1_lg.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="293" src="http://photos.liveauctioneers.com/houses/galeriebassengeberlin/11035/4235_1_lg.jpg" style="cursor: move;" width="400" /></a></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://art.findartinfo.com/images/artwork/2006/8/a000914556-001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://art.findartinfo.com/images/artwork/2006/8/a000914556-001.jpg" style="cursor: move;" width="296" /></a></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://1.bp.blogspot.com/_MmRVVROy-Jo/TC0IbXLMZlI/AAAAAAAANwA/KEpnMg0hpuE/s1600/Peter+Keetman4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://1.bp.blogspot.com/_MmRVVROy-Jo/TC0IbXLMZlI/AAAAAAAANwA/KEpnMg0hpuE/s400/Peter+Keetman4.jpg" style="cursor: move;" width="318" /></a></span></div>
Peter Keetman was a key member of fotoform (see the section on Otto Steinert <a href="http://thedelightsofseeing.blogspot.com/search/label/Shutter%20speeds%20-%20SLOW">here</a>). These images show he use of pattern - whether he is photographing pipes or creating experimental abstract images.<br />
As of 1948, Keetman experimented with abstract rhythmic images which he produced by swinging a flashlight over a camera with an open shutter placed on a rotating record player. The images recorded two dynamic movements yet produced a very harmonious pattern.<br />
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<a href="http://www.guardian.co.uk/culture/2004/jul/20/1">Jasper Johns</a> - 'Target' 1958, Conte Crayon on Paper</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDU-OL_rDQ7dSlTIBz-TefArH9Wf9exzOg6SKfTzvnNQN5y-MRTaGD9YPY05P171TPX6GE7rduiB_tWLoFviD6rNEK-q63h4-xVuZTs7ZxNbtQjI9uS54PSsVBBURcQqqkctUV6ihnW3R7/s1600/targcast.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDU-OL_rDQ7dSlTIBz-TefArH9Wf9exzOg6SKfTzvnNQN5y-MRTaGD9YPY05P171TPX6GE7rduiB_tWLoFviD6rNEK-q63h4-xVuZTs7ZxNbtQjI9uS54PSsVBBURcQqqkctUV6ihnW3R7/s400/targcast.jpg" width="305" /></a></div>
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<a href="http://www.sfmoma.org/explore/multimedia/videos/141">Jasper Johns</a> - <a href="http://www.artchive.com/artchive/J/johns/targcast.jpg.html">'Target' 1955</a>, <a href="http://en.wikipedia.org/wiki/Encaustic_painting">Encaustic</a> and collage on canvas.</div>
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<a href="http://www.guardian.co.uk/artanddesign/2004/jul/26/art.usa">interview with Johns.</a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy-GBfO5sOdQFDnSkHZ8S_1Z8gxHzajjIn3-MiSuoLmYfPJoOgW8dBRSnxmhlA8N0wO2n2oX2KnZfqIBC9hrA_tcuWPr4pgIoWKyXvWfgDEjhxTK39zgEdj8nVBJvpUM8a5FKkkW3YNzje/s1600/T03419_10.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy-GBfO5sOdQFDnSkHZ8S_1Z8gxHzajjIn3-MiSuoLmYfPJoOgW8dBRSnxmhlA8N0wO2n2oX2KnZfqIBC9hrA_tcuWPr4pgIoWKyXvWfgDEjhxTK39zgEdj8nVBJvpUM8a5FKkkW3YNzje/s320/T03419_10.jpg" width="293" /></a></div>
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Peter Blake <a href="http://www.tate.org.uk/art/artworks/blake-the-first-real-target-t03419">'The First Real Target' </a>1961</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjN_cHFpcxBjMnP6pEaug5qMuW_sbad7nc83wsceyNqQEiO26_Hy-Z_NBdaOs5GVl-m13oWcxx0NXzn39DPNaA0QeE2q3YawWBnlpT0zRYDry2UwYyYNA9-I6JWSCay0kMON9gddwvhHBIt/s1600/blaketarget.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjN_cHFpcxBjMnP6pEaug5qMuW_sbad7nc83wsceyNqQEiO26_Hy-Z_NBdaOs5GVl-m13oWcxx0NXzn39DPNaA0QeE2q3YawWBnlpT0zRYDry2UwYyYNA9-I6JWSCay0kMON9gddwvhHBIt/s400/blaketarget.jpg" width="308" /></a></div>
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Peter Blake 2009</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigtyXztuWHsjku7VwCq_uPO_dFbZa9W5zYsKtHgGVxsBkN1nIJWV7uOFAlvOKPXcSK0spN4tREEhl1DpIIQW-P7d6g6BzWyoYBYmXSReIx0irezmDphooeT02i9A6klCaLvsqgnfKO1E1C/s1600/2000-0016.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigtyXztuWHsjku7VwCq_uPO_dFbZa9W5zYsKtHgGVxsBkN1nIJWV7uOFAlvOKPXcSK0spN4tREEhl1DpIIQW-P7d6g6BzWyoYBYmXSReIx0irezmDphooeT02i9A6klCaLvsqgnfKO1E1C/s400/2000-0016.jpg" width="400" /></a></div>
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<a href="http://www.guardian.co.uk/artanddesign/2010/jan/08/kenneth-noland-obituary">Kenneth Noland</a> 'Infanta' 2000<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAURfYSKqFB6YMsux2KlcsrsFgCnxCMs0audGnVMGu-U3NgLfH6BWJNO0lSeu5dpWjYIg_udLIa43VZOlBbmXcYhDYxNNsjeIiwZ1_TmFoJUVgfsRiaX7LMeTc5C0jZe6iKwK4lnPyLm_l/s1600/pattern,test,pattern-c53d189b14cedf40a08892f6563af6ce_h.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="297" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAURfYSKqFB6YMsux2KlcsrsFgCnxCMs0audGnVMGu-U3NgLfH6BWJNO0lSeu5dpWjYIg_udLIa43VZOlBbmXcYhDYxNNsjeIiwZ1_TmFoJUVgfsRiaX7LMeTc5C0jZe6iKwK4lnPyLm_l/s400/pattern,test,pattern-c53d189b14cedf40a08892f6563af6ce_h.jpg" width="400" /></a></div>
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<a href="http://en.wikipedia.org/wiki/Test_card">Television Test Card</a></div>
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<a href="http://www.pembers.freeserve.co.uk/Test-Cards/">Television test cards</a> (see <a href="http://www.bbc.co.uk/archive/testcards_ceefax.shtml">here</a>) have come in numerous designs often combining geometric shapes and colours. Taken from their original function they have a certain aesthetic quality.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhc3TNN32aTU0ZvAfsTi8WGo7Q-NDRKuysOeXE9V7drfC6DHMQPquFcPnwHbIOZsxoOktHjjMiWx0D8HYU8d95h73J9_7DSehPiQfehSHZsIlv_tQkdEQ00Qn8OANQTLQmDVI_9jf3GYHs/s1600/l_letscher1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhc3TNN32aTU0ZvAfsTi8WGo7Q-NDRKuysOeXE9V7drfC6DHMQPquFcPnwHbIOZsxoOktHjjMiWx0D8HYU8d95h73J9_7DSehPiQfehSHZsIlv_tQkdEQ00Qn8OANQTLQmDVI_9jf3GYHs/s320/l_letscher1.jpg" width="248" /></a></div>
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<a href="http://www.dbermangallery.com/artist-portfolios/letscher-0504/provisionalbeautynewworkby/01-96_jpg.html">Lance Letscher</a> </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy4VuU0gKert_Myw9W2oYJCkdqezRpRSqToTCIzftefqOzKt4wgJGo_LzwcCSDa_3VmK97AJyk8SD61P3COH9L_Z90qjXWLirNZApCPlJ2ZS_4IQtPQ8BlQ9riESDMp67FrF7HOoG7Zq8/s1600/david+buckingham.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="391" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy4VuU0gKert_Myw9W2oYJCkdqezRpRSqToTCIzftefqOzKt4wgJGo_LzwcCSDa_3VmK97AJyk8SD61P3COH9L_Z90qjXWLirNZApCPlJ2ZS_4IQtPQ8BlQ9riESDMp67FrF7HOoG7Zq8/s400/david+buckingham.jpg" style="cursor: move;" width="400" /></a></div>
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<a href="http://www.buckinghamstudio.com/">David Buckingham</a></div>
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Poster for B Music/<a href="http://www.finderskeepersrecords.com/">Finders Keepers</a></div>
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THE TRIANGLE</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV1FgyCg60FaZNlKF7H2zBlmBUBvLm5-tpLeXaoHeuB0zXLnmv1fXbuyfpxWgkZMlA5PszmJCsJMrqgtfiY9Qka9KoDJZhhMOIJYZmFANA7bnn9PnlYSsYvdY5aUl4T7-MnfEqG2tIGORf/s1600/1980.5.8_1a.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="325" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV1FgyCg60FaZNlKF7H2zBlmBUBvLm5-tpLeXaoHeuB0zXLnmv1fXbuyfpxWgkZMlA5PszmJCsJMrqgtfiY9Qka9KoDJZhhMOIJYZmFANA7bnn9PnlYSsYvdY5aUl4T7-MnfEqG2tIGORf/s400/1980.5.8_1a.jpg" width="400" /></a></div>
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<a href="http://www.kennethnoland.com/">Kenneth Noland</a> 'Shoot' 1964</div>
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<a href="http://www.rosphoto.org/en/list-exhibitions/details/154----">Franco Fontana</a></div>
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The hill intertwining create natural triangles in this photograph by Franco Fonatana.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7IJ5RPjFLJ50jTEbpq1pMFF-Q8UXDNAAUbJuUUqH9Y3IBxSQiajwwwp78u5LNCMHJZh6VD_IpTsEgBr4nvU9ApwDtJmREzrujRCFTPiQ6PWaofvFoP99q-rgveFc3sO4K6bzhcRKkz6U/s400/emmabiggsmattcollings03.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="197" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7IJ5RPjFLJ50jTEbpq1pMFF-Q8UXDNAAUbJuUUqH9Y3IBxSQiajwwwp78u5LNCMHJZh6VD_IpTsEgBr4nvU9ApwDtJmREzrujRCFTPiQ6PWaofvFoP99q-rgveFc3sO4K6bzhcRKkz6U/s400/emmabiggsmattcollings03.jpg" style="cursor: move;" width="400" /></a></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">This painting is by <a href="http://www.emmabiggsandmatthewcollings.net/02_work.html">Emma Biggs and Matthew Collings</a> – it is a collaborative act where Biggs designs the painting (shape, colours and combinations) and Collings paints them. The simple geometric shapes and subtle colour combinations shimmer and create a sense of movement. Collings is also a critic who has his own theory on <a href="http://www.saatchi-gallery.co.uk/blogon/art_news/put_downs_and_suck_ups_matthew_collings_weekly_ventings_about_the_art_world_no_39_beauty_and_rules/6027">Beauty</a>. </span><br />
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Album cover design for Grizzly Bear</div>
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THE SQUARE<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5uoHwPB22UyYrzKSIcQgFPU8L_YeuGt5SnCivv6jTkUSg-3Rej_3OboG0EsszX65yltyd2qVEvL7tycqwdPIWSCr6vxva8BQ26-XZbErDAOrXo9eNJNs35wXnXhp3YUw54Y8miYSPuLk/s1600/182_albers2_t.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5uoHwPB22UyYrzKSIcQgFPU8L_YeuGt5SnCivv6jTkUSg-3Rej_3OboG0EsszX65yltyd2qVEvL7tycqwdPIWSCr6vxva8BQ26-XZbErDAOrXo9eNJNs35wXnXhp3YUw54Y8miYSPuLk/s400/182_albers2_t.jpg" style="cursor: move;" width="396px" /></a></div>
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Joseph Albers '<a href="http://albersfoundation.org/Albers.php?inc=Galleries&i=J_1">Homage to the Square</a>: Apparitio' 1959</div>
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The world is vast - there are many subjects that an artist or photographer could choose as the focus of their life's work. What should you choose? What element of the world deserves your focus?</div>
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It is possible for any artist to create one great image, or a photographer to take one great photograph. However, it is harder to create a body of work and many of the artists that we go back to created a body of work that returned to certain themes.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgKVUlfQA-d5naqsIlmNtr-FD6xxBQK7tJa3wK2FtKUp3p8F4W2iHQDKJJ3rgGsHWfjbtXPRFWl7i1Af8_0fhyj8PIwmfXJ3TXQeZDfKr8iy6m-3Lw1NjIrq9LG7hdE3HsFgchBEFl4ms/s1600/home-decorating-color-trends-Albers-01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="316px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgKVUlfQA-d5naqsIlmNtr-FD6xxBQK7tJa3wK2FtKUp3p8F4W2iHQDKJJ3rgGsHWfjbtXPRFWl7i1Af8_0fhyj8PIwmfXJ3TXQeZDfKr8iy6m-3Lw1NjIrq9LG7hdE3HsFgchBEFl4ms/s400/home-decorating-color-trends-Albers-01.jpg" style="cursor: move;" width="400px" /></a></div>
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A selection from the series <a href="http://www.youtube.com/watch?v=FpTr_BDVjFI">'Homage to the square'</a> Joseph Albers</div>
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The <a href="http://www.tate.org.uk/collections/glossary/definition.jsp?entryId=40">Bauhaus</a> artist and teacher <a href="http://www.designishistory.com/1940/joseph-albers/">Joseph Albers</a> spent the last 25 years of his life dedicated to Colour theory. His most famous series of work is 'Homage to the square' 1950 - 1976 was a series of paintings that explored colour. Each painting consisted of several squares on top of one another. Each square was a different colour and depending on the combination would create different effects. Some colours would complement one-another and be calming to the eye. Other combinations would create bold graphic images where the squares would hum, buzz and bounce off one another. This dedication to one simple theme could seem tedious but also shows how art can help you appreciate the simple elements of life.</div>
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<span style="font-size: large;">'Easy to know that diamonds are precious</span></div>
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<span style="font-size: large;">Good to learn that rubies have depth</span></div>
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<span style="font-size: large;">But more to see that pebbles are miraculous'</span></div>
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<span style="font-size: large;">Joseph Albers</span></div>
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<span class="Apple-style-span" style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCbzqniPPV8DU19q9kJLOOgDqVOsrX2WYAksBJj1DJDo7N0rNd1Pjfv1zL3iI7QJY7fxEoVxPawtkSYPJ-wON91Yh0cFZldWnjJeqIl5NZoNPVg6WtTJpM6MK_LaJ-zzVw8iGmaWFxVfo/s400/paul-klee-ancient-sound.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCbzqniPPV8DU19q9kJLOOgDqVOsrX2WYAksBJj1DJDo7N0rNd1Pjfv1zL3iI7QJY7fxEoVxPawtkSYPJ-wON91Yh0cFZldWnjJeqIl5NZoNPVg6WtTJpM6MK_LaJ-zzVw8iGmaWFxVfo/s400/paul-klee-ancient-sound.jpg" style="cursor: move;" width="387" /></a></span></div>
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> </span><a href="http://www.youtube.com/watch?v=P4qx6zlZKL0" style="font-family: Arial, Helvetica, sans-serif;">Paul Klee</a><span class="Apple-style-span" style="font-size: large;"> <span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;"> ‘Ancient Sound’</span></span><br />
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This image reflects <a href="http://www.guardian.co.uk/education/2002/jan/13/arts.highereducation">Klee</a>’s interest in Colour and Music. The squares seem to have a rhythmic quality like the notes in a song. The colours complement, contrast and work with one another. There is a flicker effect and movement in this image.</div>
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<a href="http://www.frankstella.net/">Frank Stella</a> used house hold paint out of the tin with painter and decorators brushes. The bands in his paintings are determined by simple things - the width of his brush or the width of the wooden frame. His painting were about themselves and completely self contained. <a href="http://www.youtube.com/watch?v=cN_rRCfRdmQ">Stella came to prominence in the 1960s</a> and is considered one of the fathers of <a href="http://art.docuwat.ch/videos/this-is-modern-art/this-is-modern-art-04-nothing-matters/?channel_id=6">Minimalism</a> - seeing his paintings as objects not signs to something else. <a href="http://www.guardian.co.uk/culture/2001/apr/05/artsfeatures1">Stella's later work</a> broke out of the square frame and became more colourful and vibrant. Whether you look at his monochrome early work or his bold later work there is a sense of movement and pattern in his paintings. There are visual effects that happen when you look at these paintings.</div>
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jfkturnerhttp://www.blogger.com/profile/04292497470976112213noreply@blogger.comtag:blogger.com,1999:blog-5743411721886035143.post-57533557028223348022012-05-04T23:58:00.000-07:002012-05-04T23:58:02.533-07:00The Portrait<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMYSp48Ppjm6F9xx4mFN01sooaNHaao28OocdztU9_-7Ol9IoQJutKgA3rw6Q76jyIlNXemx1VkiaazCWPm6B6D288KV5vwSYFAxEoxhBOtG4tbV6i43SUmAdCOe8bPIT8jrzflzFLOST4/s1600/gainsborough-mr-mrs-andrews-NG6301-fm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMYSp48Ppjm6F9xx4mFN01sooaNHaao28OocdztU9_-7Ol9IoQJutKgA3rw6Q76jyIlNXemx1VkiaazCWPm6B6D288KV5vwSYFAxEoxhBOtG4tbV6i43SUmAdCOe8bPIT8jrzflzFLOST4/s400/gainsborough-mr-mrs-andrews-NG6301-fm.jpg" width="400" /></a></div>
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<a href="http://www.nationalgallery.org.uk/paintings/thomas-gainsborough-mr-and-mrs-andrews">'Mr and Mrs Andrews'</a> - Thomas Gainsborough 1750</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjya8uKSxNqeNX_TLZHQhjCJisiW12hSBdCUjV8UbcbX1yAcHeXa62kJ2K_LQ6lLIx0SXwxcz1jAzuLhz-xhqxuGBMyqUG9ML25gHv7hGib9b_ZBk2RwED8bEgSZR2rDC6hJw0h_bXu12I/s1600/41134-large.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjya8uKSxNqeNX_TLZHQhjCJisiW12hSBdCUjV8UbcbX1yAcHeXa62kJ2K_LQ6lLIx0SXwxcz1jAzuLhz-xhqxuGBMyqUG9ML25gHv7hGib9b_ZBk2RwED8bEgSZR2rDC6hJw0h_bXu12I/s320/41134-large.jpg" width="226" /></a></div>
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Robert Adamson (1821-48) and David Octavius Hill (1802-70) - '<a href="http://www.vam.ac.uk/images/image/41134-popup.html">Mr Lane in Indian Dress</a>' 1843-7</div>
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A Daguerreotype in a decorative case 19th Century</div>
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<a href="http://www.guardian.co.uk/books/2003/feb/02/biography.highereducation">Julia Margaret Cameron</a></div>
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<a href="http://www.guardian.co.uk/artanddesign/2003/feb/07/art.artsfeatures2">Julia Margaret Cameron</a> has become famous for her prtraits. This is a photographic portrait of an Italian man, possibly an artist's model called Alessandro Colorossi. She had the ability to create simple and beautiful images, slightly out of focus with a romantic atmosphere. This image could be an advert for a fragrance - it almost looks like a modern advertisment or fashion shot.</div>
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<a href="http://www.masters-of-photography.com/C/cameron/cameron.html" style="text-align: left;">Julia Margaret Cameron</a><span style="text-align: left;"> 1872</span></div>
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'Seth Kinman, California hunter', 1864. Carte de visite photograph by Matthew Brady</div>
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'Contortionist, posed in studio' Thiele's Photographic Rooms Circa 1880</div>
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Maria Germanova of the Moscow Arts Theatre, costumed for her role in 'Bluebird of Happiness'</div>
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<a href="http://www.photographymuseum.com/histsw.htm">Carte de Visite</a> photographs--small albumen prints mounted on cards 2-1/2 by 4 inches--were wildly popular and made for decades in countries around the world. The format was an international standard; for the first time, relatives and friends could exchange portraits, knowing they would find a place in the recipient's family album--whether that album was located in Manchester, Berlin or Brazil. In addition, unlike earlier photographs made with such processes as the daguerreotype and ambrotype, cartes de visite could be sent through the mail without the need for a bulky case and fragile cover-glass. Their small size also made them relatively inexpensive, and they became so widespread that by 1863 Dr. Oliver Wendell Holmes would write, "Card portraits, as everybody knows, have become the social currency, the 'green-backs' of civilization."</div>
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Joe Jefferson 19th Century Stage actor</div>
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The Carte de Vista were not meant to be made up images but by their very nature they ended up being fantastic. People would visit a photographers studio which is an artificial environment with artificial backdrops and props. People would also dress for the occasion from their best cloths, to costumes, to actors publicising their current role. These images would be sent out into the world, representing the individual - it only stands to reason that what appears on the card is an idealised version of the individual. The Carte de vista was the victorian eras version of the image on your Facebook page.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPAJOmIRBiACL3keXJE13pmOIzS9_rWGbapDFmiQB6a3Tjta9ElThewN4g1mhPbgRYhYS7I2XFwKFi3A-kBlb3U_jaz3amEAAT_ypiZVShmdpE44tqOk3VeBQvLrRZ4oLhhO4ch2ofpTo/s1600/close_self_68.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" s5="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPAJOmIRBiACL3keXJE13pmOIzS9_rWGbapDFmiQB6a3Tjta9ElThewN4g1mhPbgRYhYS7I2XFwKFi3A-kBlb3U_jaz3amEAAT_ypiZVShmdpE44tqOk3VeBQvLrRZ4oLhhO4ch2ofpTo/s400/close_self_68.jpg" width="311px" /></a></div>
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<a href="http://www.google.co.uk/imgres?imgurl=http://www.moma.org/interactives/exhibitions/1998/close/images/close_self_68.jpg&imgrefurl=http://www.moma.org/exhibitions/1998/close/&usg=__1DjMsg9KLQWizpFQ25xu03aV-Vo=&h=339&w=264&sz=19&hl=en&start=4&zoom=1&um=1&itbs=1&tbnid=CNs411FsTd8tvM:&tbnh=119&tbnw=93&prev=/images%3Fq%3DChuck%2Bclose%26um%3D1%26hl%3Den%26sa%3DN%26rls%3Dcom.microsoft:en-US%26rlz%3D1I7SKPB_en%26tbs%3Disch:1&ei=Kmc5TbzAM9O3hAeapKCHCg">Chuck Close</a> 'Big Self-Portrait' (273 x 212 cm)., 1967-68</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguEINXWq62ZOKJRPiKCXfuQ_pBGCNxrkAqVvr-Rue5z-zr3x55dYfCdJ6tAbLMKuByRTE5X65p6XiVi0NwRlUngIlRhC4bh8hkfY07QG8N1E6lL-HrNZgnHGyl8BrjHTe0cg2VQ3aqZMI/s1600/madame.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguEINXWq62ZOKJRPiKCXfuQ_pBGCNxrkAqVvr-Rue5z-zr3x55dYfCdJ6tAbLMKuByRTE5X65p6XiVi0NwRlUngIlRhC4bh8hkfY07QG8N1E6lL-HrNZgnHGyl8BrjHTe0cg2VQ3aqZMI/s400/madame.jpg" width="284" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6MNq1E-dHPJqFZOgE-TFmXG5MqUKvDB3wl3xJaZ3l40BEAF-ajyfppBP9dh9wbT3es15AoEvGxumCMqaNDFQh0I_L_zxV6EqhTBGEJNJSkzg2Gxf8rPiaXNiiGk-_LHe86DKHzkmpGpw/s1600/madame+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6MNq1E-dHPJqFZOgE-TFmXG5MqUKvDB3wl3xJaZ3l40BEAF-ajyfppBP9dh9wbT3es15AoEvGxumCMqaNDFQh0I_L_zxV6EqhTBGEJNJSkzg2Gxf8rPiaXNiiGk-_LHe86DKHzkmpGpw/s400/madame+2.jpg" width="320" /></a></div>
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<a href="http://www.npg.org.uk/collections/search/person/mp06547/madame-yevonde">Madame Yevonde</a> circa 1930's</div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.madameyevonde.com/">Madame Yevonde</a> was a Portrait photographer who was a pioneer in photographic techniques, experimenting with solarisation and associated particularly with the development of the now-defunct Vivex process. Madame Yevonde, like Julia Margaret Cameron, used her high society connections to photograph key figures of her time often in elaborate set up photo-shoots. Yevonde's intention was to promote the artistic element in portraiture. British socialites loved to dress up and to play charades, and Yevonde combined this tendency with her knowledge of the new Parisian portrait style of Man Ray.</span></div>
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Cindy Sherman - '<a href="http://www.csw.art.pl/new/98/shermeg.html">Untitled Film Stills' 1977-1982</a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwcx_gCstbS3jMQhlsFhqAmGdBO_uxt4mHHYgZUrc7AiZesHnIiM4-4TmbrLE7IWgV92tc0_zkPbdixx4opg7ZLHJelc-MtsBz6YFdPJlzZVxyxciMfe7V60-mDzfGUZQxzPPCpZ8vY5Y/s1600/sherman_untitled_96.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwcx_gCstbS3jMQhlsFhqAmGdBO_uxt4mHHYgZUrc7AiZesHnIiM4-4TmbrLE7IWgV92tc0_zkPbdixx4opg7ZLHJelc-MtsBz6YFdPJlzZVxyxciMfe7V60-mDzfGUZQxzPPCpZ8vY5Y/s400/sherman_untitled_96.jpg" width="400" /></a></div>
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<a href="http://www.masters-of-photography.com/S/sherman/sherman7.html">Cindy Sherman</a> 'Untitled 96' 1981</div>
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By turning the camera on herself, <a href="http://www.cindysherman.com/biography.shtml">Cindy Sherman</a> has built a name as one of the most respected photographers of the late twentieth century. The majority of her photographs are pictures of herself, however, these photographs are most definitely not self-portraits. Rather, Sherman uses herself as a vehicle for commentary on a variety of issues of the modern world: the role of the woman, the role of the artist and many more. It is through these ambiguous and eclectic photographs that Sherman has developed a distinct signature style. Through a number of different series of works, Sherman has raised challenging and important questions about the role and representation of women in society, the media and the nature of the creation of art.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvKlj103apZweJ5Og66pye3c5KsYbouG0eCwUsZfqq78jDJ2ehdbLeUI3-oMBn4sfOPEvUiG7fVNtAELiiebT5qaA3h_95EBsaucLK5h-x1l_DEJ-hB8V8OtqCfeyiOzJznN1Q8x8uD-I/s1600/cindy-sherman-59-201x300.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvKlj103apZweJ5Og66pye3c5KsYbouG0eCwUsZfqq78jDJ2ehdbLeUI3-oMBn4sfOPEvUiG7fVNtAELiiebT5qaA3h_95EBsaucLK5h-x1l_DEJ-hB8V8OtqCfeyiOzJznN1Q8x8uD-I/s400/cindy-sherman-59-201x300.jpg" width="266" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhruH92p2lLYIwcHP9HWYuVP7WUVSHY83ME8dfyHm0YwgrdQ7YDgnwj6D27iXkZj83DvyadoKnoRhvVLJt_gyt0AETiCSURBzka77Td8otk0uvrdPxc09xU3fOroSnri6HHKtXgT9asyoo/s1600/cindy-sherman-untitled-2008.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhruH92p2lLYIwcHP9HWYuVP7WUVSHY83ME8dfyHm0YwgrdQ7YDgnwj6D27iXkZj83DvyadoKnoRhvVLJt_gyt0AETiCSURBzka77Td8otk0uvrdPxc09xU3fOroSnri6HHKtXgT9asyoo/s400/cindy-sherman-untitled-2008.jpg" width="358" /></a></div>
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<a href="http://artobserved.com/2008/11/go-see-cindy-sherman-at-metro-pictures-new-york-through-december-23-2008/">Cindy Sherman 'Untitled' 2008</a></div>
Sherman came to prominence during the 1970's when performance art was at its height. There is an element of performance to Sherman's images and the photograph is partly a recording of an act. Sherman's early work was black and white film stills from imaginary films. Interestingly as she has got older she has exaggerated the aging process and make up -the characters seem to become more ridiculous and grotesque. Her work as a whole makes you consider mortality and how we age in our own lives.<br />
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<a href="http://www.lorettalux.de/">Loretta Lux</a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj38WT17qsXG_fzq7wnKJ3RMDUpf7FNZrc0IBcw4w4Yh2zyFuz3Cmss-SnvnGI9FU0gUbUf5p1B7-ewwgo8eiQ0R2FbVw0PnhLJ1TeTE7UDyW2oxFMS96iewFY5Cat-RJTwm_34F-G6g0jQ/s1600/Picasso_Vollard.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj38WT17qsXG_fzq7wnKJ3RMDUpf7FNZrc0IBcw4w4Yh2zyFuz3Cmss-SnvnGI9FU0gUbUf5p1B7-ewwgo8eiQ0R2FbVw0PnhLJ1TeTE7UDyW2oxFMS96iewFY5Cat-RJTwm_34F-G6g0jQ/s640/Picasso_Vollard.jpg" width="433px" /></a></div>
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Picasso <a href="http://www.guardian.co.uk/culture/2002/nov/30/art">'Portrait of Ambroise Vollard' 1910</a></div>
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This is Picasso's portrait of the art dealer Ambroise Vollard who championed and was painted by Cezanne (<a href="http://arthistory.about.com/od/from_exhibitions/ig/spring07/sp2007exh_01.htm">in 1899</a>). Picasso would claim that this is a more truthful portrait than a traditional approach. The image is fractured and made up of geometric planes - like a piece of broken glass. Vollards bald head explodes and is elongated, his downcast eyes seem closed and his features are merely suggested. The whole image has a similar hue - flesh tones, browns, greens and blues. <a href="http://www.picasso.com/">Picasso would move on from cubism</a> (though a stylised version of it can be seen in his later works) - but ultimately Cubism is his key contribution to art.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfIvRkYnxII7YioQklDKtiWINZL4fd25QHoajw6LAqZ4nx5BGpWxu8HCkj6TjFaOFtl98hHZozOoC_XaC38WPh45iWpialTDDP4wHCtz-3W28QsxUGi28TyEpKj8w5mm7VmyvnLqfrywQ/s1600/selmasongs_dancer_in_the_dark_CD_large.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfIvRkYnxII7YioQklDKtiWINZL4fd25QHoajw6LAqZ4nx5BGpWxu8HCkj6TjFaOFtl98hHZozOoC_XaC38WPh45iWpialTDDP4wHCtz-3W28QsxUGi28TyEpKj8w5mm7VmyvnLqfrywQ/s320/selmasongs_dancer_in_the_dark_CD_large.jpg" width="320px" /></a></div>
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Soundtrack Album artwork for the film 'Dancer in the Dark' (2000) dir. Lars von Trier</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2GYhjj224MYR0Z0ewNtXCrhrmDQFa-aJbVF1Nj-1R7rFhVVTLl56RaKSwoZshRWgL2WuAgm0mZ0N4mhUK1aFxpKn8Aeau4nz-pr5vl9w6JfGtY7_EZGlB5uZrBVkdKMHkrShlZ2c-S3yu/s1600/crooks.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="318px" r6="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2GYhjj224MYR0Z0ewNtXCrhrmDQFa-aJbVF1Nj-1R7rFhVVTLl56RaKSwoZshRWgL2WuAgm0mZ0N4mhUK1aFxpKn8Aeau4nz-pr5vl9w6JfGtY7_EZGlB5uZrBVkdKMHkrShlZ2c-S3yu/s400/crooks.jpg" width="400px" /></a></div>
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<a href="http://danielcrooks.com/">Daniel Crooks</a> - 'Portrait #1 (Self), Portrait #2 (Chris), Portrait #3 (Chris)' 2007</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu93lY2K2Coe-_os37wvLu35wwGpEOuR8TwHvrdOPdndAzNgOHF3JkdZ1i_xX8ntbetoIuyd975ZSaC9662_Lf4WRM5O_zoI8-IReGAVmcChpODU6sRSjTUICEecsS8R36_QSPgD-msQhH/s1600/sommer_max_ernst.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="318px" kca="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu93lY2K2Coe-_os37wvLu35wwGpEOuR8TwHvrdOPdndAzNgOHF3JkdZ1i_xX8ntbetoIuyd975ZSaC9662_Lf4WRM5O_zoI8-IReGAVmcChpODU6sRSjTUICEecsS8R36_QSPgD-msQhH/s400/sommer_max_ernst.jpg" width="400px" /></a></div>
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<a href="http://www.fredericksommer.org/">Frederick Sommer</a> - 'Max Ernst' 1946</div>
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This is a photograph of the artist Max Ernst by Frederick Sommer. Ernst was connected to the <a href="http://www.tate.org.uk/modern/exhibitions/surrealism/room1.htm">Surrealists</a> who were interested in the world of the unconscious and dreams. In dreams the everyday mixes and creates strange juxtapositions. <a href="http://en.wikipedia.org/wiki/Sandwich_printing">In this photograph Frederick Sommer has created a sandwich negative in the dark room by placing two negatives on top of one another. </a>He would have had to alter the exposure time to compensate for using two negatives. Like the surrealists Sommer has Juxtaposed two images - an image of Hass and an old textured wall. Is he making a connection between the decay effects of nature on a man made wall and the ultimate aging effect of time on the human body?<br />
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<a href="http://www.designishistory.com/1920/el-lissitzky/">El Lissitzky</a></div>
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Wanda Wulz - Self Portrait 1932</div>
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In this image Wanda Wulz has used the sandwich negative approach to merge herown image with that of a cat. The notion of a human turning into an animal is called anthropomorphism and has been used repeated in literature - for exam <a href="http://en.wikipedia.org/wiki/Franz_Kafka">Franz Kafka's</a> - 'The Metamorphosis'.</div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.guardian.co.uk/culture/gallery/2008/jul/25/warhol">Warhol</a> </span>'Triple Elvis' 1963. Acrylic and silkscreen ink on canvas</div>
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In 'Triple Elvis' a promotional photograph of Elvis is overlaid three times using the <span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.youtube.com/watch?v=CzrPmfaYcMM">silkscreen process</a>. </span>This creates a visual Jump - creating movement in a static image. It also suggests that celebrity is shallow - that stars are turned into products to be consumed by the viewer. When you see a Warhol in the flesh you notice that each silkscreened image is slightly different to the next. Little imperfections give the initially mechanical image painterly qualities.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiprw6tHe_N6HFVaLUgXH1wruuIK3C3AKOS4hjnkiFVmPBaJxKl2lldqfMlt6sg02TT5vBQOgVmZpdJGjkvtkdwomePLco42TkWHGpBxnKiZWnv2RQefjg5zXJv6XNHo6bdfksxPex8Ritf/s1600/de1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiprw6tHe_N6HFVaLUgXH1wruuIK3C3AKOS4hjnkiFVmPBaJxKl2lldqfMlt6sg02TT5vBQOgVmZpdJGjkvtkdwomePLco42TkWHGpBxnKiZWnv2RQefjg5zXJv6XNHo6bdfksxPex8Ritf/s400/de1.jpg" width="400px" /></a></div>
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Dan Mountford - <a href="http://www.flickr.com/photos/danmountford/">"Double Exposure Series"</a></div>
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</div>jfkturnerhttp://www.blogger.com/profile/04292497470976112213noreply@blogger.comtag:blogger.com,1999:blog-5743411721886035143.post-66327571209994106162012-03-21T07:59:00.002-07:002012-03-21T11:10:40.400-07:00Combinations and Alliances - Stage Design<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJHPTIx95QDxwXaLg_J8nT2NYRaIkD830hfARwgz4nqYNcB6n2lTTEqRWF8nLxwPXxPDbzfN7LsC1FU6yGoL4d7insrx9TeBDEu-tMBjeSGcQO5kERjI5fnrO1zlOOEvNQbl4ORwHYQPJ_/s1600/hock+stage.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJHPTIx95QDxwXaLg_J8nT2NYRaIkD830hfARwgz4nqYNcB6n2lTTEqRWF8nLxwPXxPDbzfN7LsC1FU6yGoL4d7insrx9TeBDEu-tMBjeSGcQO5kERjI5fnrO1zlOOEvNQbl4ORwHYQPJ_/s400/hock+stage.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.hockneypictures.com/turandot.php">David Hockney</a> - Stage Design for '<a href="http://www.youtube.com/watch?v=bCgPbgswDN8">Turnadot'</a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNJd9BXzkSfkD92SYGm3ZQzTcRt-XXn_n1rkzVQDGv8wU4YWs6Tt2VXmY5vBrZqj-82MhHbSftsubkjUiKlWHKTUsidkMqn_o04F5NSNFySJZTQlsAF-dq8QRom6xIcRLJ0iUaaFNWFOXb/s1600/Turandot_SF1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNJd9BXzkSfkD92SYGm3ZQzTcRt-XXn_n1rkzVQDGv8wU4YWs6Tt2VXmY5vBrZqj-82MhHbSftsubkjUiKlWHKTUsidkMqn_o04F5NSNFySJZTQlsAF-dq8QRom6xIcRLJ0iUaaFNWFOXb/s400/Turandot_SF1.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://michaelmilenski.com/reviews-ca-us.html">Hockney's 'Turnadot' set</a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgn2zJ3QIRNhUEumRKmzsBfDJ5CC8bRie4JqePv9A9qAsOFf_fua7i3amNtCRmtJRx5yiKYKXLk5vL11y0kI0Wo0YY0lIfpoNMvo4vbeXkb-_2TpPVpJEWZ8RErv4jMvqMDbO_3K1922398/s1600/depero-futurista-skyscrapersandsubway1930.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="343" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgn2zJ3QIRNhUEumRKmzsBfDJ5CC8bRie4JqePv9A9qAsOFf_fua7i3amNtCRmtJRx5yiKYKXLk5vL11y0kI0Wo0YY0lIfpoNMvo4vbeXkb-_2TpPVpJEWZ8RErv4jMvqMDbO_3K1922398/s400/depero-futurista-skyscrapersandsubway1930.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;">'Sky Scrapers and Subway' 1930</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9k-9LM2Xqds-L0vlq9NMMZ6ml1wvRyKZDjJHHaVCNuo5TXCI-QmJAOoDM1wJaydJ2BjopkR-gKokhLp8M8VQyxaiwxYD87l09EnR0I6b1nlhQtXOGnlSHB9pAwv1kI_S35s0SpFfWdMjo/s1600/sketchfor-mobilesceeryofthenewbabel1930.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9k-9LM2Xqds-L0vlq9NMMZ6ml1wvRyKZDjJHHaVCNuo5TXCI-QmJAOoDM1wJaydJ2BjopkR-gKokhLp8M8VQyxaiwxYD87l09EnR0I6b1nlhQtXOGnlSHB9pAwv1kI_S35s0SpFfWdMjo/s400/sketchfor-mobilesceeryofthenewbabel1930.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;">Sketch for the Mobile Scenery of "The New Babel" 1930</div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNqYJf1Omtq2pwPwiZGCcWwvRLjwThp48A5bODkfTKbffKnvC69sl6tlmY-tg_s4m81fWYLPqIeCOCQAPRf_Imhj-eGuwvlWQ8ta6gLaB0X02bUliCGB3soYrW1rc7QmdPbaEnoABsVLBt/s400/Fortunato+Depero%252C+Grattacieli+a+tunnel%252C+1930.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="280px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNqYJf1Omtq2pwPwiZGCcWwvRLjwThp48A5bODkfTKbffKnvC69sl6tlmY-tg_s4m81fWYLPqIeCOCQAPRf_Imhj-eGuwvlWQ8ta6gLaB0X02bUliCGB3soYrW1rc7QmdPbaEnoABsVLBt/s400/Fortunato+Depero%252C+Grattacieli+a+tunnel%252C+1930.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="http://www.angelfire.com/wv2/fortunatodepero/">Fortunato Despero</a> - 'Sky Scraper and Tunnel' 1930 </div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">The glory of technology! The fascination of speed! The thrill of new products! For the creators of the Futurist movement of the early twentieth century, this was what inspired them. <a href="http://www.forbes.com/forbes-life-magazine/2009/0608/art-fortunato-depero-italian-futurism.html">Fortunato Despero</a> joined the furists late but was inspired by it ideas throughout his career. This is a piece of <a href="http://www.designboom.com/weblog/cat/8/view/5247/fortunato-depero-museum.html">Despero</a>'s theatre design - this stage set was never built. They represent the sense of vertigo in a city, sometimes by the means of skyscraper shapes placed in precarious perspective at acute angles, sometimes by showing the hidden underground subway system. <a href="http://pierrehale.com/kiu/1/art/fortunato_depero.html">Despero</a> described a mass of people as "crowd confetti, crowd ants, crowds of human sand flowing, slipping, falling apart". This indicated that in the midst of this mechanical paradise there is a sense of alienation and solitude.</div></div><div class="separator" style="clear: both; text-align: auto;"></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="http://www.kurtschwitters.org/ks23.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="http://www.kurtschwitters.org/ks23.jpg" style="cursor: move;" width="339px" /></a></div><div style="text-align: center;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><a href="http://www.schwitters-stiftung.de/english/index.html">Kurt Schwitters</a> - 'Mz 601' 1923</span></span></div></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">Kurt Schwitters created collages that were purely abstract and were made up of fragments of detritus from the streets. He called these collages Merz - taken from the words left on a fragment of torn paper. In this collage Schwitters has used a series of squares laid next to and on top of one another. Fragments of paper are joined by fragments of letters and numbers - the overall composition is dominated by a large number 23 just left of center. The image could be described as having a random nature but there also seems to be movement, animation and rhythm. There could be an order to this chaos - as if Schwitters has used elements of the <a href="http://thedelightsofseeing.blogspot.com/search/label/Rule%20of%20thirds%20and%20The%20Golden%20Rectangle">golden rectangle</a> in his work.</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpvr7qUsSAvMUNCgsWcUvNyefTsc6bQxg2v0bgZM9rGYPkNzMEjiWviFvBT9kSllV4aGOC8VAQ4bHyhiHZTkaWTBSsYVWPuFhyAK5mcViXb5hcLlA_5KGspsd-V3O34Bi_m76aP-Q4WAg/s1600/schwitters-merzbau.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpvr7qUsSAvMUNCgsWcUvNyefTsc6bQxg2v0bgZM9rGYPkNzMEjiWviFvBT9kSllV4aGOC8VAQ4bHyhiHZTkaWTBSsYVWPuFhyAK5mcViXb5hcLlA_5KGspsd-V3O34Bi_m76aP-Q4WAg/s320/schwitters-merzbau.jpg" style="cursor: move;" width="240px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBF5f9yWqiPDgcIrelJaYZgN_UycEigz4tlBmUFtu-TCN-tHNPL6LXUBF98hPWW7L_iRpOpCjkFZiWsddDjt-2IPEpc9cEM-TXgMTiPl0mtADaYQAWt9JKbwU-3SDQ2Cf-rd5o27FdgzY/s320/454px-Merzbau.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBF5f9yWqiPDgcIrelJaYZgN_UycEigz4tlBmUFtu-TCN-tHNPL6LXUBF98hPWW7L_iRpOpCjkFZiWsddDjt-2IPEpc9cEM-TXgMTiPl0mtADaYQAWt9JKbwU-3SDQ2Cf-rd5o27FdgzY/s400/454px-Merzbau.jpg" style="cursor: move;" width="300px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">These photographs above were taken of <a href="http://www.tate.org.uk/research/tateresearch/tatepapers/07autumn/orchard.htm">Schwitters 'Merzblau'</a>. From 1923 Scwitters began work on what he regarded to be his life's work. In his home he began to place collages on the walls, eventually adding and expanding them all over his home. He gradually connected them with string, wire, wood and plaster. His home eventually became a <a href="http://www.merzbau.org/Schwitters.html">'Merzblau' (a Merz Building)</a> - both his home and a giant three dimensional sculpture/installation. The flat angles from his collages became sculptural forms, wall became distorted planes like <a href="http://randomcrusader.wordpress.com/2009/05/04/the-birth-of-the-horror-film-german-expressionism-and-the-cabinet-of-doctor-caligari/">a german expressionist stage set</a>. As with many key German artists Schwitters fled to escape the Nazis' in 1937. Never one to be put off by the tyranny of fascism Schwitters <a href="http://www.merzbarn.net/merzbarn/merzbauten/">built more Merzblau</a> in Norway (1937 -1940) and Cumbria, England (Merz Barn 1947).</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="http://www.artculture.com/wp-content/uploads/2008/02/chocolate_factory.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="345px" src="http://www.artculture.com/wp-content/uploads/2008/02/chocolate_factory.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">The three dimensional angles of Schwitters Merzblau and German expressionism are found in this visually rich building. This is the <a href="http://www.dezeen.com/2007/08/26/nestle-chocolate-museum-by-rojkind-arq/">Nestle Chocolate Museum</a> designed by <a href="http://www.rojkindarquitectos.com/">Rojkind</a>. The exterior is made up of rich primary red prefabricated sections pieced together. Many of the skins of buildings combine different materials like a Scwitters collage. When Collage moves into three dimensions it becomes an <a href="http://www.tate.org.uk/collections/glossary/definition.jsp?entryId=34">Assemblage</a>.</div><div class="separator" style="clear: both; text-align: -webkit-auto;"><br />
</div><div class="separator" style="clear: both; text-align: -webkit-auto;"></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZGHqwAE_59LaLiDGXZQArhZfmC6BeR7iBQ_dw6cy_AYzxXvLXu7oCzj43bUD11LZ1Xk7RaVToQJQ0bE4qMJcyrs64s3qoZ_EMQwi2E8VxCIGZkW8-3NRMuKjwvv8XRftabG0n0UdrO0Y/s1600/caligaroom.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="206" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZGHqwAE_59LaLiDGXZQArhZfmC6BeR7iBQ_dw6cy_AYzxXvLXu7oCzj43bUD11LZ1Xk7RaVToQJQ0bE4qMJcyrs64s3qoZ_EMQwi2E8VxCIGZkW8-3NRMuKjwvv8XRftabG0n0UdrO0Y/s320/caligaroom.jpg" style="cursor: move;" width="320" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjxg3-0riRbFuADnHKJYKFtWe5YxEhxNNLmFeQqWZDhTPwXRfQXzwxRtFBQaf8jnB_Z8CKRfxGHK9meIRyOEYLsObYcBBBlbjP7W8Hb4Iqm3qFCSlxXQ7FsBY2aFSwXUS-cqKnHS6J1gA/s1600/Picture+1.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjxg3-0riRbFuADnHKJYKFtWe5YxEhxNNLmFeQqWZDhTPwXRfQXzwxRtFBQaf8jnB_Z8CKRfxGHK9meIRyOEYLsObYcBBBlbjP7W8Hb4Iqm3qFCSlxXQ7FsBY2aFSwXUS-cqKnHS6J1gA/s320/Picture+1.png" style="cursor: move;" width="320" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="http://www.youtube.com/watch?v=xrg73BUxJLI">'The Cabinet of Dr.Calligari'</a> (1920)</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">In these two scenes from '<a href="http://cinepad.com/filmnoir/shadows.htm">The Cabinet of Dr Calligari</a>' the use of dramatic diagonal lines to break up the composition is a characteristic of <a href="http://www.moma.org/explore/collection/ge/">GermanExpressionism</a>.</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtohqXaLHM3oH2rVKG958aChXF6TRC8v1vWqWHkgiwNF7lFVqimuHmnlBugv5NdEDQwnkWKIUhmDCnquzGh4nujPKLHxIgAfPbcV8cSplOEXzL9b_1GK2PuqcHsI1607YxE_nVxZ8Ju2c/s1600/dubeH197.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="304" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtohqXaLHM3oH2rVKG958aChXF6TRC8v1vWqWHkgiwNF7lFVqimuHmnlBugv5NdEDQwnkWKIUhmDCnquzGh4nujPKLHxIgAfPbcV8cSplOEXzL9b_1GK2PuqcHsI1607YxE_nVxZ8Ju2c/s320/dubeH197.jpg" style="cursor: move;" width="320" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="http://www.newyorkartworld.com/reviews/kirchner.html">Ernst Ludwig Kirchner</a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSaFtt_Ecz_M2TAnoXqvPIeAK5y3N3_Pqks4jzyawjJAvQ-7_Aq_Zgm0Cm6mVS5CYKuKea10BbjkmLaYf4CW6Ap3VO1uqF1l2o2ZhW0Ppeve2Xuwph9WdL8WHxirznVx7znAocmyIa9qs/s1600/PotsdamerPlatz-298x400.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSaFtt_Ecz_M2TAnoXqvPIeAK5y3N3_Pqks4jzyawjJAvQ-7_Aq_Zgm0Cm6mVS5CYKuKea10BbjkmLaYf4CW6Ap3VO1uqF1l2o2ZhW0Ppeve2Xuwph9WdL8WHxirznVx7znAocmyIa9qs/s320/PotsdamerPlatz-298x400.jpg" style="cursor: move;" width="238" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">'Potsdamer Platz' 1914 Ernst Ludwig Kirchner</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">In this painting by <a href="http://www.nga.gov/exhibitions/kirchnerinfo.shtm">Ernst Ludwig Kirchner</a> you can see the warped perspective of the city streets almost tipping the scene over. You can see how Kirchers dramatic distortion of space was used in the stage sets of German cinema. Kirchner was one of the prolific of the German Expressionist artists who were opposed to the academic art that surrounded them.</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;"></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtKClX7IGKGHpz7952EaHRGGNjF5FqWEGwfoVz00LhxNUGSK-AhlX4Zx4f95MPX4Wk9gJDMpQLrQM-Cn9vAPS6aKx3KLa_PCFaavE13mQkMDXD0C804rQchIqY9XuXzYOYYtaOBgmZTtow/s1600/20090528-funke-450.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="321" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtKClX7IGKGHpz7952EaHRGGNjF5FqWEGwfoVz00LhxNUGSK-AhlX4Zx4f95MPX4Wk9gJDMpQLrQM-Cn9vAPS6aKx3KLa_PCFaavE13mQkMDXD0C804rQchIqY9XuXzYOYYtaOBgmZTtow/s400/20090528-funke-450.jpg" style="cursor: move;" width="400" /></a></div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div></div></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgENb2PX2FfoWL6LSg6x7j9RFUSzLUZTgPYocmC1Vlx0PRFdgru_DtDrzrD9w-MLJAeTVtPcGvMXcc0wTVApLH0OS1eOGDEYwBYH-KrED1CSXxJ_aLb38hEmo-WsVIKd8iP1A5HEzByvMqe/s1600/231-019.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgENb2PX2FfoWL6LSg6x7j9RFUSzLUZTgPYocmC1Vlx0PRFdgru_DtDrzrD9w-MLJAeTVtPcGvMXcc0wTVApLH0OS1eOGDEYwBYH-KrED1CSXxJ_aLb38hEmo-WsVIKd8iP1A5HEzByvMqe/s400/231-019.jpg" style="cursor: move;" width="313" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="http://jarred funke and the avante guarde">Jaromir Funke </a>'Abstract photo' 1928-29</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">These images show how German expression not only took the form of painting, printing, film but also avant guard photography. <a href="http://www.nga.gov/exhibitions/2009/funke/funke-brochure.pdf">Jaromír Funke</a> (1896–1945) was one of the foremost photographers of the 1920s and 1930s in Czechoslovakia, a country that stood at the forefront of creative photography during these two decades. In many ways he was an <a href="http://www.washingtonpost.com/gog/exhibits/jaromir-funke-and-the-amateur-avant-garde,1155390/critic-review.html#reviewNum1">amateur</a> in the true sense of the word. These simple light experiments combine diagonal lines and triangles with circles to create dramatic compositions. The use of strong contrast between the areas of light and dark adds to this dramatic effect. The influence of German expressionism has reached art (<a href="http://neo expressionism guardian">Neo Expressionism</a>), animation (<a href="http://www.guardian.co.uk/film/2008/nov/29/lotte-reiniger-fairy-tale-films">Lotte Reiniger</a>'s - <a href="http://www.youtube.com/watch?v=JIgPA4pMw_g">fairy tale films</a>), modern cinema (Film Noir, <a href="http://www.guardian.co.uk/theguardian/2005/jun/03/1">Sin City</a>) and even video games (via film noir - <a href="http://www.guardian.co.uk/technology/gamesblog/2011/may/16/la-noire-game-review">LA Noir</a> - <a href="http://www.guardian.co.uk/commentisfree/2011/may/23/gaming-makes-hollywood-look-embarrassing">here</a>).</div></div></div>jfkturnerhttp://www.blogger.com/profile/04292497470976112213noreply@blogger.comtag:blogger.com,1999:blog-5743411721886035143.post-3214888798490888242012-02-27T04:27:00.000-08:002012-02-27T04:27:18.087-08:00Combinations and Alliances - Juxtaposition<div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu93lY2K2Coe-_os37wvLu35wwGpEOuR8TwHvrdOPdndAzNgOHF3JkdZ1i_xX8ntbetoIuyd975ZSaC9662_Lf4WRM5O_zoI8-IReGAVmcChpODU6sRSjTUICEecsS8R36_QSPgD-msQhH/s1600/sommer_max_ernst.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="318px" kca="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu93lY2K2Coe-_os37wvLu35wwGpEOuR8TwHvrdOPdndAzNgOHF3JkdZ1i_xX8ntbetoIuyd975ZSaC9662_Lf4WRM5O_zoI8-IReGAVmcChpODU6sRSjTUICEecsS8R36_QSPgD-msQhH/s400/sommer_max_ernst.jpg" style="cursor: move;" width="400px" /></a></div><div style="text-align: center;"><div style="margin: 0px;"><a href="http://www.fredericksommer.org/">Frederick Sommer</a> - 'Max Ernst' 1946</div></div><div style="text-align: left;"><div style="margin: 0px;">This is a photograph of the artist Max Ernst by Frederick Sommer. Ernst was connected to the <a href="http://www.tate.org.uk/modern/exhibitions/surrealism/room1.htm">Surrealists</a> who were interested in the world of the unconscious and dreams. In dreams the everyday mixes and creates strange juxtapositions. <a href="http://en.wikipedia.org/wiki/Sandwich_printing">In this photograph Frederick Sommer has created a sandwich negative in the dark room by placing two negatives on top of one another. </a>He would have had to alter the exposure time to compensate for using two negatives. Like the surrealists Sommer has Juxtaposed two images - an image of Hass and an old textured wall. Is he making a connection between the decay effects of nature on a man made wall and the ultimate aging effect of time on the human body?</div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD1ic0fpsc4efVakbMP7SmjH8gh2RJwj45PHdsuSMqdQMCApdslsvI0SKt3iDJ40-Vvj5u7Y4tsHPq2x5LrBiCiC-7oNPoVs5otFIS50Q-47ub0Eh0nvUZpOTr2sufEYyFLKdnpou-Z0x_/s1600/travis+12+memories.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" kca="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD1ic0fpsc4efVakbMP7SmjH8gh2RJwj45PHdsuSMqdQMCApdslsvI0SKt3iDJ40-Vvj5u7Y4tsHPq2x5LrBiCiC-7oNPoVs5otFIS50Q-47ub0Eh0nvUZpOTr2sufEYyFLKdnpou-Z0x_/s400/travis+12+memories.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Album cover for Travis '12 Memories' 2003 - photographs by <a href="http://www.corbijn.co.uk/">Anton Corbijn</a></div><div class="separator" style="clear: both; margin: 0px; text-align: left;">This album cover is similar to Sommer's image. Each band member has been photographed from a distance (a view that includes some kind of texture) and then this images has been merged with a close up portrait. Here we see a trickle down effect from early twentieth century pioneers to early 21st century commercial packaging. However, even in 1949, when Sommer created his image of Hass, the act of combining images together was already established.</div><div class="separator" style="clear: both; margin: 0px; text-align: left;"></div><div style="margin: 0px;"><div style="text-align: left;"><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://bioscopic.files.wordpress.com/2008/03/melies2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="277px" src="http://bioscopic.files.wordpress.com/2008/03/melies2.jpg" style="cursor: move;" width="400px" /></a></div><div style="text-align: center;"><div style="margin: 0px;"><div style="margin: 0px;"><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><a href="http://www.youtube.com/watch?v=dXwGN2uSsn0">George Melies</a></span> - <a href="http://www.youtube.com/watch?v=nXbjYaXVVqM">'L’Homme à la tête en caoutchouc'</a> 1903</div></div></div></div></div></div><div class="separator" style="clear: both; margin: 0px; text-align: left;">Some of the earliest examples of merged images are found in cinema. Early films were often just one long take but soon film maker were editing several scenes. Pioneers such as George <span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><a href="http://www.youtube.com/watch?v=hJLnYVfmPEw&feature=related">Melies</a></span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"> (</span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">and <a href="http://bioscopic.wordpress.com/2008/03/">others</a>) creatively </span>experimented with the way you could <a href="http://classes.yale.edu/film-analysis/htmfiles/editing.htm">cut from scene to scene</a> and the art of editing was born (watch '<a href="http://www.youtube.com/watch?v=508MHvMGWEg">The Cutting Edge - The Magic of Movie Editing'</a>). Also <a href="http://www.youtube.com/watch?v=zfgiUvBaosg">watch Lois Weber's 'Suspence' 1913.</a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUu8CFvLUehiHIbE2MrYdpmlOfgRf5P4Mlp_96cb6n_rW3bTKiu7WKHu8ZUbRFsvIBDmuC1NSwRyw2seFcsEvWHI1iMpIEmLSjnrblyhzOwGSs0tiR1m9AZOOeNW95O8Xv2A9k7E5r42qt/s1600/Picture+4.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="342px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUu8CFvLUehiHIbE2MrYdpmlOfgRf5P4Mlp_96cb6n_rW3bTKiu7WKHu8ZUbRFsvIBDmuC1NSwRyw2seFcsEvWHI1iMpIEmLSjnrblyhzOwGSs0tiR1m9AZOOeNW95O8Xv2A9k7E5r42qt/s400/Picture+4.png" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.designishistory.com/1920/el-lissitzky/">El Lissitzky</a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkIAueHxgRa9MWolLutDeUXNYhHVlXvBL4gLT6vgI7SyJE_igJbJ9eVX1_VJcml8guF0e1RXrOceCn9ZXqJxCe-GsP1WXDpQ_1BQfrN7_6CDmL9-ns9-FJ4hpLrLXbvQi1C8Im9A6eu7zg/s1600/2009kino-vertov300%255B1%255D.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="261px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkIAueHxgRa9MWolLutDeUXNYhHVlXvBL4gLT6vgI7SyJE_igJbJ9eVX1_VJcml8guF0e1RXrOceCn9ZXqJxCe-GsP1WXDpQ_1BQfrN7_6CDmL9-ns9-FJ4hpLrLXbvQi1C8Im9A6eu7zg/s400/2009kino-vertov300%255B1%255D.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghdBWzGsrUI9p_BpQdqLNmBmtwgVAubqnuscdt2vcHpVXKW0feoC0TMTTkRt4KPce3pgtn_6XMpO4UyRhMjja0pSWEj0b2I09emBO4mJHPpY-akGLMMkNmOXpKlUpmED0StVEMIKv7-KDs/s1600/bild.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="297px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghdBWzGsrUI9p_BpQdqLNmBmtwgVAubqnuscdt2vcHpVXKW0feoC0TMTTkRt4KPce3pgtn_6XMpO4UyRhMjja0pSWEj0b2I09emBO4mJHPpY-akGLMMkNmOXpKlUpmED0StVEMIKv7-KDs/s400/bild.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Dziga Vertov 'Man with a Movie Camera 1929</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">An eye is superimposed with a lens (<a href="http://www.othercinema.com/otherzine/index.php?issueid=2&article_id=13">'I am kino-eye, I am mechanical eye</a>') and a mans face is superimposed with a machine. <a href="http://www.guardian.co.uk/film/2005/jul/02/2">Dziga Vertov</a>'s revolutionary film '<a href="http://www.youtube.com/watch?v=00ZciIC4JPw">Man with a Movie Camera</a>' (watch an ongoing modern remake <a href="http://dziga.perrybard.net/">here</a>) experimented, expanded and reinvented what could be done with a camera and how you could edit the film. The moving image is <a href="http://www.youtube.com/watch?v=brVO2l4bONc">the ultimate Photomontage</a> but rather than a static image you have multiple images, one after the other, creating strange juxtapositions and new meanings. Vertov's films are like a living <a href="http://thedelightsofseeing.blogspot.com/search/label/Photomontage">Dada Photomontage</a>. Vertov wasn't making art - he was making work for the people. In doing so he helped create the language of cinema. Like the juxtaposition used in Surrealism, editing film together creates new meaning.</div><div class="separator" style="clear: both; margin: 0px; text-align: left;"><br />
</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">It was in scene Transitions in cinema where we see images that look like a sandwich negative or a multiple exposure.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihNUSXaMTNRpQ_7chyKyipPEEczUk2WfYXeCHg3i9V1dKnFd3K1vCKrnFRLKQBJ8ogQNKEO_hJzZUC7pu2RpRVjCv8hRRfm4-gWqPRIGBw_OWCjSsShzlpnj5LJn53gSzzoiIU1f8jvL5F/s1600/pather1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="232px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihNUSXaMTNRpQ_7chyKyipPEEczUk2WfYXeCHg3i9V1dKnFd3K1vCKrnFRLKQBJ8ogQNKEO_hJzZUC7pu2RpRVjCv8hRRfm4-gWqPRIGBw_OWCjSsShzlpnj5LJn53gSzzoiIU1f8jvL5F/s320/pather1.jpg" style="cursor: move;" width="320px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEix8Id_bzU1ywZDjp6ByXngwAHa0g-UbYqVwZIiWhVykn9115dIe2l9ZLenlNJeUjRhU3qVXPErzRC9MQsFS75FW2aY12067aL1ET8pagcPWesE0VXKHutioYmDKccj9DA2UKwXWPacO4QT/s1600/pather2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="231px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEix8Id_bzU1ywZDjp6ByXngwAHa0g-UbYqVwZIiWhVykn9115dIe2l9ZLenlNJeUjRhU3qVXPErzRC9MQsFS75FW2aY12067aL1ET8pagcPWesE0VXKHutioYmDKccj9DA2UKwXWPacO4QT/s320/pather2.jpg" style="cursor: move;" width="320px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYFuD0MbAg4T9ujxWJHrJ2p7AW4uTNdmzpt9UL5vuizOtsyetMovP-YvJyLiuDiaB8F0farVIyUXsAwWD9_sNX0om9agWPGnEjENd93P8k88KYR0hlaXNhVMh9JK2c3YN6lsnztBz019bV/s1600/pather3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="234px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYFuD0MbAg4T9ujxWJHrJ2p7AW4uTNdmzpt9UL5vuizOtsyetMovP-YvJyLiuDiaB8F0farVIyUXsAwWD9_sNX0om9agWPGnEjENd93P8k88KYR0hlaXNhVMh9JK2c3YN6lsnztBz019bV/s320/pather3.jpg" style="cursor: move;" width="320px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Stills from <a href="http://www.guardian.co.uk/film/2010/oct/20/pather-panchali-ray-arthouse">Pather Panchali </a> (directed by Satyajit Ray) 1955</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">Satyajit Ray first ever film, made with <a href="http://en.wikipedia.org/wiki/Pather_Panchali">an inexperienced crew and untrained actors</a>, is one of the most beautiful films ever made (sit back have a cup of tea and <a href="http://www.youtube.com/watch?v=CurcGnmI-IQ">watch it here</a>). At several key stages <a href="http://classes.yale.edu/film-analysis/htmfiles/editing.htm">transitions</a> are used - blending scenes into one another - mixing everyday reality with a dreamlike quality. These moments pass quickly in the film but frozen they reveal themselves as rich, layered multiple exposures. Many modern films use this technique - there will probably be one in the next film you see.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP-zidqck2i5KGhe-IUT9JP972yWL6H-o_jk4MWWiOwG-Y7i8zTA0IwKUeM2SyGgjhNLvKqo048tIEJAiMVLUMt5oP46ER12kbeQ6dYykybHVqPTIYKSIeL9kjxVNKv15V_RufksrzaHc/s1600/patherpanchali_train-scene.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="301px" nda="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP-zidqck2i5KGhe-IUT9JP972yWL6H-o_jk4MWWiOwG-Y7i8zTA0IwKUeM2SyGgjhNLvKqo048tIEJAiMVLUMt5oP46ER12kbeQ6dYykybHVqPTIYKSIeL9kjxVNKv15V_RufksrzaHc/s400/patherpanchali_train-scene.png" width="400px" /></a></div><div class="separator" style="clear: both; text-align: center;">Still from Pather Panchali</div><div class="separator" style="clear: both; text-align: left;">As well as transition shots 'Pather Panchali' juxtaposes images within the same scene. <a href="http://www.youtube.com/watch?v=d-JWZDALouI">In the famous train scene</a> Apu and Durga run to catch a glimpse of a train. Apu and Durga come from a poor traditional rural village and the train represent industrialisation and the future. By contrasting the modernity of the train with the children's simple life style juxtaposes the traditions of the past with the possibilities of the future. Today a lot of people pine for a simpler less consumer led life but here industrialisation is shown as a positive force.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.mcs.csueastbay.edu/~malek/Surrealism/magritte2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="315px" src="http://www.mcs.csueastbay.edu/~malek/Surrealism/magritte2.jpg" style="cursor: move;" width="400px" /></a></div><div style="margin: 0px;"><div style="margin: 0px;"><div style="margin: 0px;">Rene Magritte was a surrealist painter who often combined or juxtaposed two images together. Most of us have seen rain and we have seen men in suites (Magritte used these figures as short hand for the <a href="http://en.wikipedia.org/wiki/Bourgeoisie">bourgeois</a>) – they are both everyday sights. In our dreams it could rain business men - as in this above painting by Magritte. These are the kind of Juxtapositions the <a href="http://www.guardian.co.uk/culture/2006/may/11/1">Surrealists</a> liked to play with.</div></div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCJMjNxO5-t6H7DaMxaaRF4BojBvS3N87NgUibqf52sEE8nKLIj0GfH6rDgD96kDJYWST5NbVRZZskN454_SWaQ-DHfbf1er8Kv8AqnVFVVf97IhGhI8MZqnfob_ERru5LBA3UD33IIIrL/s1600/magritte55.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCJMjNxO5-t6H7DaMxaaRF4BojBvS3N87NgUibqf52sEE8nKLIj0GfH6rDgD96kDJYWST5NbVRZZskN454_SWaQ-DHfbf1er8Kv8AqnVFVVf97IhGhI8MZqnfob_ERru5LBA3UD33IIIrL/s400/magritte55.jpg" style="cursor: move;" width="301px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><span class="Apple-style-span" style="color: white;">Rene Magritte 'The Explanation' 1954</span></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqWV37yQR3l1CITmbVyPT0eBS4_noW6LPyuc95mB6dcWTnN1REGNK_64_tYQScVn6KprzxswFqRdQvF1rBwCfXCQNqWB3gUEHPUjksHjPJjiA30LuN27eG2rz7N-5a-tmTGNxcqR56nhy_/s1600/magritte+shoes.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqWV37yQR3l1CITmbVyPT0eBS4_noW6LPyuc95mB6dcWTnN1REGNK_64_tYQScVn6KprzxswFqRdQvF1rBwCfXCQNqWB3gUEHPUjksHjPJjiA30LuN27eG2rz7N-5a-tmTGNxcqR56nhy_/s400/magritte+shoes.jpg" style="cursor: move;" width="291px" /></a></div><div style="text-align: center;"><div style="margin: 0px;"><div style="margin: 0px;">Rene Magritte 'le modele rouge' 1935</div></div></div><div style="margin: 0px;"><div style="margin: 0px;">These images by Magritte show how he would juxtapose two images to create a new strange image. A carrot becomes a bottle or shoes become feet (<a href="http://historyiselementary.blogspot.com/2006/08/natural-vs-man-made.html">man made objects merged with natural forms</a>). Magritte was a Surrealist who were interested in dreams and the unconscious. In a dream you will combine everyday things but by combining them they become strange. You may dream of a hat or a piece of cheese - both very ordinary. However, in your dream they appear to you as a hat made out of cheese - this is an element of surrealism.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0hWn8TqkhAu1zxSf_8sa9y7WOl-NfYyfaUh8nXJkgE_PVKDVyO6uhl_oE5NH-x4gtT96_RglVv7Uh5__Xp8Vd6VfNCr8eOywOH8-Ww32pm-hegBYMGiUC8USlP7QSYwoIBTJP73293yY/s1600/Smirnoff+Ad+Campaign_4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" dda="true" height="267px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0hWn8TqkhAu1zxSf_8sa9y7WOl-NfYyfaUh8nXJkgE_PVKDVyO6uhl_oE5NH-x4gtT96_RglVv7Uh5__Xp8Vd6VfNCr8eOywOH8-Ww32pm-hegBYMGiUC8USlP7QSYwoIBTJP73293yY/s400/Smirnoff+Ad+Campaign_4.jpg" width="400px" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1fSfZZ1FBX2eA9ketC2Y33WdhuWycx3LcHDJugW1S_clnzI8Umz9Ld_ikxeUJ0hgLe5cmQxd3h1BOL32JrHN9U2VDtHnp-NTXlggcXp_WW5dfOXY8-gYpZ21hS953CBtjqowuPI6aYLU/s1600/smirnoff-vodka-800x800.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" dda="true" height="318px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1fSfZZ1FBX2eA9ketC2Y33WdhuWycx3LcHDJugW1S_clnzI8Umz9Ld_ikxeUJ0hgLe5cmQxd3h1BOL32JrHN9U2VDtHnp-NTXlggcXp_WW5dfOXY8-gYpZ21hS953CBtjqowuPI6aYLU/s400/smirnoff-vodka-800x800.jpg" width="400px" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://kyemckee.blogspot.com/2009_09_01_archive.html">Surrealist inspired Smirnoff Advert</a> and <a href="http://www.tricks-and-illusions.com/2007/11/creative-ad-illusions-by-smirnoff-vodka.html">here</a></div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj088V17kjsT4WDd6zbZ7i5FwE_adHmwYP-xuHg7n4AuDcq8KZ6oEmq-xufR0DM0boUiEd8iEMFfaWTbHNHAFQYw5hUqOk6mVS9a8_MGQN5a7MrtHC1Yq2jPYpfK97gWpGTucbiVTZETww/s1600/edwardwestonpepper_index.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320px" nda="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj088V17kjsT4WDd6zbZ7i5FwE_adHmwYP-xuHg7n4AuDcq8KZ6oEmq-xufR0DM0boUiEd8iEMFfaWTbHNHAFQYw5hUqOk6mVS9a8_MGQN5a7MrtHC1Yq2jPYpfK97gWpGTucbiVTZETww/s320/edwardwestonpepper_index.gif" width="262px" /></a></div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;">Edward Weston <a href="http://www.edward-weston.com/index.htm">'Pepper'</a> 1930</div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmxf_ZRkWb-mdq8MPyrRAYys-iFbKsDz2kGVFhl6xZ230TFzNM0WMHhP-TYEDL_cV8KhPkgodtzKG78c9a7CMEcX_Nh6cLOqgWBHu6am0ptTngHTv5cEtB3g74vqLl3GxiIYmwx_2Kpnw/s1600/westonnude.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320px" nda="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmxf_ZRkWb-mdq8MPyrRAYys-iFbKsDz2kGVFhl6xZ230TFzNM0WMHhP-TYEDL_cV8KhPkgodtzKG78c9a7CMEcX_Nh6cLOqgWBHu6am0ptTngHTv5cEtB3g74vqLl3GxiIYmwx_2Kpnw/s320/westonnude.jpg" width="260px" /></a></div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;">Edward weston 'Nude' 1936</div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: left;">Both of the images above are by <a href="http://www.photo-seminars.com/Fame/EdWeston.htm">Edward Weston</a>. Whether Weston was photographing a natural form, a human figure, a car engine or a toilet (he create a series) he considered curves, light and form. Although he has not combined the images, by photographing them in the same way, he encourages us to compare them.</div><div align="left"><br />
</div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://static.guim.co.uk/Arts/gallery/2007/mar/20/surrealism/6-6990.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="256px" px="true" src="http://static.guim.co.uk/Arts/gallery/2007/mar/20/surrealism/6-6990.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Salvado Dali 'Telephone - homard' 1938</div><div style="margin: 0px; text-align: left;"><div style="margin: 0px;">This is a photograph of <a href="http://www.tate.org.uk/servlet/ViewWork?workid=2988&tabview=text">Salvador Dalí's</a> 'Téléphone-homard (<a href="http://www.google.co.uk/imgres?imgurl=http://static.guim.co.uk/Arts/gallery/2007/mar/20/surrealism/6-6990.jpg&imgrefurl=http://www.guardian.co.uk/arts/gallery/2007/mar/20/surrealism&usg=__ynXojV2f-e94Kzp1MBjFm8Px-HI=&h=404&w=630&sz=26&hl=en&start=18&zoom=1&um=1&itbs=1&tbnid=29Za_V06mIdFlM:&tbnh=88&tbnw=137&prev=/images%3Fq%3DDali%2Blobster%2Btelephone%26um%3D1%26hl%3Den%26sa%3DN%26rls%3Dcom.microsoft:en-US%26rlz%3D1I7SKPB_en%26tbs%3Disch:1">Lobster Telephone</a>)', 1938. Dali was a Surrealist and one of the key themes of Surrealism was the unconscious mind. Again Dali, like Magritte, has used juxtaposition. We have all seen a plastic lobster and we have all seen a telephone but by combining them together Dali has created something Surreal. The surreal look has slowly merged with popular culture and many adverts today have a surreal quality. <a href="http://www.highbeam.com/doc/1P2-5217582.html">Surrealism is now the norm.</a></div></div><div style="text-align: left;"><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-UP2s4VPUlpoON57QGUUB751hTt19txWH9ZQeYL0U65nyZoG2mEbmkdJQ_z2gYwA0Irep1PrLovvTNEhADM-obh08PrL7qK3JR2nhG-7isqC3kvrVMGkj40H5ImjqDJrvvBfYjJLaTCqL/s1600/magritte68.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-UP2s4VPUlpoON57QGUUB751hTt19txWH9ZQeYL0U65nyZoG2mEbmkdJQ_z2gYwA0Irep1PrLovvTNEhADM-obh08PrL7qK3JR2nhG-7isqC3kvrVMGkj40H5ImjqDJrvvBfYjJLaTCqL/s400/magritte68.jpg" style="cursor: move;" width="302px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Rene Magritte - 'Empire of Lights' 1953-54 </div><div class="separator" style="clear: both; margin: 0px; text-align: left;">In this painting Magritte explores the relationship between night and day in one image. The sky is blue and scattered with cloud but the ground is dark apart from a single street light illuminating the scene.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-_ATzoQ-kZQzvlA7a_-O0bBg2ec-h6MvwZTQukTwYkoqKmFclKUl7mNmw5ovMDkAC9TdAGMVxMjlQOIVN7Z5J0kZxfLBoUO0MHJNaB2JXHMYQ-f6iA4_Lrqvk-nXuDufY-P93IZB5U1q0/s1600/jerry+uelsmann+untitled+1982.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" kca="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-_ATzoQ-kZQzvlA7a_-O0bBg2ec-h6MvwZTQukTwYkoqKmFclKUl7mNmw5ovMDkAC9TdAGMVxMjlQOIVN7Z5J0kZxfLBoUO0MHJNaB2JXHMYQ-f6iA4_Lrqvk-nXuDufY-P93IZB5U1q0/s400/jerry+uelsmann+untitled+1982.jpg" style="cursor: move;" width="316px" /></a></div></div><div style="text-align: center;"><div style="margin: 0px;"><a href="http://www.modernbook.com/JerryUelsmann/images.htm">Jerry Uelsmann</a> 'Untitled' 1982</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjpf8b_LCf7KaPZ7CBExVG9FWT8uouu52GxowLig9gdm5vzydmlIQKvjHFWdsfBkryWFxsx8TqjX_9DfvHl1AfViXjvqFYZ79DTEbP1wxteJKpoHyQtWWnpDMYOM4w5otsuwJqCEPsyHQb/s1600/jerry+Uelsmann_Untitled1969.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="252px" kca="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjpf8b_LCf7KaPZ7CBExVG9FWT8uouu52GxowLig9gdm5vzydmlIQKvjHFWdsfBkryWFxsx8TqjX_9DfvHl1AfViXjvqFYZ79DTEbP1wxteJKpoHyQtWWnpDMYOM4w5otsuwJqCEPsyHQb/s320/jerry+Uelsmann_Untitled1969.jpg" style="cursor: move;" width="320px" /></a></div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.masters-of-photography.com/U/uelsmann/uelsmann_articles2.html">Jerry Uelsmann</a> 'Untitled' 1969</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">An old house grows from the stump of a tree and another tree floats above an island. These Photo montages by <a href="http://www.uelsmann.net/">Jerry Uelsmann</a> have the surreal quality of a Magritte and seem to have been pieced together smoothly using a layer mask in Photoshop (read tutorial <a href="http://www.crhfoto.co.uk/crh/layermask.htm">here</a> or see video tutorial <a href="http://www.youtube.com/watch?v=K-D5HxyV6AU&feature=related">here</a>). <a href="http://www.guidetofilmphotography.com/photography-techniques-darkroom.html">However, they have been made in a darkroom using burning and dodging</a>, masks made out of cardboard and patience. Uelsmann came to prominence during the 1960's during the Pop Art era. Photography is famed for its objective, mechanical eye. It can be used as evidence in a court of law. However, these images are clearly fantastical - and with the invention of Photoshop most photographs are altered in some way. In the digital age is photography still an objective medium?</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv43kQExaOQ6MEqAv7RPsH6un2aVrmxFnwXyiRSqRvuy4Gv7bHCKR9VjAtVmbcEjrj9l7_oFMYZLMG_FpLVyjcpdq5g5BOE4nl719M9sXXmr8FLUjUtMc6wPCofAAZBI-uV4rkOXK2-Drj/s1600/Wander+Wulz+self+portrait.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" kca="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv43kQExaOQ6MEqAv7RPsH6un2aVrmxFnwXyiRSqRvuy4Gv7bHCKR9VjAtVmbcEjrj9l7_oFMYZLMG_FpLVyjcpdq5g5BOE4nl719M9sXXmr8FLUjUtMc6wPCofAAZBI-uV4rkOXK2-Drj/s400/Wander+Wulz+self+portrait.jpg" style="cursor: move;" width="302px" /></a></div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Wanda Wulz - Self Portrait 1932</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">In this image Wanda Wulz has used the sandwich negative approach to merge herown image with that of a cat. The notion of a human turning into an animal is called anthropomorphism and has been used repeated in literature - for exam <a href="http://en.wikipedia.org/wiki/Franz_Kafka">Franz Kafka's</a> - 'The Metamorphosis'.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9C0pKWCbqAc7u2GyGLb3AjKOrkjBvtsI3cxp28yN7pvkAygOIUrHtFPvrCBgwMBYc10JS6QvdBAFBR7TLxgtFkp0mSFoRqitegTWytwq8Knb4jMe4GgzinGRff69atusTsZySWSuUtrfi/s1600/merged-advert.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="280px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9C0pKWCbqAc7u2GyGLb3AjKOrkjBvtsI3cxp28yN7pvkAygOIUrHtFPvrCBgwMBYc10JS6QvdBAFBR7TLxgtFkp0mSFoRqitegTWytwq8Knb4jMe4GgzinGRff69atusTsZySWSuUtrfi/s400/merged-advert.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: left;">In this contemporary advert a human figure has been merged with a collection of brass instruments. The curves of the figure has been replaced with the curves of object. In this instant Photoshop has been used.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.kiberpipa.org/gallery/album82/Etienne_Jules_Marey_Kronografije_mo_a_ki_hodi_in_te_e_ter_ptice_v_letu_1880.sized.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="280px" src="http://www.kiberpipa.org/gallery/album82/Etienne_Jules_Marey_Kronografije_mo_a_ki_hodi_in_te_e_ter_ptice_v_letu_1880.sized.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbu1_FrebhhIqikwrgnegf_rBNeiQbTiIcUcgb4MtG8IyS0k1eDuPkquvAqhVPltmt4HQlWRGCQY3SZQ-feHtATfFxOtbaRLbybCoiyMWwcePxYT2ArCzokDM0FO0Hsk8B34lJflbYf5Zf/s1600/ejm_chronophotograph01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="203px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbu1_FrebhhIqikwrgnegf_rBNeiQbTiIcUcgb4MtG8IyS0k1eDuPkquvAqhVPltmt4HQlWRGCQY3SZQ-feHtATfFxOtbaRLbybCoiyMWwcePxYT2ArCzokDM0FO0Hsk8B34lJflbYf5Zf/s400/ejm_chronophotograph01.jpg" style="cursor: move;" width="400px" /></a></div><div style="text-align: center;"><div style="margin: 0px;">E.J. Marey 'Geometric Chronophotograph of a man in a black suit' 1883</div></div><div style="margin: 0px;"><div style="margin: 0px;"><span style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.exeter.ac.uk/bdc/young_bdc/movingpics/movingpics6.htm">Etienne-Jules Marey</a> </span>created images of the moving figure (also see<span style="font-family: Arial, Helvetica, sans-serif;"> <a href="http://www.tate.org.uk/britain/exhibitions/eadweardmuybridge/default.shtm?gclid=CLvvhdTi86QCFU0_4wodbzFBjA">Eadweard Muybridge</a></span>). Marey was a scientist who used art whereas Muybridge was an artist who created pseudo-scientific images. However, Marey's images were slow shutter speed shots and he used a strobe light. As the strobe flashed it created an image of the figure - therefore creating multiple figures showing the subject move though time and space.</div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span></div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span></div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span></div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span></div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span></div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span></div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span></div><div class="separator" style="clear: both; font-family: Times; margin: 0px; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.smoca.org/images/education/ex/edgerton.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640px" src="http://www.smoca.org/images/education/ex/edgerton.jpg" style="cursor: move;" width="500px" /></a></span></div><div style="font-family: Times; margin: 0px; text-align: center;"><div style="margin: 0px;"><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> <a href="http://edgerton-digital-collections.org/">Harold Edgerton</a> </span></span></div></div></div><div style="margin: 0px;"><div style="margin: 0px;"><div style="margin: 0px;">Photography is, in many ways, where art and science meet and these images show Harold Edgerton’s experiments with high speed photography. This image was created by having the camera on a tripod and using a<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> <a href="http://thedelightsofseeing.blogspot.com/search/label/Shutter%20speeds%20-%20SLOW">slow shutter speed</a>.</span></span> However, Edgerton used a strobe light – each time it flashed it captured the figure in mid movement.</div></div></div></div><div style="margin: 0px;"><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Times;"></span></span></div></div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span></div><div style="margin: 0px;"><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span></span></div></div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span></span></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.art2bank.com/london_art_news/art_investment_tate_boccioni.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="http://www.art2bank.com/london_art_news/art_investment_tate_boccioni.jpg" style="cursor: move;" width="298px" /></a></div><div style="text-align: center;"><div style="margin: 0px;">Umberto Boccioni 'Unique Forms of Continuity in Space' 1913</div></div><div style="margin: 0px;"><div style="margin: 0px;"><a href="http://www.art2vu.co.uk/london_art_news/featured-galleries/umberto-boccioni.php">In this sculpture above the futurist artist <span style="font-family: Arial, Helvetica, sans-serif;">Umberto Boccioni</span></a><span style="font-family: Arial, Helvetica, sans-serif;"> </span>has captured in three dimensions a figure moving through time and space. Notice how the calf muscles are repeated - like a slow shutter speed photograph made solid. It is similar to<span style="font-family: Arial, Helvetica, sans-serif;"> <a href="http://www.idiom.com/~wcs/duchamp.html">Marcel Duchamp's 'Nude Descending a Staircase'</a> </span>where we see a figure repeated going down stairs.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLlJtDrebboh-F_AU0YfK6NvMeuj74lgedAb3tViUN08klt80m8KcOHYtAtWhbJ7shV39W0xetW0bt-7_dQiLErIxHecjf-Ehf9RN6QuOrRkWZpFHVTAwy2m-Q5ZrF3AmM4XivLAimMmPe/s1600/duchamp+descending+a+staircase+1952.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLlJtDrebboh-F_AU0YfK6NvMeuj74lgedAb3tViUN08klt80m8KcOHYtAtWhbJ7shV39W0xetW0bt-7_dQiLErIxHecjf-Ehf9RN6QuOrRkWZpFHVTAwy2m-Q5ZrF3AmM4XivLAimMmPe/s400/duchamp+descending+a+staircase+1952.jpg" style="cursor: move;" width="335px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">'Duchamp Descending a Staircase' Life Magazine 1952 by Eliot Elisofon</div></div><div style="margin: 0px;"><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span></div></div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr2Hvd6aaiXKLlVgr5zjnB0-k6TM4XH2Pj8sFB7031qWiGFeZnUmurYN69iuy5pA1uj-1UgRktC4Z3-TfxyNrn_MRTsYM-C52siS9liRSazXBoWci2mEnEw98raNM_Ai_KCtlBY-B8fHQX/s1600/duchamp-nude-descending-a-staircase.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr2Hvd6aaiXKLlVgr5zjnB0-k6TM4XH2Pj8sFB7031qWiGFeZnUmurYN69iuy5pA1uj-1UgRktC4Z3-TfxyNrn_MRTsYM-C52siS9liRSazXBoWci2mEnEw98raNM_Ai_KCtlBY-B8fHQX/s640/duchamp-nude-descending-a-staircase.jpg" style="cursor: move;" width="388px" /></a></span></div><div class="separator" style="clear: both; margin: 0px;"></div><div style="text-align: center;"><div style="margin: 0px;">Marcel Duchamp 'Nude Descending a staircase (No2)' 1912</div></div><div style="margin: 0px;">'Nude descending a staircase (No2)' was the painting that changed Marcel Duchamp's life. The figure hardly looks nude because it hardly looks human. You can just about make out the form of a figure move diagonally across the composition. triangles and semi circles of brown and yellow hues add vibrancy to the image. When Duchamp submitted Salon des Independants, it was coldly received. The cubist painter and theorist Albert Gleizes asked Duchamp's brother to ask him to 'Voluntarily' withdraw it. It did not conform to what the cubist circle wanted to represent their ideas<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://thedelightsofseeing.blogspot.com/search/label/Cubism">(Cubism showed the world from multiple viewpoints)</a></span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">.<a href="http://www.blogger.com/goog_852873240"> </a></span>It seemed too futurist to them since it contained movement <a href="http://www.tate.org.uk/modern/exhibitions/futurism/rooms/room1.shtm"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">(Futurism, although sharing a certain look of Cubism, showed objects moving through time and space).</span></a><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> </span></div><div style="margin: 0px;">The Cubists wanted to clarify and strengthen their position against other 'ism' that were cropping up. Embarrassed Duchamp's brother asked him to concede, which he did without making a fuss. However, the incident did affect Duchamp -</div><div style="margin: 0px;"><span class="Apple-style-span" style="font-size: large;">"This affair helped me to totally escape my past, my own personal past. I said to myself, 'Well, if that's how the way they want it, then there's no question about me joining a group; one can only count on oneself, one must be a loner.'"</span></div><div class="separator" style="clear: both; margin: 0px;">Soon after<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.youtube.com/watch?v=lmag4vL7hnQ">Duchamp would turn his back on painting and start to question the very nature of art.</a></span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> </span>He started placing objects from the world into gallery spaces, he called them<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.tate.org.uk/collections/glossary/definition.jsp?entryId=239">'ready-mades'</a></span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">, </span>most famously in<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.telegraph.co.uk/culture/art/3671180/Duchamps-Fountain-The-practical-joke-that-launched-an-artistic-revolution.html">1917 with 'Fountain'</a></span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">.</span></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMsNtiB4Co1uWUP39URGcdXXTJ_bVACHWnaWrq9T-H5GhP9IVEp0uTBYBvjBxI4dwr0jZHRp2NhMM9ulQT1ro0qKVdKGbr5XOq0QQd_kAzIw0KLuOVaNprQoLIXUYozNBIk7st61GS4G4s/s1600/cecil+beaton+ts+eliot.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMsNtiB4Co1uWUP39URGcdXXTJ_bVACHWnaWrq9T-H5GhP9IVEp0uTBYBvjBxI4dwr0jZHRp2NhMM9ulQT1ro0qKVdKGbr5XOq0QQd_kAzIw0KLuOVaNprQoLIXUYozNBIk7st61GS4G4s/s400/cecil+beaton+ts+eliot.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.telegraph.co.uk/culture/photography/8128794/How-Cecil-Beaton-captured-the-world.html">Cecil Beaton</a> - 'T.S.Eliot' 1956</div><div class="separator" style="clear: both; margin: 0px; text-align: left;"><a href="http://www.bbc.co.uk/bbcfour/documentaries/features/beaton.shtml">Cecil Beaton</a> often used Multiple exposures in his portraits to show different views of the same person in one image. He would have used a tripod to keep the camera in the same position so the back remains the same but the figure moves. This could be achieved by exposing the film four times in the camera (though you have to lower the exposure time accordingly), exposing the same piece of photographic paper with three different negatives or blending <a href="http://www.bbc.co.uk/bbcfour/documentaries/features/beaton.shtml">Layers in Photoshop</a>.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghyrbzqLl35xLNla6wBKzSkcempt3_w0Ja9cVQoIlhCfpTCMpiV2qB3Ma6GLkYm8BAAhG9LRzGfHRr6TZLPRcV_JtoAWfUtd0Y9qTd5cY8llIrNBU8qYP1YRngX9ZB7PpODoEgm6SLee49/s1600/Alvin+Langdon+Coburn+%252811%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghyrbzqLl35xLNla6wBKzSkcempt3_w0Ja9cVQoIlhCfpTCMpiV2qB3Ma6GLkYm8BAAhG9LRzGfHRr6TZLPRcV_JtoAWfUtd0Y9qTd5cY8llIrNBU8qYP1YRngX9ZB7PpODoEgm6SLee49/s640/Alvin+Langdon+Coburn+%252811%2529.jpg" style="cursor: move;" width="464px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.masters-of-photography.com/C/coburn/coburn.html">Alvin Langdon Coburn</a> 'Ezra Pound' 1917</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">This photograph by Alvin Langdon Coburn creates a vortex effect from a simple portrait shot. It is an image of Ezra Pound who was a key member of the English <a href="http://www.vorticism.co.uk/">Vorticism</a> group <a href="http://www.guardian.co.uk/artanddesign/2011/may/28/vorticists-tate-britain-exhibition-review">(Vorticism shared qualities with Cubism and Futurism)</a>. In the darkroom the paper has been exposed three times - with each exposure the image has been re sized and refocused. Exposure time would have to be reduced so the paper did not become over exposed.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjduDf4ykh-2UmlxRnN_PgeSJpuEXcw-JX7G6L5RUzJsI6l76gzWqYUvclHMX_yltCv58U2ewwZ9sgJQDyvjiYCnoMF8b_5BaNj19yj9ceDOANMeDMknpb1jpx19hNo7ZZxAj6IrOTZ9Gtl/s1600/03-coburn_vortograph.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjduDf4ykh-2UmlxRnN_PgeSJpuEXcw-JX7G6L5RUzJsI6l76gzWqYUvclHMX_yltCv58U2ewwZ9sgJQDyvjiYCnoMF8b_5BaNj19yj9ceDOANMeDMknpb1jpx19hNo7ZZxAj6IrOTZ9Gtl/s640/03-coburn_vortograph.jpg" style="cursor: move;" width="491px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Alvin Langdon Coburn 'Vortograph' 1917</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">At his best Coburn experimented with unusual viewpoints and created some of <a href="http://gallery.ca/cybermuse/enthusiast/acquisitions/2005-2006/Coburn_text_e.jsp">the first abstract photographs</a> with his <a href="http://arttattler.com/archivevorticists.html">'Vortographs'</a>. They were created by using three mirrors to create a kaleidoscopic images.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5BaSbZ4spf8aNj9OetRmRMOBte0rBBi2-Dgo_8LOHakejRRljnz1uAxSKmxu6PHVNxLYnq2sXO1zn7VAurd-s0fwhO973JGv0Gr4B6cBigGPU0e2msANOUVPSAlou3KeiExXULwR9hBzL/s1600/warhol+trip%255Ble+elvis.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5BaSbZ4spf8aNj9OetRmRMOBte0rBBi2-Dgo_8LOHakejRRljnz1uAxSKmxu6PHVNxLYnq2sXO1zn7VAurd-s0fwhO973JGv0Gr4B6cBigGPU0e2msANOUVPSAlou3KeiExXULwR9hBzL/s400/warhol+trip%255Ble+elvis.jpg" style="cursor: move;" width="340px" /></a></div><div class="separator" style="clear: both; font-family: Times; margin: 0px; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span></div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span></div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span></div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span></div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.guardian.co.uk/culture/gallery/2008/jul/25/warhol">Warhol</a> </span>'Triple Elvis' 1963. Acrylic and silkscreen ink on canvas</div><div style="text-align: center;"><div style="text-align: left;"><div style="margin: 0px;"><div style="margin: 0px;">In 'Triple Elvis' a promotional photograph of Elvis is overlaid three times using the <span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.youtube.com/watch?v=CzrPmfaYcMM">silkscreen process</a>. </span></span>This creates a visual Jump - creating movement in a static image. It also suggests that celebrity is shallow - that stars are turned into products to be consumed by the viewer. When you see a Warhol in the flesh you notice that each silkscreened image is slightly different to the next. Little imperfections give the initially mechanical image painterly qualities.</div><div style="font-family: Times;"><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Times;"></span></span></span></div></div><div style="font-family: Times;"><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span></span></div></div><div style="font-family: Times;"><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span></span></div></div><div class="separator" style="clear: both; font-family: Times; margin: 0px; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEhqSYgNvVrZDBX7cSx4oZTaMkDyAB0i8nZcC4zCraPkelCsMNN06Swc9_htAWeZOLqXPvcZCZC9z4w6IjtxBrpGGD9yPzfX4aXDCZdKD7vi7NzHLMmkMHvnl0ad1AeCSAtRiz5WxwwDs/s1600/Thiebault_L.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" n4="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEhqSYgNvVrZDBX7cSx4oZTaMkDyAB0i8nZcC4zCraPkelCsMNN06Swc9_htAWeZOLqXPvcZCZC9z4w6IjtxBrpGGD9yPzfX4aXDCZdKD7vi7NzHLMmkMHvnl0ad1AeCSAtRiz5WxwwDs/s400/Thiebault_L.jpg" style="cursor: move;" width="287px" /></a></span></span></div><div style="font-family: Times; text-align: center;"><div style="margin: 0px;"><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Eugène Thiébault - 'Henri Robin and a Specter', 1863</span></span></div></div></div><div class="separator" style="clear: both; font-family: Times; margin: 0px; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0mzejjEqfVeW2yefXRXotrAeSuQ-XhzpSO07PZWAU93837PKSUXjxQpv9fVb5Mu9zlOrWkOacyiSV_YYPjwwtI0lr3k3llG2Qnk1AXjOQvtX9NyoIhfvwCQSf0QwPUAw1coYJ6wy9UFY/s1600/RANDY_slide_2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="243px" n4="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0mzejjEqfVeW2yefXRXotrAeSuQ-XhzpSO07PZWAU93837PKSUXjxQpv9fVb5Mu9zlOrWkOacyiSV_YYPjwwtI0lr3k3llG2Qnk1AXjOQvtX9NyoIhfvwCQSf0QwPUAw1coYJ6wy9UFY/s400/RANDY_slide_2.jpg" style="cursor: move;" width="400px" /></a></span></span></div><div style="font-family: Times; text-align: center;"><div style="margin: 0px;"><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.nytimes.com/packages/khtml/2005/09/30/arts/20050930_KIMM_AUDIOSS.html">"The Ghost of Bernadette Soubirous,"</a> circa 1890, by an unknown photographer</span></span></div></div></div><div style="font-family: Times; text-align: center;"><div style="margin: 0px;"><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><img height="450px" src="http://graphics8.nytimes.com/images/2005/08/31/arts/RANDY.slide.5.jpg" style="cursor: move;" width="334px" /></span></span></div></div></div><div style="font-family: Times; margin: 0px; text-align: center;"><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span style="font-family: Arial; font-size: x-small;">"Partial Dematerialization of the Medium Marguerite Beuttinger," ca. 1920, by an unknown photographer.</span></span></span></div></div><div style="text-align: left;"><div style="margin: 0px;"><div style="margin: 0px;">These images above are from the exhibition <span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Times;">'</span><a href="http://www.metmuseum.org/special/perfect_medium/occult_more.asp" style="font-family: Times;">The Perfect Medium</a><span class="Apple-style-span" style="font-family: Times;"> - </span><a href="http://www.photographymuseum.com/perfectmediumreview.html" style="font-family: Times;">Photography and the occult</a><span class="Apple-style-span" style="font-family: Times;">'. </span></span></span><a href="http://thedelightsofseeing.blogspot.com/search/label/Fakes%20and%20Hoaxes">These images are from the late 19th and early 20th century - an age when photography was relatively young. The fact that some people believed these images were true could say something about gullibility, but also the magical power of photography. In our age of Photoshop manipulation <span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Times;">these images are obviously fake</span></span></span></a><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Times;">. </span></span></span>However, we forget how these images would seem unfathomable to their contemporary audiences. Slow shutter speeds, double exposures and photographic trickery were used to create these strange images.</div></div></div></div></div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.gravestmor.com/strips/idris_khan_sherical_gas.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="http://www.gravestmor.com/strips/idris_khan_sherical_gas.jpg" style="cursor: move;" width="305px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://dailyserving.com/wp-content/uploads/2010/06/Khan-22.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="331px" src="http://dailyserving.com/wp-content/uploads/2010/06/Khan-22.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Idris Khan</div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.victoria-miro.com/artists/_14/">Idris Khan</a> </span>is a contemporary photographer who overlays the work of others on top of one another. The top image shows where<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> <a href="http://www.guardian.co.uk/artanddesign/2006/sep/02/art">Khan</a> </span>overlaid<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> <a href="http://www.photography-now.net/listings/index.php?option=com_content&task=view&id=441&Itemid=334">the Bechers</a> </span>water tower series. This has given the image the feel of a charcoal drawing and the images have an eerie, ghostlike atmosphere. Although these images are not fast shutter speed examples they show a life times work in an instant – warping time by showing the work in an instant.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEis6NuOVmfQhtGkJW8H2Lv04BSnbUNSyfkFezsgDoEookzf9nSIS9khCXuKpjTTBBdQs8tK2SVhzlTCgQApLxCyd5oPgLk7PHnYaM_rAtGKkF01zkuC5ufNMftFe3mu7oWTF20nbdmqRvrf/s1600/harry-callahan.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEis6NuOVmfQhtGkJW8H2Lv04BSnbUNSyfkFezsgDoEookzf9nSIS9khCXuKpjTTBBdQs8tK2SVhzlTCgQApLxCyd5oPgLk7PHnYaM_rAtGKkF01zkuC5ufNMftFe3mu7oWTF20nbdmqRvrf/s400/harry-callahan.jpg" style="cursor: move;" width="277px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Harry Callahan 'Alley, Chicago' 1948</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKFUqE1MHtYV5YMtiiVo_WIX4J_BgumfLUcfqGhXFALt_hg_pDL_N70apgmdGQ6SDjTI8XZs3Bd9ADxh8qKevCEUBnbmAHJDqTy9xGVIaMGkNjyniWB2ntrJxy_d3cLPWfmAD78ZlkrjZy/s1600/edward-Steichen-Rockefller-center-1932.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKFUqE1MHtYV5YMtiiVo_WIX4J_BgumfLUcfqGhXFALt_hg_pDL_N70apgmdGQ6SDjTI8XZs3Bd9ADxh8qKevCEUBnbmAHJDqTy9xGVIaMGkNjyniWB2ntrJxy_d3cLPWfmAD78ZlkrjZy/s400/edward-Steichen-Rockefller-center-1932.jpg" style="cursor: move;" width="318px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.metmuseum.org/toah/works-of-art/33.43.39">Edward Steichen</a> 'Rockefeller Center, New York' 1932</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">Edward Steichen has sandwiched two negatives together to create abstract forms from the urban environment. Geometric black forms are created and contract with softer patterned areas. </div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzGIwAHXWmdfE6QZd_lfQN-ogJbCNucw9H4Jwi0KSO7HxK8vEVSKLCa0ffjWZFD8TGWbuR5w0TtQ1FjnK2jObgOkznAWH01ow4sdg9Tfd-kl_bkzVKoRSX8EIBB8D3s5WI7uHZCdkD7Ylp/s1600/charles-sheelernewyork.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzGIwAHXWmdfE6QZd_lfQN-ogJbCNucw9H4Jwi0KSO7HxK8vEVSKLCa0ffjWZFD8TGWbuR5w0TtQ1FjnK2jObgOkznAWH01ow4sdg9Tfd-kl_bkzVKoRSX8EIBB8D3s5WI7uHZCdkD7Ylp/s400/charles-sheelernewyork.jpg" style="cursor: move;" width="268px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Charles Sheeler 'New York No.2' 1951 Oil on Canvas</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghv05XvaZUdbhNjoO164cM_ow-CJJeQvN6YKnzSc7zhxX9Ivva_KN9a6uPT764q2ftzKySr6aFKYfpPDrXT0aZ40utgF-61-XD3Thw3279A7UYpdHrl4THTsS45IPZB1dGN8hC9Ja9kbN2/s1600/charles-sheeler-study1948photo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghv05XvaZUdbhNjoO164cM_ow-CJJeQvN6YKnzSc7zhxX9Ivva_KN9a6uPT764q2ftzKySr6aFKYfpPDrXT0aZ40utgF-61-XD3Thw3279A7UYpdHrl4THTsS45IPZB1dGN8hC9Ja9kbN2/s400/charles-sheeler-study1948photo.jpg" style="cursor: move;" width="302px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Charles Sheeler 'Study for Improvisation on a Mill Town' 1948</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhRDQmNLSXFu8ZCXNXd38a1eq5th6o1E4Yt_yhGa7vBJ5rHB_r5PZF1CvRyziahoG4vhV644_D-OLsSmXSY9J7G9WpznpiaFlirzHoom54M_XQMt-n0RWjvOC0ZXcrWjvKtVeOezKlTj_Q/s1600/charles-sheeler-study1948.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhRDQmNLSXFu8ZCXNXd38a1eq5th6o1E4Yt_yhGa7vBJ5rHB_r5PZF1CvRyziahoG4vhV644_D-OLsSmXSY9J7G9WpznpiaFlirzHoom54M_XQMt-n0RWjvOC0ZXcrWjvKtVeOezKlTj_Q/s400/charles-sheeler-study1948.jpg" style="cursor: move;" width="298px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Charles Sheeler 'Study for Improvisation on a Mill Town' 1948</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsqm5j0SX-zCoOhi2T6IuFN4xIoVf6b-SYiOJ1gv_euIEgAOYfJtOgnm1DFNr8_oxhccrQsWJi_7gzVD6Kk-pBCDxiL4c120JKVz-a859EjMx9wh6q1NnZiBx5ZOGselN9hsGUy1JkG6hR/s1600/charles-sheeler-photomontage-paintingstudy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsqm5j0SX-zCoOhi2T6IuFN4xIoVf6b-SYiOJ1gv_euIEgAOYfJtOgnm1DFNr8_oxhccrQsWJi_7gzVD6Kk-pBCDxiL4c120JKVz-a859EjMx9wh6q1NnZiBx5ZOGselN9hsGUy1JkG6hR/s320/charles-sheeler-photomontage-paintingstudy.jpg" style="cursor: move;" width="260px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Charles Sheeler 'Improvisation on a Mill Town' 1949</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">In the three images above we can see the process of the artist <a href="http://www.metmuseum.org/toah/hd/shee/hd_shee.htm">Charles Sheeler</a>. Sheeler worked across a variety of mediums throughout his career. His sharp and tonal black and white photographs of industrial buildings and machinery have a stark beauty. These photographs have a look of the work of <a href="http://www.metmuseum.org/toah/hd/pstd/hd_pstd.htm">Paul Strand</a> (who he collaborated with in his early career on <a href="http://www.youtube.com/watch?v=NePhRIwzkfA">the film 'Manhatta'</a> 1921). During research for his painting 'Improvisation on a Mill Town' (1949) he created a photomontage by using the sandwich negative process. Where the two images merge new dramatic shapes, forms and lines are created. He then used these photomontages as the basis for final painting.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNZj_RlbYJlz2BQ6yw1XM2TNlBg39cpxACfmlFBBu_lHxZZC_AA1rPelk3uI8xzVO9nza0GxetsvF7ikI7SUtORTNy-SCihpR_BPRZsvDcwYAeWt36yc9L0xSxaoyXIP7C4QzixVNE4EGC/s1600/charles-sheeler-millyardpassage1948.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNZj_RlbYJlz2BQ6yw1XM2TNlBg39cpxACfmlFBBu_lHxZZC_AA1rPelk3uI8xzVO9nza0GxetsvF7ikI7SUtORTNy-SCihpR_BPRZsvDcwYAeWt36yc9L0xSxaoyXIP7C4QzixVNE4EGC/s400/charles-sheeler-millyardpassage1948.jpg" style="cursor: move;" width="317px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Charles Sheeler 'Millyard Passage' Photomontage 1948</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzgz-yrwuqbAFLe_W3Snu7aJGzel6JBOMTfeP1kC6C2uqfIcRTQQjzhyphenhyphenzyXYOenZ2bqo-jy4TytsYlFVSm65quRWOmm7CWrdhbLOUrfUxg_OCll9lJ6tmnGAJJJaodQ05U1Vb1FIrpNQP9/s1600/charles-sheeler-millyardpassagepainting1948.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzgz-yrwuqbAFLe_W3Snu7aJGzel6JBOMTfeP1kC6C2uqfIcRTQQjzhyphenhyphenzyXYOenZ2bqo-jy4TytsYlFVSm65quRWOmm7CWrdhbLOUrfUxg_OCll9lJ6tmnGAJJJaodQ05U1Vb1FIrpNQP9/s400/charles-sheeler-millyardpassagepainting1948.jpg" style="cursor: move;" width="315px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Charles Sheeler 'Manchester' 1949 Oil on Canvas</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjwCxvbxbpK2PfZXIC-GyGkL4pBhIVRxzCC31do5oq5kz7AKmiL63Nm6P9HKvBrkBRsmpCR8AkMz5i78td6HkPN3U34HUv3MZDCGaBuzpuvGbgAjULHVwIGX3zj2GXvlu1gH7eQSVPbUUi/s1600/dylan-culhane.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjwCxvbxbpK2PfZXIC-GyGkL4pBhIVRxzCC31do5oq5kz7AKmiL63Nm6P9HKvBrkBRsmpCR8AkMz5i78td6HkPN3U34HUv3MZDCGaBuzpuvGbgAjULHVwIGX3zj2GXvlu1gH7eQSVPbUUi/s400/dylan-culhane.jpg" style="cursor: move;" width="277px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Dylan Culhane</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyOWvnxVgTvHiCmA6vqb4OVGN32vkISoFAkRIbSsQlyp9WUmzCsIarwmynO3J2azYDlI7D3WrwMpjmtsmu-RHtZLocVEcTP_Fu2zhvOVbbd2J6krEnunuW20MwvznkTMlAV1e5iW3Aa-GW/s1600/dylan+culhane.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="275px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyOWvnxVgTvHiCmA6vqb4OVGN32vkISoFAkRIbSsQlyp9WUmzCsIarwmynO3J2azYDlI7D3WrwMpjmtsmu-RHtZLocVEcTP_Fu2zhvOVbbd2J6krEnunuW20MwvznkTMlAV1e5iW3Aa-GW/s400/dylan+culhane.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.ebandflowgallery.com/artists/29-Dylan-Culhane/overview/">Dylan Culhane (EB&Flow gallery)</a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiprw6tHe_N6HFVaLUgXH1wruuIK3C3AKOS4hjnkiFVmPBaJxKl2lldqfMlt6sg02TT5vBQOgVmZpdJGjkvtkdwomePLco42TkWHGpBxnKiZWnv2RQefjg5zXJv6XNHo6bdfksxPex8Ritf/s1600/de1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiprw6tHe_N6HFVaLUgXH1wruuIK3C3AKOS4hjnkiFVmPBaJxKl2lldqfMlt6sg02TT5vBQOgVmZpdJGjkvtkdwomePLco42TkWHGpBxnKiZWnv2RQefjg5zXJv6XNHo6bdfksxPex8Ritf/s400/de1.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Dan Mountford - <a href="http://www.flickr.com/photos/danmountford/">"Double Exposure Series"</a></div><div class="separator" style="clear: both; margin: 0px; text-align: left;">Aspects of <a href="http://www.dylanculhane.com/">Dylan Culhane</a>'s and <a href="http://designcollector.net/dan-mountford/">Dan Mountford</a>'s experiments with multiple exposure have a similar feel to the work of Sheeler. Frederick Sommer created a <a href="http://en.wikipedia.org/wiki/Sandwich_printing">sandwhich negative in the darkroom</a>, Jerry Uelsmann used the <a href="http://en.wikipedia.org/wiki/Dodging_and_burning">burning and dodging technique in the dark room</a> but Culhane and Mountford have <a href="http://en.wikipedia.org/wiki/Multiple_exposure">exposed the same piece of negative twice in the camera</a> (all these techniques can also be done very easily on <a href="http://www.digiretus.com/tippek/cikkiro.php?SORSZAM=32">Photoshop</a>). You could also<a href="http://www.flickr.com/photos/moleskineart/sets/72157622220313513/"> put one film through a camera twice (you could retrieve the leader with a film retriever)</a>. Many <a href="http://thedelightsofseeing.blogspot.com/search/label/Ground%20Glass">old cheap cameras</a> like a Holga, a Sprocket Rocket, a Matchbox Pinhole, an old box brownie allow you to open the shutter as many times as you want and wind the film on when it suits you.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjNdZpoPLMvZI6rPkV0qb7WsBhpS1AX7GC92Z4WD7Gq_dgITpHj0_UkfVBXfOQhLI56fbR1O4QTu-YUzq3rLUaj1-af2NSr2iQHX0WmUa2N4HKAXQ2OQKRNUu1j11d_azNvLqDWlBqPty_/s1600/lomo-merge.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="276px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjNdZpoPLMvZI6rPkV0qb7WsBhpS1AX7GC92Z4WD7Gq_dgITpHj0_UkfVBXfOQhLI56fbR1O4QTu-YUzq3rLUaj1-af2NSr2iQHX0WmUa2N4HKAXQ2OQKRNUu1j11d_azNvLqDWlBqPty_/s400/lomo-merge.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqd0oQM-SGKZPZRUr3cmTS7cDo7CwolFSIOM3m4winqXqVhKJgmzCA5cDAtYOPEdiuqPqLnZdhwoP1Kebvfx8_1ps9CIqEBA61w5DPbT9KO93aQ3LfKsqHvWGqQ7mbzIcGoAZgJQNLYUlG/s1600/lomo-merge2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="271px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqd0oQM-SGKZPZRUr3cmTS7cDo7CwolFSIOM3m4winqXqVhKJgmzCA5cDAtYOPEdiuqPqLnZdhwoP1Kebvfx8_1ps9CIqEBA61w5DPbT9KO93aQ3LfKsqHvWGqQ7mbzIcGoAZgJQNLYUlG/s400/lomo-merge2.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNNiBaIA8hhq4RZToxnBagcTvG9FsA4DVPybV3zD859aiU7uLcMBXnOWwBNtyr3xL2eSh3VxFs2QeMy7z8ngfKRrq-jsXmAORzMXP7dyb9Pl8d5RIa3f2LNIMScaE1WKP3qW5oFcdviY4U/s1600/169302840_7517c454f7_o_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="263px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNNiBaIA8hhq4RZToxnBagcTvG9FsA4DVPybV3zD859aiU7uLcMBXnOWwBNtyr3xL2eSh3VxFs2QeMy7z8ngfKRrq-jsXmAORzMXP7dyb9Pl8d5RIa3f2LNIMScaE1WKP3qW5oFcdviY4U/s400/169302840_7517c454f7_o_.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://gearpatrol.com/blog/2011/05/16/double-exposure-reviving-vintage-photography/">Double exposures from a Lomo Camera</a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_jGNzrn8HyVV0trXPvtQilXdNlDX7-UylE2wmEmXq4kxhSEANQpsEPzrncAuZvPdUzGtRFGdSkvVXKKUwov03DXCKUKjI8LsKwvrivCFbPa5LeuONwrLDEykuGXKKUWxrTSg0OqI-So1N/s1600/holga-sandwich.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="396px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_jGNzrn8HyVV0trXPvtQilXdNlDX7-UylE2wmEmXq4kxhSEANQpsEPzrncAuZvPdUzGtRFGdSkvVXKKUwov03DXCKUKjI8LsKwvrivCFbPa5LeuONwrLDEykuGXKKUWxrTSg0OqI-So1N/s400/holga-sandwich.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Double exposure using a <a href="http://microsites.lomography.com/holga/">Holga</a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMUaGEOR6mooMe0pX-a3seRl80swZZpTG09k9reGMcRHFi-RUMX3zhLpNBBRq2c1ewq1E_M51YwoWEaa55hxSHYlLhc0qPMtP26dpURzpc1QLCzQOau7VohiULYLHwsxSrTGEZNJDvmFmt/s1600/Picture+1.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="373px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMUaGEOR6mooMe0pX-a3seRl80swZZpTG09k9reGMcRHFi-RUMX3zhLpNBBRq2c1ewq1E_M51YwoWEaa55hxSHYlLhc0qPMtP26dpURzpc1QLCzQOau7VohiULYLHwsxSrTGEZNJDvmFmt/s400/Picture+1.png" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.flickr.com/photos/taradash/5122432014/in/photostream/">Tara Dash </a>- double exposure on<a href="http://matchboxpinhole.com/"> a matchbox pinhole camera</a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrFR1j_Os6dgNJXknCSAkAoxAEWdupq9wTyNrHkKNn09Zw9Qkr1TpKo50zSXGYZ0NSlytMOXAtmnhi9vluvOika8W-GeOktAjC_pHrzfmRp6mhUUPq5NtqZ5x5VUnKAqfuCETlzi8bzAA6/s1600/Picture+3.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="196px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrFR1j_Os6dgNJXknCSAkAoxAEWdupq9wTyNrHkKNn09Zw9Qkr1TpKo50zSXGYZ0NSlytMOXAtmnhi9vluvOika8W-GeOktAjC_pHrzfmRp6mhUUPq5NtqZ5x5VUnKAqfuCETlzi8bzAA6/s400/Picture+3.png" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.lomography.com/about/faq/2602-how-do-i-create-multiple-exposures-with-the-sprocket-rocket">Double exposure taken on a Sprocket Rocket</a> </div><div class="separator" style="clear: both; margin: 0px; text-align: center;"></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPYQh5_FOkgi7y9BLTPqrZMtIeRycnAStVNGJoNiyLCCdldxHapsBHjg3Lh5dOyipMsfn7Fq1FhmbDGzibZdl4TZcW3YzEMq8qIQ98LXXSOsK_8m1qZsTn1YryzdF98POn8ldx8eDIL0w/s1600/TLR+-+35mm+-+Test+04.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPYQh5_FOkgi7y9BLTPqrZMtIeRycnAStVNGJoNiyLCCdldxHapsBHjg3Lh5dOyipMsfn7Fq1FhmbDGzibZdl4TZcW3YzEMq8qIQ98LXXSOsK_8m1qZsTn1YryzdF98POn8ldx8eDIL0w/s640/TLR+-+35mm+-+Test+04.jpg" style="cursor: move;" width="398px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.markadamson.co.uk/151449/Duaflex-35mm">Mark Adamson</a> - 35mm film through a Kodak Dualflex</div><div style="margin: 0px;"><br />
</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEfCWZY1VEUEppGJ4ggvfXQEBGFrqaOW_cK1WUk5jQWaLWGJNdwSBmJ83FfDl7sMbOMluo3AcKbHlUjFWrmivvfVroWeRWajXiKd1LuPAwCES5Uj11rOex6WOqQ-pM-zkHRpdBGd0pmgdU/s1600/Picture+2.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEfCWZY1VEUEppGJ4ggvfXQEBGFrqaOW_cK1WUk5jQWaLWGJNdwSBmJ83FfDl7sMbOMluo3AcKbHlUjFWrmivvfVroWeRWajXiKd1LuPAwCES5Uj11rOex6WOqQ-pM-zkHRpdBGd0pmgdU/s400/Picture+2.png" style="cursor: move;" width="310px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.flickr.com/photos/hbdudy/3789658053/in/photostream/">Yuheikawaguchi</a> - double exposure on a <a href="http://www.brownie-camera.com/">Kodak Box Brownie</a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEim-tRF1I2wl49xKeTKFn4py8Y0f3qP59v2W1icwQjbttcBpf0uowrhzw_7T9gbIknNMEFj2MEKa0Hg-d5WBbYZML5OJVhTJaByYSORfJ8eT4rhyphenhyphen095DBTz5oka6wdSWmmcpuIUvNY-UHA/s1600/box-brownie-experiement-montage-landscape.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEim-tRF1I2wl49xKeTKFn4py8Y0f3qP59v2W1icwQjbttcBpf0uowrhzw_7T9gbIknNMEFj2MEKa0Hg-d5WBbYZML5OJVhTJaByYSORfJ8eT4rhyphenhyphen095DBTz5oka6wdSWmmcpuIUvNY-UHA/s400/box-brownie-experiement-montage-landscape.jpg" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoosV8b9ekjt0IGTu2gPXHFmsMZLGjrxiOblZ-8BUSD0m4IwEikMLRU_KI20GRc3JL16ZzqsJRzu9yLVr6K7kZQWrIq4164DmqTSbUWOL4kSKdOEnqyw_y4cu5XLZyILqodzwrIzqdh50/s1600/box-brownie-experiement-montage.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="316px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoosV8b9ekjt0IGTu2gPXHFmsMZLGjrxiOblZ-8BUSD0m4IwEikMLRU_KI20GRc3JL16ZzqsJRzu9yLVr6K7kZQWrIq4164DmqTSbUWOL4kSKdOEnqyw_y4cu5XLZyILqodzwrIzqdh50/s640/box-brownie-experiement-montage.jpg" width="640px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.jfkturner.com/">My</a> Double Exposures experiments using a Box Brownie No2 with 35mm film.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">Images are rarely scene on their own. From the moment we wake up we are bombarded with images - serial packets, breakfast news, billboards, bus stop adverts, the morning paper - and that is before you have started the day or looked at the Internet. By juxtaposing images together you encourage the viewer to make links and connections in their own mind. This happens in moving images (from scene to scene), gallery walls (the way you walk from picture to picture/room to room) and photo books from (page to page) - we view these images in a <a href="http://thedelightsofseeing.blogspot.com/search/label/Sequence">sequence</a>.</div><div class="separator" style="clear: both; margin: 0px; text-align: left;"><br />
</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">However, with a merged image we see it within one image - a build up of several images, juxtaposed, in one frame.</div>jfkturnerhttp://www.blogger.com/profile/04292497470976112213noreply@blogger.comtag:blogger.com,1999:blog-5743411721886035143.post-8998428108922977012012-02-27T04:24:00.002-08:002012-03-15T00:43:07.479-07:00Ordinary and/or Extraordinary - Movement<div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.theresilientearth.com/files/images/chauvet_lions.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="263px" src="http://www.theresilientearth.com/files/images/chauvet_lions.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><span class="Apple-style-span" style="font-size: x-large;">"We have learned nothing" </span></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Picasso, after seeing the 30,000 year old cave paintings at<a href="http://news.bbc.co.uk/1/hi/sci/tech/1577421.stm"> Lascaux</a>, France</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.art2bank.com/london_art_news/art_investment_tate_boccioni.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="http://www.art2bank.com/london_art_news/art_investment_tate_boccioni.jpg" style="cursor: move;" width="298px" /></a></div><div style="margin: 0px;"><div style="text-align: center;"><a href="http://www.art2vu.co.uk/london_art_news/featured-galleries/umberto-boccioni.php">Umberto Boccioni</a></div></div><br />
<div class="separator" style="clear: both; margin: 0px; text-align: left;">The Representation of movement has often challenged visual artists. From Hunting scenes in Palaeolithic cave paintings to the semi-abstract geometrical approach of Umberto Boccioni and the other futurists, the difficulty of representing a moving subject in a static image has always presented a challenge.</div><div class="separator" style="clear: both; margin: 0px; text-align: left;"><br />
</div><div class="separator" style="clear: both; margin: 0px;"></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://people.brunel.ac.uk/bst/3no2/Papers/Steve%20Dixon_files/image002.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="236px" src="http://people.brunel.ac.uk/bst/3no2/Papers/Steve%20Dixon_files/image002.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://identicaleye.blogspot.com/2010/05/bragaglia-brothers.html">Bragaglia Brothers</a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.friendsofart.net/static/images/art3/giacomo-balla-dynamism-of-a-dog-on-a-leash.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="336px" src="http://www.friendsofart.net/static/images/art3/giacomo-balla-dynamism-of-a-dog-on-a-leash.jpg" style="cursor: move;" width="400px" /></a></div><div style="margin: 0px; text-align: center;"> Balla - 'Dynamism of a Dog on a Leash' 1912</div><div style="margin: 0px; text-align: center;"><br />
</div><div style="margin: 0px; text-align: left;"><a href="http://www.unknown.nu/futurism/">Futurism</a> was an early twentieth century movement that was fascinated by the modern world of machines, movement and sound. They used a variety of media to create dynamic images that had a kaleidoscopic quality <a href="http://timpickup.wordpress.com/long-exposure-artists/">portraying movement</a>. In many ways it developed the broken and fractured images of <a href="http://www.tate.org.uk/collections/glossary/definition.jsp?entryId=80">cubism</a> (that was interested in multiple viewpoints) but adapted it to create images that depicted the movement of objects through time and space.</div><div style="text-align: left;"><br />
</div><div style="text-align: left;"><a href="http://www.beckyhorsfall.co.uk/?p=601">Photodynamism</a> was the use of photography to capture the movement through time and space and used photography’s natural ability to capture time passing through a lens. The <a href="http://tracesofthereal.com/2011/01/24/they-called-it-photodynamism/">Bragaglia</a> Brothers managed to turn the ordinary (somebody using a type writer or sitting down) into the extraordinary. They created their images by using a model against a plain background, a tripod and a <a href="http://thedelightsofseeing.blogspot.com/search/label/Shutter%20speeds%20-%20SLOW">slow shutter speed</a>. Their photographs were the photographic equivalent of the italian futurists paintings and sculptures.</div><div style="margin: 0px;"><span lang="EN-GB" style="font-family: Arial;"><span lang="EN-GB" style="font-family: Arial;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></span></span></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://fokussiert.com/wp-content/uploads/2008/03/steinertw-tm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="http://fokussiert.com/wp-content/uploads/2008/03/steinertw-tm.jpg" style="cursor: move;" width="287px" /></a></div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKCT_GSR2fwenuS-RD4BEt5ysJ1XMshruTCF8-MZfoe5W3-wI3x0WOKzUU4tEWfHKBsATfrqmKYk3jJbWgmYUkY2AjAReQ6PbXGPt1HGEPQftjV1CZhqLcKMcQfK3QHq1UdzOcvh-hNGvP/s400/rosa6-15-3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="262px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKCT_GSR2fwenuS-RD4BEt5ysJ1XMshruTCF8-MZfoe5W3-wI3x0WOKzUU4tEWfHKBsATfrqmKYk3jJbWgmYUkY2AjAReQ6PbXGPt1HGEPQftjV1CZhqLcKMcQfK3QHq1UdzOcvh-hNGvP/s400/rosa6-15-3.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Otto Steinert</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><br />
</div>These images by German photographer <a href="http://www.upress.uni-kassel.de/online/frei/Bildteil.pdf">Otto Steinert</a> (taken a few decades later) have a similar look to Balla's 'Dynamism of a Dog on a Leash' 1912. The photographs have very simple compositions and are made up of horizontal lines and circles. These solid forms are then contrasted with the ghostly images of people who appear as a blur apart from one foot as it supports them as they take a step. The daily task of walking down the street is turned in to something strange and other from itself.<br />
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Steinert was part of a post war movement that wanted to revive the experimentation and creative spirit of the 1920s (see <a href="http://thedelightsofseeing.blogspot.com/search/label/Photograms%20and%20Camera-less%20Photography">Man Ray and Moholy-Nagy</a>). This expressive approach was stopped with the rise of Hitler in the 1930's - this saw many important artists emigrating to America. During the 1950's he set up <a href="http://www.uv.es/EBRIT/micro/micro_216_43.html">Fotoform</a> to explore these themes (key members <a href="http://www.bernheimer.com/Toni-Schneiders-Photographs-DesktopDefault.aspx?tabid=47&tabindex=46&eventid=1151">Toni Schneiders</a>, <a href="http://www.galleribalder.com/news17079.html">Christer Stromholm</a> (<a href="http://translate.google.co.uk/translate?hl=en&sl=sv&u=http://www.stromholm.com/index2.htm&ei=hrzOTLSTMdCNjAfEr9XVBw&sa=X&oi=translate&ct=result&resnum=2&ved=0CCEQ7gEwAQ&prev=/search%3Fq%3Dchrister%2BStormholm%26hl%3Den%26client%3Dsafari%26rls%3Den%26prmd%3Div">website</a>) and <a href="http://ms-collection.de/artists/keetman.htm">Peter Keetman</a>). Often photography is seen as an objective art and many great photographers have created 'pure' images based on this philosophy. Steinert saw photography as an expressive art and his images have a <a href="http://translate.google.co.uk/translate?hl=en&sl=fr&u=http://www.ifa.de/en/exhibitions/exhibitions-abroad/foto/subjective-phtography/groups-of-works/the-fotoform-group/&ei=ILrOTKbkBIKQjAf2_JXYBw&sa=X&oi=translate&ct=result&resnum=8&ved=0CDsQ7gEwBw&prev=/search%3Fq%3Dotto%2Bsteinert%2Bfotoform%2Bonline%26hl%3Den%26client%3Dsafari%26rls%3Den%26prmd%3Divbo">subjective quality</a> (<a href="http://www.uturn.org/Essays/SUBPHOTOpdf.pdf">Subjektive Fotografie</a>). <br />
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<div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.unknown.nu/futurism/images/marinetti.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="http://www.unknown.nu/futurism/images/marinetti.jpg" style="cursor: move;" width="273px" /></a></div><div class="separator" style="clear: both; margin: 0px;"><br />
</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9cxVnrpxmb6U64rap8T0zQtKWLbVhuFDeHTkJ6Uiq1NTb0t9b7JrJBAmscBxIjx3cGuiOG325UjqM8ub3GnoYpuJ_lBUKYc4T5qhDsVxJ0iv6XaIihCAuYjvE_BiAM10eLR1XpGgxnzs_/s1600/futurism-tatemodern-front.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="256px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9cxVnrpxmb6U64rap8T0zQtKWLbVhuFDeHTkJ6Uiq1NTb0t9b7JrJBAmscBxIjx3cGuiOG325UjqM8ub3GnoYpuJ_lBUKYc4T5qhDsVxJ0iv6XaIihCAuYjvE_BiAM10eLR1XpGgxnzs_/s400/futurism-tatemodern-front.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: Arial, Helvetica, sans-serif;"><i><span class="Apple-style-span" style="font-family: Times;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; font-style: normal;"><br />
</span></span></i></span></div>As well as being fascinated by movement and speed The Futurists also celebrated the new. While some questioned the onslaught of technology The Futurists celebrated it. <a href="http://www.unknown.nu/futurism/manifesto.html">Marinetti</a> kick started the Futurist movement with the publication of the Futurist Manifesto. Expressing dynamism and rapid change, Futurism struck a cord with artists coming to terms with new elements of modern life. The <a href="http://www.tate.org.uk/modern/exhibitions/futurism/default.shtm">Tate Modern</a> celebrates the centenary of <a href="http://www.telegraph.co.uk/culture/culturecritics/richarddorment/5542683/Futurism-at-the-Tate-Modern-a-glimpse-into-tomorrows-whirl.html">Futurism</a> with an exhibition exploring key figures, works, and also the movements that reacted to Futurism.<br />
<div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNqYJf1Omtq2pwPwiZGCcWwvRLjwThp48A5bODkfTKbffKnvC69sl6tlmY-tg_s4m81fWYLPqIeCOCQAPRf_Imhj-eGuwvlWQ8ta6gLaB0X02bUliCGB3soYrW1rc7QmdPbaEnoABsVLBt/s400/Fortunato+Depero%252C+Grattacieli+a+tunnel%252C+1930.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="280px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNqYJf1Omtq2pwPwiZGCcWwvRLjwThp48A5bODkfTKbffKnvC69sl6tlmY-tg_s4m81fWYLPqIeCOCQAPRf_Imhj-eGuwvlWQ8ta6gLaB0X02bUliCGB3soYrW1rc7QmdPbaEnoABsVLBt/s400/Fortunato+Depero%252C+Grattacieli+a+tunnel%252C+1930.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.angelfire.com/wv2/fortunatodepero/">Fortunato Despero</a> - 'Sky Scraper and Tunnel' 1930 </div><div style="margin: 0px;">The glory of technology! The fascination of speed! The thrill of new products! For the creators of the Futurist movement of the early twentieth century, this was what inspired them. <a href="http://www.forbes.com/forbes-life-magazine/2009/0608/art-fortunato-depero-italian-futurism.html">Fortunato Despero</a> joined the furists late but was inspired by it ideas throughout his career. This is a piece of <a href="http://www.designboom.com/weblog/cat/8/view/5247/fortunato-depero-museum.html">Despero</a>'s theatre design - this stage set was never built. They represent the sense of vertigo in a city, sometimes by the means of skyscraper shapes placed in precarious perspective at acute angles, sometimes by showing the hidden underground subway system. <a href="http://pierrehale.com/kiu/1/art/fortunato_depero.html">Despero</a> described a mass of people as "crowd confetti, crowd ants, crowds of human sand flowing, slipping, falling apart". This indicated that in the midst of this mechanical paradise there is a sense of alienation and solitude.</div><br />
<div class="separator" style="clear: both; margin: 0px;"></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.youtube.com/watch?v=UrRUDS1xbNs&feature=related"><img border="0" height="246px" src="http://www.masters-of-photography.com/images/full/muybridge/muybridge_galloping_horse.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.bbc.co.uk/photography/genius/gallery/images/muybridge.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266px" src="http://www.bbc.co.uk/photography/genius/gallery/images/muybridge.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"></div><div style="text-align: center;"><div style="margin: 0px;"><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: black;"><a href="http://www.youtube.com/watch?v=UrRUDS1xbNs&feature=related">'Motion Study' Eadweard Muybridge</a></span></div></div><br />
In 1877, 30 years before the futurists, Edweard Muybridge was trying to capture movement with his camera. <a href="http://www.tate.org.uk/britain/exhibitions/eadweardmuybridge/default.shtm?gclid=CLvvhdTi86QCFU0_4wodbzFBjA">Eadweard Muybridge</a> helped the governor of California to win a $25,000<br />
bet that at some point when a horse was running; all four hooves would leave the ground.<br />
He set up a row of <a href="http://www.dailymotion.com/video/x1hrag_3-e-j-muybridge-1830-1904_shortfilms">multiple cameras</a> and each time the horse tripped a wire a photograph was taken. He ended up with a series of images that when combined created the first moving images. Without <a href="http://www.tate.org.uk/tateetc/issue20/campanymuybridge.htm">Muybridge</a> there would no cinema, TV or most of the content on the internet.<br />
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<div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoWrdVlP5sz82UkkIFzgS1fKQJii0ccJmZUHMosyQ9ET2ImL3PdtOFyvdHoOMpWx6L4kkgCzzKAeAaZqlrQerGeGfSPBNqfrZAvm8DL8k5BL6jTbdzOjlYji8dO2F2kjtE8UMQqvgHl8cv/s1600/muybridge06.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="257px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoWrdVlP5sz82UkkIFzgS1fKQJii0ccJmZUHMosyQ9ET2ImL3PdtOFyvdHoOMpWx6L4kkgCzzKAeAaZqlrQerGeGfSPBNqfrZAvm8DL8k5BL6jTbdzOjlYji8dO2F2kjtE8UMQqvgHl8cv/s400/muybridge06.jpg" style="cursor: move;" width="400px" /></a></div>This is a sequence of shots by <a href="http://calitreview.com/8802">Muybridge</a>'s taken from two different angles. In his later career he would develop this idea further. In his early work the camera would be it a line and be triggered one after the other - documenting movement. In his later experiments the cameras would be in a circle and take a picture at the same time. <br />
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A similar technique was used in the film ‘The Matrix’ to create the <a href="http://www.youtube.com/watch?v=_KtghA0rkDY">Bullet Time</a> effect.<br />
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</span></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.tate.org.uk/images/cms/14327w_marina_warner_17.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300px" src="http://www.tate.org.uk/images/cms/14327w_marina_warner_17.jpg" style="cursor: move;" width="400px" /></a></div><div style="margin: 0px;"><span style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div>Without the experiments of Muybridge and others Cinema would never have been born. Some of the most exciting early cinema came from <a href="http://www.youtube.com/watch?v=dXwGN2uSsn0">George Melies</a> and was truly realized in <a href="http://www.youtube.com/watch?v=7JDaOOw0MEE&feature=related">'A Voyage to the Moon' 1902.</a> For contemporary artists using animation look at <a href="http://moma.org/interactives/exhibitions/2010/williamkentridge/">William Kentridge.</a><br />
<div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.kiberpipa.org/gallery/album82/Etienne_Jules_Marey_Kronografije_mo_a_ki_hodi_in_te_e_ter_ptice_v_letu_1880.sized.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="280px" src="http://www.kiberpipa.org/gallery/album82/Etienne_Jules_Marey_Kronografije_mo_a_ki_hodi_in_te_e_ter_ptice_v_letu_1880.sized.jpg" style="cursor: move;" width="400px" /></a></div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div><a href="http://www.exeter.ac.uk/bdc/young_bdc/movingpics/movingpics6.htm">Etienne-Jules Marey</a> created similar images. Marey was a scientist who used art whereas Muybridge was an artist who created pseudo-scientific images. However, Marey's images were slow shutter speed shots and he used a strobe light. As the strobe flashed it created an image of the figure - therefore creating multiple figures showing the subject move though time and space.<br />
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</div><div class="separator" style="clear: both; margin: 0px;"></div><div class="separator" style="clear: both; font-family: Times; margin: 0px; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.smoca.org/images/education/ex/edgerton.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640px" src="http://www.smoca.org/images/education/ex/edgerton.jpg" style="cursor: move;" width="500px" /></a></span></div><div style="font-family: Times; margin: 0px; text-align: center;"><div style="margin: 0px;"><div style="margin: 0px;"><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> <a href="http://edgerton-digital-collections.org/">Harold Edgerton</a> </span></span></div></div></div></div><div style="margin: 0px;"><div style="margin: 0px;"><div style="margin: 0px;"><div style="margin: 0px;">Photography is, in many ways, where art and science meet and these images show Harold Edgerton’s experiments with high speed photography. This image was created by having the camera on a tripod and using a<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> <a href="http://thedelightsofseeing.blogspot.com/search/label/Shutter%20speeds%20-%20SLOW">slow shutter speed</a>.</span></span> However, Edgerton used a strobe light – each time it flashed it captured the figure in mid movement.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3f-HTjpdvPVvblve3StcvPFatR7vEmP8GIIzal0tiCapK_eKDC-gUfQ7sOkOJuPO5FRexL08JgjPQmaVNC49LNBpElQmqz1MEhh-2Y2hJ8VuQF-3IE5GSda74XNCmioLaocS4bxF1JiIR/s1600/8-Rue-Valette-Pompertuzat-006.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="250px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3f-HTjpdvPVvblve3StcvPFatR7vEmP8GIIzal0tiCapK_eKDC-gUfQ7sOkOJuPO5FRexL08JgjPQmaVNC49LNBpElQmqz1MEhh-2Y2hJ8VuQF-3IE5GSda74XNCmioLaocS4bxF1JiIR/s400/8-Rue-Valette-Pompertuzat-006.jpg" width="400px" /></a></div><div class="separator" style="clear: both; text-align: center;">Jon Rafman - '8 Rue Valette, Pompertuzat, France' from <a href="http://www.guardian.co.uk/artanddesign/gallery/2012/feb/20/google-street-view-nine-eyes-in-pictures#/?picture=386213500&index=3">'The Nine Eyes of Google Street View'</a></div></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiod9W87jnmd28NFFqCR-ayKHnu9eIj-vg18W8df3ko7UxUXIzGAwn2Lb8YQstlit1O6scGmUwXbZzbVgZPzoUV7LJhEOTolglHfOiP5tjPO7FZwLDbgqA9iJBt9P_tcUGapmObASjztQKx/s1600/bragaglia.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="291px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiod9W87jnmd28NFFqCR-ayKHnu9eIj-vg18W8df3ko7UxUXIzGAwn2Lb8YQstlit1O6scGmUwXbZzbVgZPzoUV7LJhEOTolglHfOiP5tjPO7FZwLDbgqA9iJBt9P_tcUGapmObASjztQKx/s400/bragaglia.jpg" width="400px" /></a></div><div style="text-align: center;">Anton Giulio Bragaglia 'Change Of Position' (1911)</div></div></div></div><div class="separator" style="clear: both; margin: 0px;"></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.art2bank.com/london_art_news/art_investment_tate_boccioni.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="http://www.art2bank.com/london_art_news/art_investment_tate_boccioni.jpg" width="298px" /></a></div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div>In this sculpture above the futurist artist <a href="http://www.art2vu.co.uk/london_art_news/featured-galleries/umberto-boccioni.php">Umberto Boccioni</a> has captured in three dimensions a figure moving through time and space. Notice how the calf muscles are repeated - like a slow shutter speed photograph made solid - like the bluring effect in an image by the Bragaglia brothers.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmEuNWNZSpzyn-9gMrikR_Iko1P68oNu8ymU8TDzLvbAUDLY-gTMfAY81kHuE3MMgi9BU1_RA92yN4EPDIJl_mmp2JnQylEpSQ-udzEjdq1hyphenhyphenHY1ZkhhtQzBtf11boqUgqLVxq0U2q2zbE/s1600/motion3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img aea="true" border="0" height="299px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmEuNWNZSpzyn-9gMrikR_Iko1P68oNu8ymU8TDzLvbAUDLY-gTMfAY81kHuE3MMgi9BU1_RA92yN4EPDIJl_mmp2JnQylEpSQ-udzEjdq1hyphenhyphenHY1ZkhhtQzBtf11boqUgqLVxq0U2q2zbE/s640/motion3.jpg" width="640px" /></a></div><div style="text-align: center;">Leonid Siveriver - 'Motion' 2001</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_2WVw2w0rRAo3Lom05uAvD4D5YQtq2SM03p0nAB8F0eCj3AtZjCD2AnVI6mGRw2VPDu3vb0p7nkr1G70-dRpVCQuwhzJ5UzoEyEXQ-5skfl-5FbAZ5eQfCBcVpo5IxMsS9LG7JtpMPKrk/s1600/jansen+runner_1473617i.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_2WVw2w0rRAo3Lom05uAvD4D5YQtq2SM03p0nAB8F0eCj3AtZjCD2AnVI6mGRw2VPDu3vb0p7nkr1G70-dRpVCQuwhzJ5UzoEyEXQ-5skfl-5FbAZ5eQfCBcVpo5IxMsS9LG7JtpMPKrk/s400/jansen+runner_1473617i.jpg" width="400px" yda="true" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.telegraph.co.uk/culture/culturepicturegalleries/6126873/Moving-artwork-the-kinetic-sculptures-of-Peter-Jansen.html">Peter Jansen</a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEz3V8-1OOvD_W0gqImiL7EfMoKVyXmZ0Swkf8UsDhcEGzXocf7X4-iVGw5vyV6lQcAuQL9HR2HeHC1Kb5_nsY6piMHFgO7Bd7WmyyLowcA1yM7JNN2B87Vcw3hWPh7p034bV7grYhV5uQ/s1600/TrailerTrashTracysEster600Gb050112.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEz3V8-1OOvD_W0gqImiL7EfMoKVyXmZ0Swkf8UsDhcEGzXocf7X4-iVGw5vyV6lQcAuQL9HR2HeHC1Kb5_nsY6piMHFgO7Bd7WmyyLowcA1yM7JNN2B87Vcw3hWPh7p034bV7grYhV5uQ/s320/TrailerTrashTracysEster600Gb050112.jpg" width="320px" yda="true" /></a></div><div style="text-align: center;">Album cover for Trailer Trash Tracys 'Ester' album</div><br />
These images are similar to <a href="http://www.idiom.com/~wcs/duchamp.html">Marcel Duchamp's 'Nude Descending a Staircase'</a> where we see a figure repeated going down stairs.<br />
<div style="margin: 0px;"><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLlJtDrebboh-F_AU0YfK6NvMeuj74lgedAb3tViUN08klt80m8KcOHYtAtWhbJ7shV39W0xetW0bt-7_dQiLErIxHecjf-Ehf9RN6QuOrRkWZpFHVTAwy2m-Q5ZrF3AmM4XivLAimMmPe/s1600/duchamp+descending+a+staircase+1952.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLlJtDrebboh-F_AU0YfK6NvMeuj74lgedAb3tViUN08klt80m8KcOHYtAtWhbJ7shV39W0xetW0bt-7_dQiLErIxHecjf-Ehf9RN6QuOrRkWZpFHVTAwy2m-Q5ZrF3AmM4XivLAimMmPe/s400/duchamp+descending+a+staircase+1952.jpg" style="cursor: move;" width="335px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">'Duchamp Descending a Staircase' Life Magazine 1952 by Eliot Elisofon</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">This image above was part of a 10-page spread in LIFE profiling Duchamp. ("<a href="http://thedelightsofseeing.blogspot.com/search/label/Photomontage">Dada's</a> Daddy," April 28, 1952). It would have been taken with the camera placed on a tripod on a bulb setting. Each time Duchamp took a step Elisdon set off a flash or strobe light - creating a faint impression of Duchamp on the negative.</div></div><div class="separator" style="clear: both; margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span></div><div class="separator" style="clear: both; font-family: Times; margin: 0px; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://stormie01.files.wordpress.com/2008/12/duchamp_nude-descending-a-staircase1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640px" src="http://stormie01.files.wordpress.com/2008/12/duchamp_nude-descending-a-staircase1.jpg" style="cursor: move;" width="385px" /></a></span></div><div style="font-family: Times; margin: 0px; text-align: center;"><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span style="font-family: Arial, Helvetica, sans-serif;">Marcel Duchamp 'Nude Descending the staircase' 1912</span></span></div></div><div style="margin: 0px; text-align: left;"><div style="font-family: Times; margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span style="font-family: Arial, Helvetica, sans-serif;">This is a key painting by <a href="http://www.youtube.com/watch?v=lmag4vL7hnQ">Marcel Duchamp</a>. At first it looks abstract but on closer inspection you can see a figure walking down a star case. It is similar to a Muybridge than has been overlaid on itself.</span></span></div><div class="separator" style="clear: both; font-family: Times; margin: 0px; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVz4BnrUNlFjq3A_OLQuzgEp5uLPFaJWe-Mcn9RmPHmQXT6bb9SHedHyMLZ4jKACqwtCkEv9BdBB8g4lRhmoCU4kBOJykTjBhmV5uRfNXGvH8Gu5AUjSJ41NoqEEU7vABb7HHzeRVSUhQ/s1600/ik016_muybridge_2005.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVz4BnrUNlFjq3A_OLQuzgEp5uLPFaJWe-Mcn9RmPHmQXT6bb9SHedHyMLZ4jKACqwtCkEv9BdBB8g4lRhmoCU4kBOJykTjBhmV5uRfNXGvH8Gu5AUjSJ41NoqEEU7vABb7HHzeRVSUhQ/s400/ik016_muybridge_2005.jpg" style="cursor: move;" width="326px" /></a></span></div><div style="font-family: Times; text-align: center;"><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span style="font-family: Arial, Helvetica, sans-serif;"><a href="http://photoslaves.com/idris-khan%E2%80%99s-multi-layered-photos/">Idris Khan</a> </span>rising series… after eadweard muybridge ‘human and animal locomotion’, (2005)</span></div></div><div style="font-family: Times; text-align: left;"><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This image above is a muybridge overlaid on itself by th artist Idris Khan - we may come back to him. Duchamp painting</span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> looks like a cubist painting but where the cubists were interested it capturing the world from multiple viewpoints this shows a figure moving through time and space. It also wasn't a futurist painting - it was Duchamp's own idea.</span></span></div></div><div class="separator" style="clear: both; font-family: Times; margin: 0px; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvMBok_WBIx_Y6ZvYC0wIdJf6JEzI437Sn_e_rtMkD_hPvZoIp-NapJKc3prcIoyL-e48U9wSRraFiS4YMiALDjNnwk-KvNqG3JReL68Cic981Ft9-AvB9T-eS9uxn3hyphenhyphendj5vKPG2KdEc/s1600/detailduchamp-nude-descending-staircase-no_-2-1912.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvMBok_WBIx_Y6ZvYC0wIdJf6JEzI437Sn_e_rtMkD_hPvZoIp-NapJKc3prcIoyL-e48U9wSRraFiS4YMiALDjNnwk-KvNqG3JReL68Cic981Ft9-AvB9T-eS9uxn3hyphenhyphendj5vKPG2KdEc/s400/detailduchamp-nude-descending-staircase-no_-2-1912.jpg" style="cursor: move;" width="341px" /></a></span></div><div style="font-family: Times; text-align: center;"><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Marcel Duchamp 'Nude Descending the staircase' (Detail) 1912</span></span></div></div><div style="font-family: Times; text-align: left;"><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">In this detailed section of Duchamp's 'Nude...' we can see it is made up of flat geometrical planes - triangles, lines and sections of circles. The browny yellowish hues allow the abstracted figure to stand out from the darker background. The whole image flickers with movement and jumps between a confusing abstract image to a figure 'decending a staircase'. Not anybody could paint like that.</span></span></div></div><div style="font-family: Times;"><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></span></div></div><div><div style="margin: 0px;"><div style="font-family: Times;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> Nobody liked the painting and Duchamp's own brother asked him to remove it from an exhibition. This experience would encourage Duchamp to follow his own ideas and turn his back on the traditional art world. Five years later he would sign a gentleman's toilet R Mutt and place it in a gallery. The art world was not ready for his 'Nude descending the staircase' (1912). However, his '<a href="http://www.telegraph.co.uk/culture/art/3671180/Duchamps-Fountain-The-practical-joke-that-launched-an-artistic-revolution.html">Fountain' (1917</a>) would revolutionise twentieth century art.</span></span></div><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
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<div class="separator" style="clear: both; font-family: Times; margin: 0px; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr2Hvd6aaiXKLlVgr5zjnB0-k6TM4XH2Pj8sFB7031qWiGFeZnUmurYN69iuy5pA1uj-1UgRktC4Z3-TfxyNrn_MRTsYM-C52siS9liRSazXBoWci2mEnEw98raNM_Ai_KCtlBY-B8fHQX/s1600/duchamp-nude-descending-a-staircase.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr2Hvd6aaiXKLlVgr5zjnB0-k6TM4XH2Pj8sFB7031qWiGFeZnUmurYN69iuy5pA1uj-1UgRktC4Z3-TfxyNrn_MRTsYM-C52siS9liRSazXBoWci2mEnEw98raNM_Ai_KCtlBY-B8fHQX/s640/duchamp-nude-descending-a-staircase.jpg" style="cursor: move;" width="388px" /></a></span></span></div><div class="separator" style="clear: both; font-family: Times; margin: 0px;"></div><div style="font-family: Times; text-align: center;"><div style="margin: 0px;"><div style="margin: 0px;"><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Marcel Duchamp 'Nude Descending a staircase (No2)' 1912</span></div></div></div></div><div style="font-family: Times; margin: 0px;"><div style="margin: 0px;"><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">'Nude descending a staircase (No2)' was the painting that changed Marcel Duchamp's life. The figure hardly looks nude because it hardly looks human. You can just about make out the form of a figure move diagonally across the composition. triangles and semi circles of brown and yellow hues add vibrancy to the image. When Duchamp submitted Salon des Independants, it was coldly received. The cubist painter and theorist Albert Gleizes asked Duchamp's brother to ask him to 'Voluntarily' withdraw it. It did not conform to what the cubist circle wanted to represent their ideas<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://thedelightsofseeing.blogspot.com/search/label/Cubism">(Cubism showed the world from multiple viewpoints)</a></span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">.<a href="http://www.blogger.com/goog_852873240"> </a></span>It seemed too futurist to them since it contained movement <a href="http://www.tate.org.uk/modern/exhibitions/futurism/rooms/room1.shtm"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">(Futurism, although sharing a certain look of Cubism, showed objects moving through time and space).</span></a><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> </span></span></div></div></div><div style="font-family: Times; margin: 0px;"><div style="margin: 0px;"><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The Cubists wanted to clarify and strengthen their position against other 'ism' that were cropping up. Embarrassed Duchamp's brother asked him to concede, which he did without making a fuss. However, the incident did affect Duchamp -</span></div></div></div><div style="font-family: Times; margin: 0px;"><div style="margin: 0px;"><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-size: large;">"This affair helped me to totally escape my past, my own personal past. I said to myself, 'Well, if that's how the way they want it, then there's no question about me joining a group; one can only count on oneself, one must be a loner.'"</span></span></div></div></div><div class="separator" style="clear: both; font-family: Times; margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Soon after<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.youtube.com/watch?v=lmag4vL7hnQ">Duchamp would turn his back on painting and start to question the very nature of art.</a></span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> </span>He started placing objects from the world into gallery spaces, he called them<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.tate.org.uk/collections/glossary/definition.jsp?entryId=239">'ready-mades'</a></span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">, </span>most famously in<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.telegraph.co.uk/culture/art/3671180/Duchamps-Fountain-The-practical-joke-that-launched-an-artistic-revolution.html">1917 with 'Fountain'</a></span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">.</span></span></div></div></div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMsNtiB4Co1uWUP39URGcdXXTJ_bVACHWnaWrq9T-H5GhP9IVEp0uTBYBvjBxI4dwr0jZHRp2NhMM9ulQT1ro0qKVdKGbr5XOq0QQd_kAzIw0KLuOVaNprQoLIXUYozNBIk7st61GS4G4s/s1600/cecil+beaton+ts+eliot.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMsNtiB4Co1uWUP39URGcdXXTJ_bVACHWnaWrq9T-H5GhP9IVEp0uTBYBvjBxI4dwr0jZHRp2NhMM9ulQT1ro0qKVdKGbr5XOq0QQd_kAzIw0KLuOVaNprQoLIXUYozNBIk7st61GS4G4s/s400/cecil+beaton+ts+eliot.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.telegraph.co.uk/culture/photography/8128794/How-Cecil-Beaton-captured-the-world.html">Cecil Beaton</a> - 'T.S.Eliot' 1956</div><div class="separator" style="clear: both; margin: 0px; text-align: left;"><a href="http://www.bbc.co.uk/bbcfour/documentaries/features/beaton.shtml">Cecil Beaton</a> often used Multiple exposures in his portraits to show different views of the same person in one image. He would have used a tripod to keep the camera in the same position so the back remains the same but the figure moves. This could be achieved by exposing the film four times in the camera (though you have to lower the exposure time accordingly), exposing the same piece of photographic paper with three different negatives or blending <a href="http://www.bbc.co.uk/bbcfour/documentaries/features/beaton.shtml">Layers in Photoshop</a>.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQsmWhcfL4Xq2vUY60Z_MmyR65Rse1jvHPeu3I8I6V2B8dTcfdILmrv4Q438QqikVhX1wrw8knJRXwObZVCdQYznqACf5kVPZiYpKyb6R5FOXS1dJxCE8dOVgb4nlA7d1k0xZBRI0I3rFu/s1600/ihP7qUhYmfps.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQsmWhcfL4Xq2vUY60Z_MmyR65Rse1jvHPeu3I8I6V2B8dTcfdILmrv4Q438QqikVhX1wrw8knJRXwObZVCdQYznqACf5kVPZiYpKyb6R5FOXS1dJxCE8dOVgb4nlA7d1k0xZBRI0I3rFu/s400/ihP7qUhYmfps.jpg" width="315px" /></a></div><div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><span class="Apple-style-span" style="color: #f3f3f3; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 15px; line-height: 21px;">'Workshop' -</span><span class="Apple-style-span" style="color: #f3f3f3; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 15px; line-height: 21px;"> </span><span class="Apple-style-span" style="color: #f3f3f3; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 15px; line-height: 21px;"><a href="http://www.vorticism.co.uk/home.html" style="color: #2288bb; text-decoration: none;">Wyndham Lewis</a></span><span class="Apple-style-span" style="color: #f3f3f3; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 15px; line-height: 21px;"> </span><span class="Apple-style-span" style="color: #f3f3f3; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 15px; line-height: 21px;">1914 -15</span><a href="http://www.centrepompidou.fr/education/ressources/ENS-futurisme2008/images/xl/fut_103.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="273px" src="http://www.centrepompidou.fr/education/ressources/ENS-futurisme2008/images/xl/fut_103.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://213.121.208.204/tateetc/bomberg/">David Bomberg</a> 'The Mud Bath' 1914</div><div style="margin: 0px;">The influence of futurism was far reaching and in Briatin it can been seen in the work of Wyndham Lewis and <a href="http://www.culture24.org.uk/places+to+go/south+west/bristol/art22288">Vorticism</a>. Lewis himself saw <a href="http://www.frieze.com/issue/review/blasting_the_future/">Vorticism</a> as an independent alternative to Cubism, Futurism and Expressionism. Though the style grew out of Cubism, it is more closely related to Futurism in its embrace of dynamism, the machine age and all things modern (cf. Cubo-Futurism).</div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGNkEkNYHahD2_MRCImnJKN_wPiHQCIn_wUccp67PSwdhUTzJM8czmfEzxps6Y5BaZEBLXtqaVhorDyOBJhS0DJSDmuF_HoZmqH9zpHdhHBIlY6w85MYADPVDm8rcrlEgoKm-2wdlETdYY/s1600/heller-5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGNkEkNYHahD2_MRCImnJKN_wPiHQCIn_wUccp67PSwdhUTzJM8czmfEzxps6Y5BaZEBLXtqaVhorDyOBJhS0DJSDmuF_HoZmqH9zpHdhHBIlY6w85MYADPVDm8rcrlEgoKm-2wdlETdYY/s320/heller-5.jpg" style="cursor: move;" width="250px" /></a></div><div style="text-align: center;"><div style="margin: 0px;">A <a href="http://www.nytimes.com/slideshow/2008/06/01/books/review/20080601_HELLER_SLIDESHOW_5.html">1918 woodcut</a> by Edward Wadsworth, from “Rhythms of Modern Life.”</div></div><div><div style="margin: 0px;"> However, Vorticism diverged from Futurism in the way it tried to capture movement in an image. In a Vorticist painting modern life is shown as an array of bold lines and harsh colours drawing the viewer's eye into the centre of the canvas.</div></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDdNEA3oD7Oja3cNRJc4nHWGiuodUbwl6VB9SOqGbOMke-VGRWNm1rmWHfX0ZorNS6DhySTxL1ZVzBCLdlZVGfKL4M89AZiAz02D0s-xmRHV8MheIRWzksc_ItDjmEbMdIBZcSpItmy3hF/s1600/Blast-2-War-number_Review-of-the-great-English-vortex-July-1915-Front-cover-Wyndham-Lewis-The-Vorticists-Tate-publishing3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDdNEA3oD7Oja3cNRJc4nHWGiuodUbwl6VB9SOqGbOMke-VGRWNm1rmWHfX0ZorNS6DhySTxL1ZVzBCLdlZVGfKL4M89AZiAz02D0s-xmRHV8MheIRWzksc_ItDjmEbMdIBZcSpItmy3hF/s400/Blast-2-War-number_Review-of-the-great-English-vortex-July-1915-Front-cover-Wyndham-Lewis-The-Vorticists-Tate-publishing3.jpg" width="323px" /></a></div></div><div style="text-align: center;"><div style="margin: 0px;"><a href="http://www.tate.org.uk/servlet/ArtistWorks?cgroupid=999999961&artistid=1502&page=1">Wyndham Lewis</a>' 'Blast - 2nd edition War Number' 1915</div></div><div><div style="margin: 0px;">They produced their own magazine Blast that<span class="Apple-style-span" style="font-family: sans-serif; font-size: 13px; line-height: 19px;"> </span>contained work by Ezra Pound and T. S. Eliot as well as by the Vorticists themselves. Its typographical adventurousness was cited by <a href="http://www.studiocleo.com/gallerie/lissitzky/lissitzkywel.html">El Lissitzky </a>as one of the major forerunners of the revolution in graphic design in the 1920s and 1930s.</div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghyrbzqLl35xLNla6wBKzSkcempt3_w0Ja9cVQoIlhCfpTCMpiV2qB3Ma6GLkYm8BAAhG9LRzGfHRr6TZLPRcV_JtoAWfUtd0Y9qTd5cY8llIrNBU8qYP1YRngX9ZB7PpODoEgm6SLee49/s1600/Alvin+Langdon+Coburn+%252811%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghyrbzqLl35xLNla6wBKzSkcempt3_w0Ja9cVQoIlhCfpTCMpiV2qB3Ma6GLkYm8BAAhG9LRzGfHRr6TZLPRcV_JtoAWfUtd0Y9qTd5cY8llIrNBU8qYP1YRngX9ZB7PpODoEgm6SLee49/s640/Alvin+Langdon+Coburn+%252811%2529.jpg" style="cursor: move;" width="464px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.masters-of-photography.com/C/coburn/coburn.html">Alvin Langdon Coburn</a> 'Ezra Pound' 1917</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">This photograph by Alvin Langdon Coburn creates a vortex effect from a simple portrait shot. It is an image of Ezra Pound who was a key member of the English <a href="http://www.vorticism.co.uk/">Vorticism</a> group <a href="http://www.guardian.co.uk/artanddesign/2011/may/28/vorticists-tate-britain-exhibition-review">(Vorticism shared qualities with Cubism and Futurism)</a>. In the darkroom the paper has been exposed three times - with each exposure the image has been re sized and refocused. Exposure time would have to be reduced so the paper did not become over exposed.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjduDf4ykh-2UmlxRnN_PgeSJpuEXcw-JX7G6L5RUzJsI6l76gzWqYUvclHMX_yltCv58U2ewwZ9sgJQDyvjiYCnoMF8b_5BaNj19yj9ceDOANMeDMknpb1jpx19hNo7ZZxAj6IrOTZ9Gtl/s1600/03-coburn_vortograph.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjduDf4ykh-2UmlxRnN_PgeSJpuEXcw-JX7G6L5RUzJsI6l76gzWqYUvclHMX_yltCv58U2ewwZ9sgJQDyvjiYCnoMF8b_5BaNj19yj9ceDOANMeDMknpb1jpx19hNo7ZZxAj6IrOTZ9Gtl/s640/03-coburn_vortograph.jpg" style="cursor: move;" width="491px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Alvin Langdon Coburn 'Vortograph' 1917</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">At his best Coburn experimented with unusual viewpoints and created some of <a href="http://gallery.ca/cybermuse/enthusiast/acquisitions/2005-2006/Coburn_text_e.jsp">the first abstract photographs</a> with his <a href="http://arttattler.com/archivevorticists.html">'Vortographs'</a>. They were created by using three mirrors to create a kaleidoscopic images.</div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZAgQ2lYTsM5U60mAn7uyfHjts5rLVwue9jpgTrlPf8kDZfkzkSDNtn4DO4tEKGll9nwG3prPwUoBVrK6RMsC9Z1VmCOUJEDAQDVXkvxZucZWhnfqAM9O8kxx8ZhD5pmXtLrfmxBSzRas/s1600/meatyard81.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" hda="true" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZAgQ2lYTsM5U60mAn7uyfHjts5rLVwue9jpgTrlPf8kDZfkzkSDNtn4DO4tEKGll9nwG3prPwUoBVrK6RMsC9Z1VmCOUJEDAQDVXkvxZucZWhnfqAM9O8kxx8ZhD5pmXtLrfmxBSzRas/s400/meatyard81.jpg" style="cursor: move;" width="365px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Ralph Eugene Meatyard</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">Steinert's experimental spirit can be found in the work of <a href="http://www.americansuburbx.com/2009/02/theory-ralph-eugene-meatyard-1925-1972.html">Ralph E. Meatyard</a>. In this untitled photography from 1961 Meatyard captures a boy flapping his arms so they disappear - an ordinary scene turns into a dreamlike image. Other photographers from this period who experiment with their images were <a href="http://henryholmessmith.com/">Henry Holmes Smith</a> and <a href="http://www.geh.org/ne/str085/htmlsrc9/callahan_sld00001.html">Harry Callahan.</a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://farm2.static.flickr.com/1201/867855940_6c038d1e0b_o.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="363px" src="http://farm2.static.flickr.com/1201/867855940_6c038d1e0b_o.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: left;">Meatyard creates eerie and creepy images by including motion in his images. In '<a href="http://www.utata.org/salon/20486.php">Two Children'1962</a> he has created an image that seems to disappear like a painting by <a href="http://www.guardian.co.uk/greatinterviews/bacon/0,,2154560,00.html">Francis Bacon</a> where we recognise forms as figures as quickly as they revert to being an abstract blur.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.artquotes.net/masters/bacon/bacon_twofigures1953.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640px" src="http://www.artquotes.net/masters/bacon/bacon_twofigures1953.jpg" style="cursor: move;" width="475px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: left;">In 'Two Figures' 1953 we see a blurred image of figures on a bed. Bacon's painting slips from abstraction to figuration with our imagination filling in the gaps - often creating a disturbing effect. <a href="http://www.youtube.com/watch?v=QhaqwlZxJZI">Bacon</a> grew up on a farm and claims he had no access to images - no books, television or internet. This led to a fascination with the <a href="http://www.asminor.info/pantherprousa/bacon/bacon_influences.html">printed reproduced image</a> and he often worked from secondary sources and photographs. 'Two figures' is based on a image by <a href="http://thedelightsofseeing.blogspot.com/search/label/Shutter%20speed%20-%20FAST">Eadweard Muybridge</a> that he has then reinterpreted. </div><div class="separator" style="clear: both; margin: 0px; text-align: center;"></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.artbelow.org.uk/images/glryimg_311.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="470px" src="http://www.artbelow.org.uk/images/glryimg_311.jpg" style="cursor: move;" width="640px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: left;">These image are by the contemporary photographer <a href="http://www.davidbirkin.co.uk/">David Birkin</a> from his 'Confessions' series. The subject is asked to confess a secret they have never previously revealed. They are then left alone in a room facing a camera. When they feel ready, they open the shutter and when they are finished they close it. Each exposure is determined by the length of the confession. The confession remains a mystery to the viewer but every gesture, squirm and nervous tick is captured on the photograph.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://images.artnet.com/artwork_images_424619947_484019_david-birkin.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="471px" src="http://images.artnet.com/artwork_images_424619947_484019_david-birkin.jpg" style="cursor: move;" width="640px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: left;"><br />
</div><div class="separator" style="clear: both; margin: 0px; text-align: left;"></div><div style="text-align: center;"><div style="margin: 0px;"><a href="http://clicks.robertgenn.com/images/artists/sally_brucker/040309_francis-bacon-artwork.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://clicks.robertgenn.com/images/artists/sally_brucker/040309_francis-bacon-artwork.jpg" style="cursor: move;" /></a></div></div><div style="margin: 0px;"><br />
</div><div style="clear: both; text-align: left;"><div style="margin: 0px;"><a href="http://www.telegraph.co.uk/culture/photography/7803373/David-Birkin-Compound-Ghosts.html">Birkin's</a> images have a Bacon-esque quality - especially when viewed next to bacons portraits of lone figures framed by his trade mark claustrophobic box.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.youtube.com/watch?v=IhYfCWd5XQ0"><img border="0" height="470px" src="http://bombsite.com/images/attachments/0003/8449/Ann_Buchanan_body.jpg" style="cursor: move;" width="640px" /></a></div><div style="margin: 0px;">Birkin's 'Confessions' series is reminiscent of Andy Warhol's <a href="http://bombsite.com/articles/3326">'Screen Tests'</a>. Warhol would invite people to The Factory and sit them in front of a single light. He would then film them with a 16 mm film camera for the length of the reel (about three minutes). When he played these films back (often projected in a gallery) he set it to a slower speed - this way every gesture would be magnified. Initially the subject would try to retain the mask they showed the world but eventually little glimpses of the real person would appear. As with several of the references here this is not a slow shutter speed but the screen tests do document the passing of time. A still image is not time based - you can go back to it again and again (often over a lifetime). A film is <a href="http://www.tate.org.uk/conservation/time/about.htm">Time Based</a> and it has a beginning, a middle and an end - you read it differently. Still images can burn their way into your mind - even parts of films or your life are remembered like still images when they are recalled.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgApKZBIwmKBUg49oF6CPvuSnZsQUxceyKzPXp_vBT4-67uHD33ospooreG1tIC_ZbSmwq9WXwAqp3E1zcT4M8I5ICPLm6BIjwBZXD3jqvnkxPcKqFAoJ6361DNNnescIkfD5CUHEWuPLA/s1600/1320333190-koyaanisqatsi2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="286px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgApKZBIwmKBUg49oF6CPvuSnZsQUxceyKzPXp_vBT4-67uHD33ospooreG1tIC_ZbSmwq9WXwAqp3E1zcT4M8I5ICPLm6BIjwBZXD3jqvnkxPcKqFAoJ6361DNNnescIkfD5CUHEWuPLA/s400/1320333190-koyaanisqatsi2.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Still from '<a href="http://www.thelmagazine.com/TheMeasure/archives/2011/11/03/ny-philharmonic-totally-rocked-philip-glass-koyaanisqatsi-last-night">Koyaanisgatsi</a>' Dir. Godfrey Reggio 1982 (watch scene <a href="http://www.youtube.com/watch?v=8NwE6CBBcV0">here</a> and more of the film <a href="http://www.youtube.com/watch?v=DlFg1MgATu4&feature=related">here</a>)</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.toimg.net/managed/images/bounded/10148123/w482/h317/image.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="427px" src="http://www.toimg.net/managed/images/bounded/10148123/w482/h317/image.jpg" style="cursor: move;" width="640px" /></a></div><div style="text-align: center;"><div style="margin: 0px;">Christian Marclay's '<a href="http://www.whitecube.com/exhibitions/cm/">The Clock</a>' video installation</div></div><div style="text-align: center;"><div style="margin: 0px;"><br />
</div></div><div style="text-align: left;"><div style="margin: 0px;">Christian Marclay has made a fully functioning 24 hour clock - out of clips from films - <a href="http://www.youtube.com/watch?v=Y8svkK7d7sY">'The Clock'</a>. He has spent years looking for <a href="http://www.frieze.com/blog/entry/christian-marclay-the-clock-live/">scenes from films</a> where watches and clocks have been used or referred to. The film is synchronised perfectly with the real world - if you watch it at 10.36am it is 10.36am on the screen. <a href="http://www.youtube.com/watch?v=4yqM3dAqTzs">Marclay</a> has also made a symphony out of film clips called <a href="http://www.youtube.com/watch?v=9VmXoeZir7A">'Video Quartet'.</a> </div></div></div></div><br />
<div class="separator" style="clear: both; margin: 0px;"></div><div style="margin: 0px; text-align: left;"><div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://t1.gstatic.com/images?q=tbn:x6fd5OW7jFtyoM:http://img232.imageshack.us/img232/3332/still1im9.png&t=1" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="218px" src="http://t1.gstatic.com/images?q=tbn:x6fd5OW7jFtyoM:http://img232.imageshack.us/img232/3332/still1im9.png&t=1" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Sam Taylor Wood - '<a href="http://www.youtube.com/watch?v=SIl9rO9sURE&feature=related">A Little Death</a>' 2002</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://t2.gstatic.com/images?q=tbn:b5ded2b0EL1GqM:http://www.artadox.com/wp-content/uploads/2009/05/jan-lievens-still-life-with-books.jpg&t=1" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="278px" src="http://t2.gstatic.com/images?q=tbn:b5ded2b0EL1GqM:http://www.artadox.com/wp-content/uploads/2009/05/jan-lievens-still-life-with-books.jpg&t=1" style="cursor: move;" width="400px" /></a></div><div style="text-align: center;"><div style="margin: 0px;">Jan Lievens (Dutch, 1607–1674), 'Still Life with Books', ca. 1627–1628.</div></div></div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.kunstportal-bw.de/bilder/2/8681.SamTaylorWood2StillLife2001small.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300px" src="http://www.kunstportal-bw.de/bilder/2/8681.SamTaylorWood2StillLife2001small.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Sam Taylor Wood '<a href="http://www.youtube.com/watch?v=MIzXWGcb3u0">Still Life</a>' 2001</div><div style="margin: 0px;"><div style="margin: 0px;">Sam Taylor Wood is an artist, photographer and film maker. Her 2001 Film/animation ‘Still Life’ has the visual look of a 17th Century Dutch still life. Sequences of still photographs are taken over a period of time to show the fruit slowly decaying. This is shown as a piece of video art in a gallery space - it is almost displayed like a painting on the wall. It is similar to time lapse photography used to capture the <a href="http://www.youtube.com/watch?v=ieCmPxWBCOM">growth of a plant</a> - who move at a completely different pace to ourselves.</div></div><br />
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</div>jfkturnerhttp://www.blogger.com/profile/04292497470976112213noreply@blogger.comtag:blogger.com,1999:blog-5743411721886035143.post-73719773881859629552012-02-27T04:20:00.000-08:002012-02-27T04:20:14.440-08:00Ordinary and/or Extraordinary - Imagination part 3 - Merged Images<div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu93lY2K2Coe-_os37wvLu35wwGpEOuR8TwHvrdOPdndAzNgOHF3JkdZ1i_xX8ntbetoIuyd975ZSaC9662_Lf4WRM5O_zoI8-IReGAVmcChpODU6sRSjTUICEecsS8R36_QSPgD-msQhH/s1600/sommer_max_ernst.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="318px" kca="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu93lY2K2Coe-_os37wvLu35wwGpEOuR8TwHvrdOPdndAzNgOHF3JkdZ1i_xX8ntbetoIuyd975ZSaC9662_Lf4WRM5O_zoI8-IReGAVmcChpODU6sRSjTUICEecsS8R36_QSPgD-msQhH/s400/sommer_max_ernst.jpg" style="cursor: move;" width="400px" /></a></div><div style="text-align: center;"><div style="margin: 0px;"><a href="http://www.fredericksommer.org/">Frederick Sommer</a> - 'Max Ernst' 1946</div></div><div style="text-align: left;"><div style="margin: 0px;">This is a photograph of the artist Max Ernst by Frederick Sommer. Ernst was connected to the <a href="http://www.tate.org.uk/modern/exhibitions/surrealism/room1.htm">Surrealists</a> who were interested in the world of the unconscious and dreams. In dreams the everyday mixes and creates strange juxtapositions. <a href="http://en.wikipedia.org/wiki/Sandwich_printing">In this photograph Frederick Sommer has created a sandwich negative in the dark room by placing two negatives on top of one another. </a>He would have had to alter the exposure time to compensate for using two negatives. Like the surrealists Sommer has Juxtaposed two images - an image of Hass and an old textured wall. Is he making a connection between the decay effects of nature on a man made wall and the ultimate aging effect of time on the human body?</div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD1ic0fpsc4efVakbMP7SmjH8gh2RJwj45PHdsuSMqdQMCApdslsvI0SKt3iDJ40-Vvj5u7Y4tsHPq2x5LrBiCiC-7oNPoVs5otFIS50Q-47ub0Eh0nvUZpOTr2sufEYyFLKdnpou-Z0x_/s1600/travis+12+memories.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" kca="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD1ic0fpsc4efVakbMP7SmjH8gh2RJwj45PHdsuSMqdQMCApdslsvI0SKt3iDJ40-Vvj5u7Y4tsHPq2x5LrBiCiC-7oNPoVs5otFIS50Q-47ub0Eh0nvUZpOTr2sufEYyFLKdnpou-Z0x_/s400/travis+12+memories.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Album cover for Travis '12 Memories' 2003 - photographs by <a href="http://www.corbijn.co.uk/">Anton Corbijn</a></div><div class="separator" style="clear: both; margin: 0px; text-align: left;">This album cover is similar to Sommer's image. Each band member has been photographed from a distance (a view that includes some kind of texture) and then this images has been merged with a close up portrait. Here we see a trickle down effect from early twentieth century pioneers to early 21st century commercial packaging. However, even in 1949, when Sommer created his image of Hass, the act of combining images together was already established.</div><div class="separator" style="clear: both; margin: 0px; text-align: left;"></div><div style="margin: 0px;"><div style="text-align: left;"><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://bioscopic.files.wordpress.com/2008/03/melies2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="277px" src="http://bioscopic.files.wordpress.com/2008/03/melies2.jpg" style="cursor: move;" width="400px" /></a></div><div style="text-align: center;"><div style="margin: 0px;"><div style="margin: 0px;"><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><a href="http://www.youtube.com/watch?v=dXwGN2uSsn0">George Melies</a></span> - <a href="http://www.youtube.com/watch?v=nXbjYaXVVqM">'L’Homme à la tête en caoutchouc'</a> 1903</div></div></div></div></div></div><div class="separator" style="clear: both; margin: 0px; text-align: left;">Some of the earliest examples of merged images are found in cinema. Early films were often just one long take but soon film maker were editing several scenes. Pioneers such as George <span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><a href="http://www.youtube.com/watch?v=hJLnYVfmPEw&feature=related">Melies</a></span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"> (</span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">and <a href="http://bioscopic.wordpress.com/2008/03/">others</a>) creatively </span>experimented with the way you could <a href="http://classes.yale.edu/film-analysis/htmfiles/editing.htm">cut from scene to scene</a> and the art of editing was born (watch '<a href="http://www.youtube.com/watch?v=508MHvMGWEg">The Cutting Edge - The Magic of Movie Editing'</a>). Also <a href="http://www.youtube.com/watch?v=zfgiUvBaosg">watch Lois Weber's 'Suspence' 1913.</a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUu8CFvLUehiHIbE2MrYdpmlOfgRf5P4Mlp_96cb6n_rW3bTKiu7WKHu8ZUbRFsvIBDmuC1NSwRyw2seFcsEvWHI1iMpIEmLSjnrblyhzOwGSs0tiR1m9AZOOeNW95O8Xv2A9k7E5r42qt/s1600/Picture+4.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="342px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUu8CFvLUehiHIbE2MrYdpmlOfgRf5P4Mlp_96cb6n_rW3bTKiu7WKHu8ZUbRFsvIBDmuC1NSwRyw2seFcsEvWHI1iMpIEmLSjnrblyhzOwGSs0tiR1m9AZOOeNW95O8Xv2A9k7E5r42qt/s400/Picture+4.png" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.designishistory.com/1920/el-lissitzky/">El Lissitzky</a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkIAueHxgRa9MWolLutDeUXNYhHVlXvBL4gLT6vgI7SyJE_igJbJ9eVX1_VJcml8guF0e1RXrOceCn9ZXqJxCe-GsP1WXDpQ_1BQfrN7_6CDmL9-ns9-FJ4hpLrLXbvQi1C8Im9A6eu7zg/s1600/2009kino-vertov300%255B1%255D.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="261px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkIAueHxgRa9MWolLutDeUXNYhHVlXvBL4gLT6vgI7SyJE_igJbJ9eVX1_VJcml8guF0e1RXrOceCn9ZXqJxCe-GsP1WXDpQ_1BQfrN7_6CDmL9-ns9-FJ4hpLrLXbvQi1C8Im9A6eu7zg/s400/2009kino-vertov300%255B1%255D.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghdBWzGsrUI9p_BpQdqLNmBmtwgVAubqnuscdt2vcHpVXKW0feoC0TMTTkRt4KPce3pgtn_6XMpO4UyRhMjja0pSWEj0b2I09emBO4mJHPpY-akGLMMkNmOXpKlUpmED0StVEMIKv7-KDs/s1600/bild.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="297px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghdBWzGsrUI9p_BpQdqLNmBmtwgVAubqnuscdt2vcHpVXKW0feoC0TMTTkRt4KPce3pgtn_6XMpO4UyRhMjja0pSWEj0b2I09emBO4mJHPpY-akGLMMkNmOXpKlUpmED0StVEMIKv7-KDs/s400/bild.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Dziga Vertov 'Man with a Movie Camera 1929</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">An eye is superimposed with a lens (<a href="http://www.othercinema.com/otherzine/index.php?issueid=2&article_id=13">'I am kino-eye, I am mechanical eye</a>') and a mans face is superimposed with a machine. <a href="http://www.guardian.co.uk/film/2005/jul/02/2">Dziga Vertov</a>'s revolutionary film '<a href="http://www.youtube.com/watch?v=00ZciIC4JPw">Man with a Movie Camera</a>' (watch an ongoing modern remake <a href="http://dziga.perrybard.net/">here</a>) experimented, expanded and reinvented what could be done with a camera and how you could edit the film. The moving image is <a href="http://www.youtube.com/watch?v=brVO2l4bONc">the ultimate Photomontage</a> but rather than a static image you have multiple images, one after the other, creating strange juxtapositions and new meanings. Vertov's films are like a living <a href="http://thedelightsofseeing.blogspot.com/search/label/Photomontage">Dada Photomontage</a>. Vertov wasn't making art - he was making work for the people. In doing so he helped create the language of cinema. Like the juxtaposition used in Surrealism, editing film together creates new meaning.</div><div class="separator" style="clear: both; margin: 0px; text-align: left;"><br />
</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">It was in scene Transitions in cinema where we see images that look like a sandwich negative or a multiple exposure.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihNUSXaMTNRpQ_7chyKyipPEEczUk2WfYXeCHg3i9V1dKnFd3K1vCKrnFRLKQBJ8ogQNKEO_hJzZUC7pu2RpRVjCv8hRRfm4-gWqPRIGBw_OWCjSsShzlpnj5LJn53gSzzoiIU1f8jvL5F/s1600/pather1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="232px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihNUSXaMTNRpQ_7chyKyipPEEczUk2WfYXeCHg3i9V1dKnFd3K1vCKrnFRLKQBJ8ogQNKEO_hJzZUC7pu2RpRVjCv8hRRfm4-gWqPRIGBw_OWCjSsShzlpnj5LJn53gSzzoiIU1f8jvL5F/s320/pather1.jpg" style="cursor: move;" width="320px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEix8Id_bzU1ywZDjp6ByXngwAHa0g-UbYqVwZIiWhVykn9115dIe2l9ZLenlNJeUjRhU3qVXPErzRC9MQsFS75FW2aY12067aL1ET8pagcPWesE0VXKHutioYmDKccj9DA2UKwXWPacO4QT/s1600/pather2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="231px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEix8Id_bzU1ywZDjp6ByXngwAHa0g-UbYqVwZIiWhVykn9115dIe2l9ZLenlNJeUjRhU3qVXPErzRC9MQsFS75FW2aY12067aL1ET8pagcPWesE0VXKHutioYmDKccj9DA2UKwXWPacO4QT/s320/pather2.jpg" style="cursor: move;" width="320px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYFuD0MbAg4T9ujxWJHrJ2p7AW4uTNdmzpt9UL5vuizOtsyetMovP-YvJyLiuDiaB8F0farVIyUXsAwWD9_sNX0om9agWPGnEjENd93P8k88KYR0hlaXNhVMh9JK2c3YN6lsnztBz019bV/s1600/pather3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="234px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYFuD0MbAg4T9ujxWJHrJ2p7AW4uTNdmzpt9UL5vuizOtsyetMovP-YvJyLiuDiaB8F0farVIyUXsAwWD9_sNX0om9agWPGnEjENd93P8k88KYR0hlaXNhVMh9JK2c3YN6lsnztBz019bV/s320/pather3.jpg" style="cursor: move;" width="320px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Stills from <a href="http://www.guardian.co.uk/film/2010/oct/20/pather-panchali-ray-arthouse">Pather Panchali </a> (directed by Satyajit Ray) 1955</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">Satyajit Ray first ever film, made with <a href="http://en.wikipedia.org/wiki/Pather_Panchali">an inexperienced crew and untrained actors</a>, is one of the most beautiful films ever made (sit back have a cup of tea and <a href="http://www.youtube.com/watch?v=CurcGnmI-IQ">watch it here</a>). At several key stages <a href="http://classes.yale.edu/film-analysis/htmfiles/editing.htm">transitions</a> are used - blending scenes into one another - mixing everyday reality with a dreamlike quality. These moments pass quickly in the film but frozen they reveal themselves as rich, layered multiple exposures. Many modern films use this technique - there will probably be one in the next film you see.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP-zidqck2i5KGhe-IUT9JP972yWL6H-o_jk4MWWiOwG-Y7i8zTA0IwKUeM2SyGgjhNLvKqo048tIEJAiMVLUMt5oP46ER12kbeQ6dYykybHVqPTIYKSIeL9kjxVNKv15V_RufksrzaHc/s1600/patherpanchali_train-scene.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="301px" nda="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP-zidqck2i5KGhe-IUT9JP972yWL6H-o_jk4MWWiOwG-Y7i8zTA0IwKUeM2SyGgjhNLvKqo048tIEJAiMVLUMt5oP46ER12kbeQ6dYykybHVqPTIYKSIeL9kjxVNKv15V_RufksrzaHc/s400/patherpanchali_train-scene.png" width="400px" /></a></div><div class="separator" style="clear: both; text-align: center;">Still from Pather Panchali</div><div class="separator" style="clear: both; text-align: left;">As well as transition shots 'Pather Panchali' juxtaposes images within the same scene. <a href="http://www.youtube.com/watch?v=d-JWZDALouI">In the famous train scene</a> Apu and Durga run to catch a glimpse of a train. Apu and Durga come from a poor traditional rural village and the train represent industrialisation and the future. By contrasting the modernity of the train with the children's simple life style juxtaposes the traditions of the past with the possibilities of the future. Today a lot of people pine for a simpler less consumer led life but here industrialisation is shown as a positive force.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.mcs.csueastbay.edu/~malek/Surrealism/magritte2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="315px" src="http://www.mcs.csueastbay.edu/~malek/Surrealism/magritte2.jpg" style="cursor: move;" width="400px" /></a></div><div style="margin: 0px;"><div style="margin: 0px;"><div style="margin: 0px;">Rene Magritte was a surrealist painter who often combined or juxtaposed two images together. Most of us have seen rain and we have seen men in suites (Magritte used these figures as short hand for the <a href="http://en.wikipedia.org/wiki/Bourgeoisie">bourgeois</a>) – they are both everyday sights. In our dreams it could rain business men - as in this above painting by Magritte. These are the kind of Juxtapositions the <a href="http://www.guardian.co.uk/culture/2006/may/11/1">Surrealists</a> liked to play with.</div></div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCJMjNxO5-t6H7DaMxaaRF4BojBvS3N87NgUibqf52sEE8nKLIj0GfH6rDgD96kDJYWST5NbVRZZskN454_SWaQ-DHfbf1er8Kv8AqnVFVVf97IhGhI8MZqnfob_ERru5LBA3UD33IIIrL/s1600/magritte55.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCJMjNxO5-t6H7DaMxaaRF4BojBvS3N87NgUibqf52sEE8nKLIj0GfH6rDgD96kDJYWST5NbVRZZskN454_SWaQ-DHfbf1er8Kv8AqnVFVVf97IhGhI8MZqnfob_ERru5LBA3UD33IIIrL/s400/magritte55.jpg" style="cursor: move;" width="301px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><span class="Apple-style-span" style="color: white;">Rene Magritte 'The Explanation' 1954</span></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqWV37yQR3l1CITmbVyPT0eBS4_noW6LPyuc95mB6dcWTnN1REGNK_64_tYQScVn6KprzxswFqRdQvF1rBwCfXCQNqWB3gUEHPUjksHjPJjiA30LuN27eG2rz7N-5a-tmTGNxcqR56nhy_/s1600/magritte+shoes.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqWV37yQR3l1CITmbVyPT0eBS4_noW6LPyuc95mB6dcWTnN1REGNK_64_tYQScVn6KprzxswFqRdQvF1rBwCfXCQNqWB3gUEHPUjksHjPJjiA30LuN27eG2rz7N-5a-tmTGNxcqR56nhy_/s400/magritte+shoes.jpg" style="cursor: move;" width="291px" /></a></div><div style="text-align: center;"><div style="margin: 0px;"><div style="margin: 0px;">Rene Magritte 'le modele rouge' 1935</div></div></div><div style="margin: 0px;"><div style="margin: 0px;">These images by Magritte show how he would juxtapose two images to create a new strange image. A carrot becomes a bottle or shoes become feet (<a href="http://historyiselementary.blogspot.com/2006/08/natural-vs-man-made.html">man made objects merged with natural forms</a>). Magritte was a Surrealist who were interested in dreams and the unconscious. In a dream you will combine everyday things but by combining them they become strange. You may dream of a hat or a piece of cheese - both very ordinary. However, in your dream they appear to you as a hat made out of cheese - this is an element of surrealism.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0hWn8TqkhAu1zxSf_8sa9y7WOl-NfYyfaUh8nXJkgE_PVKDVyO6uhl_oE5NH-x4gtT96_RglVv7Uh5__Xp8Vd6VfNCr8eOywOH8-Ww32pm-hegBYMGiUC8USlP7QSYwoIBTJP73293yY/s1600/Smirnoff+Ad+Campaign_4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" dda="true" height="267px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0hWn8TqkhAu1zxSf_8sa9y7WOl-NfYyfaUh8nXJkgE_PVKDVyO6uhl_oE5NH-x4gtT96_RglVv7Uh5__Xp8Vd6VfNCr8eOywOH8-Ww32pm-hegBYMGiUC8USlP7QSYwoIBTJP73293yY/s400/Smirnoff+Ad+Campaign_4.jpg" width="400px" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1fSfZZ1FBX2eA9ketC2Y33WdhuWycx3LcHDJugW1S_clnzI8Umz9Ld_ikxeUJ0hgLe5cmQxd3h1BOL32JrHN9U2VDtHnp-NTXlggcXp_WW5dfOXY8-gYpZ21hS953CBtjqowuPI6aYLU/s1600/smirnoff-vodka-800x800.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" dda="true" height="318px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1fSfZZ1FBX2eA9ketC2Y33WdhuWycx3LcHDJugW1S_clnzI8Umz9Ld_ikxeUJ0hgLe5cmQxd3h1BOL32JrHN9U2VDtHnp-NTXlggcXp_WW5dfOXY8-gYpZ21hS953CBtjqowuPI6aYLU/s400/smirnoff-vodka-800x800.jpg" width="400px" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://kyemckee.blogspot.com/2009_09_01_archive.html">Surrealist inspired Smirnoff Advert</a> and <a href="http://www.tricks-and-illusions.com/2007/11/creative-ad-illusions-by-smirnoff-vodka.html">here</a></div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj088V17kjsT4WDd6zbZ7i5FwE_adHmwYP-xuHg7n4AuDcq8KZ6oEmq-xufR0DM0boUiEd8iEMFfaWTbHNHAFQYw5hUqOk6mVS9a8_MGQN5a7MrtHC1Yq2jPYpfK97gWpGTucbiVTZETww/s1600/edwardwestonpepper_index.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320px" nda="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj088V17kjsT4WDd6zbZ7i5FwE_adHmwYP-xuHg7n4AuDcq8KZ6oEmq-xufR0DM0boUiEd8iEMFfaWTbHNHAFQYw5hUqOk6mVS9a8_MGQN5a7MrtHC1Yq2jPYpfK97gWpGTucbiVTZETww/s320/edwardwestonpepper_index.gif" width="262px" /></a></div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;">Edward Weston <a href="http://www.edward-weston.com/index.htm">'Pepper'</a> 1930</div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmxf_ZRkWb-mdq8MPyrRAYys-iFbKsDz2kGVFhl6xZ230TFzNM0WMHhP-TYEDL_cV8KhPkgodtzKG78c9a7CMEcX_Nh6cLOqgWBHu6am0ptTngHTv5cEtB3g74vqLl3GxiIYmwx_2Kpnw/s1600/westonnude.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320px" nda="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmxf_ZRkWb-mdq8MPyrRAYys-iFbKsDz2kGVFhl6xZ230TFzNM0WMHhP-TYEDL_cV8KhPkgodtzKG78c9a7CMEcX_Nh6cLOqgWBHu6am0ptTngHTv5cEtB3g74vqLl3GxiIYmwx_2Kpnw/s320/westonnude.jpg" width="260px" /></a></div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;">Edward weston 'Nude' 1936</div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: left;">Both of the images above are by <a href="http://www.photo-seminars.com/Fame/EdWeston.htm">Edward Weston</a>. Whether Weston was photographing a natural form, a human figure, a car engine or a toilet (he create a series) he considered curves, light and form. Although he has not combined the images, by photographing them in the same way, he encourages us to compare them.</div><div align="left"><br />
</div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://static.guim.co.uk/Arts/gallery/2007/mar/20/surrealism/6-6990.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="256px" px="true" src="http://static.guim.co.uk/Arts/gallery/2007/mar/20/surrealism/6-6990.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Salvado Dali 'Telephone - homard' 1938</div><div style="margin: 0px; text-align: left;"><div style="margin: 0px;">This is a photograph of <a href="http://www.tate.org.uk/servlet/ViewWork?workid=2988&tabview=text">Salvador Dalí's</a> 'Téléphone-homard (<a href="http://www.google.co.uk/imgres?imgurl=http://static.guim.co.uk/Arts/gallery/2007/mar/20/surrealism/6-6990.jpg&imgrefurl=http://www.guardian.co.uk/arts/gallery/2007/mar/20/surrealism&usg=__ynXojV2f-e94Kzp1MBjFm8Px-HI=&h=404&w=630&sz=26&hl=en&start=18&zoom=1&um=1&itbs=1&tbnid=29Za_V06mIdFlM:&tbnh=88&tbnw=137&prev=/images%3Fq%3DDali%2Blobster%2Btelephone%26um%3D1%26hl%3Den%26sa%3DN%26rls%3Dcom.microsoft:en-US%26rlz%3D1I7SKPB_en%26tbs%3Disch:1">Lobster Telephone</a>)', 1938. Dali was a Surrealist and one of the key themes of Surrealism was the unconscious mind. Again Dali, like Magritte, has used juxtaposition. We have all seen a plastic lobster and we have all seen a telephone but by combining them together Dali has created something Surreal. The surreal look has slowly merged with popular culture and many adverts today have a surreal quality. <a href="http://www.highbeam.com/doc/1P2-5217582.html">Surrealism is now the norm.</a></div></div><div style="text-align: left;"><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-UP2s4VPUlpoON57QGUUB751hTt19txWH9ZQeYL0U65nyZoG2mEbmkdJQ_z2gYwA0Irep1PrLovvTNEhADM-obh08PrL7qK3JR2nhG-7isqC3kvrVMGkj40H5ImjqDJrvvBfYjJLaTCqL/s1600/magritte68.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-UP2s4VPUlpoON57QGUUB751hTt19txWH9ZQeYL0U65nyZoG2mEbmkdJQ_z2gYwA0Irep1PrLovvTNEhADM-obh08PrL7qK3JR2nhG-7isqC3kvrVMGkj40H5ImjqDJrvvBfYjJLaTCqL/s400/magritte68.jpg" style="cursor: move;" width="302px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Rene Magritte - 'Empire of Lights' 1953-54 </div><div class="separator" style="clear: both; margin: 0px; text-align: left;">In this painting Magritte explores the relationship between night and day in one image. The sky is blue and scattered with cloud but the ground is dark apart from a single street light illuminating the scene.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-_ATzoQ-kZQzvlA7a_-O0bBg2ec-h6MvwZTQukTwYkoqKmFclKUl7mNmw5ovMDkAC9TdAGMVxMjlQOIVN7Z5J0kZxfLBoUO0MHJNaB2JXHMYQ-f6iA4_Lrqvk-nXuDufY-P93IZB5U1q0/s1600/jerry+uelsmann+untitled+1982.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" kca="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-_ATzoQ-kZQzvlA7a_-O0bBg2ec-h6MvwZTQukTwYkoqKmFclKUl7mNmw5ovMDkAC9TdAGMVxMjlQOIVN7Z5J0kZxfLBoUO0MHJNaB2JXHMYQ-f6iA4_Lrqvk-nXuDufY-P93IZB5U1q0/s400/jerry+uelsmann+untitled+1982.jpg" style="cursor: move;" width="316px" /></a></div></div><div style="text-align: center;"><div style="margin: 0px;"><a href="http://www.modernbook.com/JerryUelsmann/images.htm">Jerry Uelsmann</a> 'Untitled' 1982</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjpf8b_LCf7KaPZ7CBExVG9FWT8uouu52GxowLig9gdm5vzydmlIQKvjHFWdsfBkryWFxsx8TqjX_9DfvHl1AfViXjvqFYZ79DTEbP1wxteJKpoHyQtWWnpDMYOM4w5otsuwJqCEPsyHQb/s1600/jerry+Uelsmann_Untitled1969.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="252px" kca="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjpf8b_LCf7KaPZ7CBExVG9FWT8uouu52GxowLig9gdm5vzydmlIQKvjHFWdsfBkryWFxsx8TqjX_9DfvHl1AfViXjvqFYZ79DTEbP1wxteJKpoHyQtWWnpDMYOM4w5otsuwJqCEPsyHQb/s320/jerry+Uelsmann_Untitled1969.jpg" style="cursor: move;" width="320px" /></a></div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.masters-of-photography.com/U/uelsmann/uelsmann_articles2.html">Jerry Uelsmann</a> 'Untitled' 1969</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">An old house grows from the stump of a tree and another tree floats above an island. These Photo montages by <a href="http://www.uelsmann.net/">Jerry Uelsmann</a> have the surreal quality of a Magritte and seem to have been pieced together smoothly using a layer mask in Photoshop (read tutorial <a href="http://www.crhfoto.co.uk/crh/layermask.htm">here</a> or see video tutorial <a href="http://www.youtube.com/watch?v=K-D5HxyV6AU&feature=related">here</a>). <a href="http://www.guidetofilmphotography.com/photography-techniques-darkroom.html">However, they have been made in a darkroom using burning and dodging</a>, masks made out of cardboard and patience. Uelsmann came to prominence during the 1960's during the Pop Art era. Photography is famed for its objective, mechanical eye. It can be used as evidence in a court of law. However, these images are clearly fantastical - and with the invention of Photoshop most photographs are altered in some way. In the digital age is photography still an objective medium?</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv43kQExaOQ6MEqAv7RPsH6un2aVrmxFnwXyiRSqRvuy4Gv7bHCKR9VjAtVmbcEjrj9l7_oFMYZLMG_FpLVyjcpdq5g5BOE4nl719M9sXXmr8FLUjUtMc6wPCofAAZBI-uV4rkOXK2-Drj/s1600/Wander+Wulz+self+portrait.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" kca="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv43kQExaOQ6MEqAv7RPsH6un2aVrmxFnwXyiRSqRvuy4Gv7bHCKR9VjAtVmbcEjrj9l7_oFMYZLMG_FpLVyjcpdq5g5BOE4nl719M9sXXmr8FLUjUtMc6wPCofAAZBI-uV4rkOXK2-Drj/s400/Wander+Wulz+self+portrait.jpg" style="cursor: move;" width="302px" /></a></div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Wanda Wulz - Self Portrait 1932</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">In this image Wanda Wulz has used the sandwich negative approach to merge herown image with that of a cat. The notion of a human turning into an animal is called anthropomorphism and has been used repeated in literature - for exam <a href="http://en.wikipedia.org/wiki/Franz_Kafka">Franz Kafka's</a> - 'The Metamorphosis'.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9C0pKWCbqAc7u2GyGLb3AjKOrkjBvtsI3cxp28yN7pvkAygOIUrHtFPvrCBgwMBYc10JS6QvdBAFBR7TLxgtFkp0mSFoRqitegTWytwq8Knb4jMe4GgzinGRff69atusTsZySWSuUtrfi/s1600/merged-advert.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="280px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9C0pKWCbqAc7u2GyGLb3AjKOrkjBvtsI3cxp28yN7pvkAygOIUrHtFPvrCBgwMBYc10JS6QvdBAFBR7TLxgtFkp0mSFoRqitegTWytwq8Knb4jMe4GgzinGRff69atusTsZySWSuUtrfi/s400/merged-advert.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: left;">In this contemporary advert a human figure has been merged with a collection of brass instruments. The curves of the figure has been replaced with the curves of object. In this instant Photoshop has been used.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.kiberpipa.org/gallery/album82/Etienne_Jules_Marey_Kronografije_mo_a_ki_hodi_in_te_e_ter_ptice_v_letu_1880.sized.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="280px" src="http://www.kiberpipa.org/gallery/album82/Etienne_Jules_Marey_Kronografije_mo_a_ki_hodi_in_te_e_ter_ptice_v_letu_1880.sized.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbu1_FrebhhIqikwrgnegf_rBNeiQbTiIcUcgb4MtG8IyS0k1eDuPkquvAqhVPltmt4HQlWRGCQY3SZQ-feHtATfFxOtbaRLbybCoiyMWwcePxYT2ArCzokDM0FO0Hsk8B34lJflbYf5Zf/s1600/ejm_chronophotograph01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="203px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbu1_FrebhhIqikwrgnegf_rBNeiQbTiIcUcgb4MtG8IyS0k1eDuPkquvAqhVPltmt4HQlWRGCQY3SZQ-feHtATfFxOtbaRLbybCoiyMWwcePxYT2ArCzokDM0FO0Hsk8B34lJflbYf5Zf/s400/ejm_chronophotograph01.jpg" style="cursor: move;" width="400px" /></a></div><div style="text-align: center;"><div style="margin: 0px;">E.J. Marey 'Geometric Chronophotograph of a man in a black suit' 1883</div></div><div style="margin: 0px;"><div style="margin: 0px;"><span style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.exeter.ac.uk/bdc/young_bdc/movingpics/movingpics6.htm">Etienne-Jules Marey</a> </span>created images of the moving figure (also see<span style="font-family: Arial, Helvetica, sans-serif;"> <a href="http://www.tate.org.uk/britain/exhibitions/eadweardmuybridge/default.shtm?gclid=CLvvhdTi86QCFU0_4wodbzFBjA">Eadweard Muybridge</a></span>). Marey was a scientist who used art whereas Muybridge was an artist who created pseudo-scientific images. However, Marey's images were slow shutter speed shots and he used a strobe light. As the strobe flashed it created an image of the figure - therefore creating multiple figures showing the subject move though time and space.</div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span></div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span></div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span></div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span></div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span></div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span></div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span></div><div class="separator" style="clear: both; font-family: Times; margin: 0px; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.smoca.org/images/education/ex/edgerton.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640px" src="http://www.smoca.org/images/education/ex/edgerton.jpg" style="cursor: move;" width="500px" /></a></span></div><div style="font-family: Times; margin: 0px; text-align: center;"><div style="margin: 0px;"><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> <a href="http://edgerton-digital-collections.org/">Harold Edgerton</a> </span></span></div></div></div><div style="margin: 0px;"><div style="margin: 0px;"><div style="margin: 0px;">Photography is, in many ways, where art and science meet and these images show Harold Edgerton’s experiments with high speed photography. This image was created by having the camera on a tripod and using a<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> <a href="http://thedelightsofseeing.blogspot.com/search/label/Shutter%20speeds%20-%20SLOW">slow shutter speed</a>.</span></span> However, Edgerton used a strobe light – each time it flashed it captured the figure in mid movement.</div></div></div></div><div style="margin: 0px;"><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Times;"></span></span></div></div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span></div><div style="margin: 0px;"><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span></span></div></div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span></span></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.art2bank.com/london_art_news/art_investment_tate_boccioni.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="http://www.art2bank.com/london_art_news/art_investment_tate_boccioni.jpg" style="cursor: move;" width="298px" /></a></div><div style="text-align: center;"><div style="margin: 0px;">Umberto Boccioni 'Unique Forms of Continuity in Space' 1913</div></div><div style="margin: 0px;"><div style="margin: 0px;"><a href="http://www.art2vu.co.uk/london_art_news/featured-galleries/umberto-boccioni.php">In this sculpture above the futurist artist <span style="font-family: Arial, Helvetica, sans-serif;">Umberto Boccioni</span></a><span style="font-family: Arial, Helvetica, sans-serif;"> </span>has captured in three dimensions a figure moving through time and space. Notice how the calf muscles are repeated - like a slow shutter speed photograph made solid. It is similar to<span style="font-family: Arial, Helvetica, sans-serif;"> <a href="http://www.idiom.com/~wcs/duchamp.html">Marcel Duchamp's 'Nude Descending a Staircase'</a> </span>where we see a figure repeated going down stairs.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLlJtDrebboh-F_AU0YfK6NvMeuj74lgedAb3tViUN08klt80m8KcOHYtAtWhbJ7shV39W0xetW0bt-7_dQiLErIxHecjf-Ehf9RN6QuOrRkWZpFHVTAwy2m-Q5ZrF3AmM4XivLAimMmPe/s1600/duchamp+descending+a+staircase+1952.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLlJtDrebboh-F_AU0YfK6NvMeuj74lgedAb3tViUN08klt80m8KcOHYtAtWhbJ7shV39W0xetW0bt-7_dQiLErIxHecjf-Ehf9RN6QuOrRkWZpFHVTAwy2m-Q5ZrF3AmM4XivLAimMmPe/s400/duchamp+descending+a+staircase+1952.jpg" style="cursor: move;" width="335px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">'Duchamp Descending a Staircase' Life Magazine 1952 by Eliot Elisofon</div></div><div style="margin: 0px;"><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span></div></div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr2Hvd6aaiXKLlVgr5zjnB0-k6TM4XH2Pj8sFB7031qWiGFeZnUmurYN69iuy5pA1uj-1UgRktC4Z3-TfxyNrn_MRTsYM-C52siS9liRSazXBoWci2mEnEw98raNM_Ai_KCtlBY-B8fHQX/s1600/duchamp-nude-descending-a-staircase.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr2Hvd6aaiXKLlVgr5zjnB0-k6TM4XH2Pj8sFB7031qWiGFeZnUmurYN69iuy5pA1uj-1UgRktC4Z3-TfxyNrn_MRTsYM-C52siS9liRSazXBoWci2mEnEw98raNM_Ai_KCtlBY-B8fHQX/s640/duchamp-nude-descending-a-staircase.jpg" style="cursor: move;" width="388px" /></a></span></div><div class="separator" style="clear: both; margin: 0px;"></div><div style="text-align: center;"><div style="margin: 0px;">Marcel Duchamp 'Nude Descending a staircase (No2)' 1912</div></div><div style="margin: 0px;">'Nude descending a staircase (No2)' was the painting that changed Marcel Duchamp's life. The figure hardly looks nude because it hardly looks human. You can just about make out the form of a figure move diagonally across the composition. triangles and semi circles of brown and yellow hues add vibrancy to the image. When Duchamp submitted Salon des Independants, it was coldly received. The cubist painter and theorist Albert Gleizes asked Duchamp's brother to ask him to 'Voluntarily' withdraw it. It did not conform to what the cubist circle wanted to represent their ideas<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://thedelightsofseeing.blogspot.com/search/label/Cubism">(Cubism showed the world from multiple viewpoints)</a></span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">.<a href="http://www.blogger.com/goog_852873240"> </a></span>It seemed too futurist to them since it contained movement <a href="http://www.tate.org.uk/modern/exhibitions/futurism/rooms/room1.shtm"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">(Futurism, although sharing a certain look of Cubism, showed objects moving through time and space).</span></a><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> </span></div><div style="margin: 0px;">The Cubists wanted to clarify and strengthen their position against other 'ism' that were cropping up. Embarrassed Duchamp's brother asked him to concede, which he did without making a fuss. However, the incident did affect Duchamp -</div><div style="margin: 0px;"><span class="Apple-style-span" style="font-size: large;">"This affair helped me to totally escape my past, my own personal past. I said to myself, 'Well, if that's how the way they want it, then there's no question about me joining a group; one can only count on oneself, one must be a loner.'"</span></div><div class="separator" style="clear: both; margin: 0px;">Soon after<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.youtube.com/watch?v=lmag4vL7hnQ">Duchamp would turn his back on painting and start to question the very nature of art.</a></span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> </span>He started placing objects from the world into gallery spaces, he called them<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.tate.org.uk/collections/glossary/definition.jsp?entryId=239">'ready-mades'</a></span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">, </span>most famously in<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.telegraph.co.uk/culture/art/3671180/Duchamps-Fountain-The-practical-joke-that-launched-an-artistic-revolution.html">1917 with 'Fountain'</a></span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">.</span></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMsNtiB4Co1uWUP39URGcdXXTJ_bVACHWnaWrq9T-H5GhP9IVEp0uTBYBvjBxI4dwr0jZHRp2NhMM9ulQT1ro0qKVdKGbr5XOq0QQd_kAzIw0KLuOVaNprQoLIXUYozNBIk7st61GS4G4s/s1600/cecil+beaton+ts+eliot.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMsNtiB4Co1uWUP39URGcdXXTJ_bVACHWnaWrq9T-H5GhP9IVEp0uTBYBvjBxI4dwr0jZHRp2NhMM9ulQT1ro0qKVdKGbr5XOq0QQd_kAzIw0KLuOVaNprQoLIXUYozNBIk7st61GS4G4s/s400/cecil+beaton+ts+eliot.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.telegraph.co.uk/culture/photography/8128794/How-Cecil-Beaton-captured-the-world.html">Cecil Beaton</a> - 'T.S.Eliot' 1956</div><div class="separator" style="clear: both; margin: 0px; text-align: left;"><a href="http://www.bbc.co.uk/bbcfour/documentaries/features/beaton.shtml">Cecil Beaton</a> often used Multiple exposures in his portraits to show different views of the same person in one image. He would have used a tripod to keep the camera in the same position so the back remains the same but the figure moves. This could be achieved by exposing the film four times in the camera (though you have to lower the exposure time accordingly), exposing the same piece of photographic paper with three different negatives or blending <a href="http://www.bbc.co.uk/bbcfour/documentaries/features/beaton.shtml">Layers in Photoshop</a>.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghyrbzqLl35xLNla6wBKzSkcempt3_w0Ja9cVQoIlhCfpTCMpiV2qB3Ma6GLkYm8BAAhG9LRzGfHRr6TZLPRcV_JtoAWfUtd0Y9qTd5cY8llIrNBU8qYP1YRngX9ZB7PpODoEgm6SLee49/s1600/Alvin+Langdon+Coburn+%252811%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghyrbzqLl35xLNla6wBKzSkcempt3_w0Ja9cVQoIlhCfpTCMpiV2qB3Ma6GLkYm8BAAhG9LRzGfHRr6TZLPRcV_JtoAWfUtd0Y9qTd5cY8llIrNBU8qYP1YRngX9ZB7PpODoEgm6SLee49/s640/Alvin+Langdon+Coburn+%252811%2529.jpg" style="cursor: move;" width="464px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.masters-of-photography.com/C/coburn/coburn.html">Alvin Langdon Coburn</a> 'Ezra Pound' 1917</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">This photograph by Alvin Langdon Coburn creates a vortex effect from a simple portrait shot. It is an image of Ezra Pound who was a key member of the English <a href="http://www.vorticism.co.uk/">Vorticism</a> group <a href="http://www.guardian.co.uk/artanddesign/2011/may/28/vorticists-tate-britain-exhibition-review">(Vorticism shared qualities with Cubism and Futurism)</a>. In the darkroom the paper has been exposed three times - with each exposure the image has been re sized and refocused. Exposure time would have to be reduced so the paper did not become over exposed.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjduDf4ykh-2UmlxRnN_PgeSJpuEXcw-JX7G6L5RUzJsI6l76gzWqYUvclHMX_yltCv58U2ewwZ9sgJQDyvjiYCnoMF8b_5BaNj19yj9ceDOANMeDMknpb1jpx19hNo7ZZxAj6IrOTZ9Gtl/s1600/03-coburn_vortograph.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjduDf4ykh-2UmlxRnN_PgeSJpuEXcw-JX7G6L5RUzJsI6l76gzWqYUvclHMX_yltCv58U2ewwZ9sgJQDyvjiYCnoMF8b_5BaNj19yj9ceDOANMeDMknpb1jpx19hNo7ZZxAj6IrOTZ9Gtl/s640/03-coburn_vortograph.jpg" style="cursor: move;" width="491px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Alvin Langdon Coburn 'Vortograph' 1917</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">At his best Coburn experimented with unusual viewpoints and created some of <a href="http://gallery.ca/cybermuse/enthusiast/acquisitions/2005-2006/Coburn_text_e.jsp">the first abstract photographs</a> with his <a href="http://arttattler.com/archivevorticists.html">'Vortographs'</a>. They were created by using three mirrors to create a kaleidoscopic images.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5BaSbZ4spf8aNj9OetRmRMOBte0rBBi2-Dgo_8LOHakejRRljnz1uAxSKmxu6PHVNxLYnq2sXO1zn7VAurd-s0fwhO973JGv0Gr4B6cBigGPU0e2msANOUVPSAlou3KeiExXULwR9hBzL/s1600/warhol+trip%255Ble+elvis.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5BaSbZ4spf8aNj9OetRmRMOBte0rBBi2-Dgo_8LOHakejRRljnz1uAxSKmxu6PHVNxLYnq2sXO1zn7VAurd-s0fwhO973JGv0Gr4B6cBigGPU0e2msANOUVPSAlou3KeiExXULwR9hBzL/s400/warhol+trip%255Ble+elvis.jpg" style="cursor: move;" width="340px" /></a></div><div class="separator" style="clear: both; font-family: Times; margin: 0px; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span></div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span></div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span></div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span></div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.guardian.co.uk/culture/gallery/2008/jul/25/warhol">Warhol</a> </span>'Triple Elvis' 1963. Acrylic and silkscreen ink on canvas</div><div style="text-align: center;"><div style="text-align: left;"><div style="margin: 0px;"><div style="margin: 0px;">In 'Triple Elvis' a promotional photograph of Elvis is overlaid three times using the <span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.youtube.com/watch?v=CzrPmfaYcMM">silkscreen process</a>. </span></span>This creates a visual Jump - creating movement in a static image. It also suggests that celebrity is shallow - that stars are turned into products to be consumed by the viewer. When you see a Warhol in the flesh you notice that each silkscreened image is slightly different to the next. Little imperfections give the initially mechanical image painterly qualities.</div><div style="font-family: Times;"><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Times;"></span></span></span></div></div><div style="font-family: Times;"><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span></span></div></div><div style="font-family: Times;"><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span></span></div></div><div class="separator" style="clear: both; font-family: Times; margin: 0px; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEhqSYgNvVrZDBX7cSx4oZTaMkDyAB0i8nZcC4zCraPkelCsMNN06Swc9_htAWeZOLqXPvcZCZC9z4w6IjtxBrpGGD9yPzfX4aXDCZdKD7vi7NzHLMmkMHvnl0ad1AeCSAtRiz5WxwwDs/s1600/Thiebault_L.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" n4="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEhqSYgNvVrZDBX7cSx4oZTaMkDyAB0i8nZcC4zCraPkelCsMNN06Swc9_htAWeZOLqXPvcZCZC9z4w6IjtxBrpGGD9yPzfX4aXDCZdKD7vi7NzHLMmkMHvnl0ad1AeCSAtRiz5WxwwDs/s400/Thiebault_L.jpg" style="cursor: move;" width="287px" /></a></span></span></div><div style="font-family: Times; text-align: center;"><div style="margin: 0px;"><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Eugène Thiébault - 'Henri Robin and a Specter', 1863</span></span></div></div></div><div class="separator" style="clear: both; font-family: Times; margin: 0px; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0mzejjEqfVeW2yefXRXotrAeSuQ-XhzpSO07PZWAU93837PKSUXjxQpv9fVb5Mu9zlOrWkOacyiSV_YYPjwwtI0lr3k3llG2Qnk1AXjOQvtX9NyoIhfvwCQSf0QwPUAw1coYJ6wy9UFY/s1600/RANDY_slide_2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="243px" n4="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0mzejjEqfVeW2yefXRXotrAeSuQ-XhzpSO07PZWAU93837PKSUXjxQpv9fVb5Mu9zlOrWkOacyiSV_YYPjwwtI0lr3k3llG2Qnk1AXjOQvtX9NyoIhfvwCQSf0QwPUAw1coYJ6wy9UFY/s400/RANDY_slide_2.jpg" style="cursor: move;" width="400px" /></a></span></span></div><div style="font-family: Times; text-align: center;"><div style="margin: 0px;"><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.nytimes.com/packages/khtml/2005/09/30/arts/20050930_KIMM_AUDIOSS.html">"The Ghost of Bernadette Soubirous,"</a> circa 1890, by an unknown photographer</span></span></div></div></div><div style="font-family: Times; text-align: center;"><div style="margin: 0px;"><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><img height="450px" src="http://graphics8.nytimes.com/images/2005/08/31/arts/RANDY.slide.5.jpg" style="cursor: move;" width="334px" /></span></span></div></div></div><div style="font-family: Times; margin: 0px; text-align: center;"><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span style="font-family: Arial; font-size: x-small;">"Partial Dematerialization of the Medium Marguerite Beuttinger," ca. 1920, by an unknown photographer.</span></span></span></div></div><div style="text-align: left;"><div style="margin: 0px;"><div style="margin: 0px;">These images above are from the exhibition <span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Times;">'</span><a href="http://www.metmuseum.org/special/perfect_medium/occult_more.asp" style="font-family: Times;">The Perfect Medium</a><span class="Apple-style-span" style="font-family: Times;"> - </span><a href="http://www.photographymuseum.com/perfectmediumreview.html" style="font-family: Times;">Photography and the occult</a><span class="Apple-style-span" style="font-family: Times;">'. </span></span></span><a href="http://thedelightsofseeing.blogspot.com/search/label/Fakes%20and%20Hoaxes">These images are from the late 19th and early 20th century - an age when photography was relatively young. The fact that some people believed these images were true could say something about gullibility, but also the magical power of photography. In our age of Photoshop manipulation <span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Times;">these images are obviously fake</span></span></span></a><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Times;">. </span></span></span>However, we forget how these images would seem unfathomable to their contemporary audiences. Slow shutter speeds, double exposures and photographic trickery were used to create these strange images.</div></div></div></div></div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.gravestmor.com/strips/idris_khan_sherical_gas.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="http://www.gravestmor.com/strips/idris_khan_sherical_gas.jpg" style="cursor: move;" width="305px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://dailyserving.com/wp-content/uploads/2010/06/Khan-22.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="331px" src="http://dailyserving.com/wp-content/uploads/2010/06/Khan-22.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Idris Khan</div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.victoria-miro.com/artists/_14/">Idris Khan</a> </span>is a contemporary photographer who overlays the work of others on top of one another. The top image shows where<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> <a href="http://www.guardian.co.uk/artanddesign/2006/sep/02/art">Khan</a> </span>overlaid<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> <a href="http://www.photography-now.net/listings/index.php?option=com_content&task=view&id=441&Itemid=334">the Bechers</a> </span>water tower series. This has given the image the feel of a charcoal drawing and the images have an eerie, ghostlike atmosphere. Although these images are not fast shutter speed examples they show a life times work in an instant – warping time by showing the work in an instant.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEis6NuOVmfQhtGkJW8H2Lv04BSnbUNSyfkFezsgDoEookzf9nSIS9khCXuKpjTTBBdQs8tK2SVhzlTCgQApLxCyd5oPgLk7PHnYaM_rAtGKkF01zkuC5ufNMftFe3mu7oWTF20nbdmqRvrf/s1600/harry-callahan.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEis6NuOVmfQhtGkJW8H2Lv04BSnbUNSyfkFezsgDoEookzf9nSIS9khCXuKpjTTBBdQs8tK2SVhzlTCgQApLxCyd5oPgLk7PHnYaM_rAtGKkF01zkuC5ufNMftFe3mu7oWTF20nbdmqRvrf/s400/harry-callahan.jpg" style="cursor: move;" width="277px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Harry Callahan 'Alley, Chicago' 1948</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKFUqE1MHtYV5YMtiiVo_WIX4J_BgumfLUcfqGhXFALt_hg_pDL_N70apgmdGQ6SDjTI8XZs3Bd9ADxh8qKevCEUBnbmAHJDqTy9xGVIaMGkNjyniWB2ntrJxy_d3cLPWfmAD78ZlkrjZy/s1600/edward-Steichen-Rockefller-center-1932.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKFUqE1MHtYV5YMtiiVo_WIX4J_BgumfLUcfqGhXFALt_hg_pDL_N70apgmdGQ6SDjTI8XZs3Bd9ADxh8qKevCEUBnbmAHJDqTy9xGVIaMGkNjyniWB2ntrJxy_d3cLPWfmAD78ZlkrjZy/s400/edward-Steichen-Rockefller-center-1932.jpg" style="cursor: move;" width="318px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.metmuseum.org/toah/works-of-art/33.43.39">Edward Steichen</a> 'Rockefeller Center, New York' 1932</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">Edward Steichen has sandwiched two negatives together to create abstract forms from the urban environment. Geometric black forms are created and contract with softer patterned areas. </div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzGIwAHXWmdfE6QZd_lfQN-ogJbCNucw9H4Jwi0KSO7HxK8vEVSKLCa0ffjWZFD8TGWbuR5w0TtQ1FjnK2jObgOkznAWH01ow4sdg9Tfd-kl_bkzVKoRSX8EIBB8D3s5WI7uHZCdkD7Ylp/s1600/charles-sheelernewyork.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzGIwAHXWmdfE6QZd_lfQN-ogJbCNucw9H4Jwi0KSO7HxK8vEVSKLCa0ffjWZFD8TGWbuR5w0TtQ1FjnK2jObgOkznAWH01ow4sdg9Tfd-kl_bkzVKoRSX8EIBB8D3s5WI7uHZCdkD7Ylp/s400/charles-sheelernewyork.jpg" style="cursor: move;" width="268px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Charles Sheeler 'New York No.2' 1951 Oil on Canvas</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghv05XvaZUdbhNjoO164cM_ow-CJJeQvN6YKnzSc7zhxX9Ivva_KN9a6uPT764q2ftzKySr6aFKYfpPDrXT0aZ40utgF-61-XD3Thw3279A7UYpdHrl4THTsS45IPZB1dGN8hC9Ja9kbN2/s1600/charles-sheeler-study1948photo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghv05XvaZUdbhNjoO164cM_ow-CJJeQvN6YKnzSc7zhxX9Ivva_KN9a6uPT764q2ftzKySr6aFKYfpPDrXT0aZ40utgF-61-XD3Thw3279A7UYpdHrl4THTsS45IPZB1dGN8hC9Ja9kbN2/s400/charles-sheeler-study1948photo.jpg" style="cursor: move;" width="302px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Charles Sheeler 'Study for Improvisation on a Mill Town' 1948</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhRDQmNLSXFu8ZCXNXd38a1eq5th6o1E4Yt_yhGa7vBJ5rHB_r5PZF1CvRyziahoG4vhV644_D-OLsSmXSY9J7G9WpznpiaFlirzHoom54M_XQMt-n0RWjvOC0ZXcrWjvKtVeOezKlTj_Q/s1600/charles-sheeler-study1948.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhRDQmNLSXFu8ZCXNXd38a1eq5th6o1E4Yt_yhGa7vBJ5rHB_r5PZF1CvRyziahoG4vhV644_D-OLsSmXSY9J7G9WpznpiaFlirzHoom54M_XQMt-n0RWjvOC0ZXcrWjvKtVeOezKlTj_Q/s400/charles-sheeler-study1948.jpg" style="cursor: move;" width="298px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Charles Sheeler 'Study for Improvisation on a Mill Town' 1948</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsqm5j0SX-zCoOhi2T6IuFN4xIoVf6b-SYiOJ1gv_euIEgAOYfJtOgnm1DFNr8_oxhccrQsWJi_7gzVD6Kk-pBCDxiL4c120JKVz-a859EjMx9wh6q1NnZiBx5ZOGselN9hsGUy1JkG6hR/s1600/charles-sheeler-photomontage-paintingstudy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsqm5j0SX-zCoOhi2T6IuFN4xIoVf6b-SYiOJ1gv_euIEgAOYfJtOgnm1DFNr8_oxhccrQsWJi_7gzVD6Kk-pBCDxiL4c120JKVz-a859EjMx9wh6q1NnZiBx5ZOGselN9hsGUy1JkG6hR/s320/charles-sheeler-photomontage-paintingstudy.jpg" style="cursor: move;" width="260px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Charles Sheeler 'Improvisation on a Mill Town' 1949</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">In the three images above we can see the process of the artist <a href="http://www.metmuseum.org/toah/hd/shee/hd_shee.htm">Charles Sheeler</a>. Sheeler worked across a variety of mediums throughout his career. His sharp and tonal black and white photographs of industrial buildings and machinery have a stark beauty. These photographs have a look of the work of <a href="http://www.metmuseum.org/toah/hd/pstd/hd_pstd.htm">Paul Strand</a> (who he collaborated with in his early career on <a href="http://www.youtube.com/watch?v=NePhRIwzkfA">the film 'Manhatta'</a> 1921). During research for his painting 'Improvisation on a Mill Town' (1949) he created a photomontage by using the sandwich negative process. Where the two images merge new dramatic shapes, forms and lines are created. He then used these photomontages as the basis for final painting.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNZj_RlbYJlz2BQ6yw1XM2TNlBg39cpxACfmlFBBu_lHxZZC_AA1rPelk3uI8xzVO9nza0GxetsvF7ikI7SUtORTNy-SCihpR_BPRZsvDcwYAeWt36yc9L0xSxaoyXIP7C4QzixVNE4EGC/s1600/charles-sheeler-millyardpassage1948.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNZj_RlbYJlz2BQ6yw1XM2TNlBg39cpxACfmlFBBu_lHxZZC_AA1rPelk3uI8xzVO9nza0GxetsvF7ikI7SUtORTNy-SCihpR_BPRZsvDcwYAeWt36yc9L0xSxaoyXIP7C4QzixVNE4EGC/s400/charles-sheeler-millyardpassage1948.jpg" style="cursor: move;" width="317px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Charles Sheeler 'Millyard Passage' Photomontage 1948</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzgz-yrwuqbAFLe_W3Snu7aJGzel6JBOMTfeP1kC6C2uqfIcRTQQjzhyphenhyphenzyXYOenZ2bqo-jy4TytsYlFVSm65quRWOmm7CWrdhbLOUrfUxg_OCll9lJ6tmnGAJJJaodQ05U1Vb1FIrpNQP9/s1600/charles-sheeler-millyardpassagepainting1948.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzgz-yrwuqbAFLe_W3Snu7aJGzel6JBOMTfeP1kC6C2uqfIcRTQQjzhyphenhyphenzyXYOenZ2bqo-jy4TytsYlFVSm65quRWOmm7CWrdhbLOUrfUxg_OCll9lJ6tmnGAJJJaodQ05U1Vb1FIrpNQP9/s400/charles-sheeler-millyardpassagepainting1948.jpg" style="cursor: move;" width="315px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Charles Sheeler 'Manchester' 1949 Oil on Canvas</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjwCxvbxbpK2PfZXIC-GyGkL4pBhIVRxzCC31do5oq5kz7AKmiL63Nm6P9HKvBrkBRsmpCR8AkMz5i78td6HkPN3U34HUv3MZDCGaBuzpuvGbgAjULHVwIGX3zj2GXvlu1gH7eQSVPbUUi/s1600/dylan-culhane.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjwCxvbxbpK2PfZXIC-GyGkL4pBhIVRxzCC31do5oq5kz7AKmiL63Nm6P9HKvBrkBRsmpCR8AkMz5i78td6HkPN3U34HUv3MZDCGaBuzpuvGbgAjULHVwIGX3zj2GXvlu1gH7eQSVPbUUi/s400/dylan-culhane.jpg" style="cursor: move;" width="277px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Dylan Culhane</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyOWvnxVgTvHiCmA6vqb4OVGN32vkISoFAkRIbSsQlyp9WUmzCsIarwmynO3J2azYDlI7D3WrwMpjmtsmu-RHtZLocVEcTP_Fu2zhvOVbbd2J6krEnunuW20MwvznkTMlAV1e5iW3Aa-GW/s1600/dylan+culhane.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="275px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyOWvnxVgTvHiCmA6vqb4OVGN32vkISoFAkRIbSsQlyp9WUmzCsIarwmynO3J2azYDlI7D3WrwMpjmtsmu-RHtZLocVEcTP_Fu2zhvOVbbd2J6krEnunuW20MwvznkTMlAV1e5iW3Aa-GW/s400/dylan+culhane.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.ebandflowgallery.com/artists/29-Dylan-Culhane/overview/">Dylan Culhane (EB&Flow gallery)</a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiprw6tHe_N6HFVaLUgXH1wruuIK3C3AKOS4hjnkiFVmPBaJxKl2lldqfMlt6sg02TT5vBQOgVmZpdJGjkvtkdwomePLco42TkWHGpBxnKiZWnv2RQefjg5zXJv6XNHo6bdfksxPex8Ritf/s1600/de1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiprw6tHe_N6HFVaLUgXH1wruuIK3C3AKOS4hjnkiFVmPBaJxKl2lldqfMlt6sg02TT5vBQOgVmZpdJGjkvtkdwomePLco42TkWHGpBxnKiZWnv2RQefjg5zXJv6XNHo6bdfksxPex8Ritf/s400/de1.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Dan Mountford - <a href="http://www.flickr.com/photos/danmountford/">"Double Exposure Series"</a></div><div class="separator" style="clear: both; margin: 0px; text-align: left;">Aspects of <a href="http://www.dylanculhane.com/">Dylan Culhane</a>'s and <a href="http://designcollector.net/dan-mountford/">Dan Mountford</a>'s experiments with multiple exposure have a similar feel to the work of Sheeler. Frederick Sommer created a <a href="http://en.wikipedia.org/wiki/Sandwich_printing">sandwhich negative in the darkroom</a>, Jerry Uelsmann used the <a href="http://en.wikipedia.org/wiki/Dodging_and_burning">burning and dodging technique in the dark room</a> but Culhane and Mountford have <a href="http://en.wikipedia.org/wiki/Multiple_exposure">exposed the same piece of negative twice in the camera</a> (all these techniques can also be done very easily on <a href="http://www.digiretus.com/tippek/cikkiro.php?SORSZAM=32">Photoshop</a>). You could also<a href="http://www.flickr.com/photos/moleskineart/sets/72157622220313513/"> put one film through a camera twice (you could retrieve the leader with a film retriever)</a>. Many <a href="http://thedelightsofseeing.blogspot.com/search/label/Ground%20Glass">old cheap cameras</a> like a Holga, a Sprocket Rocket, a Matchbox Pinhole, an old box brownie allow you to open the shutter as many times as you want and wind the film on when it suits you.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjNdZpoPLMvZI6rPkV0qb7WsBhpS1AX7GC92Z4WD7Gq_dgITpHj0_UkfVBXfOQhLI56fbR1O4QTu-YUzq3rLUaj1-af2NSr2iQHX0WmUa2N4HKAXQ2OQKRNUu1j11d_azNvLqDWlBqPty_/s1600/lomo-merge.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="276px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjNdZpoPLMvZI6rPkV0qb7WsBhpS1AX7GC92Z4WD7Gq_dgITpHj0_UkfVBXfOQhLI56fbR1O4QTu-YUzq3rLUaj1-af2NSr2iQHX0WmUa2N4HKAXQ2OQKRNUu1j11d_azNvLqDWlBqPty_/s400/lomo-merge.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqd0oQM-SGKZPZRUr3cmTS7cDo7CwolFSIOM3m4winqXqVhKJgmzCA5cDAtYOPEdiuqPqLnZdhwoP1Kebvfx8_1ps9CIqEBA61w5DPbT9KO93aQ3LfKsqHvWGqQ7mbzIcGoAZgJQNLYUlG/s1600/lomo-merge2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="271px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqd0oQM-SGKZPZRUr3cmTS7cDo7CwolFSIOM3m4winqXqVhKJgmzCA5cDAtYOPEdiuqPqLnZdhwoP1Kebvfx8_1ps9CIqEBA61w5DPbT9KO93aQ3LfKsqHvWGqQ7mbzIcGoAZgJQNLYUlG/s400/lomo-merge2.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNNiBaIA8hhq4RZToxnBagcTvG9FsA4DVPybV3zD859aiU7uLcMBXnOWwBNtyr3xL2eSh3VxFs2QeMy7z8ngfKRrq-jsXmAORzMXP7dyb9Pl8d5RIa3f2LNIMScaE1WKP3qW5oFcdviY4U/s1600/169302840_7517c454f7_o_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="263px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNNiBaIA8hhq4RZToxnBagcTvG9FsA4DVPybV3zD859aiU7uLcMBXnOWwBNtyr3xL2eSh3VxFs2QeMy7z8ngfKRrq-jsXmAORzMXP7dyb9Pl8d5RIa3f2LNIMScaE1WKP3qW5oFcdviY4U/s400/169302840_7517c454f7_o_.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://gearpatrol.com/blog/2011/05/16/double-exposure-reviving-vintage-photography/">Double exposures from a Lomo Camera</a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_jGNzrn8HyVV0trXPvtQilXdNlDX7-UylE2wmEmXq4kxhSEANQpsEPzrncAuZvPdUzGtRFGdSkvVXKKUwov03DXCKUKjI8LsKwvrivCFbPa5LeuONwrLDEykuGXKKUWxrTSg0OqI-So1N/s1600/holga-sandwich.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="396px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_jGNzrn8HyVV0trXPvtQilXdNlDX7-UylE2wmEmXq4kxhSEANQpsEPzrncAuZvPdUzGtRFGdSkvVXKKUwov03DXCKUKjI8LsKwvrivCFbPa5LeuONwrLDEykuGXKKUWxrTSg0OqI-So1N/s400/holga-sandwich.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Double exposure using a <a href="http://microsites.lomography.com/holga/">Holga</a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMUaGEOR6mooMe0pX-a3seRl80swZZpTG09k9reGMcRHFi-RUMX3zhLpNBBRq2c1ewq1E_M51YwoWEaa55hxSHYlLhc0qPMtP26dpURzpc1QLCzQOau7VohiULYLHwsxSrTGEZNJDvmFmt/s1600/Picture+1.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="373px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMUaGEOR6mooMe0pX-a3seRl80swZZpTG09k9reGMcRHFi-RUMX3zhLpNBBRq2c1ewq1E_M51YwoWEaa55hxSHYlLhc0qPMtP26dpURzpc1QLCzQOau7VohiULYLHwsxSrTGEZNJDvmFmt/s400/Picture+1.png" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.flickr.com/photos/taradash/5122432014/in/photostream/">Tara Dash </a>- double exposure on<a href="http://matchboxpinhole.com/"> a matchbox pinhole camera</a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrFR1j_Os6dgNJXknCSAkAoxAEWdupq9wTyNrHkKNn09Zw9Qkr1TpKo50zSXGYZ0NSlytMOXAtmnhi9vluvOika8W-GeOktAjC_pHrzfmRp6mhUUPq5NtqZ5x5VUnKAqfuCETlzi8bzAA6/s1600/Picture+3.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="196px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrFR1j_Os6dgNJXknCSAkAoxAEWdupq9wTyNrHkKNn09Zw9Qkr1TpKo50zSXGYZ0NSlytMOXAtmnhi9vluvOika8W-GeOktAjC_pHrzfmRp6mhUUPq5NtqZ5x5VUnKAqfuCETlzi8bzAA6/s400/Picture+3.png" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.lomography.com/about/faq/2602-how-do-i-create-multiple-exposures-with-the-sprocket-rocket">Double exposure taken on a Sprocket Rocket</a> </div><div class="separator" style="clear: both; margin: 0px; text-align: center;"></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPYQh5_FOkgi7y9BLTPqrZMtIeRycnAStVNGJoNiyLCCdldxHapsBHjg3Lh5dOyipMsfn7Fq1FhmbDGzibZdl4TZcW3YzEMq8qIQ98LXXSOsK_8m1qZsTn1YryzdF98POn8ldx8eDIL0w/s1600/TLR+-+35mm+-+Test+04.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPYQh5_FOkgi7y9BLTPqrZMtIeRycnAStVNGJoNiyLCCdldxHapsBHjg3Lh5dOyipMsfn7Fq1FhmbDGzibZdl4TZcW3YzEMq8qIQ98LXXSOsK_8m1qZsTn1YryzdF98POn8ldx8eDIL0w/s640/TLR+-+35mm+-+Test+04.jpg" style="cursor: move;" width="398px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.markadamson.co.uk/151449/Duaflex-35mm">Mark Adamson</a> - 35mm film through a Kodak Dualflex</div><div style="margin: 0px;"><br />
</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEfCWZY1VEUEppGJ4ggvfXQEBGFrqaOW_cK1WUk5jQWaLWGJNdwSBmJ83FfDl7sMbOMluo3AcKbHlUjFWrmivvfVroWeRWajXiKd1LuPAwCES5Uj11rOex6WOqQ-pM-zkHRpdBGd0pmgdU/s1600/Picture+2.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEfCWZY1VEUEppGJ4ggvfXQEBGFrqaOW_cK1WUk5jQWaLWGJNdwSBmJ83FfDl7sMbOMluo3AcKbHlUjFWrmivvfVroWeRWajXiKd1LuPAwCES5Uj11rOex6WOqQ-pM-zkHRpdBGd0pmgdU/s400/Picture+2.png" style="cursor: move;" width="310px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.flickr.com/photos/hbdudy/3789658053/in/photostream/">Yuheikawaguchi</a> - double exposure on a <a href="http://www.brownie-camera.com/">Kodak Box Brownie</a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEim-tRF1I2wl49xKeTKFn4py8Y0f3qP59v2W1icwQjbttcBpf0uowrhzw_7T9gbIknNMEFj2MEKa0Hg-d5WBbYZML5OJVhTJaByYSORfJ8eT4rhyphenhyphen095DBTz5oka6wdSWmmcpuIUvNY-UHA/s1600/box-brownie-experiement-montage-landscape.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEim-tRF1I2wl49xKeTKFn4py8Y0f3qP59v2W1icwQjbttcBpf0uowrhzw_7T9gbIknNMEFj2MEKa0Hg-d5WBbYZML5OJVhTJaByYSORfJ8eT4rhyphenhyphen095DBTz5oka6wdSWmmcpuIUvNY-UHA/s400/box-brownie-experiement-montage-landscape.jpg" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoosV8b9ekjt0IGTu2gPXHFmsMZLGjrxiOblZ-8BUSD0m4IwEikMLRU_KI20GRc3JL16ZzqsJRzu9yLVr6K7kZQWrIq4164DmqTSbUWOL4kSKdOEnqyw_y4cu5XLZyILqodzwrIzqdh50/s1600/box-brownie-experiement-montage.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="316px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoosV8b9ekjt0IGTu2gPXHFmsMZLGjrxiOblZ-8BUSD0m4IwEikMLRU_KI20GRc3JL16ZzqsJRzu9yLVr6K7kZQWrIq4164DmqTSbUWOL4kSKdOEnqyw_y4cu5XLZyILqodzwrIzqdh50/s640/box-brownie-experiement-montage.jpg" width="640px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.jfkturner.com/">My</a> Double Exposures experiments using a Box Brownie No2 with 35mm film.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">Images are rarely scene on their own. From the moment we wake up we are bombarded with images - serial packets, breakfast news, billboards, bus stop adverts, the morning paper - and that is before you have started the day or looked at the Internet. By juxtaposing images together you encourage the viewer to make links and connections in their own mind. This happens in moving images (from scene to scene), gallery walls (the way you walk from picture to picture/room to room) and photo books from (page to page) - we view these images in a <a href="http://thedelightsofseeing.blogspot.com/search/label/Sequence">sequence</a>.</div><div class="separator" style="clear: both; margin: 0px; text-align: left;"><br />
</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">However, with a merged image we see it within one image - a build up of several images, juxtaposed, in one frame.</div>jfkturnerhttp://www.blogger.com/profile/04292497470976112213noreply@blogger.comtag:blogger.com,1999:blog-5743411721886035143.post-13755954019847935212012-02-27T04:17:00.001-08:002012-02-27T04:21:42.438-08:00Ordinary and/or Extraordinary - Imagination part 2 - Surrealism<div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.tomstappers.com/wordstoimages/wp-content/uploads/2009/12/bill-brandt-31.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="http://www.tomstappers.com/wordstoimages/wp-content/uploads/2009/12/bill-brandt-31.jpg" width="363px" /></a></div><div style="margin: 0px;"><a href="http://www.billbrandt.com/Library/blitzandcontorte.html">Bill Brandt</a> created a varied series of work throughout his life from <a href="http://www.masters-of-photography.com/B/brandt/brandt_articles3.html">Portraits</a>, <a href="http://www.vam.ac.uk/collections/photography/features/photo_focus/brandt/biography/index.html">Social Documentary</a> (see <a href="http://www.tate.org.uk/liverpool/exhibitions/makinghistory/roomplan/mass_observation.shtm">Mass Observation</a>) to strange surreal images.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.artsconnected.org/media/35/58/7d3295d11da61a921abed891e0b3/1024/768/1327.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"></a><a href="http://www.artsmia.org/mia/e_images/08/mia_8404e.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="http://www.artsmia.org/mia/e_images/08/mia_8404e.jpg" width="331px" /></a></div><div style="margin: 0px;">In these above images <a href="http://www.americansuburbx.com/2009/06/theory-toppers-and-cloth-caps-social.html">Brandt</a> has used a maximum depth of field to create Surreal images. He has played with foreshortening to place an ear on the same visual plane as a Sussex beach. In these images fingers become rocks and Brandt reflects himself in a mirror.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.artsconnected.org/media/35/58/7d3295d11da61a921abed891e0b3/1024/768/1327.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="http://www.artsconnected.org/media/35/58/7d3295d11da61a921abed891e0b3/1024/768/1327.jpg" width="334px" /></a></div><div style="margin: 0px;"><br />
</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.acceleratingfuture.com/people-blog/wp-content/uploads/2007/12/magritte_mirror.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="http://www.acceleratingfuture.com/people-blog/wp-content/uploads/2007/12/magritte_mirror.gif" width="308px" /></a></div><div style="margin: 0px;"><a href="http://www.magritte.com/">Rene Magritte</a> was a <a href="http://www.surrealism.org/">surrealist</a> painter and his images share qualities with this series from Brandt. The <a href="http://www.tate.org.uk/modern/exhibitions/surrealism/room1.htm">Surrealists</a> were interested in the world of the unconscious and dreams. In dreams the everyday mixes and creates strange juxtapositions.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.mcs.csueastbay.edu/~malek/Surrealism/magritte2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="315px" src="http://www.mcs.csueastbay.edu/~malek/Surrealism/magritte2.jpg" width="400px" /></a></div><div style="margin: 0px;">Most of us have seen rain and we have seen men in suites (Magritte used these figures as short hand for the <a href="http://en.wikipedia.org/wiki/Bourgeoisie">bourgeois</a>) – they are fairly everyday. In dreams our it could rain business men - as in this above painting by Magritte. These are the kind of Juxtapositions the <a href="http://www.guardian.co.uk/culture/2006/may/11/1">Surrealists</a> like to play with.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://iconicphotos.files.wordpress.com/2009/05/bill_brandt_rene_magritte_with_his_picture_the_great_war_1966-sized.jpg?w=553&h=640" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640px" src="http://iconicphotos.files.wordpress.com/2009/05/bill_brandt_rene_magritte_with_his_picture_the_great_war_1966-sized.jpg?w=553&h=640" style="cursor: move;" width="550px" /></a></div><div style="margin: 0px;"><br />
</div><div style="margin: 0px;">Above is a portrait of <a href="http://iconicphotos.wordpress.com/2009/05/23/rene-magritte/">Magritte by Brandt</a> that incorporates elements of both artists work.</div><div style="margin: 0px;"></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCJMjNxO5-t6H7DaMxaaRF4BojBvS3N87NgUibqf52sEE8nKLIj0GfH6rDgD96kDJYWST5NbVRZZskN454_SWaQ-DHfbf1er8Kv8AqnVFVVf97IhGhI8MZqnfob_ERru5LBA3UD33IIIrL/s1600/magritte55.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCJMjNxO5-t6H7DaMxaaRF4BojBvS3N87NgUibqf52sEE8nKLIj0GfH6rDgD96kDJYWST5NbVRZZskN454_SWaQ-DHfbf1er8Kv8AqnVFVVf97IhGhI8MZqnfob_ERru5LBA3UD33IIIrL/s400/magritte55.jpg" style="cursor: move;" width="301px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><span class="Apple-style-span" style="color: white;">Rene Magritte 'The Explanation' 1954</span></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqWV37yQR3l1CITmbVyPT0eBS4_noW6LPyuc95mB6dcWTnN1REGNK_64_tYQScVn6KprzxswFqRdQvF1rBwCfXCQNqWB3gUEHPUjksHjPJjiA30LuN27eG2rz7N-5a-tmTGNxcqR56nhy_/s1600/magritte+shoes.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqWV37yQR3l1CITmbVyPT0eBS4_noW6LPyuc95mB6dcWTnN1REGNK_64_tYQScVn6KprzxswFqRdQvF1rBwCfXCQNqWB3gUEHPUjksHjPJjiA30LuN27eG2rz7N-5a-tmTGNxcqR56nhy_/s400/magritte+shoes.jpg" style="cursor: move;" width="291px" /></a></div><div style="text-align: center;">Renne Magritte 'le modele rouge' 1935</div>These images by Magritte show how he would juxtapose two images to create a new strange image. A carrot becomes a bottle or shoes become feet. Magritte was a Surrealist who were interested in dreams and the unconscious. In a dream you will combine everyday things but by combining them they become strange. You may dream of a hat or a piece of cheese - both very ordinary. However, in your dream they appear to you as a hat made out of cheese - this is an element of surrealism.<br />
<div style="margin: 0px;"></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://static.guim.co.uk/Arts/gallery/2007/mar/20/surrealism/6-6990.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="256px" px="true" src="http://static.guim.co.uk/Arts/gallery/2007/mar/20/surrealism/6-6990.jpg" style="cursor: move;" width="400px" /></a></div><div style="text-align: left;"><div style="margin: 0px;">This is a photograph of <a href="http://www.tate.org.uk/servlet/ViewWork?workid=2988&tabview=text">Salvador Dalí's</a> 'Téléphone-homard (<a href="http://www.google.co.uk/imgres?imgurl=http://static.guim.co.uk/Arts/gallery/2007/mar/20/surrealism/6-6990.jpg&imgrefurl=http://www.guardian.co.uk/arts/gallery/2007/mar/20/surrealism&usg=__ynXojV2f-e94Kzp1MBjFm8Px-HI=&h=404&w=630&sz=26&hl=en&start=18&zoom=1&um=1&itbs=1&tbnid=29Za_V06mIdFlM:&tbnh=88&tbnw=137&prev=/images%3Fq%3DDali%2Blobster%2Btelephone%26um%3D1%26hl%3Den%26sa%3DN%26rls%3Dcom.microsoft:en-US%26rlz%3D1I7SKPB_en%26tbs%3Disch:1">Lobster Telephone</a>)', 1938. Dali was a Surrealist and one of the key themes of Surrealism was the unconscious mind. They were fascinated by dreams and the juxtapositions that occur in them. Often in a dream we combine everyday things to create something new and strange. We have all seen a plastic lobster and we have all seen a telephone but by combining them together Dali has created something Surreal. The surreal look has slowly merged with popular culture and many adverts today have a surreal quality. Surrealism is now the norm.</div></div><div style="text-align: left;"><div style="margin: 0px;"><br />
</div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.youtube.com/watch?v=64F-18m5LC0&feature=related"><img border="0" height="297px" px="true" src="http://www.wetcanvas.com/Community/images/30-Sep-2005/11410-chiene.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: left;">This is a still from the <a href="http://www.imdb.com/title/tt0020530/plotsummary">1928 film 'The Andalusian dog'</a> that Dali was involved with (see <a href="http://www.moma.org/interactives/exhibitions/2008/dali/dali.html#/introduction">MOMA exhibition</a>). There is a clever juxtaposition between moving images, most famously the section where an eye is slit but at the key moment the camera jumps to a cloud passing a moon and then to a false eye. Although mild by today's standards the film is still able to shock.</div><div style="text-align: left;"><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><div style="margin: 0px;">The ideas of the Surrealists were a development of Dada. Many Dada artists became surrealists and Heartfield's roots lie in Dada.</div></div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKsrxdSLfgVtbWyp-33zscm_4BIZYa8qmV_zfMtZ3SoKvEfcmohD47wgDrJL1lPx20pOyReAOijaxVRwOFrqHAsy750KkCYY7zBmcSrEP8HH8U_1XSNi-LFIwb6Fo0TmAtOH8sB6QBTWs/s1600/raoul-hausmann-ABCD-1923.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640px" n4="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKsrxdSLfgVtbWyp-33zscm_4BIZYa8qmV_zfMtZ3SoKvEfcmohD47wgDrJL1lPx20pOyReAOijaxVRwOFrqHAsy750KkCYY7zBmcSrEP8HH8U_1XSNi-LFIwb6Fo0TmAtOH8sB6QBTWs/s640/raoul-hausmann-ABCD-1923.jpg" style="cursor: move;" width="441px" /></a></div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; margin: 0px; text-align: center;"><img height="640px" src="http://www.qompendium.com/fileadmin/img/mod_overview/RHaussman.jpg" style="cursor: move;" width="467px" /></div><div class="separator" style="clear: both; margin: 0px; text-align: left;">These images are by one of <a href="http://www.youtube.com/watch?v=EqkIJ0odFxA">Dada</a>'s founding members, <a href="http://www.google.co.uk/imgres?imgurl=http://paperstreetsupplies.com/wp-content/uploads/RaoulHausmann_001.jpg&imgrefurl=http://paperstreetsupplies.com/art-and-artists/dada-collage-photomontage-by-raoul-hausmann/&usg=__tNcnjdrS4hd8sfJ86wFhyjrtFB8=&h=867&w=600&sz=193&hl=en&start=1&zoom=1&um=1&itbs=1&tbnid=daFwGsL4GGbeJM:&tbnh=145&tbnw=100&prev=/images%3Fq%3DRaoul%2BHausmann%26um%3D1%26hl%3Den%26sa%3DN%26rls%3Dcom.microsoft:en-US%26rlz%3D1I7SKPB_en%26tbs%3Disch:1">Raoul Hausmann</a>, who claimed he invented Photomontage (for more on <a href="http://thedelightsofseeing.blogspot.com/search/label/Photomontage">Photomontage</a> look <a href="http://thedelightsofseeing.blogspot.com/search/label/Photomontage">here</a> and for more on Collage look <a href="http://www.blogger.com/"><span id="goog_891911185"></span>here<span id="goog_891911186"></span></a>). The top image is actually a collage that mixes different printed emphemeria to create a jarring image. This image was created almost a hundred years ago and to Hausmann's contemporarys would have seemed raw and ugly. This busy, hectic visual language is common place today but it would not exist without the experiments of these early 20th century artists.</div><div class="separator" style="clear: both; margin: 0px; text-align: left;"><br />
</div><div class="separator" style="clear: both; margin: 0px; text-align: left;"></div><div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.iphotocentral.com/Photos/VintageWorks_Images/Full/9492AndreKerteszDoor.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="http://www.iphotocentral.com/Photos/VintageWorks_Images/Full/9492AndreKerteszDoor.jpg" style="cursor: move;" width="273px" /></a></div><div class="separator" style="clear: both; margin: 0px;"></div><div style="text-align: center;"><div style="margin: 0px;">Andre Kertesz - Paris, Door Distortion, July 29, 1984</div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://artblart.files.wordpress.com/2009/10/andre_kertesz_distortion_144_paris_1933.jpg?w=500&h=339" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="270px" src="http://artblart.files.wordpress.com/2009/10/andre_kertesz_distortion_144_paris_1933.jpg?w=500&h=339" style="cursor: move;" width="400px" /></a></div><div><div style="text-align: center;"><div style="margin: 0px;">Andre Kertesz ‘Distortion 144, Paris’ 1933</div></div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.bulgergallery.com/dynamic/images/display/Estate_of_Andre_Kertesz_Distortion_147_1933c1980_3121_41.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="317px" src="http://www.bulgergallery.com/dynamic/images/display/Estate_of_Andre_Kertesz_Distortion_147_1933c1980_3121_41.jpg" style="cursor: move;" width="400px" /></a></div><div style="text-align: center;"><div style="margin: 0px;">Andre Kertesz ‘Distortion 147, Paris' 1933</div></div><div style="text-align: left;"><div style="margin: 0px;">These strange distorted images are by André Kertesz. ‘Distortions’ (1933) is a series of photographs of women reflected in distorting carnival mirrors that transform them into dreamlike creatures. </div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.sptimes.com/2005/02/21/images/xlarge/FLO_1_td21dali1_207706_0221.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="http://www.sptimes.com/2005/02/21/images/xlarge/FLO_1_td21dali1_207706_0221.jpg" style="cursor: move;" width="400px" /></a></div><div style="text-align: center;"><div style="margin: 0px;"><div style="margin: 0px;">Salvador Dali 'Soft Construction With Boiled Beans (Premonition of Civil War)',1936, oil on canvas.</div></div><div style="margin: 0px; text-align: left;"><div><div style="margin: 0px;">The deformed melting figures of Dali's painting mirrors the distortions that appear in Kertesz's photographs. This painting is one of only a handful in which Dalí turned his attention to the tragedy that beset his homeland on July 17, 1936, when General Francisco Franco led a military coup d'état against the democratically elected Popular Front government. The artist's savage vision of his country as a decomposing figure tearing itself apart preceded the outbreak of the Spanish Civil War and thus prophetically foretold the atrocities committed during this bloody conflict. Other artists who have focused on the Spanish Civil War are <a href="http://www.guardian.co.uk/artanddesign/artblog/2007/apr/26/picassosguernicabattlelives">Picasso</a> (<a href="http://art.docuwat.ch/videos/power-of-art/power-of-art-picasso">Guernica</a>), <a href="http://www.youtube.com/watch?v=iqdEKahV-gs">Guillermo del Toro</a> (<a href="http://www.guardian.co.uk/film/2006/nov/05/features.review1">Pan's Labyrinth</a>) and, during the earlier civil war, Goya (<a href="http://en.wikipedia.org/wiki/The_Disasters_of_War">Disasters of War</a>). <a href="http://thedelightsofseeing.blogspot.com/search/label/Photomontage">Dada Photomontage</a> distorted the human form immediately after the first world war. As well as having surreal qualities these images, like the Dada Photomontages could be a reaction to the human horrors of the first world war and the rise of 1930's fascism.</div></div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.artlex.com/ArtLex/p/images/plaster_moor.unesco.lg.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="276px" src="http://www.artlex.com/ArtLex/p/images/plaster_moor.unesco.lg.jpg" style="cursor: move;" width="400px" /></a></div></div><div style="text-align: center;"></div><div style="clear: both; text-align: center;"><div style="margin: 0px;"><a href="http://www.guardian.co.uk/artanddesign/2010/feb/23/henry-moore-tate-britain">Henry Moore</a>. Working Model for Reclining Figure, 1957. Bronze.</div></div><div style="margin: 0px;"><a href="http://www.tate.org.uk/britain/exhibitions/henrymoore/roomintro.shtm">Henry Moore</a> emerged in the 1920s as a radical, experimental and avant-garde figure and was rapidly established as the leading British sculptor of his generation. His principal and enduring subject was the human body, through which he believed ‘one can express more completely one’s feelings about the world than in any other way’. <a href="http://www.youtube.com/watch?v=8_hpQcJe0BY">Moore</a> also reflected in his work his reaction to two world wars. The smooth quality of these images are similar to the effect of <a href="http://examthemes.blogspot.com/2010/11/preservation.html">melting ice</a> and how is distorts as it transforms back into liquid.</div></div><div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.petelockett.com/petes%20new%20pics/archive%203/claes%20oldenburg%20giant%20soft%20drum%20set%201967.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="283px" src="http://www.petelockett.com/petes%20new%20pics/archive%203/claes%20oldenburg%20giant%20soft%20drum%20set%201967.jpg" style="cursor: move;" width="400px" /></a></div></div><div><div style="text-align: center;"><div style="margin: 0px;"><a href="http://webp2.moma.org/collection/browse_results.php?criteria=O%3AOD%3AE%3A82053&page_number=1&template_id=1&sort_order=1">Claes Oldenbur</a>g 'Giant Soft Drum Set 1'</div><div style="text-align: left;"><div style="margin: 0px;">Sculptures are traditionally cut from rock or wood. They can be moulded from clay. Oldenburg's everyday objects seem to melt into the gallery floor - evaporating into nothing.</div></div></div></div>jfkturnerhttp://www.blogger.com/profile/04292497470976112213noreply@blogger.comtag:blogger.com,1999:blog-5743411721886035143.post-58464266273388679142012-02-27T04:14:00.000-08:002012-02-27T04:14:57.826-08:00Ordinary and/or Extraordinary - Imagination part 1 - Utopias<div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.artinthepicture.com/artists/Hieronymus_Bosch/earthly_delights.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="231px" src="http://www.artinthepicture.com/artists/Hieronymus_Bosch/earthly_delights.jpeg" style="cursor: move;" width="400px" /></a></div><div style="text-align: center;"><div style="margin: 0px;"><a href="http://en.wikipedia.org/wiki/The_Garden_of_Earthly_Delights">Hieronymus Bosch 'Garden of earthly delights' 1503 -1504</a></div></div><div style="text-align: left;"><div style="margin: 0px;"><br />
</div></div><div style="text-align: left;"><div style="margin: 0px;">A <a href="http://en.wikipedia.org/wiki/Utopia">Utopia</a> is an idealised world - a perfect community or society. Eden, Heaven, <a href="http://en.wikipedia.org/wiki/Nirvana">Nirvana</a>, <a href="http://www.bbc.co.uk/history/ancient/cultures/shangri_la_01.shtml">Shangri-La</a> etc.</div></div><div style="text-align: left;"><div style="margin: 0px;">However, one persons idea of Heaven could be another persons Hell.</div></div><div style="text-align: left;"><div style="margin: 0px;"><br />
</div></div><div style="text-align: left;"><div style="margin: 0px;">The opposite of a Utopia is a <a href="http://en.wikipedia.org/wiki/Dystopia">Dystopia</a>. A Dystopia is a broken, nightmarish society. It is an idea that has been looked at in literature and <a href="http://snarkerati.com/movie-news/the-top-50-dystopian-movies-of-all-time/">cinema</a> - often depicting a dark vision of the future (for example '1984' by George Orwell).</div></div><div style="text-align: left;"><div style="margin: 0px;"><br />
</div></div><div style="text-align: left;"><div style="margin: 0px;">The triptych above is by <a href="http://art.docuwat.ch/videos/single-docs/hieronymus-bosch">Hieronymus Bosch</a> and depicts both ideas of Utopias and Dystopias.</div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.research.utoronto.ca/wp-content/uploads/2010/10/eden2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="218px" src="http://www.research.utoronto.ca/wp-content/uploads/2010/10/eden2.jpg" style="cursor: move;" width="320px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">'The Garden of Eden (left panel)</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.lib-art.com/imgpainting/5/6/7165-triptych-of-garden-of-earthly-delig-hieronymus-bosch.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="http://www.lib-art.com/imgpainting/5/6/7165-triptych-of-garden-of-earthly-delig-hieronymus-bosch.jpg" style="cursor: move;" width="320px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">The Garden of Earthly Delights (center panel)</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.allposters.com/IMAGES/IMPO/MR763.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="http://www.allposters.com/IMAGES/IMPO/MR763.jpg" style="cursor: move;" width="282px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.philipcoppens.com/bosch.html">Hell</a> (right panel)</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">Above are a close up sections from each panel. The work is immense with lots of small scenes coming together to create a whole. When you see the complete triptych it has a unity and a rhythmic quality. However, the work can be viewed in detail with many smaller scenes depicting mini dramas. Bosch used many signs and symbols that are lost on us now. For example, to us, an owl is a sign of wisdom. This image is full of owls but in Bosch's time the owl was a creature of the night - and night equaled Death.</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">To our eyes Bosch seems modern and he was admired by the surrealist. In the detail from Hell we see a half man half tree creature that looks like and image by <a href="http://www.moma.org/interactives/exhibitions/2008/dali/">Salvador Dali</a>. To the figures left is a strange object made by combining a pair of ears and a knife. We could see Bosch as being a subversive <a href="http://solomonsmusic.net/BoschSureal.htm">Surrealist</a> artist but we would be in danger of seeing him through our modern eyes.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.daysoutguide.co.uk/Images/Attractions/large_5565.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320px" src="http://www.daysoutguide.co.uk/Images/Attractions/large_5565.jpg" style="cursor: move;" width="320px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">A scene from '<a href="http://en.wikipedia.org/wiki/Book_of_the_Dead">The Book of the Dead'</a></div><div class="separator" style="clear: both; margin: 0px; text-align: left;">Many cultures and religions believe in an afterlife. This is a scene from an <a href="http://www.britishmuseum.org/whats_on/all_current_exhibitions/book_of_the_dead.aspx">Egyptian</a> <a href="http://www.guardian.co.uk/artanddesign/2010/nov/02/egyptian-book-of-the-dead">Book of the Dead</a>, a collection of spells designed to guide the deceased through the dangers of the underworld and ensure everlasting life. Egyptians lived 35 years on average. Their obsession with the afterlife was a response to that reality. And in their desire to perpetuate existence, they demonstrated their passion for the world. They loved life and wanted it to go on forever.</div><div class="separator" style="clear: both; margin: 0px; text-align: left;"><br />
</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.starandshadow.org.uk/static/image/film/orphee.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="http://www.starandshadow.org.uk/static/image/film/orphee.jpg" style="cursor: move;" width="322px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">a scene from <a href="http://filmsdefrance.com/FDF_Orphee_rev.html">'Orpee' by Jean Cocteau</a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">The idea of traveling from one world to another is found in religions, myths and literature. In '<a href="http://www.guardian.co.uk/film/2008/nov/23/orphee-dvd-review-philip-french">Orphee' </a>(1950) <a href="http://www.netcomuk.co.uk/~lenin/JeanCocteau.html">Jean Cocteau</a>'s retells the Greek myth 'Orpheus and Eurydic' -</div><div class="separator" style="clear: both; margin: 0px; text-align: left;"><br />
</div><div style="text-align: left;"><div style="text-align: center;"><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif;"><u><a href="http://www.paleothea.com/Myths/Orpheus.html">Orpheus and Eurydice</a></u></span></div></div><div style="text-align: center;"><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif;"><br />
</span></div></div><div style="text-align: center;"><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif;">Orpheus was a beautiful musician who loved a nymph called Eurydice. They married and were very happy. Eurydice spent hours wandering and playing in the fields and woodlands. One day she trod on a deadly snake and died. She went to the underworld.</span></div></div><div style="text-align: center;"><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif;"><br />
</span></div></div><div style="text-align: center;"><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif;">Orpheus was so unhappy, he would not eat or drink and his friends thought that he must die. He took his lyre and went to visit Hades the god of the underworld, to plead for her life. He played his lyre and charmed Charon the ferry man into crossing the river Styx.</span></div></div><div style="text-align: center;"><div style="margin: 0px;"><br />
</div></div><div style="text-align: center;"><div style="font: 12px Helvetica; margin: 0px;"><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://cn1.kaboodle.com/hi/img/2/0/0/15b/2/AAAAAmlfgT4AAAAAAVss3g.jpg?v=1223403528000" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="http://cn1.kaboodle.com/hi/img/2/0/0/15b/2/AAAAAmlfgT4AAAAAAVss3g.jpg?v=1223403528000" style="cursor: move;" width="257px" /></a></div><div style="margin: 0px;"><br />
</div></div></div><div style="margin: 0px;"><span style="margin: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; z-index: 2;"></span></div><div style="margin: 0px;"><span style="margin: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; z-index: 2;"></span></div><div style="margin: 0px;"><span style="margin: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; z-index: 2;"></span></div><div style="margin: 0px;"><span style="margin: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; z-index: 2;"></span></div><div style="margin: 0px;"><span style="margin: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; z-index: 2;"></span></div><div style="text-align: center;"><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif;">Orpheus played his lyre to charm Hades, and eventually Hades relented and told him that Eurydice could follow him out of Hades, but only if he did not look back and see her. Orpheus made his way carefully and slowly back to Charon, but then with only a tiny way to go he looked back. As he did so Eurydice faded, she was pulled back into Hades...gone forever. A very unhappy Orpheus journeyed back over the river to come out of Hades. He had lost his true love forever.</span></div></div><div style="text-align: center;"><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif;"><br />
</span></div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://alain.rempfer.free.fr/miroirsimagesG/orphee01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320px" src="http://alain.rempfer.free.fr/miroirsimagesG/orphee01.jpg" style="cursor: move;" width="286px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">In Cocteau's version Orpheus is a poet who has to travel to the underworld. Cocteau uses the visual device of a mirror as a gateway to the underworld. Throughout the film there are visual reference to mirrors and reflections.</div><div style="margin: 0px;"><br />
</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.tabathayeatts.com/Orpheus%20and%20Eurydice.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320px" n4="true" src="http://www.tabathayeatts.com/Orpheus%20and%20Eurydice.jpg" style="cursor: move;" width="236px" /></a></div><div style="text-align: center;"><div style="margin: 0px;"><a href="http://www.metmuseum.org/toah/works-of-art/10.63.2">Rodin 'Orpheus and Eurydice'</a>, probably modeled before 1887, executed 1893</div></div><div><div style="margin: 0px;"><br />
</div></div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.youtube.com/watch?v=h5C-qj_cosY&feature=related"><img border="0" height="241px" src="http://www.apengine.org/wp-content/uploads/2009/10/orphee.jpg" style="cursor: move;" width="320px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.youtube.com/watch?v=KCYcWpMDWLQ&feature=related"><img border="0" height="240px" src="http://telos.tv/blog/wp-content/uploads/2008/03/464774135-2dd7d1b6d5-o.jpg" style="cursor: move;" width="320px" /></a></div><div style="text-align: center;"><div style="margin: 0px;">Still's from Jean Cocteau’s 'Orphee'</div></div><div style="text-align: left;"><div style="margin: 0px;">In this famous scene, Ophee (Jean Marais) enters a new world by penetrating the surface of a mirror. By editing several scenes together (see <a href="http://thedelightsofseeing.blogspot.com/search/label/Photomontage">Photomontage</a>) Cocteau creates the illusion that <a href="http://www.youtube.com/watch?v=CkOmMVpz1tM">Orphee passes through the mirror</a>. At the key moment the camera cuts to the actors hands going into a vat of mercury - as if the mirror has turned to liquid.</div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://ny-image0.etsy.com/il_430xN.36793084.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640px" src="http://ny-image0.etsy.com/il_430xN.36793084.jpg" style="cursor: move;" width="456px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">'Alice Through the Looking Glass' by Kenneth Rougeau</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">This seemingly old image is actually modern. Rougeau has created a <a href="http://en.wikipedia.org/wiki/Droste_effect">Droste</a> effect - a particular type of repetitive image. It depicts 'Alice' from Lewis Carol's 'Through the Looking-Glass, and What Alice Found There' (1971). Alice goes through the mirror into a fantasy world populated by peculiar <a href="http://en.wikipedia.org/wiki/Anthropomorphism">anthropomorphic</a> creatures. </div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.youtube.com/watch?v=zeIXfdogJbA"><img border="0" height="310px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkMhgo6X8DSOlAsenK13s-fTTcPqQGny7oAwT9cvHGv8KwOsyTJce9BpLYCwiaAl-2IyaZb_8CfoyB9HWtGKNbbHWPGzhOC7mmfeHFLDGFeiYZQNHLOn_IbINKuBDO4gWXVXCVYyc1G7g/s400/alice-in-wonderland-1903-title-sequence.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Scene from <a href="http://www.guardian.co.uk/film/filmblog/2010/mar/02/alice-in-wonderland-first-film">'Alice in Wonderland' 1903</a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://shiny.tv/wp-content/files/alice.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="301px" src="http://shiny.tv/wp-content/files/alice.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.jansvankmajer.com/">Jan Svankmajer</a> '<a href="http://www.dailymotion.com/video/xorj8_alice-jan-svankmajer_fun">Alice'</a> 1988</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">This is the follow up to Carol's '<a href="http://en.wikipedia.org/wiki/Alice's_Adventures_in_Wonderland">Alice's adventures in Wonderland</a>' (1865) - which was one of the most famous stories that involves a portal to another world. This initial work involved Alice following the white rabbit down a rabbit hole into Wonderland and has become part of popular culture from cinema (The Matrix) to music (Jefferson Airplane). Carol was also a photographer whose real name was Charles Dodgson.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigpH-wdM_xYfEkbcebmb0jop8l-jGAIfYfBle3sKfm0KN2LFmcs3jVBQw__Ryv41vVV_-ox00P8XTQqIvaQJJlcSctVYhp_Nu9G80efZ_5yV5-LBXDqPeVocmLJu6DCKkOvuGxBcRo_SQ7/s1600/wizard-of-oz.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="310px" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigpH-wdM_xYfEkbcebmb0jop8l-jGAIfYfBle3sKfm0KN2LFmcs3jVBQw__Ryv41vVV_-ox00P8XTQqIvaQJJlcSctVYhp_Nu9G80efZ_5yV5-LBXDqPeVocmLJu6DCKkOvuGxBcRo_SQ7/s400/wizard-of-oz.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">The Yellow Brick Road from <a href="http://www.seanax.com/2007/12/12/wizard-of-oz-over-the-rainbow/">'The Wizard of Oz' 1939</a> - Technicolour</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBzYP0aEsowxKZhb-oEY0c5E9cRDxl_1P-hV0yxS7hrLi0f4tTnilsGygpwFXg86S8oVuZdsSBxmRWgT2a7CVEo7lBd9peQvRCf7zqfhE-Gnehu5V_HXHptbO6nuZIns1olK7k2IW3CXk/s1600/nasa_space_colony_1970_5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="310px" n4="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBzYP0aEsowxKZhb-oEY0c5E9cRDxl_1P-hV0yxS7hrLi0f4tTnilsGygpwFXg86S8oVuZdsSBxmRWgT2a7CVEo7lBd9peQvRCf7zqfhE-Gnehu5V_HXHptbO6nuZIns1olK7k2IW3CXk/s400/nasa_space_colony_1970_5.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">NASA space colony project from the 1970's</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYN97gO6pA879n2XwwvKtvjqP08qjGutNF7arWkY1UWKdLbwnQD678JIftoHjQPX231mruWWhxFv29QRwiwMQp6gQM8tlJJC0jHOIZzXfsP4qoEQ20xgzXoNJ2Iw3B-fV33tXp0EKcvbQ/s1600/beckett.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" n4="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYN97gO6pA879n2XwwvKtvjqP08qjGutNF7arWkY1UWKdLbwnQD678JIftoHjQPX231mruWWhxFv29QRwiwMQp6gQM8tlJJC0jHOIZzXfsP4qoEQ20xgzXoNJ2Iw3B-fV33tXp0EKcvbQ/s400/beckett.jpg" style="cursor: move;" width="307px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: left;">Even if today isn't great there is always tomorrow. It is human nature to dream of a better future and artists have often explored this ideas in images and created <a href="http://www.google.co.uk/imgres?imgurl=http://www.hbevol.com/youaretheshit/wp-content/uploads/2010/03/plugincity.jpg&imgrefurl=http://www.hbevol.com/youaretheshit/category/non-classe/&usg=__GmxUhkqTL-spDKRHDf5UUawevXk=&h=942&w=950&sz=255&hl=en&start=9&zoom=1&um=1&itbs=1&tbnid=vlvWoeWwl0cbDM:&tbnh=147&tbnw=148&prev=/images%3Fq%3Darchigrams%26um%3D1%26hl%3Den%26sa%3DN%26rls%3Dcom.microsoft:en-US%26rlz%3D1I7SKPB_en%26tbs%3Disch:1">Futuristic Utopia's</a>. From <a href="http://www.google.co.uk/imgres?imgurl=http://mises.org/images4/RetroFutureCity.jpg&imgrefurl=http://mises.org/daily/2439&usg=__Vr7QDk11q-RxzB9Ly3S2KtWYKxg=&h=350&w=250&sz=40&hl=en&start=10&zoom=1&um=1&itbs=1&tbnid=vRGqaGIc5hGSdM:&tbnh=120&tbnw=86&prev=/images%3Fq%3Dfuture%2Butopias%26um%3D1%26hl%3Den%26rls%3Dcom.microsoft:en-US%26rlz%3D1I7SKPB_en%26tbs%3Disch:1">Science Fiction</a> to genuine NASA space colony plans different ages have imagined a future that shows that times hopes and beliefs.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://wedonetwork.co.uk/wedotech/wp-content/uploads/2009/12/avatar.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="250px" n4="true" src="http://wedonetwork.co.uk/wedotech/wp-content/uploads/2009/12/avatar.jpg" style="cursor: move;" width="400px" /></a></div><div style="text-align: center;"><div style="margin: 0px;"> Still from 'Avatar' 2009</div></div><div style="text-align: center;"><div style="margin: 0px;"><a href="http://www.teacherweb.com/LA/JHMS/JBUSH/BlueDesert1024x768.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300px" n4="true" src="http://www.teacherweb.com/LA/JHMS/JBUSH/BlueDesert1024x768.jpg" style="cursor: move;" width="400px" /></a></div></div><div style="text-align: center;"><div style="margin: 0px;">Roger Dean 'Blue Desert'</div></div><div style="text-align: left;"><div style="margin: 0px;"><br />
</div><div style="margin: 0px;">Roger Dean is an artist, architect and designer (his “retrait pod” is featured in Clockwork Orange) whose work mostly deals with fantasy and sci-fi. Mostly known for the covers he made for progressive rock bands such as YES and ASIA always featuring fantastic landscapes and creatures and crazy type work, he also did most of the covers for the video game development house Psygnosis (responsible for Barbarian, Shadow of the Beast and many other classics) and of course their logo. These images now seem kitsch and are reminiscent of the work of Salvador Dali. A lot of modern photoshop art seems to a similar kitsch feel.</div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://photos.liveauctioneers.com/houses/phillipsdepury/15612/0132_1_lg.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="340px" src="http://photos.liveauctioneers.com/houses/phillipsdepury/15612/0132_1_lg.jpg" style="cursor: move;" width="400px" /></a></div><div style="text-align: center;"><div style="margin: 0px;"><div style="margin: 0px;">PAUL CITROEN, 1896-1983 Metropolis, 1922 Gelatin</div></div></div><div style="text-align: center;"><div style="margin: 0px;"></div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://1.bp.blogspot.com/_qY6O6h8S_Ho/SOBjWNZ2SAI/AAAAAAAADvo/4CoLwiv3AK8/s400/paul_citroen-metropolis.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="http://1.bp.blogspot.com/_qY6O6h8S_Ho/SOBjWNZ2SAI/AAAAAAAADvo/4CoLwiv3AK8/s400/paul_citroen-metropolis.jpg" style="cursor: move;" width="301px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">PAUL CITROEN, 1896-1983 Metropolis, 1922 Gelatin</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeZPOTfCRf1LFM4Sun8ajqWJtfta311O2WOA09V3pmMm4tRKu1eAbkTLu-RFfZbu7Akf-upd51bKWY5nSOJRoDj54qmrC_fDmkH-OnAHA0aosQvHOebJN-KebeSkiU2qOd5Ad4XQTGBYIW/s320/Metropolis%2520Tower%2520of%2520Babel.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeZPOTfCRf1LFM4Sun8ajqWJtfta311O2WOA09V3pmMm4tRKu1eAbkTLu-RFfZbu7Akf-upd51bKWY5nSOJRoDj54qmrC_fDmkH-OnAHA0aosQvHOebJN-KebeSkiU2qOd5Ad4XQTGBYIW/s320/Metropolis%2520Tower%2520of%2520Babel.jpg" style="cursor: move;" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">'Metropolis' fritz Lang 1927</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://rebeccaglaser.files.wordpress.com/2010/09/bladerunner.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="232px" src="http://rebeccaglaser.files.wordpress.com/2010/09/bladerunner.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">'Blade Runner' Ridley Scott 1982</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.vam.ac.uk/things-to-do/sites/goldenrod.vam.ac.uk.things-to-do/files/archigram1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" n4="true" src="http://www.vam.ac.uk/things-to-do/sites/goldenrod.vam.ac.uk.things-to-do/files/archigram1.jpg" style="cursor: move;" width="251px" /></a></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"><div style="margin: 0px;"> Ron Herron 'Walking City' 1964 (proposal in an <a href="http://www.archigram.net/story.html" jquery1291916654831="47">Archigram</a> pamphlet) </div></div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzr6pTHg70qxtS7AakbanXIBCNMa7BEn2zSxgSyMJoS3enVzs-nh4XU02Cm_zbvTj2lnpzb0S9F5mdke3Rq0PMY7R3ucXVSvdnkY4rpUAMOFFQ9nrU-KGq5gv7ltpGjW5pUE7ewLCJUBw/s1600/peter+cook.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" n4="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzr6pTHg70qxtS7AakbanXIBCNMa7BEn2zSxgSyMJoS3enVzs-nh4XU02Cm_zbvTj2lnpzb0S9F5mdke3Rq0PMY7R3ucXVSvdnkY4rpUAMOFFQ9nrU-KGq5gv7ltpGjW5pUE7ewLCJUBw/s400/peter+cook.jpg" style="cursor: move;" width="306px" /></a></div><div style="text-align: center;"><div style="margin: 0px;"><a href="http://www.google.co.uk/imgres?imgurl=http://www.hbevol.com/youaretheshit/wp-content/uploads/2010/03/plugincity.jpg&imgrefurl=http://www.hbevol.com/youaretheshit/category/non-classe/&usg=__GmxUhkqTL-spDKRHDf5UUawevXk=&h=942&w=950&sz=255&hl=en&start=9&zoom=1&um=1&itbs=1&tbnid=vlvWoeWwl0cbDM:&tbnh=147&tbnw=148&prev=/images%3Fq%3Darchigrams%26um%3D1%26hl%3Den%26sa%3DN%26rls%3Dcom.microsoft:en-US%26rlz%3D1I7SKPB_en%26tbs%3Disch:1">'The Plug In City'</a> Peter Cook</div></div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; margin: 0px; text-align: left;"><br />
</div><div style="margin: 0px;"><a href="http://www.google.co.uk/imgres?imgurl=http://www.hbevol.com/youaretheshit/wp-content/uploads/2010/03/plugincity.jpg&imgrefurl=http://www.hbevol.com/youaretheshit/category/non-classe/&usg=__GmxUhkqTL-spDKRHDf5UUawevXk=&h=942&w=950&sz=255&hl=en&start=9&zoom=1&um=1&itbs=1&tbnid=vlvWoeWwl0cbDM:&tbnh=147&tbnw=148&prev=/images%3Fq%3Darchigrams%26um%3D1%26hl%3Den%26sa%3DN%26rls%3Dcom.microsoft:en-US%26rlz%3D1I7SKPB_en%26tbs%3Disch:1">ARCHIGRAM</a> dominated the architectural avant garde in the 1960s and early 1970s with its playful, pop-inspired visions of a technocratic future after its formation in 1961 by a group of young London architects – Warren Chalk, Peter Cook, Dennis Crompton, David Greene, Ron Herron and Michael Webb.</div><div style="margin: 0px;"><br />
</div><div style="margin: 0px;">“A new generation of architecture must arise with forms and spaces which seems to reject the precepts of ‘Modern’ yet in fact retains those precepts. We have chosen to by pass the decaying Bauhaus image which is an insult to functionalism. You can roll out steel – any length. You can blow up a balloon – any size. You can mould plastic – any shape. Blokes that built the Forth Bridge – they didn’t worry.”</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWFssuCN-go4UI2LyqWkb7V6oGs1AdgMvPAITgCZpXJrUbYm35EqNhZkMDgI3UHVB1HsCmmANKO3H7NQ93sC7VPwLjFpH-ErW_TvrOHl21ifVu90KTE_04E0PMe7iO_9PKarWl2e9SOUo/s1600/00_southbank_PB.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" n4="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWFssuCN-go4UI2LyqWkb7V6oGs1AdgMvPAITgCZpXJrUbYm35EqNhZkMDgI3UHVB1HsCmmANKO3H7NQ93sC7VPwLjFpH-ErW_TvrOHl21ifVu90KTE_04E0PMe7iO_9PKarWl2e9SOUo/s400/00_southbank_PB.jpg" style="cursor: move;" width="302px" /></a></div><div style="text-align: center;"><div style="margin: 0px;"><a href="http://www.typeg.org/">George Walker</a> - <a href="http://www.typeg.org/work/41_southbank.html">'South Bank Centre'</a></div></div><div style="text-align: center;"><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://gatsbysmonologue.files.wordpress.com/2009/04/tatlin.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="http://gatsbysmonologue.files.wordpress.com/2009/04/tatlin.jpg" style="cursor: move;" width="295px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.tatlinstowerandtheworld.net/">Tatlin's tower</a></div><div class="separator" style="clear: both; margin: 0px; text-align: left;">In 1919 <a href="http://www.tatlin.com/tatlin.php">Vladimir Talin</a> designed his tower. The tower was a Utopian project designed at the dawn of a new era in Russian history (see the section on Russia under <a href="http://thedelightsofseeing.blogspot.com/search/label/Photomontage">Photomontage</a>). It was intended to Stand 400m high (dwarfing the Eiffel Tower). <a href="http://www.tate.org.uk/research/tateresearch/tatepapers/07autumn/leleu.htm">It was never built</a> and remained a dream.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://coilhouse.net/wp-content/uploads/2010/10/tatlin_tower.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="298px" src="http://coilhouse.net/wp-content/uploads/2010/10/tatlin_tower.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: left;"><span class="Apple-style-span" style="font-family: sans-serif; font-size: 13px; line-height: 19px;"><span class="Apple-style-span" style="font-family: Times;"><span class="Apple-style-span" style="font-size: small; line-height: normal;">Tatlin's </span></span><a href="http://en.wikipedia.org/wiki/Constructivism_(art)" style="background-clip: initial; background-image: none; background-origin: initial; color: #0645ad; text-decoration: none;" title="Constructivism (art)">Constructivist</a></span><span class="Apple-style-span" style="font-family: sans-serif; font-size: 13px; line-height: 19px;"> </span>tower was to be built from industrial materials: iron, glass and steel. In materials, shape, and function, it was envisaged as a towering symbol of <span class="Apple-style-span" style="font-family: sans-serif; font-size: 13px; line-height: 19px;"><a href="http://en.wikipedia.org/wiki/Modernity" style="background-clip: initial; background-image: none; background-origin: initial; color: #0645ad; text-decoration: none;" title="Modernity">modernity</a></span><span class="Apple-style-span" style="font-family: sans-serif; font-size: 13px; line-height: 19px;">.</span><span class="Apple-style-span" style="font-family: sans-serif; font-size: 13px; line-height: 19px;"> </span>The tower's main form was a twin helix which spiraled up to 400 m in height, which visitors would be transported around with the aid of various mechanical devices. The main <a href="http://www.youtube.com/watch?v=3bTqknmlB0U">framework</a> would contain four large suspended geometric structures.<span class="Apple-style-span" style="font-family: sans-serif; font-size: 13px; line-height: 19px;"> </span>These structures would rotate at different rates of speed. At the base of the structure was a cube which was designed as a venue for lectures, conferences and legislative meetings, and this would complete a rotation in the span of one year. Above the cube would be a smaller pyramid housing executive activities and completing <a href="http://video.google.com/videoplay?docid=-4737731987155865438#">a rotation once a month</a>. Further up would be a cylinder, which was to house an information centre, issuing news bulletins and manifestos via telegraph, radio and loudspeaker, and would complete a rotation once a day. At the top, there would be a hemisphere for radio equipment. There were also plans to install a gigantic open-air screen on the cylinder, and a further projector which would be able to cast messages across the clouds on any overcast day.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFtbIeD09wNyHGg5c_R_aL9gQv3bEx4dF-b201Ff8S2Sszojqzknn_0YNOyUzBBIsdUad_QRUmoG-auF8nSyG92bXbFFDxZOvLe7tzBdREgMh5myHXiiaK-8hKy6-ezmHxfOc9FACp9pU/s1600/1301.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="298px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFtbIeD09wNyHGg5c_R_aL9gQv3bEx4dF-b201Ff8S2Sszojqzknn_0YNOyUzBBIsdUad_QRUmoG-auF8nSyG92bXbFFDxZOvLe7tzBdREgMh5myHXiiaK-8hKy6-ezmHxfOc9FACp9pU/s400/1301.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_eq0dcvX07WbiPd47PTpN3U8CAqbkHNMUylLjPKhj3xSvAOvmRMov-ZLgq_lO44kqNdUnsegGVis_8za10pm9M77xgHri6S2F83ajnK_xB0oKLQlqHEtssPusvbZfQSSFCFSUjAnaT7Y/s1600/Letatlin1932.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="376px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_eq0dcvX07WbiPd47PTpN3U8CAqbkHNMUylLjPKhj3xSvAOvmRMov-ZLgq_lO44kqNdUnsegGVis_8za10pm9M77xgHri6S2F83ajnK_xB0oKLQlqHEtssPusvbZfQSSFCFSUjAnaT7Y/s400/Letatlin1932.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px;">Tatlin's - Letatlin human-powered flying machine</div><div class="separator" style="clear: both; margin: 0px;"></div><div style="text-align: left;"><div style="margin: 0px;"><a href="http://dictatorshipoftheair.com/2006/10/02/tatlins-tower-tatlins-flyer/">Tatlin also designed a human powered flying machine called the Letatlin</a>. Like his tower is was made out economic materials - it was designed for everybody. Letatlin - A play on the artist’s surname and the Russian verb “to fly” (letat’), the Letatlin was assembled during a period (1930-1932) when Tatlin’s Constructivist approach to art and architecture had fallen into disfavor with Communist Party officials. By the time that the full-scale model for the Letatlin was complete in 1932 the Stalinist assault on Soviet culture and the arts was beginning in earnest. That same year, Josef Stalin promulgated a decree “On the Reconstruction of Literary and Artistic Organizations” which banned all independent studios, workshops, and groups. In their place the Party established official artistic and creative “unions” — bureaucratic mechanisms that would enable the Party to control artistic content and production throughout the country. A ambitious naive Utopia turns - darkly - into a Dystopia.</div></div><div><div style="margin: 0px;"><a href="http://www.oceansbridge.com/paintings/artists/masters/big/b/bruegel/pieter_e/06/01babel_painting.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="301px" src="http://www.oceansbridge.com/paintings/artists/masters/big/b/bruegel/pieter_e/06/01babel_painting.jpg" style="cursor: move;" width="400px" /></a></div></div></div><div style="margin: 0px; text-align: center;"><div style="margin: 0px;">'The Tower of Babel' 1563 Pieter The Elder Bruegel</div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.artchive.com/artchive/e/ernst/silence.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="305px" n4="true" src="http://www.artchive.com/artchive/e/ernst/silence.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Max Ernst 'The Eye of Silence'</div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Decalcomania</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.johncoulthart.com/feuilleton/wp-content/uploads/2009/04/crystal_world.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" n4="true" src="http://www.johncoulthart.com/feuilleton/wp-content/uploads/2009/04/crystal_world.jpg" style="cursor: move;" width="257px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Max Ernst's 'The eye of Silence' used as a book cover</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://leclownlyrique.files.wordpress.com/2010/01/irving-penn-1949.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="365px" src="http://leclownlyrique.files.wordpress.com/2010/01/irving-penn-1949.jpg" style="cursor: move;" width="400px" /></a></div><div style="margin: 0px; text-align: left;"><div style="margin: 0px;">In this image <a href="http://www.npg.org.uk:8080/irvingpenn/exhib.htm">Irving Penn</a> has used a <a href="http://thedelightsofseeing.blogspot.com/search/label/Depth%20of%20Field%20-%20Minimum">minimum depth of field</a> to blur out the background. He has focused on the glass bottle and so it is in sharp focus. However, the background is blurred – we can see a woman about to smoke a cigarette but it is fuzzy and atmospheric. Penn has guided the viewer’s eyes towards the glass and the sharp focus of the glass is contrasted against the blurred figure in the background. The glass is working as a lens – just like the lens used to create the image.</div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTTbeY9Zc6Y5aAAPanX5zsYvPDrBL1URAp2Z91RO_M9chlSl3sDJVkS5-l2jiwMIXlQLjSqwzAdBlVb-QEkm6MLSIZ7D5E1GNjH-GBionODu3pefc8zCZaFwInPwphC4JBelOab2Ks1SPz/s1600/hitchcock-champaige-bottom-of-glass.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="343px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTTbeY9Zc6Y5aAAPanX5zsYvPDrBL1URAp2Z91RO_M9chlSl3sDJVkS5-l2jiwMIXlQLjSqwzAdBlVb-QEkm6MLSIZ7D5E1GNjH-GBionODu3pefc8zCZaFwInPwphC4JBelOab2Ks1SPz/s400/hitchcock-champaige-bottom-of-glass.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Still from <a href="http://hitchcock.tv/">Alfred Hitchcock's</a> - <a href="http://www.youtube.com/watch?v=qLVmaBQ8Gdo">'Champagne' 1928</a> - shot through the bottom of a wine glass.</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">This is a strange still from an <a href="http://www.youtube.com/watch?v=UtSAivIJrZs">early silent Alfred Hitchcock</a> film. It is taken from his 1928 film 'Champagne' were he experimented with a camera lens placed inside a giant champagne glass. The glass fills with liquid and is tipped as if we, the viewer, are drinking from it and seeing through it. We can just make out a crowd and couple dancing.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgynqKxkzrryMov8Fdj4PoykVPDmWF1jYnDf6PBN4pvfnOa8griC4OYT7OdIIi3yet0BvLwoJD_g9hovRYhDXARXZJB1qdyarAAKkx6gqlamQWYFIl2F75S7ksiXWDmjdI_oNF5-4cbo2rD/s1600/hitchcock-water-reflection.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="365px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgynqKxkzrryMov8Fdj4PoykVPDmWF1jYnDf6PBN4pvfnOa8griC4OYT7OdIIi3yet0BvLwoJD_g9hovRYhDXARXZJB1qdyarAAKkx6gqlamQWYFIl2F75S7ksiXWDmjdI_oNF5-4cbo2rD/s400/hitchcock-water-reflection.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Still from Hitchcock's <a href="http://www.youtube.com/watch?v=yeHMuJ7yJKI">'The Ring' 1927</a> - a moving reflection in a stream</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">During the filming of <a href="http://www.independent.co.uk/arts-entertainment/films/news/hitchcocks-forgotten-silent-films-restored-1958696.html">Hitchcock's early silent film</a> The Ring (1927) he experimented with trick photography. In the above still we see a reflection of a couple in a stream. When the water ripples the image itself ripples and the figure go in and out of abstraction.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMkJiM64LRRsCN2M8TKp-vaxMGljzh3mwsh1_n_kBLkIHScjqZj-48eDu3F_UJzDddyvJ9sZHFUcgP7moIg0CuqFiDyTPgZdYb7rY6qmzqlcuINiu1YzTM0IFhFpW670xBL2tdRbqkFfbZ/s1600/hitchcock-drunk-dancers.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="360px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMkJiM64LRRsCN2M8TKp-vaxMGljzh3mwsh1_n_kBLkIHScjqZj-48eDu3F_UJzDddyvJ9sZHFUcgP7moIg0CuqFiDyTPgZdYb7rY6qmzqlcuINiu1YzTM0IFhFpW670xBL2tdRbqkFfbZ/s400/hitchcock-drunk-dancers.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl9cIcaw1AL8HBKvA62eER1CdkuDambOsIOqXRKFU0sdSnxl2HkWwjO7XdlWfVVEEyAbteuObOwxUTbU4XY8qWzj7ZV0u2Sw_cASSmyRHz1zM710Vqi8lMPCTawdO6_lgC8h_tXyEzdsTc/s1600/hitchcock-drunk-scene.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="363px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl9cIcaw1AL8HBKvA62eER1CdkuDambOsIOqXRKFU0sdSnxl2HkWwjO7XdlWfVVEEyAbteuObOwxUTbU4XY8qWzj7ZV0u2Sw_cASSmyRHz1zM710Vqi8lMPCTawdO6_lgC8h_tXyEzdsTc/s400/hitchcock-drunk-scene.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Stills from Hitchcock's 'The Ring' 1927 - seen from the viewpoint of a drunk man</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">In these two scenes we see what a drunk sees and the world appears distorted. This could emulate the effect of drink but also be a metaphor for viewing the world through the bottom of a glass. Dancers distort until they are unrecognizable. Hitchcock uses blurring and mirrors to distort the image and create a sense of disorientation. The keys of a piano appear elongated as if seen through a fairground mirror. This visual experimentation is a key aspect of Hitchcock's Cinematic style.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.iphotocentral.com/Photos/VintageWorks_Images/Full/9492AndreKerteszDoor.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="http://www.iphotocentral.com/Photos/VintageWorks_Images/Full/9492AndreKerteszDoor.jpg" style="cursor: move;" width="273px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"></div><div style="margin: 0px; text-align: center;"><div style="margin: 0px;">Andre Kertesz - Paris, Door Distortion, July 29, 1984</div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://artblart.files.wordpress.com/2009/10/andre_kertesz_distortion_144_paris_1933.jpg?w=500&h=339" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="270px" src="http://artblart.files.wordpress.com/2009/10/andre_kertesz_distortion_144_paris_1933.jpg?w=500&h=339" style="cursor: move;" width="400px" /></a></div><div style="margin: 0px; text-align: center;"><div style="text-align: center;"><div style="margin: 0px;">Andre Kertesz ‘Distortion 144, Paris’ 1933</div></div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.bulgergallery.com/dynamic/images/display/Estate_of_Andre_Kertesz_Distortion_147_1933c1980_3121_41.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="317px" src="http://www.bulgergallery.com/dynamic/images/display/Estate_of_Andre_Kertesz_Distortion_147_1933c1980_3121_41.jpg" style="cursor: move;" width="400px" /></a></div><div style="margin: 0px; text-align: center;"><div style="margin: 0px;">Andre Kertesz ‘Distortion 147, Paris' 1933</div></div><div style="margin: 0px; text-align: left;"><div style="margin: 0px;">These strange distorted images are by André Kertesz. ‘Distortions’ (1933) is a series of photographs of women reflected in distorting carnival mirrors that transform them into dreamlike creatures. </div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.sptimes.com/2005/02/21/images/xlarge/FLO_1_td21dali1_207706_0221.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="http://www.sptimes.com/2005/02/21/images/xlarge/FLO_1_td21dali1_207706_0221.jpg" style="cursor: move;" width="400px" /></a></div><div style="margin: 0px; text-align: center;"><div style="margin: 0px;"><div style="margin: 0px;">Salvador Dali 'Soft Construction With Boiled Beans (Premonition of Civil War)',1936, oil on canvas.</div></div><div style="margin: 0px; text-align: left;"><div><div style="margin: 0px;">The deformed melting figures of Dali's painting mirrors the distortions that appear in Kertesz's photographs. This painting is one of only a handful in which Dalí turned his attention to the tragedy that beset his homeland on July 17, 1936, when General Francisco Franco led a military coup d'état against the democratically elected Popular Front government. The artist's savage vision of his country as a decomposing figure tearing itself apart preceded the outbreak of the Spanish Civil War and thus prophetically foretold the atrocities committed during this bloody conflict. Other artists who have focused on the Spanish Civil War are <a href="http://www.guardian.co.uk/artanddesign/artblog/2007/apr/26/picassosguernicabattlelives">Picasso</a> (<a href="http://art.docuwat.ch/videos/power-of-art/power-of-art-picasso">Guernica</a>), <a href="http://www.youtube.com/watch?v=iqdEKahV-gs">Guillermo del Toro</a> (<a href="http://www.guardian.co.uk/film/2006/nov/05/features.review1">Pan's Labyrinth</a>) and, during the earlier civil war, Goya (<a href="http://en.wikipedia.org/wiki/The_Disasters_of_War">Disasters of War</a>). <a href="http://thedelightsofseeing.blogspot.com/search/label/Photomontage">Dada Photomontage</a> distorted the human form immediately after the first world war. As well as having surreal qualities these images, like the Dada Photomontages could be a reaction to the human horrors of the first world war and the rise of 1930's fascism.</div></div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.artlex.com/ArtLex/p/images/plaster_moor.unesco.lg.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="276px" src="http://www.artlex.com/ArtLex/p/images/plaster_moor.unesco.lg.jpg" style="cursor: move;" width="400px" /></a></div></div><div style="margin: 0px; text-align: center;"></div><div style="clear: both; margin: 0px; text-align: center;"><div style="margin: 0px;"><a href="http://www.guardian.co.uk/artanddesign/2010/feb/23/henry-moore-tate-britain">Henry Moore</a>. Working Model for Reclining Figure, 1957. Bronze.</div></div><div style="margin: 0px; text-align: left;"><div style="margin: 0px;"><a href="http://www.tate.org.uk/britain/exhibitions/henrymoore/roomintro.shtm">Henry Moore</a> emerged in the 1920s as a radical, experimental and avant-garde figure and was rapidly established as the leading British sculptor of his generation. His principal and enduring subject was the human body, through which he believed ‘one can express more completely one’s feelings about the world than in any other way’. <a href="http://www.youtube.com/watch?v=8_hpQcJe0BY">Moore</a> also reflected in his work his reaction to two world wars. The smooth quality of these images are similar to the effect of <a href="http://examthemes.blogspot.com/2010/11/preservation.html">melting ice</a> and how is distorts as it transforms back into liquid.</div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.petelockett.com/petes%20new%20pics/archive%203/claes%20oldenburg%20giant%20soft%20drum%20set%201967.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="283px" src="http://www.petelockett.com/petes%20new%20pics/archive%203/claes%20oldenburg%20giant%20soft%20drum%20set%201967.jpg" style="cursor: move;" width="400px" /></a></div><div style="margin: 0px; text-align: center;"><div style="text-align: center;"><div style="margin: 0px;"><a href="http://webp2.moma.org/collection/browse_results.php?criteria=O%3AOD%3AE%3A82053&page_number=1&template_id=1&sort_order=1">Claes Oldenbur</a>g 'Giant Soft Drum Set 1'</div><div style="text-align: left;"><div style="margin: 0px;">Sculptures are traditionally cut from rock or wood. They can be moulded from clay. Oldenburg's everyday objects seem to melt into the gallery floor - evaporating into nothing.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.24hourmuseum.org.uk/content/images/2007_2207.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200px" n4="true" src="http://www.24hourmuseum.org.uk/content/images/2007_2207.jpg" style="cursor: move;" width="192px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Cecil Beaton - London during the Blitzes 1940's</div></div></div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.awm.gov.au/exhibitions/sharedexperience/images/enlarge/ld_893.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="233px" n4="true" src="http://www.awm.gov.au/exhibitions/sharedexperience/images/enlarge/ld_893.jpg" style="cursor: move;" width="400px" /></a></div><div style="margin: 0px; text-align: center;"><div style="margin: 0px;"><a href="http://www.tate.org.uk/servlet/ArtistWorks?cgroupid=999999961&artistid=2014&page=1">Graham Sutherland</a> 'The city: a fallen lift shaft' 1941</div></div><div style="margin: 0px; text-align: left;"><div style="margin: 0px;">This painting is by Moores contemporary Graham Sutherland. These bomb damaged buildings were in an area just north of St Paul's cathedral. Described by <a href="http://www.bbc.co.uk/wales/arts/sites/graham-sutherland/">Sutherland</a> as an eerie, foul-smelling, deserted wasteland, it was one which he explored with growing confidence during the <a href="http://www.google.co.uk/imgres?imgurl=http://www.culture24.org.uk/asset_arena/3/95/15593/v0_master.jpg&imgrefurl=http://www.culture24.org.uk/places%2Bto%2Bgo/south%2Bwest/bristol/tra27963&usg=__P9TJ98p_tMz8XGkVGVmmWTsKbsE=&h=142&w=250&sz=14&hl=en&start=2&zoom=1&um=1&itbs=1&tbnid=tcbMwvBwO7OzxM:&tbnh=63&tbnw=111&prev=/images%3Fq%3Dgraham%2Bsutherland%2Bwar%2Bpaintings%26um%3D1%26hl%3Den%26rls%3Dcom.microsoft:en-US%26rlz%3D1I7SKPB_en%26tbs%3Disch:1">Blitz</a>, although occasionally buildings would spontaneously collapse around him. Amid this barren scene, Sutherland has animated the twisted structure, creating a presence that both threatens new life and yet also implies its possibility.</div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.artquotes.net/masters/picasso/picasso_guernica1937.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="281px" n4="true" src="http://www.artquotes.net/masters/picasso/picasso_guernica1937.jpg" style="cursor: move;" width="640px" /></a></div><div style="margin: 0px; text-align: center;"><div style="margin: 0px;"><a href="http://art.docuwat.ch/videos/power-of-art/power-of-art-picasso">Pablo Picasso</a> - '<a href="http://www.google.co.uk/imgres?imgurl=http://employees.oneonta.edu/farberas/arth/Images/110images/sl24_images/guernica_details/guernica_all.jpg&imgrefurl=http://employees.oneonta.edu/farberas/arth/arth200/guernica.html&usg=__mETkmZP2-Bw5EjYH7k-ZWlpcjF0=&h=871&w=1949&sz=1659&hl=en&start=2&zoom=1&um=1&itbs=1&tbnid=w0zq67UtnfEAeM:&tbnh=67&tbnw=150&prev=/images%3Fq%3Dguernica%26um%3D1%26hl%3Den%26sa%3DN%26rls%3Dcom.microsoft:en-US%26rlz%3D1I7SKPB_en%26tbs%3Disch:1">Guernica</a>' 1937</div></div><div style="margin: 0px; text-align: left;"><div style="margin: 0px;">Pacasso was not a political artist. 'Guernica' is <a href="http://en.wikipedia.org/wiki/Pablo_Picasso">Pablo Picasso</a> response to the <a href="http://en.wikipedia.org/wiki/Bombing_of_Guernica">bombing of Guernica</a>, <a href="http://en.wikipedia.org/wiki/Basque_Country_(greater_region)">Basque Country</a>, by <a href="http://en.wikipedia.org/wiki/Nazi_Germany">German</a> and <a href="http://en.wikipedia.org/wiki/Fascist_Italy">Italian</a> <a href="http://en.wikipedia.org/wiki/Military_aircraft">warplanes</a> at the behest of the <a href="http://en.wikipedia.org/wiki/Spain">Spanish</a> <a href="http://en.wikipedia.org/wiki/Spain_under_Franco">Nationalist</a> forces, on 26 April 1937, during the <a href="http://en.wikipedia.org/wiki/Spanish_Civil_War">Spanish Civil War</a>. Picasso's style changed throughout his career but certain stylised cubist element can be seen in this epic painting. Picasso's Bull motif appears along with distorted images of screaming faces and limbs. The monochrome image is broken up by abstract flat planes and figurative elements. A sole light hangs in the centre like an all seeing eye - viewing the atrocities humans are capable of.</div></div><div style="margin: 0px; text-align: left;"><div style="margin: 0px;"><br />
</div></div><div style="margin: 0px; text-align: left;"><div style="margin: 0px;">'What do you think an artist is? An imbecile who has only eyes if he is a painter, or ears if he is a musician, or a lyre in every chamber of his heart if he is a poet, or even, if he is a boxer, just his muscles? Far, far from it: at the same time, he is also a political being, constantly aware of the heartbreaking, passionate, or delightful things that happen in the world, shaping himself completely in their image. How could it be possible to feel no interest in other people, and with a cool indifference to detach yourself from the very life which they bring to you so abundantly? No, painting is not done to decorate apartments. It is an instrument of war'</div></div><div style="text-align: left;"><div style="margin: 0px;">Pablo Picasso</div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.jesus-is-savior.com/Evils%20in%20America/Hellivision/pans_labyrinth4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266px" n4="true" src="http://www.jesus-is-savior.com/Evils%20in%20America/Hellivision/pans_labyrinth4.jpg" style="cursor: move;" width="400px" /></a></div><div style="text-align: center;"><div style="margin: 0px;">Still from 'Pan's Labyrinth' Guillermo Del Toro's 2006</div></div><div style="text-align: left;"></div><div style="text-align: left;"></div><div style="text-align: left;"></div><div style="text-align: left;"></div><div style="text-align: left;"></div><div style="text-align: left;"></div><div style="text-align: left;"></div><div style="text-align: left;"></div><div style="text-align: left;"></div><div style="text-align: left;"></div><div style="text-align: left;"></div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; margin: 0px; text-align: center;"><a href="http://www.musicomh.com/films/trailers/trailers_images/pans-labyrinth.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" n4="true" src="http://www.musicomh.com/films/trailers/trailers_images/pans-labyrinth.jpg" style="cursor: move;" /></a></div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; margin: 0px; text-align: center;"><a href="http://www.bbc.co.uk/blogs/markkermode/2009/07/the_culture_show_guillermo_del.html">Guillermo Del Toro's</a> <a href="http://www.youtube.com/watch?v=EqYiSlkvRuw">'Pan's Labyrinth'</a> <a href="http://www.guardian.co.uk/film/2006/nov/24/sciencefictionandfantasy.worldcinema">2006</a></div><div style="margin: 0px;"><a href="http://www.panslabyrinth.com/">'Pan's Labyrinth'</a> is a fanciful and chilling story set against the backdrop of a fascist regime in 1944 rural Spain. It is a bold juxtaposition of real and unreal worlds - mixing visually inventive fantasy with the menace of Franco-ite Spain. The film centers on Ofelia, a lonely and dreamy child living with her mother and adoptive father; a military officer tasked with ridding the area of rebels. In her loneliness, Ofelia creates a world filled with fantastical creatures and secret destinies. With post-war repression at its height, Ofelia must come to terms with her world through a fable of her own creation.”. Del Toro's has cited Goya as an influence on the visual elements of his films.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://web.ncf.ca/ek867/goya.disaster.book.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="308px" n4="true" src="http://web.ncf.ca/ek867/goya.disaster.book.jpg" style="cursor: move;" width="400px" /></a></div><div style="text-align: center;"><div style="margin: 0px;">'Contrary to the General Interest' (<a href="http://www.napoleonguide.com/goyaind.htm"><span style="color: #400080;">The Disasters of War) </span></a> Goya</div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.friloux-art.com/tl/art/Goya_-_Caprichos_(43)_-_Sleep_of_Reason.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640px" n4="true" src="http://www.friloux-art.com/tl/art/Goya_-_Caprichos_(43)_-_Sleep_of_Reason.jpg" style="cursor: move;" width="435px" /></a></div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; margin: 0px; text-align: center;">Goya - plates from <a href="http://en.wikipedia.org/wiki/The_Disasters_of_War">'The Disasters of War'</a> 1810-1820</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnenHzKY-TV2xn8ji3SqWM9KcwFz3cwskQNnEGxCujoebIs3XVnKCdF7di8zJwC5HsSxZ4nHTuJN1OdzScz5HEGKgCAoX1u3T6Mz-HbNi3aqnLvr3gaTxL3IYjSreisIeuImWDY0-whWU/s400/Goya+Saturn+Devouring+His+Children.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" n4="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnenHzKY-TV2xn8ji3SqWM9KcwFz3cwskQNnEGxCujoebIs3XVnKCdF7di8zJwC5HsSxZ4nHTuJN1OdzScz5HEGKgCAoX1u3T6Mz-HbNi3aqnLvr3gaTxL3IYjSreisIeuImWDY0-whWU/s400/Goya+Saturn+Devouring+His+Children.jpg" style="cursor: move;" width="275px" /></a></div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; margin: 0px; text-align: center;"><span style="font-size: 14px;">Francisco Goya:<a href="http://www.msdlists.com/Goya%20Saturn%20Devouring%20His%20Children.html"><span style="color: #aa77aa; font-size: x-small;">Saturn Devouring His Children</span></a><span style="font-size: x-small;"> </span></span>(c.<a href="http://www.google.co.uk/imgres?imgurl=https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnenHzKY-TV2xn8ji3SqWM9KcwFz3cwskQNnEGxCujoebIs3XVnKCdF7di8zJwC5HsSxZ4nHTuJN1OdzScz5HEGKgCAoX1u3T6Mz-HbNi3aqnLvr3gaTxL3IYjSreisIeuImWDY0-whWU/s400/Goya+Saturn+Devouring+His+Children.jpg&imgrefurl=http://mairangibay.blogspot.com/2010/03/sleep-of-reason.html&usg=__BLl5cTFIjM7gwBAFIDPG5seV71o=&h=400&w=275&sz=23&hl=en&start=28&zoom=1&um=1&itbs=1&tbnid=PlWrS3IbHwv5DM:&tbnh=124&tbnw=85&prev=/images%3Fq%3Dgoya%2Bsaturn%2Bdevouring%2Bhis%2Bchildren%26start%3D20%26um%3D1%26hl%3Den%26sa%3DN%26rls%3Dcom.microsoft:en-US%26rlz%3D1I7SKPB_en%26ndsp%3D20%26tbs%3Disch:1">1819-21</a>)</div><div style="margin: 0px;">Saturn Devouring His Son is the name given to a painting by Spanish artist <a href="http://en.wikipedia.org/wiki/Francisco_Goya">Francisco Goya</a>. It depicts the <a href="http://en.wikipedia.org/wiki/Greek_mythology">Greek myth</a> of the <a href="http://en.wikipedia.org/wiki/Titans_(mythology)">Titan</a> <a href="http://en.wikipedia.org/wiki/Cronus">Cronus</a> (in the title Romanised to <a href="http://en.wikipedia.org/wiki/Saturn_(mythology)">Saturn</a>), who, fearing that his children would <a href="http://en.wikipedia.org/wiki/Overthrow">overthrow</a> him, <a href="http://en.wikipedia.org/wiki/Filicide">ate each one</a> upon their birth. It is one of the series of <a href="http://en.wikipedia.org/wiki/Black_Paintings">Black Paintings</a> that Goya painted directly onto the walls of his house sometime between 1819 and 1823.</div><div style="margin: 0px;"><br />
</div><div style="margin: 0px;">The work was transferred to canvas after Goya's death and now resides in the <a href="http://en.wikipedia.org/wiki/Museo_del_Prado">Museo del Prado</a> in <a href="http://en.wikipedia.org/wiki/Madrid">Madrid</a>. The grainy warm colours are similar to the tones in 'Pan's Labyrinth'. In the film Del Toro jumps between warm orangy hues and cool blue monochromes. Goya also created <a href="http://en.wikipedia.org/wiki/The_Disasters_of_War">'The Disasters of War'</a> 1810-1820 showing what people are capable of in times of war.</div><div style="text-align: center;"><div style="margin: 0px;"> <a href="http://pressblog.uchicago.edu/disasters-of-war.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="301px" n4="true" src="http://pressblog.uchicago.edu/disasters-of-war.gif" style="cursor: move;" width="400px" /></a></div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.irak.be/images/tortureIraq7.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320px" n4="true" src="http://www.irak.be/images/tortureIraq7.jpg" style="cursor: move;" width="240px" /></a></div><div style="margin: 0px;">The top image is by Goya and created almost 200 years ago. The bottom image was allegedly taken at <a href="http://www.guardian.co.uk/world/2004/may/15/iraq.commentanddebate">Abu Ghraib</a> in 2003 by soldiers. The image is now know as "The Man behind the Hood" - It could be from Goya's series. These images are now part of our modern consciousness and raise <a href="http://www.guardian.co.uk/values/socialaudit/readers/story/0,,1305096,00.html">ethical questions</a>.</div><div style="text-align: center;"><div style="margin: 0px;"><a href="http://pressblog.uchicago.edu/disasters-of-war.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="301px" n4="true" src="http://pressblog.uchicago.edu/disasters-of-war.gif" style="cursor: move;" width="400px" /></a></div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.smh.com.au/ffxImage/urlpicture_id_1046540135301_2003/03/03/4ent_goya_print,0.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="295px" n4="true" src="http://www.smh.com.au/ffxImage/urlpicture_id_1046540135301_2003/03/03/4ent_goya_print,0.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; margin: 0px; text-align: center;">Goya - plates from <a href="http://en.wikipedia.org/wiki/The_Disasters_of_War">'The Disasters of War'</a> 1810-1820</div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; margin: 0px; text-align: left;">The Disasters of War are some of the most graphic <a href="http://www.napoleonguide.com/goyaind.htm">images</a> to come out of the brutal guerrilla war in the <span style="font-family: Verdana, Arial, Helvetica, sans-serif;"><span style="font-family: 'Lucida Calligraphy';"><a href="http://www.napoleonguide.com/campaign_peninwar.htm"><span style="color: #999999; font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Peninsular War</span></a><span style="font-size: x-small;"> </span></span></span>. Be warned, however, they may disturb some people as they contain disturbing scenes of horror, brutality, torture and the savagery of war.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.artnet.com/Magazine/reviews/laplaca/Images/laplaca7-21-12.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="321px" n4="true" src="http://www.artnet.com/Magazine/reviews/laplaca/Images/laplaca7-21-12.jpg" style="cursor: move;" width="400px" /></a></div><div style="text-align: center;"><div style="margin: 0px;"><a href="http://www.whitecube.com/artists/chapman/">Jake and Dinos Chapman</a> 'Insult to Injury' (detail) 2003</div></div><div style="text-align: center;"><div style="margin: 0px;">Francisco de Goya "Disasters of War" portfolio of 80 etchings, reworked and improved</div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin: 0px; text-align: left;"><a href="http://www.andrewgrahamdixon.com/archive/readArticle/404">Jake and Dinos Chapman</a> came to prominence with <a href="http://www.tate.org.uk/pharmacy/">Damien Hirst</a> and <a href="http://www.tracey-emin.co.uk/">Tracey Emin</a> in the early 1990's. The show '<a href="http://www.brooklynmuseum.org/opencollection/exhibitions/683/">Sensation</a>', put together by Charles Saatchi, made many of these artists (known as the YBA's - Young British Artists) house hold names. It was not a movement as such but they shared certain characteristics. There was an element of populism, energy and shock - you would want to look away but you would be compelled to stare (as with the Chapman's or Hirst's shark). In many ways it was a reaction against the more serious work of the 1980's and the artists who dominated the British art scene (<a href="http://www.tony-cragg.com/">Tony Cragg</a>, <a href="http://howardhodgkin.org.uk/">Howard Hodgkins</a> etc). It seemed fresh and exciting while often seeming closer to advertising - The visual equivalent of shouting.</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">Jake and Dino Chapman could be described as the most shocking artists - above is their example of an 'improved' Goya. They bought an original Goya print and painted clown faces on top (reminiscent of Ronald McDonald). This seems like a childish act and a form of destruction. However there is a long tradition of appropriating the work of others (see <a href="http://www.tate.org.uk/tateetc/issue8/erasuregenteel.htm">Rauschenburg and De Kooning</a>) and it gets us to question the preciousness of art. If this type of art seems shallow, ironic, greedy, vacuous, disrespectful remember - Societies often get the art they deserve.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://image.guardian.co.uk/sys-images/Guardian/Pix/gallery/2004/05/26/hellp344444a.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" n4="true" src="http://image.guardian.co.uk/sys-images/Guardian/Pix/gallery/2004/05/26/hellp344444a.jpg" style="cursor: move;" width="342px" /></a></div><div style="text-align: center;"><div style="margin: 0px;"> <a href="http://www.google.co.uk/imgres?imgurl=http://newsimg.bbc.co.uk/media/images/39097000/jpg/_39097758_chapman_hell150.jpg&imgrefurl=http://news.bbc.co.uk/2/hi/entertainment/2947900.stm&usg=__fK3xwgfwKWEv4QUJaBeZZp_q27s=&h=180&w=150&sz=10&hl=en&start=12&zoom=1&um=1&itbs=1&tbnid=39rWQk-kcMQ3-M:&tbnh=101&tbnw=84&prev=/images%3Fq%3Dhell%2Bchapmans%26um%3D1%26hl%3Den%26sa%3DN%26rls%3Dcom.microsoft:en-US%26rlz%3D1I7SKPB_en%26tbs%3Disch:1">Jake and Dinos Chapman</a> 'Hell' (1999)</div></div><div class="separator" style="clear: both; margin: 0px; text-align: left;"><br />
</div><div style="margin: 0px;">A detail from the brothers' critically acclaimed installation 'Hell' - featuring a series of miniature landscapes, showing thousands of model Nazi soldiers committing atrocities - which was the centrepiece of the RA's <a href="http://www.guardian.co.uk/uk/2000/may/03/fiachragibbons">Apocalypse </a>exhibition in 2000. This work was lost in a Ware house fire. Most people seemed over joyed that a lot of art had been destroyed as they felt no connection with contemporary art. This can be seen in several ways. On the one hand contemporary art leaves many feeling lost and disconnected. Should art be for the masses or the few? However, the tabloid gloating over the destruction of art seems dark. In the same way that the <a href="http://www.guardian.co.uk/books/2010/sep/10/book-burning-quran-history-nazis">burning of books</a> has dark connotations the destruction of any art shouldn't be celebrated. Dinos <a href="http://www.artreview.com/video/video/show?id=1474022%3AVideo%3A717793">Chapman</a> is reported to have shrugged off the loss, saying, "We will just make it again... It is only art."</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.lazyllama.com/blog/wp-content/uploads/2008/07/chapmans385-349929a.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" n4="true" src="http://www.lazyllama.com/blog/wp-content/uploads/2008/07/chapmans385-349929a.jpg" style="cursor: move;" width="332px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Jake and Dino's Chapman</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.formes-vives.org/blog/images/graphisme/liens-zammit/photo-graphisme/raoul-hausmann-ABCD-1923.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" n4="true" src="http://www.formes-vives.org/blog/images/graphisme/liens-zammit/photo-graphisme/raoul-hausmann-ABCD-1923.jpg" style="cursor: move;" width="276px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><img height="400px" src="http://www.qompendium.com/fileadmin/img/mod_overview/RHaussman.jpg" style="cursor: move;" width="291px" /></div><div class="separator" style="clear: both; margin: 0px; text-align: left;">This image is by one of <a href="http://www.youtube.com/watch?v=EqkIJ0odFxA">Dada</a>'s founding members, <a href="http://www.google.co.uk/imgres?imgurl=http://paperstreetsupplies.com/wp-content/uploads/RaoulHausmann_001.jpg&imgrefurl=http://paperstreetsupplies.com/art-and-artists/dada-collage-photomontage-by-raoul-hausmann/&usg=__tNcnjdrS4hd8sfJ86wFhyjrtFB8=&h=867&w=600&sz=193&hl=en&start=1&zoom=1&um=1&itbs=1&tbnid=daFwGsL4GGbeJM:&tbnh=145&tbnw=100&prev=/images%3Fq%3DRaoul%2BHausmann%26um%3D1%26hl%3Den%26sa%3DN%26rls%3Dcom.microsoft:en-US%26rlz%3D1I7SKPB_en%26tbs%3Disch:1">Raoul Hausmann</a>, who claimed he invented <a href="http://thedelightsofseeing.blogspot.com/search/label/Photomontage">Photomontage</a>. The top image is actually a collage that mixes different printed emphemeria to create a jarring image. This image was created almost a hundred years ago and to Hausmann's contemporarys would have seemed raw and ugly. This busy, hectic visual language is common place today but it would not exist without the experiments of these early 20th century artists. Dada began under the shadow of the first world war - a generation of young men returning from the front line disfigured and broken. These horrors were captured delicately by the firstworld war artist <a href="http://www.andrewgrahamdixon.com/broadcast/byVcat/2/224">Henry Tonks</a>.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.spartacus.schoolnet.co.uk/ARTtonks4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" n4="true" src="http://www.spartacus.schoolnet.co.uk/ARTtonks4.jpg" style="cursor: move;" width="310px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.informaworld.com/smpp/section?content=a919201567&fulltext=713240928">Henry Tonks</a></div><div class="separator" style="clear: both; margin: 0px; text-align: left;"><br />
</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.lisahebden.com/blog/wp-content/uploads/2009/11/francis_bacon_gallery_5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320px" n4="true" src="http://www.lisahebden.com/blog/wp-content/uploads/2009/11/francis_bacon_gallery_5.jpg" style="cursor: move;" width="303px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.tate.org.uk/servlet/ArtistWorks?cgroupid=999999961&artistid=682&page=1&sole=y&collab=y&attr=y&sort=default&tabview=bio">Francis Bacon</a></div><div class="separator" style="clear: both; margin: 0px; text-align: left;"><br />
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</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">archimboldo</div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Robot face</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><br />
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</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.visual-arts-cork.com/images-renaissance/grunewald-christ.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="http://www.visual-arts-cork.com/images-renaissance/grunewald-christ.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Matthias <a href="http://www.visual-arts-cork.com/old-masters/matthias-grunewald.htm">Grunewald</a> - 'Isenheim Altarpiece' detail of Christ's </div><div style="margin: 0px;"><br />
</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.allartpainting.com/bmz_cache/e/e9fffe27d1d78e50fd06b42f3a15da30.image.340x239.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="280px" src="http://www.allartpainting.com/bmz_cache/e/e9fffe27d1d78e50fd06b42f3a15da30.image.340x239.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://superdigit.blogspot.com/2009/11/matthias-grunewald-isenheim-altarpiece.html">Isenheim Altarpiece</a> painted by <a href="http://www.youtube.com/watch?v=Yp6p-fvMnEs&feature=related">Matthias Grunewald's</a> 1515</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">It is the 16th Century and you are a patient at a hospital for Plague victims. Your skin is discoloured and is covered in boils, scars and lesions. You have come to chapel to pray and you look up at the <a href="http://www.youtube.com/watch?v=SgFK5sry2gU">altarpiece</a> and you see Christ before you.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://cache2.allpostersimages.com/p/LRG/16/1639/9F8GD00Z/posters/gruenewald-matthias-the-face-of-christ-detail-from-the-crucifixion-from-the-isenheim-altarpiece-circa-1512-16.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://cache2.allpostersimages.com/p/LRG/16/1639/9F8GD00Z/posters/gruenewald-matthias-the-face-of-christ-detail-from-the-crucifixion-from-the-isenheim-altarpiece-circa-1512-16.jpg" style="cursor: move;" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://artfiles.art.com/5/p/LRG/16/1641/MQ9GD00Z/matthias-gr%C3%BCnewald-crucifixion-from-the-isenheim-altarpiece-detail-of-christs-right-hand-circa-1512-16.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300px" src="http://artfiles.art.com/5/p/LRG/16/1641/MQ9GD00Z/matthias-gr%C3%BCnewald-crucifixion-from-the-isenheim-altarpiece-detail-of-christs-right-hand-circa-1512-16.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Detail of Christ's hand</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjI7O4RuDZq0ENR_-DMFQAwPhigjeEaX-Q6ngGVHBzqBAbTg_6sOzcCsdjWAL6QFLRaA_XKeko7waJ3Tv_Paf9Yh_IFDVXZyOqHL0Ut4RpT1tTQEztIxE2l8-qQM-yaCs7O8kKyxxKbJs6H/s400/Isenheim+Altarpiece+-+The+Crucifixion+(detail)+5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjI7O4RuDZq0ENR_-DMFQAwPhigjeEaX-Q6ngGVHBzqBAbTg_6sOzcCsdjWAL6QFLRaA_XKeko7waJ3Tv_Paf9Yh_IFDVXZyOqHL0Ut4RpT1tTQEztIxE2l8-qQM-yaCs7O8kKyxxKbJs6H/s400/Isenheim+Altarpiece+-+The+Crucifixion+(detail)+5.jpg" style="cursor: move;" width="287px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Detail - Christ's foot</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">The Crucifixion has never been so grotesque. Christ has livid green flesh - he is dyeing and he is suffering - he is almost human. You know his pain and he knows yours. It is a gruesome scene full of decay, blood and rotting flesh - a contemporary equivalent might be a Zombie - the living dead.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYAGIF2Ex9ykqymdd29zNRXNwxkSdUhfCymN-c2-X9Cgz25XnL1ghUBSGtLPCW-8sAZPXO3_8EgspSCnWbLv0z0sZ1pnkzOsbi926UqM7VxhKs667xsoEJ4nYw2t09S_Kbmlqi9OOKK_tt/s1600/DotD+Zombie+Fly+Boy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="268px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYAGIF2Ex9ykqymdd29zNRXNwxkSdUhfCymN-c2-X9Cgz25XnL1ghUBSGtLPCW-8sAZPXO3_8EgspSCnWbLv0z0sZ1pnkzOsbi926UqM7VxhKs667xsoEJ4nYw2t09S_Kbmlqi9OOKK_tt/s400/DotD+Zombie+Fly+Boy.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Still from '<a href="http://www.guardian.co.uk/film/filmblog/2010/oct/22/horror-best-25-top">Dawn of the Dead</a>' 1978 by George A. Romero</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.visual-arts-cork.com/images-renaissance/grunewald-christ.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="http://www.visual-arts-cork.com/images-renaissance/grunewald-christ.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Matthias <a href="http://www.visual-arts-cork.com/old-masters/matthias-grunewald.htm">Grunewald</a> - 'Isenheim Altarpiece' detail of Christ's head</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">Why did Matthias <a href="http://www.ibiblio.org/wm/paint/auth/grunewald/crucifixion/">Grunewald</a> paint such a dark image. Grunewald lived in dark times and over the previous few hundred years <a href="http://www.eyewitnesstohistory.com/plague.htm">The Black Death</a>, followed by famine, had wiped out a third of the population. In this world the role of the artist wasn't to create beauty but to console (why we are fascinated by the grotesques I do not know). The altarpiece was in sections (each section was made up of various images) and different sections would have been seen at different times of the year. This section, the first section, shows Christ's death. This was made for the prays of patients at the hospital. These images said - Christ suffered like you - but don't give up hope. Pray to the image and you can be saved.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.oceansbridge.com/paintings/artists/recently-added/july2008/big/Calvary-xx-Matthias-Grunewald.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320px" src="http://www.oceansbridge.com/paintings/artists/recently-added/july2008/big/Calvary-xx-Matthias-Grunewald.JPG" style="cursor: move;" width="229px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">In the first panel Christ is dying.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.ibiblio.org/wm/paint/auth/grunewald/crucifixion/christ.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="http://www.ibiblio.org/wm/paint/auth/grunewald/crucifixion/christ.jpg" style="cursor: move;" width="240px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: left;">In the second panel Christ is resurrected - his arms are raised and his skin is pure. He is reborn and the whole scene speaks of hope and redemption. The image says to the viewer that this is the power of Prayer. Before he had livid green flesh but now his skin glows. To our contemporary eyes it is like an advert for a miracle skin product. </div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.wrinklecreamcritic.com/wp-content/uploads/lifecell-anti-wrinkle-cream/wrinkle-cream-case-study-before-after.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="301px" src="http://www.wrinklecreamcritic.com/wp-content/uploads/lifecell-anti-wrinkle-cream/wrinkle-cream-case-study-before-after.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: left;">We once had belief and prayer. We now have surgery and debt. We once wanted redemption we now want the celebrity look. Grunewald stand between the new world of the renaissance and the old world of</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">medieval piety and the gothic style. Ultimately the people win out and the old wold of myth, demons and ghouls wins out.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6h3mkLffx-lhYiD387XLOYLtn8f47FGC9CQp6b5WTB0Bk624wq1bNx6JWFCyZ35eLl-5aqg6cz2XZsz2scee1piCLPCuQ-xMIkKsDiTd2azpyYuWuKX-nea899-l6ykmNbgFz4F1mAO4/s1600/grunewald2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6h3mkLffx-lhYiD387XLOYLtn8f47FGC9CQp6b5WTB0Bk624wq1bNx6JWFCyZ35eLl-5aqg6cz2XZsz2scee1piCLPCuQ-xMIkKsDiTd2azpyYuWuKX-nea899-l6ykmNbgFz4F1mAO4/s400/grunewald2.jpg" style="cursor: move;" width="375px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: left;"><br />
</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://madamepickwickartblog.com/wp-content/uploads/2010/04/grunewald4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="http://madamepickwickartblog.com/wp-content/uploads/2010/04/grunewald4.jpg" style="cursor: move;" width="285px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.jerryandmartha.com/yourdailyart/uploaded_images/grunewald3-704073.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="http://www.jerryandmartha.com/yourdailyart/uploaded_images/grunewald3-704073.jpg" style="cursor: move;" width="328px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: left;"><span class="Apple-style-span" style="color: #333333; font-family: Georgia, serif; font-size: x-small; line-height: 20px;"></span></div><div style="line-height: 1.6em; margin: 0px auto 10px; text-align: center;"><div style="margin: 0px;"><span class="Apple-style-span" style="color: black; font-family: Times;"><span class="Apple-style-span" style="font-size: small; line-height: normal;">Matthias Grunewald, details from the third panel,</span></span> <a href="http://en.wikipedia.org/wiki/Isenheim_Altarpiece" style="color: #5588aa; text-decoration: none;"><em>Isenheim Altarpiece</em>,</a> <span class="Apple-style-span" style="color: black; font-family: Times;"><span class="Apple-style-span" style="font-size: small; line-height: normal;">1510-15</span></span></div></div><div><div style="margin: 0px;"><span class="Apple-style-span" style="color: black; font-family: Times;"><span class="Apple-style-span" style="font-size: small; line-height: normal;">'Throughout history, the vast majority ha</span></span><span class="Apple-style-span" style="color: black; font-family: Times; font-size: small; line-height: normal;">ve labelled each age, an ”unquiet age”. Social <a href="http://madamepickwickartblog.com/anxiety-as-sharp-as-a-toothpick/">nostalgia </a>for times gone by has become almost obsessive. Does this spring from a growing sense of anxiety, of unease and dislocation? Has the world grown so complex that the mind and the passions shrink in terror and tremble not only at the future, but at the present? It seems apparent that the most complex societies in the history of humankind are also the most neurotic'.</span></div></div><div><div style="margin: 0px;"><span class="Apple-style-span" style="color: black; font-family: Times; font-size: small; line-height: normal;"><br />
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</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"></div><div style="clear: both; margin: 0px; text-align: center;"><div style="margin: 0px;"><span class="Apple-style-span" style="font-size: large;">"The past is a foreign country - they do things differently there"</span></div><div style="margin: 0px;"><span class="Apple-style-span" style="font-size: large;">L.P. Hartley</span></div></div><div style="clear: both; margin: 0px; text-align: center;"><div style="margin: 0px;"><span class="Apple-style-span" style="font-size: large;"><br />
</span></div></div><div style="clear: both; margin: 0px; text-align: left;"><div style="margin: 0px;">Nostalgia is the idea of looking at the past with affection. Often people can long for a past that never was - they long for the idea. </div></div><div class="separator" style="clear: both; margin: 0px; text-align: left;">Many Photographers will draw on things that they think will be more interesting in the future.</div><div style="text-align: left;"><div style="margin: 0px;"><br />
</div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://graememitchell.com/blog/wp-content/uploads/2010/07/walker_evan_barber_shop.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="322px" src="http://graememitchell.com/blog/wp-content/uploads/2010/07/walker_evan_barber_shop.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Walker Evans 'Barber Shop Interior, Atlanta' 1936</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">Walker Evans is one of the key photographers of the twentieth century. His keen, objective images have had a substantial effect on the medium. He captured crisp images of subjects that most photographers wouldn't look at - An old sign, an open door, a shop window. He originally wanted to be a writer and his images seem like descriptions from literature e.g.. an Interior of an old barber shop.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://jonjost.files.wordpress.com/2010/09/walker-evans_reedsville-wv-1936_levels.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320px" src="http://jonjost.files.wordpress.com/2010/09/walker-evans_reedsville-wv-1936_levels.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: left;">Evans would photograph things that at the time seemed everyday but he knew in the future would be of interest. This image of a petrol pump station seems intriguing today with its combination of hand painted signs and old fashioned looking petrol pumps. If the the pumps were around today they would be antique and photography has that ability to freeze time. Every photography is tinged with nostalgia.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.twi-ny.com/walkerevans2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="185px" src="http://www.twi-ny.com/walkerevans2.jpg" style="cursor: move;" width="400px" /></a></div><div style="text-align: center;"><div style="margin: 0px;">Walker Evans, "Joe’s Auto Graveyard, Pennsylvania," 1936</div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDjClIQOqKKPvRTuvt9YPZr47qSDs0eRsWClN2UjYa1dipy8hjdY0X54c0DZTiqiOxzLUtFTR6kTwUFZ6gQHlpmNmqWy8aXqwMzy6LUysF5THqIcxuFMVFPmyL_Mq_xBMyAjdYQYLdIEOx/s800/1994.245.74.L.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDjClIQOqKKPvRTuvt9YPZr47qSDs0eRsWClN2UjYa1dipy8hjdY0X54c0DZTiqiOxzLUtFTR6kTwUFZ6gQHlpmNmqWy8aXqwMzy6LUysF5THqIcxuFMVFPmyL_Mq_xBMyAjdYQYLdIEOx/s400/1994.245.74.L.jpg" style="cursor: move;" width="400px" /></a></div><div style="text-align: center;"><div style="margin: 0px;">Walker Evans <a href="http://www.americansuburbx.com/2008/12/theory-walker-evanss-counter-aesthetic.html">Polaroid</a> from 1970's</div></div><div style="text-align: left;"><div style="margin: 0px;">Evans was aware an old object discarded would have worth when viewed in the future. Cars are designed to be used and, like chairs, when they are abandoned they seem sad. They almost have human qualities - we can almost make out faces in their features.</div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNVogmRoqy2x8Pu7jfRwuQxKw_Tok_kVEBuRmmr3GcwsIJt21uPI0fRiUsH_45OlASM7DnHIzBPM4ZqzN15E57KPk5puOH04uIVA4WntZALGSddEaKx_QE7nxZqAHCi99fgK2kkTnm8Ps/s1600/walker-evans.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="288px" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNVogmRoqy2x8Pu7jfRwuQxKw_Tok_kVEBuRmmr3GcwsIJt21uPI0fRiUsH_45OlASM7DnHIzBPM4ZqzN15E57KPk5puOH04uIVA4WntZALGSddEaKx_QE7nxZqAHCi99fgK2kkTnm8Ps/s400/walker-evans.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Signs Collected by Walker Evans 1970-75</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">Evans also collected objects - trash, signs, bottle tops. He collected objects in the same way as he collected photographs - as if the camera has the ability to capture a piece of the world with a click of a button.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaJnx9BzI7BICBfEGQs47xgqZwQaj7gz84L8ED4Kb1RUirYTn2JAvwO4XGVIUdDnLzEfhQoTjHyPiTCBjRV8zO3G6HiRfzkluxxpleohOl5XoO5rm7xU6VIlDszvD1t9CvvdRWqfTErhs/s1600/walker+evans+signs+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaJnx9BzI7BICBfEGQs47xgqZwQaj7gz84L8ED4Kb1RUirYTn2JAvwO4XGVIUdDnLzEfhQoTjHyPiTCBjRV8zO3G6HiRfzkluxxpleohOl5XoO5rm7xU6VIlDszvD1t9CvvdRWqfTErhs/s400/walker+evans+signs+2.jpg" style="cursor: move;" width="276px" /></a></div><div style="text-align: center;"><div style="margin: 0px;">'Signs, New York' 1928–30 Walker Evans</div></div><div style="text-align: left;"><div style="margin: 0px;">Is there a huge difference between taking a photograph of a sign and collecting one off the street. In both cases you end up 'owning' it.</div></div><div style="text-align: left;"><div style="margin: 0px;">Evans was also aware of how a photograph or a sign preserves a passed society - and more time passes the more exotic the photograph or object can become. A photograph is a moment in time but it can also contain years, decades.</div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf3YNLh9o7ryDpPbfSq8mc_BqUw4V7CFjMLnDSvGoTZHcdKKJxdmRkouFe5vh9bJ4w1pui2fTEG9gJb8_S7yt2WDNVoRz-VC9_j1k991kqMFcqZ_-urd-SEH7_ZgHQtdGLiDx37hESsjg/s1600/arman_1968_0.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="292px" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf3YNLh9o7ryDpPbfSq8mc_BqUw4V7CFjMLnDSvGoTZHcdKKJxdmRkouFe5vh9bJ4w1pui2fTEG9gJb8_S7yt2WDNVoRz-VC9_j1k991kqMFcqZ_-urd-SEH7_ZgHQtdGLiDx37hESsjg/s320/arman_1968_0.jpg" style="cursor: move;" width="320px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://translate.google.co.uk/translate?hl=en&sl=fr&u=http://www.armanstudio.com/&ei=RAYCTfLMK4bI4AbIxLWsCg&sa=X&oi=translate&ct=result&resnum=2&ved=0CCgQ7gEwAQ&prev=/search%3Fq%3DArman%26hl%3Den%26rls%3Dcom.microsoft:en-US%26rlz%3D1I7SKPB_en%26prmd%3Divn">Arman</a> 'Accumulation of electric razors embedded in plexiglas' 1968</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">Arman was a European pop artist who collected the same type of object and placed them inside glass containers. This act of taking what seems to be rubbish is exactly what is do in Museums - by taking an object out of its original context and placing it in a cabinet the viewer sees that object in a new way. Arman's objects seem to be relic's from another age and as we get further away (in time) from</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">Arman's work the objects seem stranger and more unusual. The second world war had still left scars on Europe and Arman started by going through the ruble of derelict building to collect these everyday objects. In many ways they are both relics but also an example of the everyday amassed and becoming strange.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaVJ-emEIEmuxd8XGYnf0QOm4tbO43bAkVxdubNHsfv2jan2_RH_ezAd-C4WGOtJg42jI-_yrk6NEsuKHzPTwwt2lE_25ZlksQQ_VJWelVInRfjzW4SUsHkx_szfraH1QovqjaPQlOdds/s1600/penn+trash.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" n4="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaVJ-emEIEmuxd8XGYnf0QOm4tbO43bAkVxdubNHsfv2jan2_RH_ezAd-C4WGOtJg42jI-_yrk6NEsuKHzPTwwt2lE_25ZlksQQ_VJWelVInRfjzW4SUsHkx_szfraH1QovqjaPQlOdds/s400/penn+trash.jpg" style="cursor: move;" width="341px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Irving Penn 1975</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.masters-of-photography.com/images/full/penn/penn_butts.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" n4="true" src="http://www.masters-of-photography.com/images/full/penn/penn_butts.jpg" style="cursor: move;" width="290px" /></a></div><div style="text-align: center;"><div style="margin: 0px;">Irving Penn 'Cigarette 17' New York, 1972</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://72.5.117.144/fif=fpx/b/B15329.fpx&obj=iip,1.0&wid=400&cvt=jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="http://72.5.117.144/fif=fpx/b/B15329.fpx&obj=iip,1.0&wid=400&cvt=jpeg" style="cursor: move;" width="307px" /></a></div><div></div><div><div style="margin: 0px;">Fragment of a mixing bowl -<a href="http://www.lamarde.com/galeria/cache/fotografia__Irving-Penn-NY-1974-Cigarette-37.jpg_w390.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: black;">Greek, South Italian, Late Classical Period, about 380–370 B.C.</span></a><a href="http://www.lamarde.com/galeria/cache/fotografia__Irving-Penn-NY-1974-Cigarette-37.jpg_w390.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" n4="true" src="http://www.lamarde.com/galeria/cache/fotografia__Irving-Penn-NY-1974-Cigarette-37.jpg_w390.jpg" style="cursor: move;" width="293px" /></a></div></div></div><div style="text-align: center;"><div style="margin: 0px;">Irving Penn - New York 1972</div></div><div style="text-align: left;"><div style="margin: 0px;">Irving Penn is mainly famous as a top fashion photographer and his images are the height of style and elegance. However, he also managed to create a wide range of images and amongst the most curious are his images of New York rubbish. Close up shots of Cigarette butts and empty carton's are reduced to pure black and white, with a white background and in fine detail. A lot can be learnt from the remnants and artifacts of a society. These are ours - magnified.</div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://graememitchell.com/blog/wp-content/uploads/2008/11/cigar_stub_nov08.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" n4="true" src="http://graememitchell.com/blog/wp-content/uploads/2008/11/cigar_stub_nov08.jpg" style="cursor: move;" width="315px" /></a></div><div style="text-align: center;"><div style="margin: 0px;">'Cigar Stub #1', Graeme Mitchell 2008</div><div style="margin: 0px;">trash and photo reference</div></div><div style="text-align: center;"><div style="margin: 0px;"><a href="http://documents.stanford.edu/michaelshanks/admin/image.html?imageid=161998" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="http://documents.stanford.edu/michaelshanks/admin/image.html?imageid=161998" style="cursor: move;" width="300px" /></a></div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">JMW Turner '<a href="http://www.tate.org.uk/servlet/ViewWork?workid=27790">Tintern Abbey, looking towards the east window</a>' (1794)</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">Artist and photographers have been drawn to ruins - buildings where nature has reclaimed the work of previous cultures.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnskGR-3pXyLkFmp_8kVAW-U-If6L3J-fh_lnBEIu-XaND8r8Gg0jiSD2qy4AlUazOKXMV34QJsWK8C_tvLuMWPNecFxHjEpeHTgHkJOmiADPNnxflkvjcb9WIWIskEEsvjYSX8RqKxm8/s1600/jmwturner.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" n4="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnskGR-3pXyLkFmp_8kVAW-U-If6L3J-fh_lnBEIu-XaND8r8Gg0jiSD2qy4AlUazOKXMV34QJsWK8C_tvLuMWPNecFxHjEpeHTgHkJOmiADPNnxflkvjcb9WIWIskEEsvjYSX8RqKxm8/s400/jmwturner.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">J.M.W. Turner 'Tintern Abbey' England (watercolour) 1795</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">This watercolour by JMW Turner shows this tradition. Here he has captured the details of the famous ruins of this twelfth-century Cistercian Abbey in Monmouthshire, which he visited in 1792, and again in 1793. Tourists of the time were as much impressed by the way that nature had reclaimed the monument as by the scale and grandeur of the buildings. Turner's blue-green washes over the abbey's far wall blend stone and leaf together, and on the near arch the spiralling creepers seem to make the wind and light tangible.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"> <a href="http://www.marchandmeffre.com/detroit/24.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="316px" src="http://www.marchandmeffre.com/detroit/24.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Detroit by Yves Marchand and Romain Meffre</div><div class="separator" style="clear: both; margin: 0px; text-align: left;"><a href="http://www.gilderlehrman.org/historynow/03_2007/historian6.php">Detroit</a> is known as Motor city and is famous for car manufacture and music (see <a href="http://www.youtube.com/watch?v=wkd1c4T5HiE">Motown</a> - <a href="http://classic.motown.com/timeline/">Motor City</a>). Detroit became prosperous but has been in rapid decline. Many of its grandest buildings are derelict and create a faded grandeur. French photographers <a href="http://www.marchandmeffre.com/detroit/index.html">Yves Marchand and Romain Meffre</a> have documented Detroit's beautiful, horrible decline. The image above is 'Lee Plaza Hotel' - Once one of the most luxurious residential hotels in Detroit, Lee Plaza closed in the 1990s.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://img.timeinc.net/time/photoessays/2009/reliques/reliques_06.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="263px" src="http://img.timeinc.net/time/photoessays/2009/reliques/reliques_06.jpg" style="cursor: move;" width="400px" /></a></div><div><div style="text-align: center;"><div style="margin: 0px;">Yves Marchand and Romain Meffre - Plant</div></div><div style="font-family: arial, sans-serif; font-size: 12px; text-align: left;"><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Times; font-size: small;">Luxury-auto maker Packard produced its last car here in 1956. </span><span class="Apple-style-span" style="font-family: Times; font-size: small;">On their website, the photographers write -</span></div></div></div><div class="separator" style="clear: both; margin: 0px; text-align: left;"></div><div style="text-align: center;"><div style="margin: 0px;">"Ruins are the visible symbols and landmarks of our societies and their changes ... the volatile result of the change of eras and the fall of empires. This fragility leads us to watch them one very last time: to be dismayed, or to admire, it makes us wonder about the permanence of things."</div></div><div style="margin: 0px;"><br />
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</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzVSXz3kKxtKFAdmmGYz2nAfQxatBOrQuItHAcAtvDBBPyCn-fQNzcBAYbm651a9ZRw_51hlMPEgu-DFlBR4Q5dWv5Pdmx6ugEvY_HK9asN9_Z2hgyRsOmx0QPO_rtaNpyfB9h-sGDYKg/s1600/yves+marchand+romain+meffre.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="256px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzVSXz3kKxtKFAdmmGYz2nAfQxatBOrQuItHAcAtvDBBPyCn-fQNzcBAYbm651a9ZRw_51hlMPEgu-DFlBR4Q5dWv5Pdmx6ugEvY_HK9asN9_Z2hgyRsOmx0QPO_rtaNpyfB9h-sGDYKg/s400/yves+marchand+romain+meffre.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.marchandmeffre.com/detroit/index.html">Yves Marchand and Romain Meffre</a></div><div class="separator" style="clear: both; margin: 0px; text-align: left;">This is a photograph of a photograph and the illusion is broken by the tear in the paper. The photographers have focussed on the wall showing the effect of time and nature on a once prosperous city. The same drive to document this decay is same need that Turner had when painting <a href="http://www.tate.org.uk/servlet/ViewWork?workid=27790">Tintern Abbey</a>.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://masters-of-photography.com/images/full/evans/evans_torn.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" n4="true" src="http://masters-of-photography.com/images/full/evans/evans_torn.jpg" style="cursor: move;" width="272px" /></a></div><div style="text-align: center;"><div style="margin: 0px;">Walker Evans 'Torn Movie Poster' 1931</div></div><div style="text-align: left;"><div style="margin: 0px;">Here is a photograph of a torn movie poster by Walker Evans. Evans would often appropriate the work of others and take a photograph of a photograph. Layers of life and culture build up only to be replaced by the latest trend. These images are ephemeral - destined to be lost and Evans has captured it forever. These images have the look of Decollage.</div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.fondazionemimmorotella.net/"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi31VMvkcQM7viSjqH0gUzqd4iEjD6TPVZxieY0MnP4q546ognmLZ8E3xe8RVktg8ioSrWOcZLb77FmA0MzvFASEeHqt_I2xmrPB-ZdzMvue7jKqkIwguRdr9Iko1ftXDfkDxQdpZC_g5Y/s400/mimmo_rotella.jpg" style="cursor: move;" width="300px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.guardian.co.uk/news/2006/jan/19/guardianobituaries.artsobituaries">Mimmo Rotella</a></div><div style="margin: 0px;">In the early 1950s, Mimmo Rotella began to rip posters away from the walls of outdoor hoardings in Rome, and used them to create elaborate collages. Many of these were film posters but he also used advertisements for appliances and other goods, so that his works became a commentary on the post-war consumer boom. In the studio he would mount the poster fragments onto canvas, rearranging the pieces into new compositions but also stripping away further layers to accentuate their distressed appearance.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://static.picassomio.com/images/art/e5/51/13/mimmo-rotella-artwork-large-58243.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="295px" src="http://static.picassomio.com/images/art/e5/51/13/mimmo-rotella-artwork-large-58243.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Mimmo Rotella</div><div style="margin: 0px;">This is an example of Decollage (a French word meaning literally to unstick). The term is generally associated with the <a href="http://www.centrepompidou.fr/education/ressources/ENS-newrea-EN/ENS-newrea-EN.htm">Nouveau Réalisme</a> (new realism) movement. Nouveau Realism often found beauty in the everyday and was a poetic recycling of reality. In the context of Nouveau Réalisme it meant making art works from posters ripped from walls, exhibiting them as aesthetic objects and social documents.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://artinvestment.ru/content/download/news/20080723_jacques_villegle.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="367px" src="http://artinvestment.ru/content/download/news/20080723_jacques_villegle.jpg" style="cursor: move;" width="400px" /></a></div><div style="text-align: center;"><div style="margin: 0px;">Jacques <a href="http://www.modernisminc.com/artists/Jacques_VILLEGLE/">VILLEGLÉ</a></div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://3.bp.blogspot.com/_Gw9FEx2IH_I/TGLuWu9DHjI/AAAAAAAAAoc/3OM-0A8AniE/s1600/Jacques+Villegle+3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640px" src="http://3.bp.blogspot.com/_Gw9FEx2IH_I/TGLuWu9DHjI/AAAAAAAAAoc/3OM-0A8AniE/s640/Jacques+Villegle+3.jpg" style="cursor: move;" width="425px" /></a></div><div style="text-align: center;"><div style="margin: 0px;"><a href="http://translate.google.co.uk/translate?hl=en&sl=fr&u=http://villegle.free.fr/&ei=HcQETebBFIeXhQe31ZHtBw&sa=X&oi=translate&ct=result&resnum=10&ved=0CEgQ7gEwCQ&prev=/search%3Fq%3Djacques%2Bvillegle%26hl%3Den%26client%3Dsafari%26rls%3Den%26prmd%3Divo">Villegle</a></div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://realite.files.wordpress.com/2008/10/jacques-villegle.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="191px" n4="true" src="http://realite.files.wordpress.com/2008/10/jacques-villegle.jpg" style="cursor: move;" width="400px" /></a></div><div style="text-align: center;"><div style="margin: 0px;"><a href="http://www.centrepompidou.fr/Pompidou/Manifs.nsf/AllExpositions/2DDA4F5D0DA91260C125748F0051CABF?OpenDocument&sessionM=2.2.1&L=2">Jacques Villegle</a></div></div><div style="margin: 0px;">Jacques <a href="http://www.moma.org/collection/object.php?object_id=35414">Villegle</a> is another key decollage artist. Found objects, ripped posters, radical collages are all used in the New Realism movement of the early 1960s. <b>Décollage</b> is the opposite of collage; instead of an image being built up of all or parts of existing images, it is created by cutting, tearing away or otherwise removing, pieces of an original image.</div><div style="margin: 0px;">De-coll/age was a term invented by Wolf Vostell after he saw (a version of) it used in a newspaper article to describe the crash of an airplane that had taken place at takeoff.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjRozXcuHR8YLlpRDVm6hGvAUb1wSJwI9CIkyTzkvdbfUP5uRqOfikBTgD-OuPoF55GWUaR8PqxKCC8kYDNAbdSD74CR_61hBOqBBjoEDcG5rX59DXqkaHkih97-ykYhcjHn5ikoqimDQ/s1600/2002-bond.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="301px" n4="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjRozXcuHR8YLlpRDVm6hGvAUb1wSJwI9CIkyTzkvdbfUP5uRqOfikBTgD-OuPoF55GWUaR8PqxKCC8kYDNAbdSD74CR_61hBOqBBjoEDcG5rX59DXqkaHkih97-ykYhcjHn5ikoqimDQ/s400/2002-bond.jpg" style="cursor: move;" width="400px" /></a></div><div style="text-align: center;"><div style="margin: 0px;">Howard Bond - <a href="http://www.umma.umich.edu/view/past/2002-bond.html">'Car Hood I, Ontario'</a>, 1984</div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3ggt4pVmV3_IDO0yuRtT6hh4jjq9d0UXA5tEua2dbOiuEHyolwNc5d4IwhqxBqnLy8-pnanFN6MHKbKombVE2dqSeVCvvn0QGY0dnYX6GBnUK_iTDng92GgNlPYZ35QnXx2hB52a5gM8/s1600/Bond1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" n4="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3ggt4pVmV3_IDO0yuRtT6hh4jjq9d0UXA5tEua2dbOiuEHyolwNc5d4IwhqxBqnLy8-pnanFN6MHKbKombVE2dqSeVCvvn0QGY0dnYX6GBnUK_iTDng92GgNlPYZ35QnXx2hB52a5gM8/s400/Bond1.jpg" style="cursor: move;" width="301px" /></a></div><div style="text-align: center;"><div style="margin: 0px;"><a href="http://www.mocp.org/collections/mpp/bond_howard.php">Howard Bond</a> - Car Hood III, Ontario, 1984</div></div><div style="text-align: left;"><div style="margin: 0px;"><br />
</div><div style="margin: 0px;">Howard Bond’s black-and-white photographs abstract the rusted metal, peeling paint, and torn vinyl of weathered cars into elegant formal designs. Selective framing that eliminates context and relatively flat picture planes make his subjects sometimes resemble color field paintings, sometimes landscapes, but they always bear witness to the beauty that can be found even in unlikely places. Pared down to essentials, these striking pictures are nonetheless rich with texture and fine detail that reward a closer look.</div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.edward-weston.com/images/Brett_Weston_Originals/Brett_Weston_Ice_Patterson_20X24.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" n4="true" src="http://www.edward-weston.com/images/Brett_Weston_Originals/Brett_Weston_Ice_Patterson_20X24.jpg" style="cursor: move;" width="315px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Brett Weston - 'Cracked Paint' 1955</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5mXGfC-tXZ5UA9bZBbIlbPvd_nFE7lbL2hIFz2lKavQPWc66UK9h3O421DIMv4egi1kFDH7LqYvDvMUsqUmGKzPSRECIB7cUlkMi9pQtiooX5Cz9ZmI_zCssmSqqgC0Y4OqFfP0YXOR0/s1600/BW-1183.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="356px" n4="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5mXGfC-tXZ5UA9bZBbIlbPvd_nFE7lbL2hIFz2lKavQPWc66UK9h3O421DIMv4egi1kFDH7LqYvDvMUsqUmGKzPSRECIB7cUlkMi9pQtiooX5Cz9ZmI_zCssmSqqgC0Y4OqFfP0YXOR0/s400/BW-1183.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Brett Weston - 'Peeling Paint, Japanese Characters' 1970</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><br />
</div><div style="margin: 0px;">'As the master Boticelli stated, such a study is useful because just by throwing a sponge soaked with various colors against a wall to make a stain, one can find a beautiful landscape. If it is true that in this stain various inventions can be discerned, or rather what one wants to find in it, such as battles, reefs, seas, clouds, forests and other similar things, then surely, this is like the ringing of bells in which one can understand whatever one wants to. But, even though these smears of color provide you with inventions, they also show you that they do not come to represent anything in particular.</div><div><div class="separator" style="clear: both; margin: 0px; text-align: center;"></div><div><div style="margin: 0px;"><br />
</div></div><div><div style="margin: 0px;">LEONARDO DA VINCI - from the "Treatise on Painting"</div></div><div><div style="margin: 0px;"><br />
</div></div><div><div style="text-align: left;"><div style="margin: 0px;">In this quote Leonardo Da Vinci considers the stains and marks to be found in walls - like the flames of a fire or the clouds in the sky we can what we choose. It also shows that a wall, stain or mark is never what it seems.</div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeK_uEBhsB9zBeSssCHBpnuwozeGbz61Nqsi-4jQ1QxFM-P-hhcAlL6Mzfh4Kk0dHWdWNguaU9DqF1vniP3vg63Yeusc9BCJrqAIid2_-OA8rgzxWYzYTK-nzgxFE0nz93M8OslI2_tRc/s1600/Bonnie+%2528with+a+photograph+of+an+Angel%2529_300.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeK_uEBhsB9zBeSssCHBpnuwozeGbz61Nqsi-4jQ1QxFM-P-hhcAlL6Mzfh4Kk0dHWdWNguaU9DqF1vniP3vg63Yeusc9BCJrqAIid2_-OA8rgzxWYzYTK-nzgxFE0nz93M8OslI2_tRc/s400/Bonnie+%2528with+a+photograph+of+an+Angel%2529_300.jpg" style="cursor: move;" width="400px" /></a></div><div style="text-align: center;"><div style="margin: 0px;"><a href="http://www.alecsoth.com/PDFs/BJP.pdf">Alec Soth</a> 'Bonnie with a portrait of an angle'</div></div><div style="text-align: left;"><div style="text-align: center;"><div style="margin: 0px;">In this Image <a href="http://www.dlwp.com/WhatsOn/ExhibitionDetail.aspx?EventId=1299">Alec Soth</a>'s subject believes she can see an angle in a photograph of a cloud.</div></div></div></div><div style="margin: 0px;"><br />
</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://paltfineart.com/images/weston/16x20/brokenwindowwithfigures.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320px" n4="true" src="http://paltfineart.com/images/weston/16x20/brokenwindowwithfigures.jpg" style="cursor: move;" width="244px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.brettwestonarchive.com/index.php#mi=2&pt=1&pi=10000&s=10&p=3&a=0&at=0">Brett Weston</a> 'Broken Window with Figures'</div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Brett Weston has seen a figure in these broken window frames.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.westongallery.com/images/Weston_Edward/edward%20weston_wall_scrawls_1940.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" n4="true" src="http://www.westongallery.com/images/Weston_Edward/edward%20weston_wall_scrawls_1940.jpg" style="cursor: move;" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Brett Weston</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">Peeling paint, a worn surface, the effect of nature on the man made - these are all element of Brett Westons work. Brett Weston was the son Of <a href="http://www.edward-weston.com/">Edward Weston</a> - one of the most famous photographers in the history of photography. Brett Weston's work does owe a debt to his fathers - the use of crisp black and white, creating abstraction out of the everyday. However, there is a simple beauty to these images and they show a sensitivity to the visceral pleasure to be had by the eye. To see beauty in the old and decayed isn't new to photographers - but photography allows us to capture these sections of the world in a way that seems more poetic than paint. A similar beauty can be found in faded renaissance frescoes where the pigment, painted directly onto the wall, has faded and flaked creating a pastel effect.</div><div class="separator" style="clear: both; margin: 0px; text-align: left;"><br />
</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://upload.wikimedia.org/wikipedia/commons/1/10/Madonna_del_parto_piero_della_Francesca.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" n4="true" src="http://upload.wikimedia.org/wikipedia/commons/1/10/Madonna_del_parto_piero_della_Francesca.jpg" style="cursor: move;" width="380px" /></a></div><div style="text-align: center;"><div style="margin: 0px;"><a href="http://artintheblood.typepad.com/art_history_today/2010/11/matthew-collings-on-piero-della-francesca.html">Piero della Francesca</a> - 'Madonna del Parto' in Monterchi, Sansepolcro. 1467.</div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://currents.ucsc.edu/06-07/art/weston_library.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="317px" n4="true" src="http://currents.ucsc.edu/06-07/art/weston_library.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Brett Weston 'Doorway, Mexico' 1970</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://27.media.tumblr.com/iNIi9iwtqkzaehomtTVq5eAno1_500.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="301px" src="http://27.media.tumblr.com/iNIi9iwtqkzaehomtTVq5eAno1_500.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"></div><div><div style="margin: 0px;"><a href="http://www.time.com/time/photogallery/0,29307,1882089_1850974,00.html">Yves Marchand and Romain Meffre </a> 'Livingstone House'</div><div style="text-align: left;"><div style="margin: 0px;">Constructed in 1893 in the once elegant Brush Park neighborhood, this home, designed by architect Albert Kahn, was moved from its original location several years ago by preservationists who hoped to maintain it. It was demolished a year later.</div></div></div><div style="margin: 0px;"><br />
</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://mutablehome.blogspot.com/2009/11/blog-post_19.html"><img border="0" height="331px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsNNOfqQ_OVDr8ol0dzMjucE0VQHVVUS1iPU692R8RqWq-CKLM6MdVcO3GMwDS61OhMlDic3dYBcD0YmSdmGAx3IdfZ3ipcmR9JcC_yzkoVSdGOH_wu5TFaSaBs1h36LimNtNW2cnS-1iO/s400/Hopper_MOMA_House_railroad.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.tate.org.uk/modern/exhibitions/hopper/about.htm">Edward Hopper</a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.thingsinmovies.com/wp-content/uploads/psycho-house.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="215px" src="http://www.thingsinmovies.com/wp-content/uploads/psycho-house.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">The House from <a href="http://www.guardian.co.uk/books/2010/apr/03/psycho-hitchcock-america-david-thomson">Alfred Hitchcock's 'Psycho'</a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.blogger.com/goog_1713547827"><img border="0" height="303px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR8rq7DCO7YiKj3aquL7apsMzaqWrRHw7K77Br3hh5E7OjppfxORQ_Gy3cQs9hwGTmdO4lyI_FZKJJ5dSBHTsMOcGHeNKPmesaWvDXTZ3RzyKFvOJbRGyyGevULBPRikcP9qsdsmCIZP2w/s400/john+Vachon.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.blogger.com/goog_1713547827">House, Houston, Texas, 1943. fsac 1a35441. By John Vachon</a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.blogger.com/goog_1713547827"><img border="0" height="273px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsCyWz7dMFbi-CIegKpOof0PckcwG0lTv2nIsvbcxLlRAtzzsc7QLEl1xVAMyG2Vyb0dSY_YxKp7pZqgGn4coy6AMT5Aw5U5xLykCk5C25kM2BTd_snh98vqn-fz6fMFYBMZ4aBi76dyjC/s400/marion+Post+Wolcott.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://imagespublicdomain.wordpress.com/category/farm-security-administration/">Natchez, Miss., 1940. fsac 1a34333. By Marion Post Wolcott</a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://davethenovelist.files.wordpress.com/2009/11/walker-evans-billboards-in-atlanta1.jpg?w=500&h=393" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="313px" src="http://davethenovelist.files.wordpress.com/2009/11/walker-evans-billboards-in-atlanta1.jpg?w=500&h=393" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://theschleicherspin.com/2009/11/01/america-by-walker-evans/">Walker Evans</a> 'Billboards and Houses in Atlanta' (Georgia, 1936). </div><div class="separator" style="clear: both; margin: 0px;">Evans was fascinated by the everyday. Things that were taken for granted in their day become strange portholes to another time. Evans had an eye for what would be interesting in the future. There is so much detail captured in this image - houses that have probably long since been demolished and movies no one remembers or watches anymore. </div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://imagespublicdomain.files.wordpress.com/2009/08/8e08107r.jpg?w=300&h=239" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="254px" src="http://imagespublicdomain.files.wordpress.com/2009/08/8e08107r.jpg?w=300&h=239" style="cursor: move;" width="320px" /></a></div><div class="separator" style="clear: both; margin: 0px;"></div><div style="text-align: center;"><div style="margin: 0px;">Walker Evans 'Movie theatre on Saint Charles Street, Liberty Theater</div></div><div style="text-align: left;"><div style="margin: 0px;">These image were taken during the <a href="http://www.youtube.com/watch?v=MRZwlF5-89Y">great depression</a> for the FSA (<a href="http://en.wikipedia.org/wiki/Farm_Security_Administration">Farm Security Administration</a>) to show America how many of the poorest lived.</div></div><div style="text-align: left;"><div style="margin: 0px;">As well as the outside of buildings Evans photographed the inside.</div></div><div style="margin: 0px;"><br />
</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.moma.org/collection_images/resized/210/w500h420/CRI_7210.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="http://www.moma.org/collection_images/resized/210/w500h420/CRI_7210.jpg" style="cursor: move;" width="321px" /></a></div><div style="text-align: center;"><div style="margin: 0px;">Walker Evans <a href="http://www.moma.org/collection/browse_results.php?object_id=53661">'Interior Detail, West Virginia Coal Miner's House'</a></div><div style="text-align: left;"><div style="margin: 0px;">This image above is a found collage. Did the occupant use card board on the wall as cheap insulation or decoration. Maybe there is element of both. Evans noticed this aesthetic quality. It is reminiscent of the the <a href="http://thedelightsofseeing.blogspot.com/search/label/Collage">Collage</a> and <a href="http://thedelightsofseeing.blogspot.com/search/label/Photomontage">Photomontage</a> work of Robert Rauschenberg.</div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.escapeintolife.com/wp-content/uploads/2010/08/imgRobert-Rauschenberg2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="295px" src="http://www.escapeintolife.com/wp-content/uploads/2010/08/imgRobert-Rauschenberg2.jpg" style="cursor: move;" width="400px" /></a></div></div><div style="text-align: center;"><div style="margin: 0px;"><a href="http://www.escapeintolife.com/essays/rauschenbergs-erased-de-kooning-2/">Robert Rauschenberg, Untitled, 1955</a></div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://edu.warhol.org/Images/rauschenberg.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="http://edu.warhol.org/Images/rauschenberg.jpg" style="cursor: move;" width="282px" /></a></div><div style="text-align: center;"><div style="margin: 0px;">Robert <a href="http://edu.warhol.org/app_rauschenberg.html">Rauschenberg </a>'Retroactive I' 1964 </div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdynRYDeDLcAy0dWRHsDazB5z1YBIgUH3yHBNeHfa7T9Jd0cGaGwLtmQH-Qz6HCfR9HVjP9DQh20LpNlvvM4SoUyOI5FEWLZae8g6bXhHTKuXKNOVhHqXIqRDmKlASkcUkE-1gPEZDcN81/s1600/Rauschenburg.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="270px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdynRYDeDLcAy0dWRHsDazB5z1YBIgUH3yHBNeHfa7T9Jd0cGaGwLtmQH-Qz6HCfR9HVjP9DQh20LpNlvvM4SoUyOI5FEWLZae8g6bXhHTKuXKNOVhHqXIqRDmKlASkcUkE-1gPEZDcN81/s400/Rauschenburg.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Robert Rauschenberg</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIV_lh7GcaQvXx5Dm9Rk5AGlaWiP21d0DhOZInO1IVf1tPBLH3p75DpK3UB2vZegRQutr3V48p_uzBYdghlHnQA12NQdJ9LMRz9bUoDr9II9oZt5rsVp2sHnRydrIOAMpmHhn5blRw790C/s1600/rauschenburg2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="273px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIV_lh7GcaQvXx5Dm9Rk5AGlaWiP21d0DhOZInO1IVf1tPBLH3p75DpK3UB2vZegRQutr3V48p_uzBYdghlHnQA12NQdJ9LMRz9bUoDr9II9oZt5rsVp2sHnRydrIOAMpmHhn5blRw790C/s400/rauschenburg2.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Robert Rauschenberg</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8vbP9J_fbCt3Xjs4cuDbRhs4r6Rh-I_mjroKsv0vYqfAVxpSAx2yTgw5Pn4ZPEbdJdXZb-N-yvYyJuU9EGvozdG6MLxThJLT89lEamZsJDF2B8ju12QHUv39SlouYUmviLjhIN6EJcxo/s1600/RAUSCHENBERG04.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8vbP9J_fbCt3Xjs4cuDbRhs4r6Rh-I_mjroKsv0vYqfAVxpSAx2yTgw5Pn4ZPEbdJdXZb-N-yvYyJuU9EGvozdG6MLxThJLT89lEamZsJDF2B8ju12QHUv39SlouYUmviLjhIN6EJcxo/s400/RAUSCHENBERG04.jpg" style="cursor: move;" width="275px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://robertmars.blogspot.com/2009/05/robert-rauschenberg-photographs.html">Robert Rauschenberg</a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2Rgt8peLeW1Mh4lPcBgfhvbbalIfCXt2FZecHAgzCsmnDlek-jsWwFI-fK6vbFkbqjF2sbQWqR1wXmlrBUDYa8BOBPI49_2BZTKZ2gkt024fUPJVwxme5judLWwvcphF0jWIVyeIlg6g/s1600/RAUSCHENBERG01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="270px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2Rgt8peLeW1Mh4lPcBgfhvbbalIfCXt2FZecHAgzCsmnDlek-jsWwFI-fK6vbFkbqjF2sbQWqR1wXmlrBUDYa8BOBPI49_2BZTKZ2gkt024fUPJVwxme5judLWwvcphF0jWIVyeIlg6g/s400/RAUSCHENBERG01.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px;">In these images you can see <a href="http://www.guardian.co.uk/artanddesign/2006/jan/26/art1">Rauschenberg</a> is finding strange juxtapositions, unusual compositions, found collages and using photography as tool for his paintings. They almost have an anti-atheistic and a sense of a <a href="http://thedelightsofseeing.blogspot.com/2010/11/utopiadystopia.html">dystopia</a> or broken society. <a href="http://re-photo.co.uk/?p=291">Rauschenberg</a> comments that for him photography is “a kind of archaeology in time only, forcing one to see whatever the light of the darkness touches and care”.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><br />
</div><div style="text-align: center;"><div style="text-align: center;"><div style="margin: 0px;">abandoned obsolete technologies</div></div></div><div style="text-align: center;"><div style="text-align: center;"><div style="margin: 0px;"><br />
</div></div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.artnet.com/images/magazine/picturepostcard/parr9-5-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="265px" src="http://www.artnet.com/images/magazine/picturepostcard/parr9-5-1.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.stephendaitergallery.com/dynamic/exhibit_display.asp?ExhibitID=4">Martin Parr 'Common Sense (Cup of Tea)' 1995</a></div><div class="separator" style="clear: both; margin: 0px; text-align: left;">We can have Utopian moments - a moment of calm, a favorite song, visual pleasure or <a href="http://www.guardian.co.uk/books/2010/jun/06/geoff-dyer-new-york-coffee-doughnuts">a habitual cup of coffee</a>. Minor everyday routines can send us somewhere else.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivux0VzgwDW-guMj3nkORer_PdrE6-K3ig_aJFI_N-V5ASi4MF7kFiKNETr2O2uS04Pbzy0X6V-xD3fB-c9S1CLEZng3g9Dr6mdAVSlSwWvecon9QFHH_82P7LjgAfTZlw7YOxy23Q9E5q/s320/Black+Square_malevich.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivux0VzgwDW-guMj3nkORer_PdrE6-K3ig_aJFI_N-V5ASi4MF7kFiKNETr2O2uS04Pbzy0X6V-xD3fB-c9S1CLEZng3g9Dr6mdAVSlSwWvecon9QFHH_82P7LjgAfTZlw7YOxy23Q9E5q/s400/Black+Square_malevich.jpg" style="cursor: move;" width="397px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"></div><div><div><div style="margin: 0px;">Malevich, Black Square, 1915 (New Tretyakov Gallery)</div></div><div><div style="margin: 0px;"><br />
</div><div style="text-align: left;"><div style="margin: 0px;">Malevich's 'Black Square' is considered as the first, truly non-representational painting, and therefore holds a significant place in history. What do we believe in now? As a society we are mainly secular and we are fairly apolitical. Art seems to mirror this state - maybe advertising is the true expression of where we are now. However, we did once believe - In Colour, form and ideas. Modernist artists truly believed in progression and that with each work they where moving forward. One aspect of modernism was an economy of materials - concrete and steel in architecture, house hold paints in painting and everyday objects in all areas (painting, sculpture, installation etc). Using untraditional materials questioned what went before and what art could be. However, these materials were not designed to last (and arguably this is not arts job). Modernism was a utopia and each time I see a cracked painting, a yellowed montage and weathered car park I am reminded of this - A faded forgotten vision that comes from another time.</div></div></div></div><div><div style="margin: 0px;"><br />
</div></div><div><div style="margin: 0px;">compare architecture before and after</div></div><div><div style="margin: 0px;">offerton estate forms</div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://orgone-ite.org/images/080630ArtDecoFirestationBeira300.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="306px" src="http://orgone-ite.org/images/080630ArtDecoFirestationBeira300.jpg" style="cursor: move;" width="400px" /></a></div></div>jfkturnerhttp://www.blogger.com/profile/04292497470976112213noreply@blogger.comtag:blogger.com,1999:blog-5743411721886035143.post-35998261577114511892012-02-27T04:05:00.000-08:002012-02-27T04:05:43.578-08:00Ordinary and/or Extraordinary - Objects part 2 - Transformation<div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.ssqq.com/travel/images/barcelona%202009%20004%20unfinished%20slaves.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="150px" src="http://www.ssqq.com/travel/images/barcelona%202009%20004%20unfinished%20slaves.jpg" width="400px" /></a></div><div style="margin: 0px;">What is the difference between a lump of rock and a sculpture by Michelangelo? They are made from the same material - Michelangelo has just taken some of that material away. These are examples o<span style="font-family: Arial, Helvetica, sans-serif;">f <a href="http://www.freethought-forum.com/forum/showthread.php?t=11589">unfinished sculptures by Michelangelo</a>. </span>They were commissioned in 1505 but were never completed instead human forms try to burst out of the rock. The delicate nature of Michelangelo's sculpture contrasts with the solid form of the natural rock.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnjCeqNbCWZ-rzSxJh3DNvQ9okgbmwAmRYySTsHi24BVPfqeQ5SBenv2HINJWbzgW5JUEhsiXtr7KaXTTKDdOaUr5za4g_lV2EHuZW8bpTzqMG2TlvGqpj2LBfXtVpwR5dqqwvFZNmru81/s1600/bill+woodrow.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnjCeqNbCWZ-rzSxJh3DNvQ9okgbmwAmRYySTsHi24BVPfqeQ5SBenv2HINJWbzgW5JUEhsiXtr7KaXTTKDdOaUr5za4g_lV2EHuZW8bpTzqMG2TlvGqpj2LBfXtVpwR5dqqwvFZNmru81/s400/bill+woodrow.jpg" width="330px" /></a></div><div><div style="text-align: center;"><a href="http://www.billwoodrow.com/">Bill Woodrow</a> <span class="Apple-style-span" style="color: white;">'Twin-Tub with Guitar' 1981</span></div></div><div style="text-align: left;"><span class="Apple-style-span" style="color: white;"><span class="Apple-style-span" style="font-family: arial, helvetica, geneva, sans-serif; font-size: 14px; line-height: 16px;"></span></span><br />
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<div><span class="Apple-style-span" style="font-family: Times; font-size: small; line-height: normal;"><span class="Apple-style-span" style="color: white;">This odd conjunction brings together two symbols of Western consumerism. Woodrow explained ‘The guitar was a pop icon and the washing machine was an everyday, domestic item. So it was bringing the two things together like a slice of life’.</span></span></div><span class="Apple-style-span" style="color: black; font-family: Times;"><span class="Apple-style-span" style="font-size: small; line-height: normal;"></span></span><br />
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<div><span class="Apple-style-span" style="font-family: Times; font-size: small; line-height: normal;"><span class="Apple-style-span" style="color: white;">Traditionally a sculpture transforms a material - A tree into a carving, a rock into a horse or clay moulded into a figure. The sculpture Bill Woodrow believes that any material has the potential to become something else.</span> <a href="http://www.tate.org.uk/servlet/ViewWork?cgroupid=999999961&workid=16465&searchid=9174&tabview=work"><span class="Apple-style-span" style="color: white;">Bill Woodrow</span></a></span><span class="Apple-style-span" style="font-family: Times; font-size: small; line-height: normal;"><span class="Apple-style-span" style="color: white;">’s raw materials are familiar, domestic objects collected from the streets and junk yards in his neighbourhood. In the early 1980s he began giving them new meanings by peeling back their outer casing to form new objects. Here he has cut a sculpture of an electric guitar from a discarded Hotpoint washing machine.</span></span><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5zIUSz_Z3_C4qhVCCXFjasEglLonoDT7kuixAoxo6zSZxpBiTeZ-sRzMINOHAsoV3dUIpZ8pIJHvnxqWypEI3Op2STH1evDYrba7Gc8Tb0H1K9BK1hwftowIQwSytusRWoLaDMx-qVGw6/s1600/kseniya_simonova_41.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="262px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5zIUSz_Z3_C4qhVCCXFjasEglLonoDT7kuixAoxo6zSZxpBiTeZ-sRzMINOHAsoV3dUIpZ8pIJHvnxqWypEI3Op2STH1evDYrba7Gc8Tb0H1K9BK1hwftowIQwSytusRWoLaDMx-qVGw6/s400/kseniya_simonova_41.jpg" width="400px" /></a></div><div style="text-align: center;"><span class="Apple-style-span" style="font-family: Times; font-size: small; line-height: normal;"><span class="Apple-style-span" style="color: white;"><a href="http://www.youtube.com/watch?v=n5bdMyOWLHg">Kseniya Simonova</a></span></span></div><span class="Apple-style-span" style="font-family: Times; font-size: small; line-height: normal;"><span class="Apple-style-span" style="color: white;"><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTBEB2iookxGevEvSWFop-K1GiL3ljm8PurO1udONy-2Wdscft3DHm1tEbnCcnDtCVak3TpFNUJmt1iJ1a7m4BZGj6EIiKgugKbjkFPxmo3dr_O3CgyB7czhi2Vw3Z_hMBjWNO3Q82mx0z/s1600/BritArtShow-The_Body_and_Ground_Or_Your_Lovely_Smile_Brian_Griffiths_British_Art_Show_7_credit_Alexander_Newton29.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="234px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTBEB2iookxGevEvSWFop-K1GiL3ljm8PurO1udONy-2Wdscft3DHm1tEbnCcnDtCVak3TpFNUJmt1iJ1a7m4BZGj6EIiKgugKbjkFPxmo3dr_O3CgyB7czhi2Vw3Z_hMBjWNO3Q82mx0z/s400/BritArtShow-The_Body_and_Ground_Or_Your_Lovely_Smile_Brian_Griffiths_British_Art_Show_7_credit_Alexander_Newton29.jpg" width="400px" /></a></div><div style="text-align: center;"><span class="Apple-style-span" style="color: white;">Brian Griffiths 'The body and ground (or your lovely smile)' 2010</span></div><div style="text-align: center;"><div style="text-align: left;"><div><a href="http://www.frieze.com/issue/review/brian_griffiths/">Brian Griffiths</a> <span class="Apple-style-span" style="color: white;">sculptures are made from a variety of everyday materials. This above sculpture is from the British Art Show at the Hayward Gallery, London. It is made from - Canvas, scenic paint, ropes, webbing, fiberglass poles, vintage travel souvenir patches, net fabric, tarpaulin, duct tape, thread, string, concrete blocks and fixings. These materials have been brought together to create a form that make us think of a teddy bear or Mickey mouse.</span></div></div></div><div style="text-align: center;"><a href="http://www.foto8.com/new/images/report/guy_main/fried_demand.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="382px" ox="true" src="http://www.foto8.com/new/images/report/guy_main/fried_demand.jpg" width="400px" /></a></div><div style="text-align: left;"><div style="-webkit-text-decorations-in-effect: none; color: black; text-align: center;"><div style="margin: 0px;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY8qRCQr9Nglr81Z8x6UlCK2irTC9UuXTYpgDdFp5I1FGzEiGO-LhXpfZnu7G1hoZsYjQFVUpiQ_vp0uql0WeNOydvZ6Qwyt6qWYzWN2-pMYwNPn23CgDa7wQGFdBRujV0qu171Lt-BAU/s400/thomas_demand_mgkbs_05.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;">Thomas Demand</a></div></div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY8qRCQr9Nglr81Z8x6UlCK2irTC9UuXTYpgDdFp5I1FGzEiGO-LhXpfZnu7G1hoZsYjQFVUpiQ_vp0uql0WeNOydvZ6Qwyt6qWYzWN2-pMYwNPn23CgDa7wQGFdBRujV0qu171Lt-BAU/s400/thomas_demand_mgkbs_05.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="335px" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY8qRCQr9Nglr81Z8x6UlCK2irTC9UuXTYpgDdFp5I1FGzEiGO-LhXpfZnu7G1hoZsYjQFVUpiQ_vp0uql0WeNOydvZ6Qwyt6qWYzWN2-pMYwNPn23CgDa7wQGFdBRujV0qu171Lt-BAU/s400/thomas_demand_mgkbs_05.jpg" width="400px" /></a></div></div><div style="text-align: center;"><a href="http://www.thomasdemand.de/">Thomas Demand</a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEist-axaYk4hoDtuetgIQgudwvlpxIG39UxPembuQaqiBLRvmZ7MmOcLvFGFxW-Kf9cPfT_IP_dkVwVq7gff9EOP46GiPnX1Nl0tiJMhThhES1WURHEteh6591LtUeuSr2d1kh-4GwK3JNe/s1600/science+of+sleep.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="299px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEist-axaYk4hoDtuetgIQgudwvlpxIG39UxPembuQaqiBLRvmZ7MmOcLvFGFxW-Kf9cPfT_IP_dkVwVq7gff9EOP46GiPnX1Nl0tiJMhThhES1WURHEteh6591LtUeuSr2d1kh-4GwK3JNe/s400/science+of+sleep.jpg" width="400px" /></a></div><div style="text-align: center;"><span class="Apple-style-span" style="font-size: large;">still from '</span><a href="http://www.youtube.com/watch?v=GUCrM5i_W3c"><span class="Apple-style-span" style="font-size: large;">The science of sleep</span></a><span class="Apple-style-span" style="font-size: large;">' dir. </span><a href="http://www.michelgondry.com/"><span class="Apple-style-span" style="font-size: large;">Michel Gondry</span></a><br />
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<div style="text-align: left;"><span class="Apple-style-span" style="color: white;"><span class="Apple-style-span" style="font-size: large;">Michel Gondry is a director who creates strange disjointed films - 'The Science of Sleep', 'Be Kind Rewind' along with</span></span><span class="Apple-style-span" style="font-size: large;"> </span><a href="http://www.youtube.com/results?search_query=michel+gondry&aq=f"><span class="Apple-style-span" style="font-size: large;">adverts and music videos</span></a><span class="Apple-style-span" style="font-size: large;">. </span><span class="Apple-style-span" style="color: white;"><span class="Apple-style-span" style="font-size: large;">He has created props and sets out of cardboard and made videos out of lego.</span></span></div></div><div style="text-align: center;"><span class="Apple-style-span" style="color: white;"><span class="Apple-style-span" style="font-size: x-large;">A photograph transforms the three dimensional world around us into a flat two dimensional image frozen in time.</span></span></div><div style="text-align: center;"><span class="Apple-style-span" style="color: white;"><span class="Apple-style-span" style="font-size: x-large;"><br />
</span></span></div><div style="text-align: center;"><span class="Apple-style-span" style="color: white;"><span class="Apple-style-span" style="font-size: x-large;">A painting is matter moulded and manipulated on a surface to create form and colour</span></span><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4rz7xVl6YbIZdfXBrFvBu-CCvf0tmMCqThON3C40wJ7ocvJ68lRMW4O28-4THQWoTEVcnkJcAvBXzj63-r1a3xbWqJupgiuBVawM9G54WGcEJI0MJ-TYQlS-n1ntvDit4L3InMYfvv5Ks/s1600/cub_air_lesson08_activity2_image1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4rz7xVl6YbIZdfXBrFvBu-CCvf0tmMCqThON3C40wJ7ocvJ68lRMW4O28-4THQWoTEVcnkJcAvBXzj63-r1a3xbWqJupgiuBVawM9G54WGcEJI0MJ-TYQlS-n1ntvDit4L3InMYfvv5Ks/s400/cub_air_lesson08_activity2_image1.jpg" width="400px" /></a></div><span class="Apple-style-span" style="color: white;"><span class="Apple-style-span" style="font-size: large;">M.C. Esher </span></span><br />
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<div style="text-align: left;"><span class="Apple-style-span" style="color: white;"><span class="Apple-style-span" style="font-size: large;">M.C. Escher will often transform one image into another - in this example a bird</span></span><span class="Apple-style-span" style="font-size: large;"> </span><a href="http://www.youtube.com/watch?v=WwiYpV_-s0U"><span class="Apple-style-span" style="font-size: large;">transforms</span></a><span class="Apple-style-span" style="font-size: large;"> </span><span class="Apple-style-span" style="color: white;"><span class="Apple-style-span" style="font-size: large;">into a fish.</span></span></div><div style="text-align: left;"><span class="Apple-style-span" style="color: white;"><span class="Apple-style-span" style="font-size: large;"><br />
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<span class="Apple-style-span" style="font-size: large;">Wander Wulz</span><br />
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<div style="text-align: left;"><span class="Apple-style-span" style="color: white;"><span class="Apple-style-span" style="font-size: large;">In this photomontage or sandwich negative <a href="http://arts.jrank.org/pages/11671/Wanda-Wulz.html">Wander Wulz</a> has merged herself with the image of a cat. This image was produced in the dark room and partly achieved by sandwiching two negative together to create a composite image.</span></span></div><div style="text-align: left;"><span class="Apple-style-span" style="color: white;"><span class="Apple-style-span" style="font-size: large;"><br />
</span></span></div><div style="text-align: left;"><span class="Apple-style-span" style="color: white;"><span class="Apple-style-span" style="font-size: large;">The notion of person turning into an animal is famously used in </span></span><span class="Apple-style-span" style="font-family: sans-serif; line-height: 19px;"><i><b><span class="Apple-style-span" style="color: white;"><span class="Apple-style-span" style="font-size: large;">The Metamorphosis</span></span></b></i><span class="Apple-style-span" style="color: white;"><span class="Apple-style-span" style="font-size: large;"> </span></span><span class="Apple-style-span" style="font-family: Times;"><span class="Apple-style-span" style="line-height: normal;"><span class="Apple-style-span" style="color: white;"><span class="Apple-style-span" style="font-size: large;">a</span></span></span></span><span class="Apple-style-span" style="font-size: large;"> </span><a href="http://en.wikipedia.org/wiki/Novella" style="background-clip: initial; background-image: none; background-origin: initial; color: #0645ad; text-decoration: none;" title="Novella"><span class="Apple-style-span" style="font-size: large;">novella</span></a><span class="Apple-style-span" style="font-size: large;"> </span><span class="Apple-style-span" style="font-family: Times;"><span class="Apple-style-span" style="line-height: normal;"><span class="Apple-style-span" style="color: white;"><span class="Apple-style-span" style="font-size: large;">by</span></span></span></span><span class="Apple-style-span" style="font-size: large;"> </span><a href="http://en.wikipedia.org/wiki/Franz_Kafka" style="background-clip: initial; background-image: none; background-origin: initial; color: #0645ad; text-decoration: none;" title="Franz Kafka"><span class="Apple-style-span" style="font-size: large;">Franz Kafka</span></a><span class="Apple-style-span" style="font-size: large;">.</span></span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: sans-serif; font-size: 13px; line-height: 19px;"><br />
</span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCJMjNxO5-t6H7DaMxaaRF4BojBvS3N87NgUibqf52sEE8nKLIj0GfH6rDgD96kDJYWST5NbVRZZskN454_SWaQ-DHfbf1er8Kv8AqnVFVVf97IhGhI8MZqnfob_ERru5LBA3UD33IIIrL/s1600/magritte55.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCJMjNxO5-t6H7DaMxaaRF4BojBvS3N87NgUibqf52sEE8nKLIj0GfH6rDgD96kDJYWST5NbVRZZskN454_SWaQ-DHfbf1er8Kv8AqnVFVVf97IhGhI8MZqnfob_ERru5LBA3UD33IIIrL/s400/magritte55.jpg" width="301px" /></a></div><div class="separator" style="clear: both; text-align: center;"><span class="Apple-style-span" style="color: white;">Rene Magritte 'The Explanation' 1954</span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqWV37yQR3l1CITmbVyPT0eBS4_noW6LPyuc95mB6dcWTnN1REGNK_64_tYQScVn6KprzxswFqRdQvF1rBwCfXCQNqWB3gUEHPUjksHjPJjiA30LuN27eG2rz7N-5a-tmTGNxcqR56nhy_/s1600/magritte+shoes.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqWV37yQR3l1CITmbVyPT0eBS4_noW6LPyuc95mB6dcWTnN1REGNK_64_tYQScVn6KprzxswFqRdQvF1rBwCfXCQNqWB3gUEHPUjksHjPJjiA30LuN27eG2rz7N-5a-tmTGNxcqR56nhy_/s400/magritte+shoes.jpg" width="291px" /></a></div><div class="separator" style="clear: both; text-align: center;"><span class="Apple-style-span" style="font-family: sans-serif; font-size: small;"><span class="Apple-style-span" style="font-size: 13px; line-height: 19px;"><span class="Apple-style-span" style="font-family: Times;"><span class="Apple-style-span" style="font-size: small; line-height: normal;"><span class="Apple-style-span" style="color: white;">Renne Magritte 'le modele rouge' 1935</span></span></span></span></span></div><div class="separator" style="clear: both; text-align: center;"><span class="Apple-style-span" style="font-family: sans-serif;"><span class="Apple-style-span" style="line-height: 19px;"><span class="Apple-style-span" style="font-family: Times;"><span class="Apple-style-span" style="line-height: normal;"><span class="Apple-style-span" style="color: white;"><span class="Apple-style-span" style="font-size: large;"><br />
</span></span><span class="Apple-style-span" style="font-size: large;"></span></span></span></span></span></div><div class="separator" style="clear: both; text-align: left;"><span class="Apple-style-span" style="font-family: sans-serif;"><span class="Apple-style-span" style="line-height: 19px;"><span class="Apple-style-span" style="font-family: Times;"><span class="Apple-style-span" style="line-height: normal;"><span class="Apple-style-span" style="color: white;"><span class="Apple-style-span" style="font-size: large;">These images by Rene Magritte show how he would juxtapose two images to create a new strange image. A carrot becomes a bottle or shoes become feet. Magritte was a Surrealist who were interested in dreams and the unconscious. In a dream you will combine everyday things but by combining them they become strange. You may dream of a hat or a piece of cheese - both very ordinary. However, in your dream they appear to you as a hat made out of cheese - this is an element of surrealism.</span></span></span></span></span></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhREZVcHIPyGmUzViuz8AqbyOFK_opCoMG2I9kx6seSvq3ScOQf_s7bBG4fmfk_13cQz3alw1z9toso2QJ4Sh_1b5OogNNfeLPY_X86vy9cN-FBtFeaaGN7nBIziHI4oW-lo9MS9z9aOv87/s1600/cadeau.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhREZVcHIPyGmUzViuz8AqbyOFK_opCoMG2I9kx6seSvq3ScOQf_s7bBG4fmfk_13cQz3alw1z9toso2QJ4Sh_1b5OogNNfeLPY_X86vy9cN-FBtFeaaGN7nBIziHI4oW-lo9MS9z9aOv87/s400/cadeau.jpg" width="296px" /></a></div><div class="separator" style="clear: both; text-align: center;"><span class="Apple-style-span" style="color: white;"><span class="Apple-style-span" style="font-size: large;">Man Ray 'Cadeau' 1921</span></span></div><div style="text-align: left;"><span class="Apple-style-span" style="color: white;"><span class="Apple-style-span" style="font-size: large;">By adding a row of nails, Man Ray transformed a household flat-iron into a new and potentially threatening object. The nails and burning metal suggest a violent object at odds with the work’s title, the French word for ‘gift’. The original version, given to the composer Eric Satie, was lost but became well-known through Man Ray’s photograph of it. Although made at the height of Paris Dada Cadeau, like Man Ray’s other objects, anticipated the exposure of hidden desires found in subsequent Surrealist objects.</span></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihSN8n0wedpYpLOldGjsyT0S3NIR0VRTDRDqkj-uaLYQ4lKNfJvTCZJb7CiWIDijHHy-NzPNXa2qg_tNQDS14vkXpXiiIZd-r4j88FJ3ugbQCbaeN9EftPyZCsJpqW_HouXjoySyaz-Sdj/s1600/Oppenheim.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="305px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihSN8n0wedpYpLOldGjsyT0S3NIR0VRTDRDqkj-uaLYQ4lKNfJvTCZJb7CiWIDijHHy-NzPNXa2qg_tNQDS14vkXpXiiIZd-r4j88FJ3ugbQCbaeN9EftPyZCsJpqW_HouXjoySyaz-Sdj/s400/Oppenheim.jpg" width="400px" /></a></div><div style="text-align: center;"><span class="Apple-style-span" style="color: white;"><span class="Apple-style-span" style="font-size: large;">Meret Oppenheim 'object' 1936</span></span></div><div style="text-align: left;"><span class="Apple-style-span" style="color: white;"><span class="Apple-style-span" style="font-size: large;">This Surrealist object was inspired by a conversation between Oppenheim and artists Pablo Picasso and Dora Maar at a Paris cafe. Admiring Oppenheim's fur-covered bracelet, Picasso remarked that one could cover anything with fur, to which she replied, "Even this cup and saucer." Soon after, when asked by André Breton, Surrealism's leader, to participate in the first Surrealist exhibition dedicated to objects, Oppenheim bought a teacup, saucer, and spoon at a department store and covered them with the fur of a Chinese gazelle.</span></span></div><div style="text-align: center;"><span class="Apple-style-span" style="font-size: large;"><br />
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</div></div></div></div>jfkturnerhttp://www.blogger.com/profile/04292497470976112213noreply@blogger.comtag:blogger.com,1999:blog-5743411721886035143.post-60468924754146010052012-02-27T04:01:00.000-08:002013-03-30T06:13:15.013-07:00Ordinary and/or Extraordinary - Objects and Still Life<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguBTz32XWxfekjmYY_jzr-C4QPLJOparl0iCA0KkAmNNMnMvSLfaEdfCud7M4qkaV4jrX_oahGzBCLDqbx_GP3NYGK34ZmNL4XH4U9JpJ5lAsnNMPUaOqRLGsASZZvSYils8Vi3hoYzA2D/s1600/stilllifewithdrinkinghornbywillemkalf.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="335px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguBTz32XWxfekjmYY_jzr-C4QPLJOparl0iCA0KkAmNNMnMvSLfaEdfCud7M4qkaV4jrX_oahGzBCLDqbx_GP3NYGK34ZmNL4XH4U9JpJ5lAsnNMPUaOqRLGsASZZvSYils8Vi3hoYzA2D/s400/stilllifewithdrinkinghornbywillemkalf.jpg" width="400px" /></a></div>
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<a href="http://www.nationalgallery.org.uk/artists/willem-kalf">Willem Kalf</a> - 'Still life with drinking horn' about 1653</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0ENjTMua_WY2OfMNDwI2BhyphenhyphenWy5xs2VGafN4YXNBFp8KGWzJ2JwkW-S6qJhb7wqDOC9EC7w_ZR30lvc4q8dygJXphhSm7pLV-b-o7a1VoKgbUQPza_scFT020YaiO9w84-mXPi0jabcVv-/s1600/pieter.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="222px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0ENjTMua_WY2OfMNDwI2BhyphenhyphenWy5xs2VGafN4YXNBFp8KGWzJ2JwkW-S6qJhb7wqDOC9EC7w_ZR30lvc4q8dygJXphhSm7pLV-b-o7a1VoKgbUQPza_scFT020YaiO9w84-mXPi0jabcVv-/s400/pieter.jpg" width="400px" /></a></div>
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Pieter Claesz - '<a href="http://www.rijksmuseum.nl/aria/aria_assets/SK-A-4646?lang=en&context_space=&context_id=">Still life with Turkey Pie'</a> 1627</div>
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The combination of elements in still-life paintings can have profound implications for the paintings meaning. Dutch 17th century still-life pictures frequently contained messages about the fragility of life and the onset of corruption. These combine with a sense of opulence, splendours and successes of international trading and maritime prowess. Such features can be seen in the detailed works of <a href="http://www.nationalgallery.org.uk/artists/willem-kalf">Willem Kalf</a> and <a href="http://www.nga.gov/exhibitions/claeszinfo.shtm">Pieter Claesz</a>.</div>
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<a href="http://t1.gstatic.com/images?q=tbn:x6fd5OW7jFtyoM:http://img232.imageshack.us/img232/3332/still1im9.png&t=1" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="218px" src="http://t1.gstatic.com/images?q=tbn:x6fd5OW7jFtyoM:http://img232.imageshack.us/img232/3332/still1im9.png&t=1" style="cursor: move;" width="400px" /></a></div>
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Sam Taylor Wood - '<a href="http://www.youtube.com/watch?v=SIl9rO9sURE&feature=related">A Little Death</a>' 2002</div>
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<a href="http://t2.gstatic.com/images?q=tbn:b5ded2b0EL1GqM:http://www.artadox.com/wp-content/uploads/2009/05/jan-lievens-still-life-with-books.jpg&t=1" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="278px" src="http://t2.gstatic.com/images?q=tbn:b5ded2b0EL1GqM:http://www.artadox.com/wp-content/uploads/2009/05/jan-lievens-still-life-with-books.jpg&t=1" style="cursor: move;" width="400px" /></a></div>
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<a href="http://www.nga.gov/exhibitions/lievensinfo.shtm">Jan Lievens</a> (Dutch, 1607–1674), 'Still Life with Books', ca. 1627–1628.</div>
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<a href="http://www.kunstportal-bw.de/bilder/2/8681.SamTaylorWood2StillLife2001small.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300px" src="http://www.kunstportal-bw.de/bilder/2/8681.SamTaylorWood2StillLife2001small.jpg" style="cursor: move;" width="400px" /></a></div>
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Sam Taylor Wood '<a href="http://www.youtube.com/watch?v=MIzXWGcb3u0">Still Life</a>' 2001</div>
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Sam Taylor Wood is an artist, photographer and film maker. Her 2001 Film/animation ‘Still Life’ has the visual look of a 17th Century Dutch still life. Sequences of still photographs are taken over a period of time to show the fruit slowly decaying. This is shown as a piece of video art in a gallery space - it is almost displayed like a painting on the wall. It is similar to time lapse photography used to capture the <a href="http://www.youtube.com/watch?v=ieCmPxWBCOM">growth of a plant</a> - who move at a completely different pace to ourselves.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiEqRvB4BxpJMbR2X049Z_IsJN1osfL-cYczVG_zLE9tQ98p2mdgB_L4QuJdU7niWRofottGCG7jH3BDMjx4yRF8GewCBwsLBHoi91UuXBhiLFnAzOuZa3nubD5oObRB5pHp428Szl5rk/s1600/valerie+belin.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiEqRvB4BxpJMbR2X049Z_IsJN1osfL-cYczVG_zLE9tQ98p2mdgB_L4QuJdU7niWRofottGCG7jH3BDMjx4yRF8GewCBwsLBHoi91UuXBhiLFnAzOuZa3nubD5oObRB5pHp428Szl5rk/s400/valerie+belin.jpg" style="cursor: move;" width="300px" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6Up0-HUFXdF-BsRT1foCG0zBaF5BFCH_h2MRiRDpuUJ4qbJD5JQqihkzQVZw5S6IcA4DU6S5Kd9ZAHeJwJwQJTn29nYQGO2cUofA0Pzh1VpFzhydjHLzYvenUdSjOFkY7Z4FueWsXl_M/s1600/valerie.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6Up0-HUFXdF-BsRT1foCG0zBaF5BFCH_h2MRiRDpuUJ4qbJD5JQqihkzQVZw5S6IcA4DU6S5Kd9ZAHeJwJwQJTn29nYQGO2cUofA0Pzh1VpFzhydjHLzYvenUdSjOFkY7Z4FueWsXl_M/s400/valerie.jpg" style="cursor: move;" width="300px" /></a></div>
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<a href="http://translate.google.co.uk/translate?hl=en&sl=fr&u=http://www.valeriebelin.com/&ei=Y6mNTZ3EG4y2hAfZ9fW7Dg&sa=X&oi=translate&ct=result&resnum=1&ved=0CCAQ7gEwAA&prev=/search%3Fq%3Dvelerie%2Bbelin%26hl%3Den%26client%3Dsafari%26rls%3Den%26prmd%3Divnso">Valerie Belin</a> - Palettes</div>
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One of the great scandals of the modern age is "built in obsolescence". A product is no longer designed to be mended or maintained; the consumer is forced to <a href="http://www.junk-culture.com/2011_01_01_archive.html">throw it away</a> and buy a new one - while manufacturers gleefully count their profits. The computer industry has led the way in this, and it is computers that are the subject of French photographer Valerie Belin's 'Palettes'. They are a series of 6ft tall black and white prints that feature mournful stacks of abandoned hardware that Berlin photographed in a dump on the outskirts of Paris.</div>
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The columns are not her own arrangements; Belin shot the stacks of monitors, oscilloscopes and hard drives just as she found them, arranged on fork lift palettes. Blown up to life size and deprived of context by the black velvet background against which she shot them, the stacks look like weird <a href="http://www.mesopotamia.co.uk/ziggurats/home_set.html">ziggurats</a> for the digital era.</div>
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"I use a large photographic plate to produce a very high definition image," she says." It means you get a strong sense of surface of the objects - the texture. Each one is a <a href="http://www.nationalgallery.org.uk/paintings/glossary/vanitas">'vanitas'</a>, based on the 17th century still life's that were allegories for the transience of life. Computers are objects that are part of everyone's lives, and this is the moment of their demise. Each tower is like a jigsaw, made by hand. And this is the moment when man triumphs over this machinery - when man destroys the robot!"</div>
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(words by<a href="http://www.telegraph.co.uk/culture/art/3653311/Viewfinder-Palettes-by-Valerie-Belin.html"> Tom Horan</a>).</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgF4HtRMjb5c7PDvZglqFkAALuLLb5jg8MpRm7hcA4XzQOMuEmJ8tKzCmV0rvN8mPnga4Dk-mczbmovtRuhXqsPPDjJ2kQD8SPTjG9fdBDoAgJYS-MxxN1rHCLzOPp4ipVoLCup5nHSA8fB/s1600/williams.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="294px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgF4HtRMjb5c7PDvZglqFkAALuLLb5jg8MpRm7hcA4XzQOMuEmJ8tKzCmV0rvN8mPnga4Dk-mczbmovtRuhXqsPPDjJ2kQD8SPTjG9fdBDoAgJYS-MxxN1rHCLzOPp4ipVoLCup5nHSA8fB/s640/williams.jpg" width="640px" /></a></div>
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<a href="http://www.getty.edu/art/gettyguide/artObjectDetails?artobj=64218">Thomas Richard Williams </a>'The sands of Time' 1850-52</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGCRuFy9IVWfef4OXrsDK6IlbXY_ULcWRViVEeOoeHVXmv9BaKS2Eiu9lJMYORMb7atERam67Ua7c9llD6inNF7KHXc9S0dxNPNTwiC-PdCAA_AIBxP-ZXLEpoE6hl-n9gLYGKbiGNacxK/s1600/still+life.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGCRuFy9IVWfef4OXrsDK6IlbXY_ULcWRViVEeOoeHVXmv9BaKS2Eiu9lJMYORMb7atERam67Ua7c9llD6inNF7KHXc9S0dxNPNTwiC-PdCAA_AIBxP-ZXLEpoE6hl-n9gLYGKbiGNacxK/s400/still+life.jpg" width="290px" /></a></div>
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Adolphe Braun - 'A Hunting Scene' 1867</div>
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<span class="Apple-style-span" style="font-size: large;">Since the 17th century, along with landscape and portraiture, still-life has been one of the great traditional art forms. Objects could be arranged to suggest new meanings or they could simply be found and depicted as they are. Within the simple traditions of the Still-Life artists and photographers were free to experiment and explore - pushing our progress into modernism. Painters used still-life to push the boundaries of seeing (<a href="http://thedelightsofseeing.blogspot.com/2011/03/cubism-joiners-and-multiple-viewpoint.html">Cezanne and Picasso</a>), modern artists explored the use of everyday objects (from Marcel <a href="http://www.understandingduchamp.com/">Duchamp</a> to <a href="http://www.carlandre.net/">Carl Andre</a>) and <a href="http://www.getty.edu/art/exhibitions/focus_still_life/focus_still_life_checklist.pdf">Photographers, in particular, became fascinated with simple scenes of the every day world. </a>A photograph, by its very nature, captures a section of ephemeral transience life and makes it permanent. <a href="http://www.theasc.com/blog/2011/03/28/paul-martineau-the-%E2%80%9Cstill-life%E2%80%9D-in-photography/">Still life is central to photography's story.</a></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGWPgdVYAbbmLnyqAoY3-4G_VaH_xYVkaqzAUXRbbYJ4sgfQT_MsXHWGpbYuPWab0aewmiV3oyHYwIeaYj7zghcRmh3z3pOJyOA-HQ8F6Xt7-MMKfcaAiqqtOZ6Eaihv8SR4CJ0xdh130/s1600/Joseph_Niepce_First_Picture.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="293px" nx="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGWPgdVYAbbmLnyqAoY3-4G_VaH_xYVkaqzAUXRbbYJ4sgfQT_MsXHWGpbYuPWab0aewmiV3oyHYwIeaYj7zghcRmh3z3pOJyOA-HQ8F6Xt7-MMKfcaAiqqtOZ6Eaihv8SR4CJ0xdh130/s400/Joseph_Niepce_First_Picture.jpg" style="cursor: move;" width="400px" /></a></div>
One Summers day in 1826 Nicephore (Joseph) <a href="http://www.niepce.com/">Niepce</a> created the image above. This Grainy image is thought to be <a href="http://www.youtube.com/watch?v=sOkd8ObhN_M&feature=related">the first permanent photograph</a> and it had an exposure of over eight hours. It is too simple to say Niepce invented photography because the photographic process has undergone so many significant modifications since then (most famously <a href="http://foxtalbot.dmu.ac.uk/">Fox Talbot</a> and <a href="http://www.daguerre.org/">Daguerre</a>1839).<br />
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The invention of a device that could allow anybody to record the world in perfect detail would revolutionise how we see ourselves, how we communicate and how we make art. Without Photography Modern art, film and the Internet would not exist – or at least not as we know them.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRccntO0za9eHb3Go2QatQ2WVEBOagJpKP_XzDii3_vjwRHoYVkvRpqppBxKqe_P7_-KCnm4DU2q1K54o_ULiOoCL3jaUvd9b3VXSXh4cPp1lKjve4N31bsncwuDk9xKy0aQculdKDRSs/s1600/Niepce_table.jpg" imageanchor="1" style="height: 232px; margin-left: 1em; margin-right: 1em; width: 376px;"><img border="0" height="241px" nx="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRccntO0za9eHb3Go2QatQ2WVEBOagJpKP_XzDii3_vjwRHoYVkvRpqppBxKqe_P7_-KCnm4DU2q1K54o_ULiOoCL3jaUvd9b3VXSXh4cPp1lKjve4N31bsncwuDk9xKy0aQculdKDRSs/s400/Niepce_table.jpg" style="cursor: move;" width="400px" /></a></div>
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Another one of Niepce’s earliest images was of a table – a traditional <a href="http://www.theartgallery.com.au/kidsart/learn/stilllife/">still life</a>. It is a time honoured theme in Art that would still be revisited by future artists. During the 18th century <a href="http://www.artchive.com/artchive/C/chardin.html">Chardin</a> produced beautiful painted still lives of simple Kitchen Utensils. There is great poetry in Chardin’s ability to bring such importance to such humble things.<br />
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Niepce was simply continuing a long tradition – what else would you do with a camera other than make images in the tradition of Painting? These two early photographs show photography's two directions - as <a href="http://thedelightsofseeing.blogspot.com/search/label/The%20First%20Photograph">a force for modernism</a> and connected to the history of painting.</div>
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<a href="http://jmcolberg.com/weblog/archives/RinkoKawauchi.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="396px" src="http://jmcolberg.com/weblog/archives/RinkoKawauchi.jpg" style="cursor: move;" width="400px" /></a></div>
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<a href="http://michaelpsilva.com/blog/wp-content/uploads/2007/10/Kawauchi_droplet.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="http://michaelpsilva.com/blog/wp-content/uploads/2007/10/Kawauchi_droplet.jpg" style="cursor: move;" width="400px" /></a></div>
<a href="http://www.designboom.com/contemporary/kawauchi.html">Rinko Kawauchi</a> is a contemporary Japanese photographer who creates beautiful and elegant images that find the beauty in the everyday. Kawauchi uses a Minimum Depth of Field (for example f/2 – a large hole) which results in only a fraction of the image being in focus – these images have a shallow depth.<br />
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<a href="http://www.mexicanpictures.com/headingeast/images/RinkoKawauchi.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="http://www.mexicanpictures.com/headingeast/images/RinkoKawauchi.jpg" style="cursor: move;" width="397px" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwFkrLkfEaxLLSFiV6YZTotgJItO3HkiPgmF1Z6-2DkvUow537nwru0qSqrJ4P2tPTADPqw5FEsSVN3wTebNjDornEZ2NeIXA0ps3X6PCwOUwTGdedGNFt4hl3Z9zd9YCnmk_As0Z4otk/s400/Rinko+Kawauchi+-+Uatane.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="398px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwFkrLkfEaxLLSFiV6YZTotgJItO3HkiPgmF1Z6-2DkvUow537nwru0qSqrJ4P2tPTADPqw5FEsSVN3wTebNjDornEZ2NeIXA0ps3X6PCwOUwTGdedGNFt4hl3Z9zd9YCnmk_As0Z4otk/s400/Rinko+Kawauchi+-+Uatane.jpg" style="cursor: move;" width="400px" /></a></div>
Kawauchi explores the poetry of the common place – a dead wasp on a window sill, a brief glance of the eye and a piece of chicken hanging over a table. These are none events – the kind of thing we may notice briefly and possibly dismiss or contemplate in a day dream.<br />
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<a href="http://3quarksdaily.blogs.com/photos/uncategorized/2008/07/26/chardin_veg_zoom.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="375px" src="http://3quarksdaily.blogs.com/photos/uncategorized/2008/07/26/chardin_veg_zoom.jpg" style="cursor: move;" width="400px" /></a></div>
The everyday has been a fascination for many artists – the things they immediately experience as part of their existence. <a href="http://www.guardian.co.uk/theguardian/2000/mar/02/features11.g26">Jean-Baptiste-Simeon Chardin</a></div>
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William Henry Fox Talbot - 'The Open Door' </div>
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Roger Fenton - 'Still Life with Fruit and Decanter' 1860</div>
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Early photographic pioneers used still life partly because of the tradition of painting (this is the same reason a photograph is square or rectangular and not round - because of canvas frames and <a href="http://thedelightsofseeing.blogspot.com/search/label/Rule%20of%20thirds%20and%20The%20Golden%20Rectangle">the golden rectangle</a>). The long exposures needed with early processes lent themselves to static still life objects. However, soon painting and photography would develop through experimentation with still life.</div>
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<a href="http://www.youtube.com/watch?v=wNNAfLXR1gw&feature=related">Paul Cezanne </a>'Still life with plaster cupid' 1895</div>
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Paul Cezanne used landscapes and still life painting to explore how we see. At first glance <a href="http://www.metmuseum.org/toah/hd/pcez/hd_pcez.htm">Cezanne abandoned traditional perspective</a> and the table appears to buckle, as if viewed from shifting angles. This is because he painted the same scene from several viewpoints and not one - within one image.</div>
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<a href="http://facweb.cs.depaul.edu/sgrais/images/Collage/Picasso%20-%20picasso.guitar-ceret-1913.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" px="true" src="http://facweb.cs.depaul.edu/sgrais/images/Collage/Picasso%20-%20picasso.guitar-ceret-1913.jpg" style="cursor: move;" width="297px" /></a></div>
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Pablo Picasso 'Guitar' 1913</div>
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Inspired by non western art and Cezanne's experiments <a href="http://www.picasso.com/">Pablo Picasso</a> has abstracted the image as if it has been seen from multiple viewpoints. At first glance it is abstract but is actually a still life of a guitar - it is just that the guitar itself seems fractured. Segments of the 'Guitar' are cut from a variety of materials - a piece of old wall paper, a scrap of cardboard and a circle cut out of newspaper. <span style="background-color: white;">This is an example of Picasso's and <a href="http://www.visual-arts-cork.com/famous-artists/braque-georges.htm">George Braque</a>'s <a href="http://www.google.co.uk/imgres?imgurl=http://facweb.cs.depaul.edu/sgrais/images/Collage/Picasso%2520-%2520picasso.guitar-ceret-1913.jpg&imgrefurl=http://facweb.cs.depaul.edu/sgrais/collage.htm&usg=__b3jFQVhFMsfhM5_8x2b1q-zQ_Yg=&h=1070&w=796&sz=150&hl=en&start=2&zoom=1&um=1&itbs=1&tbnid=DGUR67sG6s9NRM:&tbnh=150&tbnw=112&prev=/images%3Fq%3Dcollage%2Bpicasso%2Bguitar%2B1913%26um%3D1%26hl%3Den%26rls%3Dcom.microsoft:en-US%26rlz%3D1I7SKPB_en%26tbs%3Disch:1">Synthetic Cubism</a> and shows a break away from traditional mediums in western art. <a href="http://thedelightsofseeing.blogspot.com/search/label/Cubism">How did Picasso get to this stage?</a></span></div>
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David Hockney <a href="http://www.natures-pencil.co.uk/heroes/hockney.htm">'The Desk, July 1st 1984'</a></div>
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David Hockney's first love and main medium is drawing and painting, not photography. He is fascinated in <i>how</i> we make images and in the history of image making. To understand how Hockney, a painter, is as famous for his joiners we need to look at his influences.</div>
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Certain joiners hold clues to his thinking. In this joiner by Hockney he has photographed the desk from multiple viewpoints warping time and space. On the desk is a book and the book is open on a page that shows the above collage by Pablo Picasso. Hockney has looked at Cezanne and Picasso and responded by creating a photo-montage that includes multiple viewpoints. </div>
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All three of these breakthroughs use the tradition of the still life to push boundaries.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjrnSZHhRIa5dfrXcqIAypmycxVD2Md-wtt2bCRfu8tATfG_EhMy9XBim0zEa9aH68zzymNPnj9KJX33BoUVCYy4PcMPZAofaJIdW6eLO5T_FdnR9wheGfWN9z7mtFMbX6l0CL65D6lx3J/s1600/rayogram.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjrnSZHhRIa5dfrXcqIAypmycxVD2Md-wtt2bCRfu8tATfG_EhMy9XBim0zEa9aH68zzymNPnj9KJX33BoUVCYy4PcMPZAofaJIdW6eLO5T_FdnR9wheGfWN9z7mtFMbX6l0CL65D6lx3J/s400/rayogram.jpg" width="335px" /></a></div>
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Man Ray 'Scissors and cut paper' 1927</div>
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This is a Rayogram by the 20th century artist Man Ray. It is actually a <a href="http://thedelightsofseeing.blogspot.com/search/label/Photograms%20and%20Camera-less%20Photography">photogram</a> but in a bold act of self promotion - Man Ray called his images Rayograms. It is created by moving object around light sensitive paper. The objects are humble - scissors, paper and possibly a stand of some sort. Man Ray has taken ordinary things and made them extraordinary. This is a photogram, a photo-montage but it is also a type of Still Life - but a modern one.<br />
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These images were produced in the 1920's - eighty years after Fox Talbot. In many ways these were still early days for photography and photographers were just starting to create images that were their own thing - not just mimicking painting.<br />
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Paul Strand, Untitled <a href="http://blog.sfmoma.org/2011/04/collection-rotation28/">'Still Life of Cigarette Boxes with Bowl and Bottle' 1917</a></div>
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Paul Strand 'Ackley Camera'</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK8UPo91TPfWmD0o51Y6EKxfFPTxz4Rm8lGXu0NuSxx-ng2e-bxy6l-ze9_x_orwezYdHsWe5EJyosKG6riHEAUIqrV4afX_0fpR_gHVFN_zkRwtABa3SW2306W4e_fPCEKKkbdpPmOBMD/s1600/paul2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK8UPo91TPfWmD0o51Y6EKxfFPTxz4Rm8lGXu0NuSxx-ng2e-bxy6l-ze9_x_orwezYdHsWe5EJyosKG6riHEAUIqrV4afX_0fpR_gHVFN_zkRwtABa3SW2306W4e_fPCEKKkbdpPmOBMD/s400/paul2.jpg" width="317px" /></a></div>
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Paul Strand 'Black Bottle' ca.1919</div>
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Early photographers (for example Roger Fenton and Fox Talbot) took their inspiration from the history of painting. This meant that the compositions and layout followed conventional rules. A camera is a different tool to a paint brush and naturally allows the photographer to experiment with composition. The modernist photographer <a href="tp://www.aperture.org/strand/">Paul Strand</a> helped create the language of photography and he helped establish photography as an art form in itself. Strand often used the Still Life but his compositions were stark, geometric and modern. He would zoom into a subject, unlike a painter, and create compositions built up of strong diagonal lines, circles, triangles and contrast. Again we see the conventional form of Still Life used, altered and twisted to explore and develop visual ideas - and in the process creating the language of photography (different to the language of painting).</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2VuYHWvtVkeDIeQkeMEI-PKq1TdIl_pg6ZrK6Pbcm2wLlRYxwJAKoG9Vghnrx0PRZW4S6_Pihy9pcqDpmdjHZKPH2q8eqL9huFOqUR_fGiONUolqEf5aolmUE05zbkVKW0fV5QgeQdIGl/s1600/the+fork+-+kertessz-1928.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="317px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2VuYHWvtVkeDIeQkeMEI-PKq1TdIl_pg6ZrK6Pbcm2wLlRYxwJAKoG9Vghnrx0PRZW4S6_Pihy9pcqDpmdjHZKPH2q8eqL9huFOqUR_fGiONUolqEf5aolmUE05zbkVKW0fV5QgeQdIGl/s400/the+fork+-+kertessz-1928.jpg" width="400px" /></a></div>
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<a href="http://www.getty.edu/art/gettyguide/artMakerDetails?maker=1883">Andre Kertesz</a> 'The Fork' 1928</div>
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In this image <a href="http://masters-of-photography.com/K/kertesz/kertesz.html">Andre Kertesz</a> turns the simple act of a fork leaning against a plate into a beatiful and simple early modernist photograph. Other photographers, who worked in a similar way to Strand and Kertesz, include <a href="http://www.josefsudek.net/">Josef Sudek</a>, <a href="http://www.getty.edu/art/exhibitions/outerbridge/">Paul Outerbridge</a>, <a href="http://www.moma.org/collection/artist.php?artist_id=452">Hans Bellmer</a> and Edward Weston.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj088V17kjsT4WDd6zbZ7i5FwE_adHmwYP-xuHg7n4AuDcq8KZ6oEmq-xufR0DM0boUiEd8iEMFfaWTbHNHAFQYw5hUqOk6mVS9a8_MGQN5a7MrtHC1Yq2jPYpfK97gWpGTucbiVTZETww/s1600/edwardwestonpepper_index.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" nda="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj088V17kjsT4WDd6zbZ7i5FwE_adHmwYP-xuHg7n4AuDcq8KZ6oEmq-xufR0DM0boUiEd8iEMFfaWTbHNHAFQYw5hUqOk6mVS9a8_MGQN5a7MrtHC1Yq2jPYpfK97gWpGTucbiVTZETww/s400/edwardwestonpepper_index.gif" width="327px" /></a></div>
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Edward Weston <a href="http://www.edward-weston.com/index.htm">'Pepper'</a> 1930</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmxf_ZRkWb-mdq8MPyrRAYys-iFbKsDz2kGVFhl6xZ230TFzNM0WMHhP-TYEDL_cV8KhPkgodtzKG78c9a7CMEcX_Nh6cLOqgWBHu6am0ptTngHTv5cEtB3g74vqLl3GxiIYmwx_2Kpnw/s1600/westonnude.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320px" nda="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmxf_ZRkWb-mdq8MPyrRAYys-iFbKsDz2kGVFhl6xZ230TFzNM0WMHhP-TYEDL_cV8KhPkgodtzKG78c9a7CMEcX_Nh6cLOqgWBHu6am0ptTngHTv5cEtB3g74vqLl3GxiIYmwx_2Kpnw/s320/westonnude.jpg" style="cursor: move;" width="260px" /></a></div>
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Edward Weston 'Nude' 1936</div>
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Both of the images above are by <a href="http://www.photo-seminars.com/Fame/EdWeston.htm">Edward Weston</a>. Whether Weston was photographing a natural form, a human figure, a car engine or a toilet (he create a series of these) he considered curves, light and form. Although he has not combined the images, by photographing them in the same way, he encourages us to compare them.</div>
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The influence of these early pioneers encouraged photographer to reinvent small aspects of the everyday to create a new kind of Still Life image that was photographic. Peter Keetman's (a key member of fotoform <a href="http://thedelightsofseeing.blogspot.com/search/label/Shutter%20speeds%20-%20SLOW">here</a>) images show his use of pattern - whether he is photographing pipes or creating experimental abstract images.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjS8C9hLWf2DA1fjNMjJQLHd0amkt1j_2hGDgLEPfgtIZwEOIyGkQQ8z0G08qQ-KeiL4tJmOXQGc1NbShs6hMMIVz4rqFLUy1PK76QhBFfB7S6iUe_MOATZOTMuqCfI5qscdPD_jacvuDRA/s1600/wevans1.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="312px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjS8C9hLWf2DA1fjNMjJQLHd0amkt1j_2hGDgLEPfgtIZwEOIyGkQQ8z0G08qQ-KeiL4tJmOXQGc1NbShs6hMMIVz4rqFLUy1PK76QhBFfB7S6iUe_MOATZOTMuqCfI5qscdPD_jacvuDRA/s400/wevans1.gif" width="400px" /></a></div>
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Walker Evans 'Alabama Farm Interior (Fields Family Cabin) 1936</div>
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Strand, Weston and Kertesz were pioneers and their images were inventive, creative and, crucially, obviously artistic. The camera is an objective instrument that is capable of showing the world as it is - coldly with no sentiment. Walker Evans recognised this quality of the camera and he images just seem to document what lay before it. </div>
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Evans was a hugely influential 20th century photographer. He came to prominence during the 1930's while working for the <a href="http://ticketing.southbankcentre.co.uk/find/hayward-gallery-and-visual-arts/hayward-touring/current/walker-evans-photographs-1935-1936">FSA (Farm Security Administration)</a> in America. His black and white images often focused on aspect of life other photographers might ignore - the interior of a barbershop, an old sign, cutlery jammed in lock etc. His images had an <a href="http://xroads.virginia.edu/~ug97/fsa/images.html">objective look</a> - showing the everyday as it was, but ultimately, showing it to be other than itself.</div>
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The image above was taken during the <a href="http://www.youtube.com/watch?v=MRZwlF5-89Y">great depression</a> for the FSA (<a href="http://en.wikipedia.org/wiki/Farm_Security_Administration">Farm Security Administration</a>) to show America how many of the poorest lived. Evans documented every aspect of life - even a simple wall in a field family's cabin and their simple storage system for their cutlery.</div>
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As a young man Evan's wanted to be a writer and his images have the quality of a descriptive passage from a piece of literature -</div>
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<span class="Apple-style-span" style="font-size: large;">"the sloping, paper-littered bank" </span></div>
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<a href="http://www.dylanthomas.com/">Dylan Thomas</a> 'Reminiscences of Childhood'</div>
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<span class="Apple-style-span" style="font-size: large;">"Eight mahogany chairs were lined up against the white painted wainscoting, and under the barometer stood an old piano loaded with a pyramid of boxes and cartons" </span></div>
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<a href="http://en.wikipedia.org/wiki/Gustave_Flaubert">Gustave Flaubert</a> 'A Simple Heart'</div>
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<span class="Apple-style-span" style="font-size: large;">'I saw in Louisiana a live-oak growing, all alone stood it and the moss hung down from the branches'</span></div>
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<a href="http://www.whitmanarchive.org/">Walt Whitman</a> 'I saw in Louisiana a live-oak growing'</div>
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It is worth bearing the connection in mind when viewing any Still Life photographer - how would the same scene be described in literature? Evans work in particular had this quality - as if he was a frustrated writer with only a camera to record the small unnoticed details of life.<br />
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<a href="http://maggiesfarm.anotherdotcom.com/uploads/barbershop.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="315px" src="http://maggiesfarm.anotherdotcom.com/uploads/barbershop.jpg" style="cursor: move;" width="400px" /></a></div>
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Walker Evan <a href="http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A1777&page_number=13&template_id=1&sort_order=1">'Barber shop Interior'</a></div>
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<a href="http://theschleicherspin.com/2009/11/01/america-by-walker-evans/">Walker Evans</a> was fascinated by the everyday. Things that were taken for granted in their day become strange portholes to another time. Evans had an eye for what would be interesting in the future. There is so much detail captured in this image - a shop that has probably long since been demolished and and chairs that are no longer sat in. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBOd9oLZybaIhuzCmsQJVN-d7z-2Rgwsz8a5KEfQzsFJb5Zo7MrE3Uh1Lw61mSfMWz6aWkFltShC9dwME96RW8bB0-KqOrkwf40J7gMufC043fnIvHPVpbIzZnT2fM8ZP37K3bGnl4YXGV/s1600/walker-evans-Alabama-1936.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200px" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBOd9oLZybaIhuzCmsQJVN-d7z-2Rgwsz8a5KEfQzsFJb5Zo7MrE3Uh1Lw61mSfMWz6aWkFltShC9dwME96RW8bB0-KqOrkwf40J7gMufC043fnIvHPVpbIzZnT2fM8ZP37K3bGnl4YXGV/s320/walker-evans-Alabama-1936.jpg" style="cursor: move;" width="320px" /></a></div>
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'Hale County, Alabama' 1936</div>
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A documentary within a documentary, this picture suggests the way an Alabama tenant family lived, and, in the two snapshots tacked to the wall, bears witness to the family's informal documentation of its own experiences. The photograph was taken by Walker Evans in 1936, while he was employed by the Farm Security Administration; it was the powerful and moving record of rural poverty made by him and his FSA colleagues that popularised the term documentary photography.</div>
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<a href="http://www.moma.org/collection_images/resized/803/w500h420/CRI_11803.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" ox="true" src="http://www.moma.org/collection_images/resized/803/w500h420/CRI_11803.jpg" style="cursor: move;" width="318px" /></a></div>
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Walker Evans - <a href="http://www.google.co.uk/imgres?imgurl=http://www.moma.org/collection_images/resized/803/w500h420/CRI_11803.jpg&imgrefurl=http://www.moma.org/collection/browse_results.php%3Fcriteria%3DO%253ADE%253AI%253A4%257CG%253AHO%253AE%253A1%26page_number%3D8%26template_id%3D1%26sort_order%3D1&h=420&w=335&sz=98&tbnid=tZHXJaDyu4N4xM:&tbnh=125&tbnw=100&prev=/images%3Fq%3Dwalker%2Bevans%2Bpenny%2Bpictures&zoom=1&q=walker+evans+penny+pictures&usg=__dhONqdlVZxN5br2ZjK2s6jWy-g8=&sa=X&ei=lY3vTJ27CsSLhQfNhc3ADA&ved=0CB0Q9QEwAQ">Penny Picture Display, Savannah, Georgia 1936</a></div>
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In this photograph by Evans he has photographed a set of Photographs. This is something he returned to again and again - the layers build up and you are looking at an image of an image. It is a shop window display in a penny photo arcade - people would go in to have a portrait taken as a memory. We photograph ourselves to prove we existed - we were here. These original images are not art in themselves but Evans photographs them and draws our attention to them. The act of using the work of others is know as <a href="http://weblog.delacour.net/photography/appropriation-art-and-walker-evans/">Appropriating</a>.</div>
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<a href="http://masters-of-photography.com/images/full/evans/evans_torn.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" n4="true" src="http://masters-of-photography.com/images/full/evans/evans_torn.jpg" style="cursor: move;" width="272px" /></a></div>
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Walker Evans 'Torn Movie Poster' 1931</div>
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Here is a photograph of a torn movie poster by Walker Evans. Evans would often appropriate the work of others and take a photograph of a photograph. Layers of life and culture build up only to be replaced by the latest trend. These images are ephemeral - destined to be lost and Evans has captured it forever. These images have the look of Decollage.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPv-HNsXyXSfhVglN5MAWq2r4lpTA3_MQuTwiFJEWWduQa666dDK2NakCdz4kQOxe1EDyP-TmgcGGaEPPWifvYEd8Tr2OO-8K7N5urn3mpXH829xemIFxavQqctxa1vyhPhc20p73g798/s1600/walker+mail+box+Alibama+1973.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="387px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPv-HNsXyXSfhVglN5MAWq2r4lpTA3_MQuTwiFJEWWduQa666dDK2NakCdz4kQOxe1EDyP-TmgcGGaEPPWifvYEd8Tr2OO-8K7N5urn3mpXH829xemIFxavQqctxa1vyhPhc20p73g798/s400/walker+mail+box+Alibama+1973.jpg" style="cursor: move;" width="400px" /></a></div>
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Walker Evans 'Mail Box, Alabama' 1973 (from <a href="http://www.metmuseum.org/works_of_art/collection_database/photographs/mail_box_alabama_walker_evans/objectview_zoom.aspx?page=1&sort=6&sortdir=asc&keyword=walker%20evans&fp=1&dd1=19&dd2=0&vw=1&collID=19&OID=190032967&vT=1&hi=0&ov=0">metmusuem</a> archive)</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz4w0VEVwOWxKdZJEPqffhRdJI_WbOzTdodvoASwcS_XZ_kMzrX4vw0vg4SLFbdg9W8u1NJNVcNZ8xJbdj14jEA2O7aBYvK5xjP1vuDGTQQc2QWItUQdzz0TF9D4l-k1x8Tq7I89MCeHU/s1600/walker+evans+polaroid.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz4w0VEVwOWxKdZJEPqffhRdJI_WbOzTdodvoASwcS_XZ_kMzrX4vw0vg4SLFbdg9W8u1NJNVcNZ8xJbdj14jEA2O7aBYvK5xjP1vuDGTQQc2QWItUQdzz0TF9D4l-k1x8Tq7I89MCeHU/s320/walker+evans+polaroid.jpg" style="cursor: move;" width="309px" /></a></div>
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<a href="http://memory.loc.gov/ammem/fsahtml/fachap04.html">Walker Evans</a></div>
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We can still see this quality in his later work. He had spent his life transforming the world onto Black and White until, when given a Polaroid SX70 and film by Polaroid, spent his final years using seeing in (Polaroids warped) colour. His subject matter of sidewalks, signs and street furniture suddenly exploded with colour. We live in an age when people take colour photographs purely because technology allows it - not because we see and appreciate colour.</div>
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Walker Evans <a href="http://www.moma.org/collection/browse_results.php?object_id=53661">'Interior Detail, West Virginia Coal Miner's House'</a></div>
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In this image above Evans has photographed a found collage. Did the occupant use card board on the wall as cheap insulation or decoration. Maybe there is element of both. Evans noticed this aesthetic quality. It is reminiscent of the the <a href="http://thedelightsofseeing.blogspot.com/search/label/Collage">Collage</a> and <a href="http://thedelightsofseeing.blogspot.com/search/label/Photomontage">Photomontage</a> work of Robert Rauschenberg.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdynRYDeDLcAy0dWRHsDazB5z1YBIgUH3yHBNeHfa7T9Jd0cGaGwLtmQH-Qz6HCfR9HVjP9DQh20LpNlvvM4SoUyOI5FEWLZae8g6bXhHTKuXKNOVhHqXIqRDmKlASkcUkE-1gPEZDcN81/s1600/Rauschenburg.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="270px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdynRYDeDLcAy0dWRHsDazB5z1YBIgUH3yHBNeHfa7T9Jd0cGaGwLtmQH-Qz6HCfR9HVjP9DQh20LpNlvvM4SoUyOI5FEWLZae8g6bXhHTKuXKNOVhHqXIqRDmKlASkcUkE-1gPEZDcN81/s400/Rauschenburg.jpg" style="cursor: move;" width="400px" /></a></div>
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Robert Rauschenberg</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIV_lh7GcaQvXx5Dm9Rk5AGlaWiP21d0DhOZInO1IVf1tPBLH3p75DpK3UB2vZegRQutr3V48p_uzBYdghlHnQA12NQdJ9LMRz9bUoDr9II9oZt5rsVp2sHnRydrIOAMpmHhn5blRw790C/s1600/rauschenburg2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="273px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIV_lh7GcaQvXx5Dm9Rk5AGlaWiP21d0DhOZInO1IVf1tPBLH3p75DpK3UB2vZegRQutr3V48p_uzBYdghlHnQA12NQdJ9LMRz9bUoDr9II9oZt5rsVp2sHnRydrIOAMpmHhn5blRw790C/s400/rauschenburg2.jpg" style="cursor: move;" width="400px" /></a></div>
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<a href="http://www.rauschenbergfoundation.org/">Robert Rauschenberg</a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8vbP9J_fbCt3Xjs4cuDbRhs4r6Rh-I_mjroKsv0vYqfAVxpSAx2yTgw5Pn4ZPEbdJdXZb-N-yvYyJuU9EGvozdG6MLxThJLT89lEamZsJDF2B8ju12QHUv39SlouYUmviLjhIN6EJcxo/s1600/RAUSCHENBERG04.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8vbP9J_fbCt3Xjs4cuDbRhs4r6Rh-I_mjroKsv0vYqfAVxpSAx2yTgw5Pn4ZPEbdJdXZb-N-yvYyJuU9EGvozdG6MLxThJLT89lEamZsJDF2B8ju12QHUv39SlouYUmviLjhIN6EJcxo/s400/RAUSCHENBERG04.jpg" style="cursor: move;" width="275px" /></a></div>
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<a href="http://robertmars.blogspot.com/2009/05/robert-rauschenberg-photographs.html">Robert Rauschenberg</a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDQ48T1RAs4UtZtLMtv33vZ-p2MfLGHfPTLTI5Zx0a5KV_9ebTtU23tZufCMx6ftfAuU1j31ReRWGnxVJbXiHk8T4JcBvJNBNW0O5tH1Sx6wvGN16aHGpnH6Vqtmes6hCOhQ-qoWMb4H0/s1600/RAUSCHENBERG03.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="273px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDQ48T1RAs4UtZtLMtv33vZ-p2MfLGHfPTLTI5Zx0a5KV_9ebTtU23tZufCMx6ftfAuU1j31ReRWGnxVJbXiHk8T4JcBvJNBNW0O5tH1Sx6wvGN16aHGpnH6Vqtmes6hCOhQ-qoWMb4H0/s400/RAUSCHENBERG03.jpg" style="cursor: move;" width="400px" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2Rgt8peLeW1Mh4lPcBgfhvbbalIfCXt2FZecHAgzCsmnDlek-jsWwFI-fK6vbFkbqjF2sbQWqR1wXmlrBUDYa8BOBPI49_2BZTKZ2gkt024fUPJVwxme5judLWwvcphF0jWIVyeIlg6g/s1600/RAUSCHENBERG01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="270px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2Rgt8peLeW1Mh4lPcBgfhvbbalIfCXt2FZecHAgzCsmnDlek-jsWwFI-fK6vbFkbqjF2sbQWqR1wXmlrBUDYa8BOBPI49_2BZTKZ2gkt024fUPJVwxme5judLWwvcphF0jWIVyeIlg6g/s400/RAUSCHENBERG01.jpg" style="cursor: move;" width="400px" /></a></div>
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In these images you can see the painter Robert <a href="http://www.guardian.co.uk/artanddesign/2006/jan/26/art1">Rauschenberg</a> is finding strange juxtapositions, unusual compositions, found collages and using photography as tool for his paintings. They almost have an anti-atheistic and a sense of a <a href="http://thedelightsofseeing.blogspot.com/2010/11/utopiadystopia.html">dystopia</a> or broken society. <a href="http://re-photo.co.uk/?p=291">Rauschenberg</a> comments that for him photography is “a kind of archaeology in time only, forcing one to see whatever the light of the darkness touches”.</div>
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The influence of Evans is everywhere in modern photography - as is the photographic evolution of the Still Life.</div>
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<a href="http://bintphotobooks.blogspot.com/2009_03_01_archive.html"><img border="0" height="300px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfXjpmhY2uM49rhtCXogbsT_AltJzEuogVOZaT-gF_tcBmWijXz-fMkbxQQxbGoYeWa2oQseZKfR3UzQjVN3xjHDCG3DP204jjHvnk0vBhTJ5nGaoRqsb3Q8a2b8r-K759Xdcaf44oh6U/s400/IMG_6678.JPG" style="cursor: move;" width="400px" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheSvd6kc7o0OCrpEzry7q4QTmYXRUTfoTHDuzhSKmT8iQqB81shI7Z0wz9J0-e_tG6f5Ld4QJaODaQ5zhOkVtu9ndpPCHfjI3R1n_urF1DvFPmrsrjwH_9Uj4qzWNOKZlgTxE-O_pfXj0/s1600/Caponigro_FW.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="321px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheSvd6kc7o0OCrpEzry7q4QTmYXRUTfoTHDuzhSKmT8iQqB81shI7Z0wz9J0-e_tG6f5Ld4QJaODaQ5zhOkVtu9ndpPCHfjI3R1n_urF1DvFPmrsrjwH_9Uj4qzWNOKZlgTxE-O_pfXj0/s400/Caponigro_FW.jpg" style="cursor: move;" width="400px" /></a></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Times;"><a href="http://www.soulcatcherstudio.com/artists/caponigro.html">Paul Caponigro</a> 'Frost Window No.2' 1961</span></span></div>
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Simple net sails of a boat overlap to create a delicate pattern. <span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Times;">A picture of frost crystals on a bedroom window makes a tapestry out of a mixture of pattern and texture. Positioning his view camera about 30cm from the glass, the photographer stopped the lens all the way down to f32 so as not to loose the dark trees in the background. These are Still Lifes but they are far from the Still Life traditions in painting.</span></span></div>
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We now take these kind of images for granted and a lot of images taken today fall into the category of Still Life. When we start to look at photography after Strand, Weston and Evans we can see their influence and the health of Still Life.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6cpVscq22-dht_pYusAP_Wk7iirm0FRtRbPx0190tO9DI-hA1jIGnX2z43xy8qk7jG3x9gDWSSPc-pT1q8dmKTBNU4vmTRLSa_LB-QLB0yY7Gz_Z-xh-K52d3I_sIGGP07UcVGHMvRVQ/s1600/amsurf2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="281px" n4="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6cpVscq22-dht_pYusAP_Wk7iirm0FRtRbPx0190tO9DI-hA1jIGnX2z43xy8qk7jG3x9gDWSSPc-pT1q8dmKTBNU4vmTRLSa_LB-QLB0yY7Gz_Z-xh-K52d3I_sIGGP07UcVGHMvRVQ/s400/amsurf2.jpg" width="400px" /></a></div>
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<a href="http://www.theartnewspaper.tv/content.php?vid=598">Stephen Shore</a> - <a href="http://www.guardian.co.uk/artanddesign/2005/nov/13/photography.shopping">'American Surfaces'</a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghDQfvBXZjDg4lnczSXGTgDQJThkIO8U1p0JFxx2l_x4aBzuZ2Vg_h733JhpQNjunqHhA1wPZ35rY-cm7UE2tMoCZ-qsIuWhO6qzllPAOgUWqpzgVl1cGv0PCnv65FKNs_u5AXbxkp_qM/s1600/wessel-300x227.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="302px" n4="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghDQfvBXZjDg4lnczSXGTgDQJThkIO8U1p0JFxx2l_x4aBzuZ2Vg_h733JhpQNjunqHhA1wPZ35rY-cm7UE2tMoCZ-qsIuWhO6qzllPAOgUWqpzgVl1cGv0PCnv65FKNs_u5AXbxkp_qM/s400/wessel-300x227.jpg" style="cursor: move;" width="400px" /></a></div>
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<span class="Apple-style-span" style="font-size: large;">“Following Walker Evans’s example, a postwar generation focused on what everybody in America during the 1950s, 60s and 70s actually saw in front of their faces or through their windshields or across their backyard fences, but didn’t bother to register or preferred not to – much less to think was worth photographing. These were run of the mill subjects, mostly, shot with deadpan acumen.. seemingly nowhere places, shown to be somewhere after all. In the populist spirit of Walt Whitman, but with a heavy dose of dry-eyed scepticism, they found a fresh kind of poetics in the American everyday… [Wessel] had a knack for seeing a compositional order where it didn’t obviously present itself – making pictures like visual haikus.” </span></div>
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- Michael Kimmelman</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs0_moFvChEZRCZJhhMOWxxAUCj97K4g6WWHbOXYbyYHgIwCDtwTal1B4CspfVHZ3uoN1WawZ6Bj8_hM37-bBuN_O6PmfMPQBokxO-6Vau_LpRLw56KyykQzITB0hGZtMBs4-CTDxAHcI/s1600/Martin_Parr_Common_Sense_plane_1177_67_%2528Custom%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="275px" n4="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs0_moFvChEZRCZJhhMOWxxAUCj97K4g6WWHbOXYbyYHgIwCDtwTal1B4CspfVHZ3uoN1WawZ6Bj8_hM37-bBuN_O6PmfMPQBokxO-6Vau_LpRLw56KyykQzITB0hGZtMBs4-CTDxAHcI/s400/Martin_Parr_Common_Sense_plane_1177_67_%2528Custom%2529.jpg" style="cursor: move;" width="400px" /></a></div>
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Martin Parr Individual photographs from 'Common Sense' 1995 - 1999</div>
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<a href="http://www.martinparr.com/index1.html">Martin Parr</a> 'Common Sense' Series (displayed on a gallery wall) 1995-1999</div>
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Martin Parr photographs as if he is collecting and he focuses of the small details of life. In his 1995-99 Series 'Common Sense' he focused on minor trashy elements of everyday life - lipstick marks on a cup, finger marks on buttons or a cup of tea on a table cloth. He uses a ring flash to create bold, saturated colours giving his work the look of the hyper real. Does Parr have a genuine affection for his subject matter or is he poking fun? Does he reveal our own prejudices by presenting us images that create a certain reaction? Arguably he is somewhere in the middle - or neither - he just records and collects.</div>
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Stephen Gill <a href="http://www.stephengill.co.uk/portfolio/portfolio#num=content-497&id=album-21">'A series of Dissapointments'</a></div>
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<a href="http://www.stephengill.co.uk/portfolio/about">Stephen Gill</a> is a contemporary British photographer who often works in a series. He will often focus on subject you would normally pay no attention to - A lost stranger looking at a map, <a href="http://www.stephengill.co.uk/portfolio/portfolio#num=content-1003&id=album-11">painted over signs</a>, the <a href="http://www.stephengill.co.uk/portfolio/portfolio#num=content-571&id=album-24">backs of bill boards</a> or <a href="http://www.stephengill.co.uk/portfolio/portfolio#num=content-313&id=album-15">people sat on trains</a>. His work shares the straight forward irony of martin Parr, the cold methodical approach of The Bechers and the fascination with the everyday of Walker Evans.</div>
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His series 'A Series of Dissappointments' looks at the proliferation of betting shops in the Borough of Hackney. The discarded slips '<span style="font-style: italic;">were shaped by loss or defeat, then cast aside. these new forms perhaps now possess a state of mind, shaped by nervous tension and grief. After these images were made, little autopsies were performed on the papers to reveal the failed bets held within</span>.'</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZ2wyNASN4O-Nsgn2w8dJzWgYXbt6e07qW5BQAAlAx-Y-57zRNhGI3MRtTIsbtBZwhwpC7EM7nhmuE_ENkX1O9ghOW8n9ncRGEdLxzBJIhDg8-uXWMzv0sUxZnlhHtWWheEF8ECVGpKNw/s1600/guy_batey1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="310px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZ2wyNASN4O-Nsgn2w8dJzWgYXbt6e07qW5BQAAlAx-Y-57zRNhGI3MRtTIsbtBZwhwpC7EM7nhmuE_ENkX1O9ghOW8n9ncRGEdLxzBJIhDg8-uXWMzv0sUxZnlhHtWWheEF8ECVGpKNw/s320/guy_batey1.jpg" style="cursor: move;" width="320px" /></a></div>
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<a href="http://www.guybatey.com/the_melancholy_of_objects_1.html">Guy Batey 'The Melancholy of Objects'</a> 2009</div>
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In our modern consumer world we rarely 'Make do and mend' - we just use things and discard them. A chair is designed for a person to sit on - it isn't whole when not in use. The chair has legs like us - when it is abandoned it looks like a injured creature that has been abandoned. A carpet slumps in a corner of an alley like a frail old man. These discarded objects were photographed on the streets of Southwark in south east London by Guy Batey. If you walked past them they could be easily missed and ignored. However, when gathered together and presented (with a perfect title) they take on a life of they own. The photographs has a simple, quite quality and, as the title suggests, a melancholy feel.</div>
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<a href="http://www.lissongallery.com/#/artists/richard-wentworth/works/">Richard Wentworth</a> 'Making do and getting by' ongoing project</div>
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Batey's 'The Melancholy of Objects' remind me of the photographs by the British sculptor Richard Wentworth. <a href="http://www.tate.org.uk/liverpool/exhibitions/wentworth/">Wentworth</a>'s work (see '<a href="http://www.core77.com/reactor/03.07_parallel.asp">Making do and getting by</a>' and the work of <a href="http://www.thoughtlessacts.com/">Jane Fulton Suri</a>) is an ongoing conversation with his native habitat, fuelled by daily walks down the Caledonian Road and expeditions into the hinterlands of King's Cross. In photographs, objects and lectures he charts the contours of the inner city, the ebb and flow of urban life, the things that change and the things that never do. Wentworth and Batey are part of a long tradition of photographers who roam the streets with their cameras. </div>
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<span class="Apple-style-span" style="font-size: large;">"The photographer is an armed version of the solitary walker," </span></div>
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<span class="Apple-style-span" style="font-size: large;">"reconnoitring, stalking, cruising the urban inferno, the voyeuristic stroller who discovers the city as a landscape of voluptuous extremes." </span></div>
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Susan Sontag in <a href="http://www.pdfebooksdownloads.com/detail/Susan-Sontag-On-photography_16449">On Photography</a>,</div>
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Sontag's "voyeuristic strollers" included<span class="Apple-style-span" style="border-collapse: collapse; color: #333333; font-family: arial, sans-serif; font-size: 14px; line-height: 18px;"> <a href="http://en.wikipedia.org/wiki/Eug%C3%A8ne_Atget" style="border-collapse: collapse; color: #005689; margin: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="">Atget</a><span class="Apple-style-span" style="color: black; font-family: Times;"><span class="Apple-style-span" style="border-collapse: separate; font-size: small; line-height: normal;">, Brassai and </span></span><a href="http://www.amber-online.com/exhibitions/weegee-collection" style="border-collapse: collapse; color: #005689; margin: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="">WeeGee</a>,</span> all of whom were "not attracted to the city's official realities but to its dark seamy corners, its neglected populations". She could also have mentioned <a href="http://www.billbrandt.com/">Bill Brandt</a>, an often-solitary wanderer on the night-time streets of wartime London, or <a href="http://www.henricartierbresson.org/index_en.htm">Cartier-Bresson</a>, forever in search of the decisive moment, as well as all manner of street photographers, from the frantically obsessive <a href="http://www.mocp.org/collections/permanent/winogrand_garry.php">Gary Winogrand</a> to the gently observant <a href="http://www.lensculture.com/levitt.html">Helen Levitt</a>. (words by <a href="http://www.guardian.co.uk/artanddesign/2011/feb/24/sohei-nishino-diorama-maps">Sean O'Hagan</a>).</div>
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<a href="http://www.jeffbrouws.com/">Jeff Brouws</a></div>
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Jeff Brouws</div>
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Jeff Brouws focuses on lost forgotten aspects of American Culture - the same forgotten and disappearing aspects of life that Walker Evans look at 70 years earlier.</div>
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<a href="http://t0.gstatic.com/images?q=tbn:fEhowbyfwcNo1M:http://www-personal.umich.edu/~tirtzae/installation%20jpg/Calle_17.jpg&t=1" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="http://t0.gstatic.com/images?q=tbn:fEhowbyfwcNo1M:http://www-personal.umich.edu/~tirtzae/installation%20jpg/Calle_17.jpg&t=1" style="cursor: move;" width="268px" /></a></div>
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<a href="http://www.guardian.co.uk/world/2007/jun/16/artnews.art">Sophie Calle</a> 'The Hotel'</div>
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Sophie Calle became a cleaner so she could get into people’s hotel rooms. In the series she photographs a room, photographs their personal items and mentions if they have been moved and writes a diary throughout the guests’ stay, deducing what she can about them by what they leave in their rooms e.g.</div>
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"Room 25 “ Thursday 19. Noon. He is gone. He has left his orange peels in the wastebasket. Three fresh eggs on the windowsill, and remains of a croissant which I polish off. I shall, miss him."</div>
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<a href="http://t3.gstatic.com/images?q=tbn:jpaPDxSNI8432M:http://www-personal.umich.edu/~tirtzae/installation%20jpg/Calle_15.jpg&t=1" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://t3.gstatic.com/images?q=tbn:jpaPDxSNI8432M:http://www-personal.umich.edu/~tirtzae/installation%20jpg/Calle_15.jpg&t=1" style="cursor: move;" /></a></div>
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The photographs make you feel as if you have sneaked into the people’s rooms too and might be caught out at any moment. <span class="Apple-style-span" style="font-family: 'Times New Roman', Arial; font-size: 16px;"><span class="Normal_0020_0028Web_0029__Char" style="font-family: Arial, Arial; font-size: 11pt;"><span class="Apple-style-span" style="font-family: Times;"><span class="Apple-style-span" style="font-size: small;">Calle's work was included in</span></span> <a href="http://www.tate.org.uk/modern/exhibitions/exposure/default.shtm">Tate Modern's 'Exposed' </a></span></span><span class="Apple-style-span" style="font-family: 'Times New Roman', Arial; font-size: 16px;"><span class="Apple-style-span" style="font-family: Times;"><span class="Apple-style-span" style="font-size: small;">exhibition. <a href="http://www.guardian.co.uk/artanddesign/2010/may/27/exposed-photography-tate-modern">The exhibition </a>was looking at the issue of voyeurism and how it has played a role in photography. It makes you consider the intrusive role that photography and surveillance can play in our society. Exposed looked at pictures made secretly, without people's permission, from the 19th century to the present day. Photographs gave a shocking, illuminating and witty perspective on iconic and taboo subjects. </span></span></span></div>
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<span class="Apple-style-span" style="font-family: 'Times New Roman', Arial; font-size: 16px;"><span class="Apple-style-span" style="font-family: Times;"><span class="Apple-style-span" style="font-size: small;"><a href="http://divinipotent.blogspot.com/2009/12/english-sunrise.html">'The English Sunrise' (1972) by Brian Rice and Tony Evans</a> is a beautiful book designed around a series of photographs of sunrise motifs. Many cultures have used the Sunrise motif from <a href="http://examthemes.blogspot.com/2010/12/discord-political.html">Communist China</a> to <a href="http://www.aberdeenquest.com/Artwork/PyeSunriseMainsRadio.asp?mode=detailed&timeline=1930_1950_Technology_Leisure">Art Deco Designs</a>. It is often a symbol of hope and optimism. However, this small book seems very English and from a period that there are less and less traces of.</span></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHiVaP07mN8RtDFMTC9oxL7eBALywvDk-F_JrMeRawIcoTBksabp2V662TBwqo-MF2WpUSWyOiH78KzdpAJNk5l7U6NB5KaPSHRHzEfmVlubvwCZYNlKo9maFTNSkiJa6VKLUrNLyqVXE/s1600/sunrise-ice-cream.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHiVaP07mN8RtDFMTC9oxL7eBALywvDk-F_JrMeRawIcoTBksabp2V662TBwqo-MF2WpUSWyOiH78KzdpAJNk5l7U6NB5KaPSHRHzEfmVlubvwCZYNlKo9maFTNSkiJa6VKLUrNLyqVXE/s400/sunrise-ice-cream.jpg" style="cursor: move;" width="275px" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlIkLucx_OuZyHVqsDPFwKfWhQG1AcTVToV2DQbhDeXynN8FHBzsQ8HpOpq0E7unvQ8q6o6znoS6kZjO-VcSkm-sMLkHwoEj7QiXP8uuEiJGCqH7R11lCQSG8hy8t7m2ckCNQTDM4gqJ0/s1600/sunrise8.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="226px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlIkLucx_OuZyHVqsDPFwKfWhQG1AcTVToV2DQbhDeXynN8FHBzsQ8HpOpq0E7unvQ8q6o6znoS6kZjO-VcSkm-sMLkHwoEj7QiXP8uuEiJGCqH7R11lCQSG8hy8t7m2ckCNQTDM4gqJ0/s320/sunrise8.jpg" style="cursor: move;" width="320px" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimkfTR-yVa5-IHywTucVTXnsmbeHI9OIDmrSH4YwSGOd2uSQssUo2K2gX7-RoXr5aBsWCeBr84VE8dX3yFGiCsp7DDB4FSMEvD6mvRQNHcEFQiAtzIrbKIbXwNQ1sWBbKgMrEmz-eVyUo/s1600/sunrise5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimkfTR-yVa5-IHywTucVTXnsmbeHI9OIDmrSH4YwSGOd2uSQssUo2K2gX7-RoXr5aBsWCeBr84VE8dX3yFGiCsp7DDB4FSMEvD6mvRQNHcEFQiAtzIrbKIbXwNQ1sWBbKgMrEmz-eVyUo/s400/sunrise5.jpg" style="cursor: move;" width="287px" /></a></div>
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From the disappeared world to the rounded edges Tony Evan's Photographs in <a href="http://www.amazon.co.uk/English-Sunrise-Brian-Rice/dp/0701130768/ref=sr_1_4?s=books&ie=UTF8&qid=1322083587&sr=1-4">'The English Sunrise'</a> demonstrate that by focusing on one element in the world around us - becomes a world in itself.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgS-4al70bBKyIpxI0A_Lk5xVsE2jq8G4Ox4pCGCtmm9gWpILHP3IpYemeHXjbwfZk_ssLQV28wca-kWox9gWZucRroJNGUhVwcIoSBse1RT5DP9BBISvPFEIH9-3SqeAB71SPYLBPn80M/s1600/richard+heeps1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgS-4al70bBKyIpxI0A_Lk5xVsE2jq8G4Ox4pCGCtmm9gWpILHP3IpYemeHXjbwfZk_ssLQV28wca-kWox9gWZucRroJNGUhVwcIoSBse1RT5DP9BBISvPFEIH9-3SqeAB71SPYLBPn80M/s320/richard+heeps1.jpg" style="cursor: move;" width="318px" /></a></div>
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Richard Heeps</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-PHy5-izGa1WfBB1N-dvmjryIKnYuykhJM8DNgfiuxwmEHJrrRV8BWA8jAXUnhX6z2MCoB7gVkfAEquN5llyBLUTVrQBYjnsL6tMQdMisJ6KXgvu-9h4m8B81aEKVGGYiBbYtUnaCIXU/s1600/richard+heeps+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="256px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-PHy5-izGa1WfBB1N-dvmjryIKnYuykhJM8DNgfiuxwmEHJrrRV8BWA8jAXUnhX6z2MCoB7gVkfAEquN5llyBLUTVrQBYjnsL6tMQdMisJ6KXgvu-9h4m8B81aEKVGGYiBbYtUnaCIXU/s320/richard+heeps+2.jpg" style="cursor: move;" width="320px" /></a></div>
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Simple subject matter and found still life's are found constantly in photography. <a href="http://www.richardheeps.co.uk/index.html">Richard Heeps</a> subject matter is also nostalgic - they are contemporary but seem to come from another time.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZscpPhf4I6BPrAmsvMzSCW_E4tHkSlatEpTh8naqaqkcaCSw2it9V02Y6y0XuYrGEfVp1MotOAib9Xtc87JAKffoIbuy9SeYTK2ucZRJEoaQMpaEC82ke2O8bSbNSGoS7LKDPMrF2xJwG/s1600/redribbon.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="312px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZscpPhf4I6BPrAmsvMzSCW_E4tHkSlatEpTh8naqaqkcaCSw2it9V02Y6y0XuYrGEfVp1MotOAib9Xtc87JAKffoIbuy9SeYTK2ucZRJEoaQMpaEC82ke2O8bSbNSGoS7LKDPMrF2xJwG/s400/redribbon.jpg" style="cursor: move;" width="400px" /></a></div>
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<a href="http://eastmanimages.com/vanishing-america">Michael Eastman</a> 'Red Ribbon' from the American Series</div>
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Early morning (or evening) light pours through a shop window turning a simple scene into a dreamlike image. You are reminded of Walker Evans' 1930's interiors or <a href="http://www.edwardhopper.com/">Edward Hopper's</a> paintings of America. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY8qRCQr9Nglr81Z8x6UlCK2irTC9UuXTYpgDdFp5I1FGzEiGO-LhXpfZnu7G1hoZsYjQFVUpiQ_vp0uql0WeNOydvZ6Qwyt6qWYzWN2-pMYwNPn23CgDa7wQGFdBRujV0qu171Lt-BAU/s400/thomas_demand_mgkbs_05.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="335px" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY8qRCQr9Nglr81Z8x6UlCK2irTC9UuXTYpgDdFp5I1FGzEiGO-LhXpfZnu7G1hoZsYjQFVUpiQ_vp0uql0WeNOydvZ6Qwyt6qWYzWN2-pMYwNPn23CgDa7wQGFdBRujV0qu171Lt-BAU/s400/thomas_demand_mgkbs_05.jpg" style="cursor: move;" width="400px" /></a></div>
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<a href="http://www.google.co.uk/imgres?imgurl=http://www.foto8.com/new/images/report/guy_main/fried_demand.jpg&imgrefurl=http://www.foto8.com/new/online/blog/834-michael-fried-on-why-photography-matters&usg=__WG9lg0G6SkwMprYhMl2_VnU53ac=&h=450&w=470&sz=150&hl=en&start=32&zoom=1&um=1&itbs=1&tbnid=3xNtDpVq18DxtM:&tbnh=124&tbnw=129&prev=/images%3Fq%3Dthomas%2Bdemand%26start%3D20%26um%3D1%26hl%3Den%26sa%3DN%26rls%3Dcom.microsoft:en-US%26rlz%3D1I7SKPB_en%26ndsp%3D20%26tbs%3Disch:1">Thomas Demand</a></div>
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<a href="http://www.foto8.com/new/images/report/guy_main/fried_demand.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="382px" ox="true" src="http://www.foto8.com/new/images/report/guy_main/fried_demand.jpg" style="cursor: move;" width="400px" /></a></div>
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<a href="http://www.thomasdemand.de/">Thomas Demand</a></div>
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Photographers have changed the way we view the Still Life but artists have also found new ways to respond to the objects around them. The do not always paint them but they do use and contemplate them.</div>
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At first <a href="http://www.guardian.co.uk/culture/2006/jun/08/1">Thomas Demands</a> images seem dull and everyday - a messy office, a kitchen table or a sink full of pots. All of his images are constructed and based on images he fines in text books, magazines and periodicals (usually buildings and interiors). Using these images as his basis he constructs meticulous models of the chosen scenarios in his studio. Look again at his photographs and you can just about tell that the material he has used is paper and card - like elaborate origami. He then carefully lights the models and photographs them using a large format camera. There always seems to be something 'wrong' with Demand's images and it is this tension between the real and the fake which exists in all photographs.</div>
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Irving Penn 1975</div>
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<a href="http://www.masters-of-photography.com/images/full/penn/penn_butts.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" n4="true" src="http://www.masters-of-photography.com/images/full/penn/penn_butts.jpg" style="cursor: move;" width="290px" /></a></div>
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Irving Penn 'Cigarette 17' New York, 1972</div>
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Irving Penn - New York 1972</div>
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Irving Penn is mainly famous as a top fashion photographer and his images are the height of style and elegance. However, he also managed to create a wide range of images and amongst the most curious are his images of New York rubbish. Close up shots of Cigarette butts and empty carton's are reduced to pure black and white, with a white background and in fine detail. A lot can be learnt from the remnants and artifacts of a society. These are ours - magnified.<br />
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<span class="Apple-style-span" style="color: white;">Rene Magritte 'The Explanation' 1954</span></div>
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<span class="Apple-style-span" style="font-family: sans-serif; font-size: small;"><span class="Apple-style-span" style="font-size: 13px; line-height: 19px;"><span class="Apple-style-span" style="font-family: Times;"><span class="Apple-style-span" style="font-size: small; line-height: normal;"><span class="Apple-style-span" style="color: white;">Renne Magritte 'le modele rouge' 1935</span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-family: sans-serif;"><span class="Apple-style-span" style="line-height: 19px;"><span class="Apple-style-span" style="font-family: Times;"><span class="Apple-style-span" style="line-height: normal;"><span class="Apple-style-span" style="color: white;"><span class="Apple-style-span" style="font-size: large;">These images by Rene Magritte show how he would juxtapose two images to create a new strange image. A carrot becomes a bottle or shoes become feet. Magritte was a Surrealist who were interested in dreams and the unconscious. In a dream you will combine everyday things but by combining them they become strange. You may dream of a hat or a piece of cheese - both very ordinary. However, in your dream they appear to you as a hat made out of cheese - this is an element of surrealism.</span></span></span></span></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhREZVcHIPyGmUzViuz8AqbyOFK_opCoMG2I9kx6seSvq3ScOQf_s7bBG4fmfk_13cQz3alw1z9toso2QJ4Sh_1b5OogNNfeLPY_X86vy9cN-FBtFeaaGN7nBIziHI4oW-lo9MS9z9aOv87/s1600/cadeau.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhREZVcHIPyGmUzViuz8AqbyOFK_opCoMG2I9kx6seSvq3ScOQf_s7bBG4fmfk_13cQz3alw1z9toso2QJ4Sh_1b5OogNNfeLPY_X86vy9cN-FBtFeaaGN7nBIziHI4oW-lo9MS9z9aOv87/s400/cadeau.jpg" width="296px" /></a></div>
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<span class="Apple-style-span" style="color: white;"><span class="Apple-style-span" style="font-size: large;">Man Ray 'Cadeau' 1921</span></span></div>
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<span class="Apple-style-span" style="color: white;"><span class="Apple-style-span" style="font-size: large;">By adding a row of nails, Man Ray transformed a household flat-iron into a new and potentially threatening object. The nails and burning metal suggest a violent object at odds with the work’s title, the French word for ‘gift’. The original version, given to the composer Eric Satie, was lost but became well-known through Man Ray’s photograph of it. Although made at the height of Paris Dada Cadeau, like Man Ray’s other objects, anticipated the exposure of hidden desires found in subsequent Surrealist objects.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihSN8n0wedpYpLOldGjsyT0S3NIR0VRTDRDqkj-uaLYQ4lKNfJvTCZJb7CiWIDijHHy-NzPNXa2qg_tNQDS14vkXpXiiIZd-r4j88FJ3ugbQCbaeN9EftPyZCsJpqW_HouXjoySyaz-Sdj/s1600/Oppenheim.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="305px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihSN8n0wedpYpLOldGjsyT0S3NIR0VRTDRDqkj-uaLYQ4lKNfJvTCZJb7CiWIDijHHy-NzPNXa2qg_tNQDS14vkXpXiiIZd-r4j88FJ3ugbQCbaeN9EftPyZCsJpqW_HouXjoySyaz-Sdj/s400/Oppenheim.jpg" width="400px" /></a></div>
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<span class="Apple-style-span" style="color: white;"><span class="Apple-style-span" style="font-size: large;">Meret Oppenheim 'object' 1936</span></span></div>
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<span class="Apple-style-span" style="color: white;"><span class="Apple-style-span" style="font-size: large;">This Surrealist object was inspired by a conversation between Oppenheim and artists Pablo Picasso and Dora Maar at a Paris cafe. Admiring Oppenheim's fur-covered bracelet, Picasso remarked that one could cover anything with fur, to which she replied, "Even this cup and saucer." Soon after, when asked by André Breton, Surrealism's leader, to participate in the first Surrealist exhibition dedicated to objects, Oppenheim bought a teacup, saucer, and spoon at a department store and covered them with the fur of a Chinese gazelle.</span></span></div>
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<span class="Apple-style-span" style="font-family: Times; font-size: small; line-height: normal;"><span class="Apple-style-span" style="color: white;">Traditionally a sculpture transforms a material - A tree into a carving, a rock into a horse or clay moulded into a figure. The sculpture Bill Woodrow believes that any material has the potential to become something else.</span> <a href="http://www.tate.org.uk/servlet/ViewWork?cgroupid=999999961&workid=16465&searchid=9174&tabview=work"><span class="Apple-style-span" style="color: white;">Bill Woodrow</span></a></span><span class="Apple-style-span" style="font-family: Times; font-size: small; line-height: normal;"><span class="Apple-style-span" style="color: white;">’s raw materials are familiar, domestic objects collected from the streets and junk yards in his neighbourhood. In the early 1980s he began giving them new meanings by peeling back their outer casing to form new objects. Here he has cut a sculpture of an electric guitar from a discarded Hotpoint washing machine.</span></span><br />
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<a href="http://translate.google.co.uk/translate?hl=en&sl=fr&u=http://www.armanstudio.com/&ei=RAYCTfLMK4bI4AbIxLWsCg&sa=X&oi=translate&ct=result&resnum=2&ved=0CCgQ7gEwAQ&prev=/search%3Fq%3DArman%26hl%3Den%26rls%3Dcom.microsoft:en-US%26rlz%3D1I7SKPB_en%26prmd%3Divn">Arman</a> 'Accumulation of electric razors embedded in plexiglas' 1968</div>
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Arman was a European pop artist who collected the same type of object and placed them inside glass containers. This act of taking what seems to be rubbish is exactly what is do in Museums - by taking an object out of its original context and placing it in a cabinet the viewer sees that object in a new way. Arman's objects seem to be relic's from another age and as we get further away (in time) from</div>
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Arman's work the objects seem stranger and more unusual. The second world war had still left scars on Europe and Arman started by going through the rubble of derelict building to collect these everyday objects. In many ways they are both relics but also an example of the everyday amassed and becoming strange.</div>
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<a href="http://static.guim.co.uk/sys-images/Guardian/Pix/arts/2005/10/11/GetPeterMacdiarmid_boxes3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="205px" src="http://static.guim.co.uk/sys-images/Guardian/Pix/arts/2005/10/11/GetPeterMacdiarmid_boxes3.jpg" style="cursor: move;" width="400px" /></a></div>
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Rachel Whiteread looks at many ignored areas -</div>
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the space under a chair,</div>
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<a href="http://multimedia.museomadre.it/foto/web/opera253_museo_madre.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="321px" src="http://multimedia.museomadre.it/foto/web/opera253_museo_madre.jpg" style="cursor: move;" width="400px" /></a></div>
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RACHEL WHITEREAD <a href="http://www.museomadre.it/opere.cfm?id=253&evento=50&pt=1">'UNTITLED (SIXTEEN SPACES)'</a> 1995</div>
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the space in front of a book case,</div>
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<a href="http://www.damonart.com/linkimages/l_whiteread_sequel_2002.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="http://www.damonart.com/linkimages/l_whiteread_sequel_2002.jpg" style="cursor: move;" width="386px" /></a></div>
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Rachel Whiteread <a href="http://artsbooksshow.wordpress.com/rachel-whiteread/">"Sequel IV”</a>, 2002, Plaster, polystyrene and steel</div>
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or the space around a light switch.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjD5w9vQ9XB0aYhc-V-SerZEnFUeY8NsJ15GrEDAcPrLVzmiJ5YSrylUOuj_-fUdBWHH_XxS5duoNzxTatwBsss5hjbNKKnvBbfFtDuHnpf-h1n9IrxjzYHP4HgFZbBizTacVj0jjH8tE/s1600/rachel+whiteread.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjD5w9vQ9XB0aYhc-V-SerZEnFUeY8NsJ15GrEDAcPrLVzmiJ5YSrylUOuj_-fUdBWHH_XxS5duoNzxTatwBsss5hjbNKKnvBbfFtDuHnpf-h1n9IrxjzYHP4HgFZbBizTacVj0jjH8tE/s400/rachel+whiteread.jpg" style="cursor: move;" width="318px" /></a></div>
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Rachel Whiteread, Untitled (Twenty-Four Switches) 1998</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5_fLKcE_wLc2bsUiZiC5qcwTuiOUdbdEGrMpoN76zHmw6cy_HzW0OwuHlVdt3ENn4iu9Oko0cqP6FTTzbao1NeEIIoTJ_sn5fN7UmVxhyphenhyphen__D_UXuhD_-CUj3UPgXoGUdJK7VN0TAIMSw/s1600/2006-03tatemodernturbinehall.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5_fLKcE_wLc2bsUiZiC5qcwTuiOUdbdEGrMpoN76zHmw6cy_HzW0OwuHlVdt3ENn4iu9Oko0cqP6FTTzbao1NeEIIoTJ_sn5fN7UmVxhyphenhyphen__D_UXuhD_-CUj3UPgXoGUdJK7VN0TAIMSw/s400/2006-03tatemodernturbinehall.jpg" style="cursor: move;" width="400px" /></a></div>
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<a href="http://www.guardian.co.uk/artanddesign/2010/sep/06/rachel-whiteread-tate-drawings">Rachel Whiteread</a> <a href="http://www.guardian.co.uk/uk/2005/oct/11/1">'EMBANKMENT' 2005</a></div>
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Rachel Whiteread deals with negative space - the space under a chair, in front of a book case or in an empty room. In 'Embankment' Whiteread used the empty space inside a card board box - <a href="http://www.independent.co.uk/arts-entertainment/art/features/rachel-whiteread-ive-done-the-same-thing-over-and-over-2068718.html">giving form where there isn't any</a>. In Tate Moderns Turbine Hall, she created a gigantic labyrinth-like structure, entitled EMBANKMENT, made from 14,000 casts of the inside of different boxes, stacked to occupy this monumental space. The form of a cardboard box has been chosen because of its associations with the storage of intimate personal items and to invoke the sense of mystery surrounding ideas of what a sealed box might contain.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUmiidlmtKcNZOQpt_j2amaEAK-kHf4vpV3FcjRVWQZP7EEmm3nddttGo7VXOkAXuA2DcSo8tixYR_rYg5AP1cahzDb0YOedneNvDX0BsxFDO4UhUgNbaK2olwxJBF2pjQjSwYr3qOj-67/s1600/Picture+44.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="322" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUmiidlmtKcNZOQpt_j2amaEAK-kHf4vpV3FcjRVWQZP7EEmm3nddttGo7VXOkAXuA2DcSo8tixYR_rYg5AP1cahzDb0YOedneNvDX0BsxFDO4UhUgNbaK2olwxJBF2pjQjSwYr3qOj-67/s400/Picture+44.png" width="400" /></a></div>
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<a href="http://arttattler.com/archivepaintinginphotography.html">Luigi Ghirri </a>- 'Atelier Morandi, Grizzana' 1989/90</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZqbNezrnHpvog5DwSLKFdahmBGTB6Rrw289_vfJ2sBaMfvGLn3U1Pkbx_87Ua3EUUIF-PGhpIusjZg-AZUyHhEx7bNSbAL_5CEBfiDHxUF-ZVMdu3yC-GiPu7LFVORJPbsILfwB3ep2A4/s1600/Picture+45.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZqbNezrnHpvog5DwSLKFdahmBGTB6Rrw289_vfJ2sBaMfvGLn3U1Pkbx_87Ua3EUUIF-PGhpIusjZg-AZUyHhEx7bNSbAL_5CEBfiDHxUF-ZVMdu3yC-GiPu7LFVORJPbsILfwB3ep2A4/s400/Picture+45.png" width="400" /></a></div>
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<a href="http://www.mai36.com/showroom/past/111/414-2011-luigi-ghirri-showroom.html">Luigi Ghirri</a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGzyb1APMEzavnx7qxkCu_Op2qFZhMjsWKjwB2fdNs0h1H6CZYXAlMU26y-VPSTVCucCwrxEGL-RStdVm-BuwwAPDRfo0QYX5u0CoPiTspb_dNPvx515JLoI_M1tZnwlVBW1Tz1sblG7F6/s1600/Picture+48.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGzyb1APMEzavnx7qxkCu_Op2qFZhMjsWKjwB2fdNs0h1H6CZYXAlMU26y-VPSTVCucCwrxEGL-RStdVm-BuwwAPDRfo0QYX5u0CoPiTspb_dNPvx515JLoI_M1tZnwlVBW1Tz1sblG7F6/s400/Picture+48.png" width="400" /></a></div>
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<a href="http://lauraletinsky.com/">Laura Letinsky</a> at the <a href="http://thephotographersgallery.org.uk/laura-letinsky-ill-form-and-void-full">Photographers Gallery</a></div>
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jfkturnerhttp://www.blogger.com/profile/04292497470976112213noreply@blogger.comtag:blogger.com,1999:blog-5743411721886035143.post-538898291258774702012-02-27T03:50:00.000-08:002012-02-27T03:50:54.157-08:00Ordinary and/or Extraordinary - Natural World part 2 - The Elements<div class="separator" style="clear: both; text-align: center;"><a href="http://www.allartclassic.com/img/Caspar_David_Friedrich_FRC020.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="258px" src="http://www.allartclassic.com/img/Caspar_David_Friedrich_FRC020.jpg" width="400px" /></a></div><div style="text-align: center;"><a href="http://www.andrewgrahamdixon.com/broadcast/byVcat/127">Casper David Friedrich</a> 'Monk by the Sea' 1808 - 1810</div><div style="text-align: left;">A lone figure gazing out an an expanse of sea. Most of us have gazed out to sea and gained a sense of the vastness of the world, of the universe - this is the sublime. Casper David Friedrich breaks the whole world down to three elements - the blank foreground of land (earth), the blackish murky sea (water) and the vast empty bruise like sky (Air). It is almost abstract if seen through half closed eyes. It could be a late period Rothko with the same elements of bleakness and emptiness.</div><div class="separator" style="clear: both; text-align: center;"><a href="http://artobserved.com/artimages/2008/09/untitled-1969-mark-rothko.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="313px" src="http://artobserved.com/artimages/2008/09/untitled-1969-mark-rothko.jpg" width="400px" /></a></div>This is a late period <a href="http://www.telegraph.co.uk/culture/3561147/Rothko-exhibition-opens-at-Tate-Modern.html">Rothko</a>, created a year before the artist committed suicide. It displays the dark color palette the artist primarily used during his last years of life, a period that was said to be increasingly lonely and isolating for the artist. His earlier work is much more colourful - the colours affect you on a visceral level - here's one now to cheer you up.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://obit-mag.com/media/image/rothko.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="http://obit-mag.com/media/image/rothko.jpg" width="275px" /></a></div><div><div style="text-align: center;"><a href="http://obit-mag.com/articles/starring-mark-rothko">Rothko</a></div><div><span class="Apple-style-span" style="font-size: large;">Earth </span><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://www.tate.org.uk/images/cms/12531w_microtate_crackedearth.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="http://www.tate.org.uk/images/cms/12531w_microtate_crackedearth.jpg" width="306px" /></a></div><div style="text-align: center;"><a href="http://www.kadishman.com/">Menashe Kadishman</a> - '<a href="http://www.tate.org.uk/tateetc/issue9/microtate.htm">Cracked Earth</a>' 1973 - 1974</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7hehdLoc4Dh8_H3gQhOzICnK9wS1tP1Dieic_fiePLR77RLiOZ9sPuL1ZDz5spn6rBip0oaiLDi92Sjbm3VEivvwiR4RSDvi_cdIdOZPwCw0RlmRd8khRdsJorFNqU49wqNKjmkTgJGie/s1600/weston+cracked+earth.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="277px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7hehdLoc4Dh8_H3gQhOzICnK9wS1tP1Dieic_fiePLR77RLiOZ9sPuL1ZDz5spn6rBip0oaiLDi92Sjbm3VEivvwiR4RSDvi_cdIdOZPwCw0RlmRd8khRdsJorFNqU49wqNKjmkTgJGie/s400/weston+cracked+earth.jpg" width="400px" /></a></div><div class="separator" style="clear: both; text-align: center;">Edward Weston - 'Cracked Earth Borego CA'</div><div class="separator" style="clear: both; text-align: left;">Some images are destined to be taken again and again. The image of cracked earth, baked by the sun, life less - it is an iconic image. It speaks of despair and the inability to grow food for living - just looking at these images make you thirsty. On a purely abstract level they create geometric patterns - it is like finding mathematics in nature.</div><div class="separator" style="clear: both; text-align: center;"></div><div><div style="text-align: center;"><a href="http://landscapephotographyblogger.com/wp-content/uploads/2010/10/Rock-Formation-Weston-Beach-2-Vert-blog.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320px" src="http://landscapephotographyblogger.com/wp-content/uploads/2010/10/Rock-Formation-Weston-Beach-2-Vert-blog.jpg" width="225px" /></a></div></div><div>'Rock Formations Detail, Weston Beach, Point Lobos State Reserve, California', 1949 by <a href="http://www.philiphyde.com/">Philip Hyde</a>.</div><br />
<div class="separator" style="clear: both; text-align: left;"></div><div style="text-align: center;"><div><a href="http://www.edward-weston.com/images/Brett_Weston_Portfolios/Baja_California/Untitled,%20Rock%20Formation,%201968.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320px" src="http://www.edward-weston.com/images/Brett_Weston_Portfolios/Baja_California/Untitled,%20Rock%20Formation,%201968.jpg" width="250px" /></a></div><div><a href="http://www.edward-weston.com/brett_weston_portfolio_baja_11.htm">Brett Weston</a> 'Untitled, Rock Formation', 1968</div></div><br />
<div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiBkczvu76zcGUj9aH5oifrO_tbIFR3D8oSWUc1dBeNPk1cYCBXHMOWaQIaDLxkjXgRPvx9m2ChrTQ0Cryd30QmBvw57KmCn_6w6NDHbmXw0wGA9T6uFZDLpIaiPouZYy4qkS4Yhc4prsw/s1600/mario_giacomelli_14.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="301px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiBkczvu76zcGUj9aH5oifrO_tbIFR3D8oSWUc1dBeNPk1cYCBXHMOWaQIaDLxkjXgRPvx9m2ChrTQ0Cryd30QmBvw57KmCn_6w6NDHbmXw0wGA9T6uFZDLpIaiPouZYy4qkS4Yhc4prsw/s400/mario_giacomelli_14.jpg" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Mario Giacomelli</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://t0.gstatic.com/images?q=tbn:Gs3kCAD_ac2W9M:http://img257.imageshack.us/img257/1402/mariogiacomelli32320020.jpg&t=1" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="295px" src="http://t0.gstatic.com/images?q=tbn:Gs3kCAD_ac2W9M:http://img257.imageshack.us/img257/1402/mariogiacomelli32320020.jpg&t=1" style="cursor: move;" width="400px" /></a></div><div style="text-align: center;"><div style="margin: 0px;"><a href="http://translate.google.co.uk/translate?hl=en&sl=it&u=http://www.mariogiacomelli.it/&ei=Xqf3TO_ROYSxhAf0nrDFDw&sa=X&oi=translate&ct=result&resnum=7&sqi=2&ved=0CDMQ7gEwBg&prev=/search%3Fq%3Dmario%2Bgiacomelli%26hl%3Den%26client%3Dsafari%26rls%3Den%26prmd%3Divo">Mario Giacomelli</a></div></div><div><div style="margin: 0px;">The patterns created by the grooves in the earth have been captured by Mario <a href="http://www.telegraph.co.uk/travel/picturegalleries/5016654/Mario-Giacomelli-exhibition.html">Giacomelli</a>. Giacomelli was a true local, tied to his region, town, and its rhythms and traditions. He was self taught and even in his artistic expression he was influenced by his homeland. We can see this in his landscapes showing signs of man’s labour, with folds like wrinkles on a person’s hands, landscapes that speak of faces and things living in the soul. The story goes that Giacomelli would borrow his neighbors tractor to make the tracks go in another direction to create the perfect graphic, semi abstract photograph. He printed all his work in a trade mark high contrast style. For Giacomelli, photography was above all love, the image telling a poem of the heart which continues to surprise and move us (he originally trained as a poet and a painter).</div></div><div><br />
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<span class="Apple-style-span" style="font-size: large;">Water</span><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVhmSGWH1p6sN-9yfNLFjNShOEwWDv-HnWwWeBPhvfgjsskDU3yRmuxIskcAnvoLW3v0w7yNUPHe8Y5vUZogy40E9EGm-FuC7ZGf61gcfy0J16_SS8Hw7OkQX1vK8NhLrVTCvlLGy5F_hw/s1600/ROSS-Hur_XLII-exhib.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="321px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVhmSGWH1p6sN-9yfNLFjNShOEwWDv-HnWwWeBPhvfgjsskDU3yRmuxIskcAnvoLW3v0w7yNUPHe8Y5vUZogy40E9EGm-FuC7ZGf61gcfy0J16_SS8Hw7OkQX1vK8NhLrVTCvlLGy5F_hw/s400/ROSS-Hur_XLII-exhib.jpg" width="400px" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3x6fJYZnlYJ0ZiMMCkIEjLji57a5d0lUEjfHFhKI9_ZKxi8WhqeyuG73UOsHaSrlE3Lxw1G0kh0QjX29mRjtgRSUQqyRTeMWaFo1DwAPT8NSDlbUIiWyBvVqwHIbiV2_vTJcKA9QN6Fu5/s1600/ross-waves.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3x6fJYZnlYJ0ZiMMCkIEjLji57a5d0lUEjfHFhKI9_ZKxi8WhqeyuG73UOsHaSrlE3Lxw1G0kh0QjX29mRjtgRSUQqyRTeMWaFo1DwAPT8NSDlbUIiWyBvVqwHIbiV2_vTJcKA9QN6Fu5/s400/ross-waves.jpg" width="341px" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2R1qpTODWAYzxiuk8SKtEQnkU3GhZjrLnfAd3uM1MHUVTIixdNicAniQpISJVeBd-uRWMaQvgNCkHPhQyGs9EMdIRsVvW0BsKUWt0Xxe5xbhcBzWRw_LQZWpVfKVFWYFKBeZAgz-K-v62/s1600/cliffordross.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="322px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2R1qpTODWAYzxiuk8SKtEQnkU3GhZjrLnfAd3uM1MHUVTIixdNicAniQpISJVeBd-uRWMaQvgNCkHPhQyGs9EMdIRsVvW0BsKUWt0Xxe5xbhcBzWRw_LQZWpVfKVFWYFKBeZAgz-K-v62/s400/cliffordross.jpg" width="400px" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.cliffordross.com/photography/hurricanes/3/index.php">Clifford Ross</a> - from the 'Hurricane' series</div><div class="separator" style="clear: both; text-align: left;">Water is transformed into a stationary solid form and has been frozen in time. The rich black obliterates the sea and sky creating a solid area of negative space to contrast with the white textured area. <a href="http://www.cliffordross.com/conversations/writings/melville.php">Ross</a>' images seem to be a heightened form of the real world - these are waves but they seem to be <a href="http://bombsite.com/issues/85/articles/2585">perfect solid waves.</a></div><div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvAduBfQ8ppPYSZ8rkTkPDi1tZfNV1Oc6cRx1_bSYCmC-dnxlPOaA3IdN0o5ag72oTCMQZLYi5Qfa_9vvoWxO0gf1Xt83CmjwkdxBHvX2XQOb3LWnqRtmfN6m5I_LmPTxpAhQPrcjEOylZ/s1600/ernst-hass-water-droplets.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="272px" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvAduBfQ8ppPYSZ8rkTkPDi1tZfNV1Oc6cRx1_bSYCmC-dnxlPOaA3IdN0o5ag72oTCMQZLYi5Qfa_9vvoWxO0gf1Xt83CmjwkdxBHvX2XQOb3LWnqRtmfN6m5I_LmPTxpAhQPrcjEOylZ/s400/ernst-hass-water-droplets.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Ernst Haas 'Droplets on an Autumn leaf' 1964</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">Nature provides its own lenses to bring veins of the leaf into closer view. The lenses are droplets of water that appeared on the leaves in the cool mist of September.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_skCQyKbaoHlm9hUO5bYJLvqG1o8eFyCjHWfLWmhBNZAMIxheXLGjCZqKRFmNezz7XqFrdfmnalQ6wEdDOIVroaZC77d1S7fChLIO4zvpwJa6vlrRCriL-jaJjnistrOT1iHRtYG9Xun-/s1600/ernst-hass-frozen-pine-needles.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="267px" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_skCQyKbaoHlm9hUO5bYJLvqG1o8eFyCjHWfLWmhBNZAMIxheXLGjCZqKRFmNezz7XqFrdfmnalQ6wEdDOIVroaZC77d1S7fChLIO4zvpwJa6vlrRCriL-jaJjnistrOT1iHRtYG9Xun-/s400/ernst-hass-frozen-pine-needles.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.ernst-haas.com/">Ernst Haas</a> 'Pine Needles in Ice' 1967</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">Autumn turns to Winter. The frozen bubbles captured and preserved before they reached the surface. Haas used his camera to peer closely at ordinary subjects to find beauty. Pine needles, positioned towards the right hand side of the frame, divide up the composition. Bubbles form circles of different sizes to contrast with the vertical needles. A photograph preserves a moment in time, frozen forever. Frost and ice also affects the process of time.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://bintphotobooks.blogspot.com/2009_03_01_archive.html"><img border="0" height="300px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfXjpmhY2uM49rhtCXogbsT_AltJzEuogVOZaT-gF_tcBmWijXz-fMkbxQQxbGoYeWa2oQseZKfR3UzQjVN3xjHDCG3DP204jjHvnk0vBhTJ5nGaoRqsb3Q8a2b8r-K759Xdcaf44oh6U/s400/IMG_6678.JPG" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Simple net sails of a boat overlap to create a delicate pattern.</span></div></div><div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheSvd6kc7o0OCrpEzry7q4QTmYXRUTfoTHDuzhSKmT8iQqB81shI7Z0wz9J0-e_tG6f5Ld4QJaODaQ5zhOkVtu9ndpPCHfjI3R1n_urF1DvFPmrsrjwH_9Uj4qzWNOKZlgTxE-O_pfXj0/s1600/Caponigro_FW.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="321px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheSvd6kc7o0OCrpEzry7q4QTmYXRUTfoTHDuzhSKmT8iQqB81shI7Z0wz9J0-e_tG6f5Ld4QJaODaQ5zhOkVtu9ndpPCHfjI3R1n_urF1DvFPmrsrjwH_9Uj4qzWNOKZlgTxE-O_pfXj0/s400/Caponigro_FW.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.soulcatcherstudio.com/artists/caponigro.html">Paul Caponigro</a> 'Frost Window No.2' 1961</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">A picture of frost crystals on a bedroom window makes a tapestry out of a mixture of pattern and texture. Positioning his view camera about 30cm from the glass, the photographer stopped the lens all the way down to f32 so as not to loose the dark trees in the background.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg180EjpDa8IgXh8Hajdx0cA_W6Kdk9O15XBiRJgz5d32gBAc0L3emx9P9d0TKaKp66HB9vahlvlBCBq0RluxzvDFLd8EfNsPWtdYobf7h9BOZLHT_hkRXWob_ec16Rhyphenhyphen0dmQ3zuBeQkUFN/s320/marc-quinn-blood-portrait+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320px" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg180EjpDa8IgXh8Hajdx0cA_W6Kdk9O15XBiRJgz5d32gBAc0L3emx9P9d0TKaKp66HB9vahlvlBCBq0RluxzvDFLd8EfNsPWtdYobf7h9BOZLHT_hkRXWob_ec16Rhyphenhyphen0dmQ3zuBeQkUFN/s320/marc-quinn-blood-portrait+2.jpg" style="cursor: move;" width="279px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Marc Quinn '<em>Self</em> ' 1991</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">This is a a self-<a class="glossarylinktopopup" href="http://www.tate.org.uk/collections/glossary/definition.jsp?entryId=227" title="Glossary definition for 'Portrait'">portrait</a> head made from the artists own frozen blood. He had to take the blood out in stages and he exhibits it in a refrigerator.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://obit-mag.com/media/image/napoleon5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" ox="true" src="http://obit-mag.com/media/image/napoleon5.jpg" style="cursor: move;" width="300px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.google.co.uk/imgres?imgurl=http://obit-mag.com/media/image/napoleon5.jpg&imgrefurl=http://obit-mag.com/viewmedia.php/prmMID/6093&usg=__02FugfRza-FhXKe6rwVFiND7rwE=&h=400&w=300&sz=120&hl=en&start=7&zoom=1&um=1&itbs=1&tbnid=YUZeMx4q1WH1PM:&tbnh=124&tbnw=93&prev=/images%3Fq%3Ddeath%2Bmask%26um%3D1%26hl%3Den%26sa%3DN%26rls%3Dcom.microsoft:en-US%26rlz%3D1I7SKPB_en%26tbs%3Disch:1">Napoleon's Death Mask</a></div><div class="separator" style="clear: both; margin: 0px; text-align: left;">It has the same quality as a traditional death Mask - cast after the subject has passed away. It’s hard to believe that this face once made Europe quake. This is Napoleon's death mask, in the British Museum in London. His steely determination and spark of dynamism have dissolved. His eyes are sunken, his cheek hollow, his lips hang slightly ajar. It’s a fallen face, and the story it tells is of defeat and exile.</div><br />
<div class="separator" style="clear: both; margin: 0px; text-align: center;"></div><div class="separator" style="clear: both; font-family: Times; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgynqKxkzrryMov8Fdj4PoykVPDmWF1jYnDf6PBN4pvfnOa8griC4OYT7OdIIi3yet0BvLwoJD_g9hovRYhDXARXZJB1qdyarAAKkx6gqlamQWYFIl2F75S7ksiXWDmjdI_oNF5-4cbo2rD/s1600/hitchcock-water-reflection.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="365px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgynqKxkzrryMov8Fdj4PoykVPDmWF1jYnDf6PBN4pvfnOa8griC4OYT7OdIIi3yet0BvLwoJD_g9hovRYhDXARXZJB1qdyarAAKkx6gqlamQWYFIl2F75S7ksiXWDmjdI_oNF5-4cbo2rD/s400/hitchcock-water-reflection.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; font-family: Times; margin: 0px; text-align: center;">Still from Hitchcock's <a href="http://www.youtube.com/watch?v=yeHMuJ7yJKI">'The Ring' 1927</a> - a moving reflection in a stream</div><div class="separator" style="clear: both; font-family: Times; margin: 0px; text-align: left;">During the filming of <a href="http://www.independent.co.uk/arts-entertainment/films/news/hitchcocks-forgotten-silent-films-restored-1958696.html">Hitchcock's early silent film</a> The Ring (1927) he experimented with trick photography. In the above still we see a reflection of a couple in a stream. When the water ripples the image itself ripples and the figure go in and out of abstraction.</div><div class="separator" style="clear: both; font-family: Times; margin: 0px; text-align: center;"></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGp-7VXt9LE9M0iUE9zvngKtsVDdDNFTodBHDXODEcUMTZOv_V1DuZcVyTm4Pf2rYdX0gW7YyOGfjUPWN6ee7OMF8Zpjz4CGm-RuU4UGm2boqq9E9b57rYx99FWRhkmFLWtR7dP41Z3Is/s1600/IrvingPenn-Fflower1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGp-7VXt9LE9M0iUE9zvngKtsVDdDNFTodBHDXODEcUMTZOv_V1DuZcVyTm4Pf2rYdX0gW7YyOGfjUPWN6ee7OMF8Zpjz4CGm-RuU4UGm2boqq9E9b57rYx99FWRhkmFLWtR7dP41Z3Is/s400/IrvingPenn-Fflower1.jpg" style="cursor: move;" width="391px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Irvin Penn</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">Droplets of water have been caught in the delicate stems of a dandelion clock. The flower has been back lit to create a simple silhouette. There is a contrast between the sharp translucent circular water droplets and the soft tonal quality of the silhouetted stems.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://images.artnet.com/artwork_images_545_372760_adam-fuss.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="http://images.artnet.com/artwork_images_545_372760_adam-fuss.jpg" style="cursor: move;" width="340px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.vam.ac.uk/collections/photography/blind_visually_impaired/fuss/index.html">Adam Fuss</a> 'Untitled' Photogram 2007</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">Adam Fuss has made a photogram by getting a snake to more through water. The patterns created by the creature moving through the water has been captured directly onto the photographic paper.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://browardnetonline.com/wp-content/uploads/2009/10/EscherRippledSurfaceLR.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="327px" src="http://browardnetonline.com/wp-content/uploads/2009/10/EscherRippledSurfaceLR.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.mcescher.com/">M.C. Escher</a> 'Rippled Surface' 1950</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">M.C. Esher has created the illusion of the rippling surface of water. He has carved into a surface, inked it up and taken a print from it. The raised areas of the surface have left a mark - creating the black ripple effect. There our elements of science and mathematics to Escher art and a fascination in <a href="http://www.antiquespectacles.com/games/optical/illusions/illusions.htm">optical illusions.</a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi10PtFCw-xFdXomhV8qgcc6nArQ_DxbtUdAoipVLvvGGsbC17hPqx-qNINdGlsivUYwdkz_qxAiSrMlTF6kprFpaLQ0Jp81ikFXPVE_r04Rp2ekRKpVfhjgHIqsMSijgnSvYLFAeZWHK4/s1600/Hand+with+Reflecting+Sphere+1935+Lithograph.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi10PtFCw-xFdXomhV8qgcc6nArQ_DxbtUdAoipVLvvGGsbC17hPqx-qNINdGlsivUYwdkz_qxAiSrMlTF6kprFpaLQ0Jp81ikFXPVE_r04Rp2ekRKpVfhjgHIqsMSijgnSvYLFAeZWHK4/s640/Hand+with+Reflecting+Sphere+1935+Lithograph.jpg" style="cursor: move;" width="422px" /></a></div><div style="text-align: center;"><div style="margin: 0px;">'Hand with Reflecting Sphere' M. C. Escher 1935</div></div><div style="text-align: center;"><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.mcescher.com/Gallery/back-bmp/LW356.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="293px" src="http://www.mcescher.com/Gallery/back-bmp/LW356.jpg" style="cursor: move;" width="400px" /></a></span></div></div><div style="text-align: center;"><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">M C Escher</span></div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Air</span></div><div class="separator" style="clear: both; text-align: center;"><a href="http://shagdora.files.wordpress.com/2008/07/image_silver_clouds.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="319px" src="http://shagdora.files.wordpress.com/2008/07/image_silver_clouds.jpg" width="400px" /></a></div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Warhol - <a href="http://www.guardian.co.uk/pictures/image/0,8543,-10104342364,00.html">Silver Cloud installation</a></span></div><div style="margin: 0px;"><div><div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.aperture.org/exposures/wp-content/uploads/2009/04/edwardw.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="338px" src="http://www.aperture.org/exposures/wp-content/uploads/2009/04/edwardw.jpg" width="400px" /></a></div><div style="margin: 0px;"></div><div>'Clouds, Death Valley, 1938' <a href="http://www.aperture.org/exposures/?tag=edward-weston">Edward Weston</a></div><div style="text-align: left;">Clouds are transient - they appear and disappear in minutes. In the vastness of time they exist as long as human lives - briefly. And given enough time they will leave no trace.</div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.leninimports.com/edward_weston_cloud_new_mexico_postcard_1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="http://www.leninimports.com/edward_weston_cloud_new_mexico_postcard_1.jpg" width="281px" /></a></div><div><div></div></div></div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.iphotocentral.com/Photos/andrewsmith_Images/Full/AA-2450.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640px" src="http://www.iphotocentral.com/Photos/andrewsmith_Images/Full/AA-2450.jpg" style="cursor: move;" width="433px" /></a></div><div style="text-align: left;">An ephemeral cloud formation becomes a permanent structure in this above image.</div><br />
<div><div style="margin: 0px; text-align: left;"><a href="http://www.anseladams.com/">Ansel Adams</a> was a giant of 20th century photography. He was a founding member of <a href="http://www.metmuseum.org/toah/hd/f64/hd_f64.htm">The f64 Group</a>. F64 refers to their use of a very small aperture – creating very detailed and objective maximum depth of field shots. A tripod would have been used to create these shots as the small aperture means a slower shutter speed is needed.</div></div><div><div style="margin: 0px; text-align: left;"><br />
</div></div><div style="margin: 0px; text-align: left;">The objective, detailed results represented the new Modernist aesthetic – cold harsh reality over sentimental pictorialism.</div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://www.history.noaa.gov/art/nws_gallery/wea00001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="253px" src="http://www.history.noaa.gov/art/nws_gallery/wea00001.jpg" width="400px" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjA3MuXnchILmAs9N012UtF5k3rs69pr3xxWjaVDUceiQHdcW1U9-py9wTzohhSQLd6p4U6gQ8RPlUxAyanP5euaCOTfWVnyFTqdNhcxBW6dY8fmpB_qmhTb3YqDCRpcrMs2HUpOLhDavJe/s1600/cloud1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="257px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjA3MuXnchILmAs9N012UtF5k3rs69pr3xxWjaVDUceiQHdcW1U9-py9wTzohhSQLd6p4U6gQ8RPlUxAyanP5euaCOTfWVnyFTqdNhcxBW6dY8fmpB_qmhTb3YqDCRpcrMs2HUpOLhDavJe/s400/cloud1.jpg" width="400px" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.history.noaa.gov/art/weather_gallery.html">Cloud illustration</a>. German selections from a German cloud atlas In: "Wolken und andere Erscheinungen....", Thomas Forster, 1819</div><div class="separator" style="clear: both; text-align: center;"><a href="http://vr.theatre.ntu.edu.tw/fineart/painter-wt/michelangelo/michelangelo-1534x.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320px" src="http://vr.theatre.ntu.edu.tw/fineart/painter-wt/michelangelo/michelangelo-1534x.jpg" width="316px" /></a></div><div class="separator" style="clear: both; text-align: center;">Michelangelo's last judgement sistine chapel 1536 to 1541</div><div style="text-align: center;"><span class="Apple-style-span" style="line-height: 30px;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeK_uEBhsB9zBeSssCHBpnuwozeGbz61Nqsi-4jQ1QxFM-P-hhcAlL6Mzfh4Kk0dHWdWNguaU9DqF1vniP3vg63Yeusc9BCJrqAIid2_-OA8rgzxWYzYTK-nzgxFE0nz93M8OslI2_tRc/s1600/Bonnie+%2528with+a+photograph+of+an+Angel%2529_300.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeK_uEBhsB9zBeSssCHBpnuwozeGbz61Nqsi-4jQ1QxFM-P-hhcAlL6Mzfh4Kk0dHWdWNguaU9DqF1vniP3vg63Yeusc9BCJrqAIid2_-OA8rgzxWYzYTK-nzgxFE0nz93M8OslI2_tRc/s400/Bonnie+%2528with+a+photograph+of+an+Angel%2529_300.jpg" width="400px" /></a></span></div><div style="text-align: left;"><span class="Apple-style-span" style="line-height: 30px;"></span></div><div><div style="text-align: center;"><div style="margin: 0px;"><a href="http://www.alecsoth.com/PDFs/BJP.pdf">Alec Soth</a> 'Bonnie with a portrait of an angle'</div></div><div style="text-align: left;"><div style="text-align: center;"><div style="margin: 0px;">In this Image <a href="http://www.dlwp.com/WhatsOn/ExhibitionDetail.aspx?EventId=1299">Alec Soth</a>'s subject believes she can see an angle in a photograph of a cloud.</div><div class="separator" style="clear: both; text-align: center;"><img border="0" height="320px" src="http://www.xtusa.com/images/Blanchard_Balloon.jpg" width="239px" /></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.erbzine.com/mag12/exp48h3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="190px" src="http://www.erbzine.com/mag12/exp48h3.jpg" width="400px" /></a></div></div></div></div><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Times;"></span>clouds</span></div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">balloons</span></div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Jeff Koons</span></div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div><div style="margin: 0px;"><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-size: large;">Fire</span></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKyUn5m2qQwtCeg8DDceXdGuJxIIzV6ge9oQ-xdAEnWNlp94-k1opr6_MuY2NIa8Dspuf3RZFGkoUmmzQXTbj43uVR7hMKxxPjPdtGBpmMt4AdhWih-CSCb4UJE_lUD1IWzvwEV-Lg96MW/s1600/cornelia+parker+mysoulafire_web99.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="263px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKyUn5m2qQwtCeg8DDceXdGuJxIIzV6ge9oQ-xdAEnWNlp94-k1opr6_MuY2NIa8Dspuf3RZFGkoUmmzQXTbj43uVR7hMKxxPjPdtGBpmMt4AdhWih-CSCb4UJE_lUD1IWzvwEV-Lg96MW/s400/cornelia+parker+mysoulafire_web99.jpg" width="400px" /></a></div><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Cornelia Parker - '<a href="http://www.balticmill.com/whatsOn/past/ExhibitionDetail.php?exhibID=141">My Soul Afire</a>' 1997</span><br />
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<div style="text-align: left;">A Burnt hymnal retrieved from a church in Lytle, Texas that was struck by lightening. It is a modern relic made more interesting with its back story. We often give inanimate objects meaning by associating them with memories or other times. Cornelia <a href="http://www.guardian.co.uk/artanddesign/video/2010/jun/23/cornelia-parker-art-baltic">Parker</a> uses sculpture, film, drawings, photographs and objects. Parker is like an archaeologist collecting the waste from our modern world. Parker’s compelling transformations of familiar, everyday objects investigate the nature of matter and test physical properties. Using materials that have a history loaded with association, a feather from Sigmund Freud’s pillow for example, Parker has employed numerous methods of exploration – suspending, exploding, crushing, stretching objects and even language through her titles – transporting them to a realm between two state</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFnga4kY-jjJDAeB1v2HtE6y4rlyWCz2VIbEfR0eA8nVa_nRVcA5kjJp4okDOeqcQBzsEoobaoI0YVz2rhT7gkl1sfrPp3FABPY_MxB8d23wSbzJSvB7GNqev1RbXZE4-7OpxPEka9lbk1/s1600/cornelia+parker+art-ash1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFnga4kY-jjJDAeB1v2HtE6y4rlyWCz2VIbEfR0eA8nVa_nRVcA5kjJp4okDOeqcQBzsEoobaoI0YVz2rhT7gkl1sfrPp3FABPY_MxB8d23wSbzJSvB7GNqev1RbXZE4-7OpxPEka9lbk1/s400/cornelia+parker+art-ash1.jpg" width="299px" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.guardian.co.uk/artanddesign/2010/may/25/cornelia-parker-interview">Cornelia Parker</a> - 'Anti Mass' 2005</div><div><div style="text-align: left;">"Anti-Mass" by Cornelia Parker is the Charred remains of a arsoned African American Baptist Church in Alabama. Sculpture is usually a solid mass, carved into and rooted on the floor by gravity. It is sculptures physicality that gives it presence. Parker suspend object in mid air - as if caught in mid explosion or atoms.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5En9ZkjNpjkCEEznhVX-J3by5J5yWSe9LOBW_-aTHHz6cbTIfbFyAqhNE_jSmfO4JXPt0lE19AsUXmYXWYJi2_Grv6pBd0QSE5TYr-wqokRRfwJP-k9CZ9x1HbwmKaoUdMFAshEhkYDL3/s1600/victoriahall.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="256px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5En9ZkjNpjkCEEznhVX-J3by5J5yWSe9LOBW_-aTHHz6cbTIfbFyAqhNE_jSmfO4JXPt0lE19AsUXmYXWYJi2_Grv6pBd0QSE5TYr-wqokRRfwJP-k9CZ9x1HbwmKaoUdMFAshEhkYDL3/s400/victoriahall.jpg" width="400px" /></a></div><div style="text-align: center;">The burnt out remains of a <a href="http://www.exetermemories.co.uk/EM/victoria_hall.html">Victorian Hall</a> 1919</div><div style="text-align: left;">Fire destroys and leaves nothing behind. A photograph preserves and captures the world that is destined to disappear. A photograph of a burnt out building seems a strange juxtaposition.</div></div></div></div></div></div></div>jfkturnerhttp://www.blogger.com/profile/04292497470976112213noreply@blogger.comtag:blogger.com,1999:blog-5743411721886035143.post-80050005037556292292012-02-27T03:49:00.000-08:002012-02-27T03:49:17.061-08:00Ordinary and/or Extraordinary - Natural World<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; text-align: center;"><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHkF3gn32qUcLyylypLcvdNEeT1ha82paJwh24YFrc7CSQcTbXDn5OSLoSJaYFgoStyBf6VHMngU3fBqg_EqLOdVzeWdB47jm17kgZ8TCBmZ2ntJhY2bDdDQTdg-6s_msMvAJyB1U2mVs/s1600/tumblr_l3rjg5i8Hx1qarjnpo1_500.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" n4="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHkF3gn32qUcLyylypLcvdNEeT1ha82paJwh24YFrc7CSQcTbXDn5OSLoSJaYFgoStyBf6VHMngU3fBqg_EqLOdVzeWdB47jm17kgZ8TCBmZ2ntJhY2bDdDQTdg-6s_msMvAJyB1U2mVs/s400/tumblr_l3rjg5i8Hx1qarjnpo1_500.jpg" style="cursor: move;" width="305px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Examples of the work of <a href="http://www.google.co.uk/imgres?imgurl=http://www.vintagesmith.com/Photos/Large_WL_Photo_Karl%2520Blossfeldt%2520114.jpg&imgrefurl=http://www.vintagesmith.com/photos_details.asp%3Fid%3D14%26Photo_ID%3D73&usg=__ugOB7y28VszKVvTnKOBNDgFxrYo=&h=500&w=382&sz=48&hl=en&start=18&zoom=1&um=1&itbs=1&tbnid=odor2oeIumO26M:&tbnh=130&tbnw=99&prev=/images%3Fq%3Dkarl%2Bblossfeldt%26um%3D1%26hl%3Den%26sa%3DN%26rls%3Dcom.microsoft:en-US%26rlz%3D1I7SKPB_en%26tbs%3Disch:1&ei=PeI2TbXQOM-EhQe9zMyjAw">Karl Blossfeldt</a> (1865 to 1932)</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><br />
</div></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; text-align: left;"><div style="margin: 0px;"><div style="margin: 0px;">The forms and shapes found in nature have always inspired artists. Sculptor & art teacher Karl Blossfeldt is best known for his beautiful photographs of plants forms. The close up images help us see, through the cameras lens, images we wouldn't see with our eyes. Seed, leaves and stems appear as figures or alien creatures. Strange sculptural objects and forms are found in nature. A systematic objective approach that seems to show us the real world actually abstracts it and makes it strange.</div></div></div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjERqerjXJxAhWYqyW9jqkYQCNrZhxXQhRNvbcPEKHmBSRMdV-X-73jFSCCDsMAUVyx-OkGPgaNLoSPNeCb8pRmC0OcnMXwvPpc3ZMAzJV4fuNX79BNfh55rTTN51Betm_n9hgrGz56iHk/s1600/large_wl_photo_karl-blossfeldt-040.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" n4="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjERqerjXJxAhWYqyW9jqkYQCNrZhxXQhRNvbcPEKHmBSRMdV-X-73jFSCCDsMAUVyx-OkGPgaNLoSPNeCb8pRmC0OcnMXwvPpc3ZMAzJV4fuNX79BNfh55rTTN51Betm_n9hgrGz56iHk/s400/large_wl_photo_karl-blossfeldt-040.jpg" style="cursor: move;" width="306px" /></a></div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkZEtlzeONg-RXHSbEwYGwaVcgP5SrJ-Rxsh04_J0RRkVrH7j74owfHPW7mHSY1q8Xb2XEmP_Va5lTvjiGyb184hWJNpMSG4i7hTOH4Oi34dXjtuqDmMnDkclbVWabnm9j10VUDds_bKQ/s1600/Large_WL_Photo_Karl%252520Blossfeldt%252520114.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" n4="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkZEtlzeONg-RXHSbEwYGwaVcgP5SrJ-Rxsh04_J0RRkVrH7j74owfHPW7mHSY1q8Xb2XEmP_Va5lTvjiGyb184hWJNpMSG4i7hTOH4Oi34dXjtuqDmMnDkclbVWabnm9j10VUDds_bKQ/s400/Large_WL_Photo_Karl%252520Blossfeldt%252520114.jpg" style="cursor: move;" width="305px" /></a></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; text-align: left;"></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; text-align: left;"></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; text-align: left;"></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; text-align: left;"></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; text-align: left;"></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; text-align: left;"></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; text-align: left;"></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; text-align: left;"></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; text-align: left;"></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; text-align: left;"></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; text-align: left;"></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; text-align: left;"></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; text-align: left;"></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; text-align: left;"></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; text-align: left;"></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; text-align: left;"></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; text-align: left;"><div style="margin: 0px;"><div style="margin: 0px;">Originally, the photographs were intended to be used as teaching aids - subjects for art students to work from,. However, the images became popular when a selection of his photographs were published in the book <a href="http://www.photography-now.net/listings/index.php?option=com_content&task=view&id=450&Itemid=334">Urformen der Kunst (Archetypes of Art) in 1928</a>. The book created a sensation in the photographic world & Blossfeldt was rushed to the fore in the German post World War I movement to abandon the soft focus, impressionistic style in favor of a direct lighting & sharp focus approach. His direct objective approach towards photography and his methodical use of a system predicted the way many modern photographers work.</div></div></div><div style="margin: 0px; text-align: left;"><div align="center" style="margin: 0px;"><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ2Si4tS6hCuckmIm9yO2_iYDZ6LLM0kgweUIRoFlxi60Vv9ukz1kccgtY8ARM3PjadzfYFLN3AK5GLygZ1OE0K-rSWd1ZXugFH8ihr3NMpDx7Pl8q3MSQ8ttK9nhdRFy1wtCNIDsA5ju7/s1600/wallpaper_william_morris_edited1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" j6="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ2Si4tS6hCuckmIm9yO2_iYDZ6LLM0kgweUIRoFlxi60Vv9ukz1kccgtY8ARM3PjadzfYFLN3AK5GLygZ1OE0K-rSWd1ZXugFH8ihr3NMpDx7Pl8q3MSQ8ttK9nhdRFy1wtCNIDsA5ju7/s400/wallpaper_william_morris_edited1.jpg" style="cursor: move;" width="330px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">William Morris - Wallpaper Design</div><div><div style="text-align: left;"><div style="margin: 0px;">William Morris was a leading member of the Arts and Crafts Movement. He is best known for his pattern designs, particularly on fabrics and wallpapers. His vision in linking art to industry by applying the values of fine art to the production of commercial design was a key stage in the evolution of design as we know it today.</div></div><div style="text-align: left;"><div style="margin: 0px;"><br />
</div></div><div style="text-align: left;"><div style="margin: 0px;">William Morris was an artist, designer, printer, typographer, bookbinder, craftsman, poet, writer and champion of socialist ideals. He believed that a designer should have a working knowledge of any media that he used and as a result he spent a lot of time teaching himself a wide variety of techniques. Like many designers of his time, Morris was skilled in a wide range of arts and crafts. In the age of the industrial revolution Morris championed the hand made over the machine made.</div><div style="margin: 0px;"><br />
</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAXZQ5o6JsxS4taT0ipPThtC0SDhw1Ac3DljK2n_VFT7O-qEQ-YE9TnQW9162K95o0T3WF-7gCJ2_JlaFVoij2FCmv77v8eEwwE77pgJZKkC0kUkTuZCjxgKLSM6NAiiWXRyqflXt1MFdc/s1600/589px-Celtic_Bronze_Disc%252C_Longban_Island%252C_Derry.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAXZQ5o6JsxS4taT0ipPThtC0SDhw1Ac3DljK2n_VFT7O-qEQ-YE9TnQW9162K95o0T3WF-7gCJ2_JlaFVoij2FCmv77v8eEwwE77pgJZKkC0kUkTuZCjxgKLSM6NAiiWXRyqflXt1MFdc/s320/589px-Celtic_Bronze_Disc%252C_Longban_Island%252C_Derry.jpg" style="cursor: move;" width="314px" /></a></div><div style="text-align: center;"><div style="margin: 0px;">Celtic bronze disc from the pre Christian period</div></div></div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsIRHsDXiPcq6ijOTH4bWRCEHfOWUA23vOIMbPmkmD1o4V6vzeovguFMnkNZR7kezoWjUAkzw_J_xECizoXc2OXE6DZUSL9uYBnHEiOlh-mqLlsANluSfLHqi6we9fb4D7rXEBsyTAe3da/s1600/Tulip_and_Willow.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" j6="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsIRHsDXiPcq6ijOTH4bWRCEHfOWUA23vOIMbPmkmD1o4V6vzeovguFMnkNZR7kezoWjUAkzw_J_xECizoXc2OXE6DZUSL9uYBnHEiOlh-mqLlsANluSfLHqi6we9fb4D7rXEBsyTAe3da/s400/Tulip_and_Willow.jpg" style="cursor: move;" width="270px" /></a></div><div style="margin: 0px;"><a href="http://www.artyfactory.com/art_appreciation/graphic_designers/william_morris/william_morris.html">William Morris</a> - 'Tulip and Willow'</div><div style="margin: 0px;">Pencil and Watercolour sketch for print design, 1873</div><div style="text-align: left;"><div style="margin: 0px;">Morris was influenced by Celtic, medieval and <a href="http://www.theearthlyparadise.com/2009/08/william-morris-and-islamic-art.html">Islamic</a> design with their stylization of the natural world. However, as well as being nostalgic Morris was revolutionary and pre-empted many aspects of the 20th century - Socialist ideas and the development of art schools (see the <a href="http://www.guardian.co.uk/books/2007/nov/17/architecture.art">Bauhaus</a>). Morris is also thought to have influenced <a href="http://www.bbc.co.uk/homes/design/period_artnouveau.shtml">Art Nouveau.</a></div></div><div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiDpNYKk3dHqCNgOo360SyJJg3mfRHMb6eU55c1fgBxQ8RJQvNkWKdYW_UhTNqaR-L0bhfWoUZVdw-yo0JzX7KAHdra-XrUSTLCAc5V3Ss1i_GVJk6qP8ep52AZxaCEslnifIoGxDlUAR0/s1600/mucha2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiDpNYKk3dHqCNgOo360SyJJg3mfRHMb6eU55c1fgBxQ8RJQvNkWKdYW_UhTNqaR-L0bhfWoUZVdw-yo0JzX7KAHdra-XrUSTLCAc5V3Ss1i_GVJk6qP8ep52AZxaCEslnifIoGxDlUAR0/s400/mucha2.jpg" style="cursor: move;" width="242px" /></a></div><div style="text-align: center;"><div style="margin: 0px;">Alphonse <a href="http://www.muchafoundation.org/MHome.aspx">Muncha</a></div></div><div style="text-align: left;"><div style="margin: 0px;">Art Nouveau (which literally means 'New Art") spread across Europe in the 1890's. The fascination with stylised nature, nostalgia, swirling designs reflect the work of Morris.</div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLbK_7gTWpIM_PYL-qhCARMWHHchw8_Oo4vGY6mY5Nt0DIRygNOrZOIW0Nt91vZPo2m3f1S6OJqcuylTXJ-E0hmgRHUNSsWmXcB7FqXJPy2Ln4-E31nNmCOiFjYged1oeJ00RsXEQA_XLV/s1600/hokusai_wave_1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="267px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLbK_7gTWpIM_PYL-qhCARMWHHchw8_Oo4vGY6mY5Nt0DIRygNOrZOIW0Nt91vZPo2m3f1S6OJqcuylTXJ-E0hmgRHUNSsWmXcB7FqXJPy2Ln4-E31nNmCOiFjYged1oeJ00RsXEQA_XLV/s400/hokusai_wave_1.jpg" style="cursor: move;" width="400px" /></a></div><div style="text-align: center;"><div style="margin: 0px;">Katsushika Hokusai 'Mount Fuji seen below a Wave at Kanagawa' 1831</div></div><div style="text-align: left;"><div style="margin: 0px;">Along with William Morris Art Nouveau was also influenced by Non Western art that was being imported into Europe. Simple use of line, flat areas of colour, pattern and a flat use of the picture frame were all refreshing to the western artists eye. In this wood block by Hokusai a giant wave manages to be both beautiful and terrifying. </div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnpK8SBeYQkG1aR9ZFeYyzhJnfAiiPLay3NO5hEo2mJ9tmhHr62uIw_W0fuR6Ln3jniabUbuV53X7zSqJjMxwvW6NOQzfQCCTwUObBAGjJdwaSgLpK_OTWDWqfme7Rr-o-0bBRBgEIRYuc/s1600/art+nouveau+waves.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnpK8SBeYQkG1aR9ZFeYyzhJnfAiiPLay3NO5hEo2mJ9tmhHr62uIw_W0fuR6Ln3jniabUbuV53X7zSqJjMxwvW6NOQzfQCCTwUObBAGjJdwaSgLpK_OTWDWqfme7Rr-o-0bBRBgEIRYuc/s640/art+nouveau+waves.jpg" style="cursor: move;" width="595px" /></a></div><div style="text-align: center;"><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2R1qpTODWAYzxiuk8SKtEQnkU3GhZjrLnfAd3uM1MHUVTIixdNicAniQpISJVeBd-uRWMaQvgNCkHPhQyGs9EMdIRsVvW0BsKUWt0Xxe5xbhcBzWRw_LQZWpVfKVFWYFKBeZAgz-K-v62/s1600/cliffordross.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="322px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2R1qpTODWAYzxiuk8SKtEQnkU3GhZjrLnfAd3uM1MHUVTIixdNicAniQpISJVeBd-uRWMaQvgNCkHPhQyGs9EMdIRsVvW0BsKUWt0Xxe5xbhcBzWRw_LQZWpVfKVFWYFKBeZAgz-K-v62/s400/cliffordross.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.cliffordross.com/photography/hurricanes/3/index.php">Clifford Ross</a> - from the 'Hurricane' series</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">Nature is a great source for swirling patterns from hair, to smoke, to waves. Water is transformed into a stationary solid form and has been frozen in time. The rich black obliterates the sea and sky creating a solid area of negative space to contrast with the white textured area. Clifford <a href="http://www.cliffordross.com/conversations/writings/melville.php">Ross</a>' images seem to be a heightened form of the real world - these are waves but they seem to be <a href="http://bombsite.com/issues/85/articles/2585">perfect solid waves.</a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHzu2alQdNUpoCRDgFPXOC1bQVWbEG-w7rYT4G5SEphGf_vAPbBnExnEv8Xb0-SFiXIsZrhDAsr-ywATLHFxhX3fWGeijmmSwONIDQcAiBxIvGqROBLXS9E3lZtTyqP58F4e2AEiUV8xn_/s1600/klimt_kiss-758589.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHzu2alQdNUpoCRDgFPXOC1bQVWbEG-w7rYT4G5SEphGf_vAPbBnExnEv8Xb0-SFiXIsZrhDAsr-ywATLHFxhX3fWGeijmmSwONIDQcAiBxIvGqROBLXS9E3lZtTyqP58F4e2AEiUV8xn_/s400/klimt_kiss-758589.jpg" style="cursor: move;" width="393px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.iklimt.com/">Gustav Klimt</a> 'The Kiss' 1907-08</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">Art Nouveau took on different manifestations in different countries. In Germany and Austria Gustav Klimt showed his heritage (he was the son of a gold and silver engraver) and this influence can be seen in his craftsmanship, and his extensive use of gold. He was also influenced by Mosaics (seen in Churches of Ravenna). This is evident in the rich ornamentation and intricately small areas in his pictures which are linked to form complex patterns. Against an enormous golden sky a man embraces a woman. The mans head is garland and the woman's red hair adorned with star like flowers; his cloak is decorated with strong vertical rectangles and hers with circular flower forms.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqE3ZR63Jl0uDCjSdhqx3kZ0cXfBzwtTCY5mGiBOYDoBQZkVNHTt8fgKw29FtutJ3yl-Ra4mH2oTzYg2wJKgRtf4rxH4yJGIVjzP7WYAJKmA8hTUVC9SL7apBlKjBOG1e9ts0GGXML5dLE/s1600/guadi.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqE3ZR63Jl0uDCjSdhqx3kZ0cXfBzwtTCY5mGiBOYDoBQZkVNHTt8fgKw29FtutJ3yl-Ra4mH2oTzYg2wJKgRtf4rxH4yJGIVjzP7WYAJKmA8hTUVC9SL7apBlKjBOG1e9ts0GGXML5dLE/s400/guadi.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Antoni Gaudi 'Casa Batllo' Barcelona 1904-06</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">In Spain Antoni Gaudi created his own unique building that seems to come from a fairy tale. Art Nouveau was primary a style of architecture and interior decoration - Gaudi's building seem the physical form of the swirls found in drawings.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimcHxo7m3b5nFPX6hfFf-sFphZF3no3bW1QUwbEAYckpuK7G8biGHgBZCRSaDb1_iCKHl_b8mXsPQkNmC0kx9k1MPqRENoOW5sheCZHmGgXXOsFYM_l3cnqNlOzm1GdjEDtg-hDIGFWyqm/s1600/bw-gaudi.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="204px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimcHxo7m3b5nFPX6hfFf-sFphZF3no3bW1QUwbEAYckpuK7G8biGHgBZCRSaDb1_iCKHl_b8mXsPQkNmC0kx9k1MPqRENoOW5sheCZHmGgXXOsFYM_l3cnqNlOzm1GdjEDtg-hDIGFWyqm/s640/bw-gaudi.jpg" style="cursor: move;" width="640px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Antoni Gaudi '<a href="http://architecture.about.com/od/greatbuildings/ig/Antoni-Gaud-/Sagrada-Familia-.htm">Sagrada Familia'</a> 1882 to the present day</div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Gaudi's master piece 'La Sagrada Familia' is still being built due to the scale and ambition of the project.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLWZCTgJ7CyILlA6ThjJXXTeqqf5BWXMiioKvz_xeIaVM8QZYJuDvA81xZF09uRtGFpZFn8oVdEKdrSVETydV2tQPR5ltQMnhiGJxWBxirf6Ip4YzoDUglkV0aIXAd1T76h985B6vVfvHg/s1600/stringsandweights1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLWZCTgJ7CyILlA6ThjJXXTeqqf5BWXMiioKvz_xeIaVM8QZYJuDvA81xZF09uRtGFpZFn8oVdEKdrSVETydV2tQPR5ltQMnhiGJxWBxirf6Ip4YzoDUglkV0aIXAd1T76h985B6vVfvHg/s320/stringsandweights1.jpg" style="cursor: move;" width="320px" /></a></div><div style="text-align: left;"><div style="margin: 0px;">To design the spires of La Sagrada Familia, Gaudi placed weights on string that he then observed through a mirror. Gaudi used string with bags of varying numbers of shot pellets in them to represent varying weights of the building materials tied to the string at regular intervals. This very closely represents the finite element method in a physical way. A calculation of this type is actually faster than the fastest computer calculation, because the laws of physics, primarily gravity and strength of materials would recalculate the shape of the spire immediately if the ends of the strings or weights in the bags were changed. This natural, immediate, and error free method of calculation is something we tend to overlook these days, where if we can’t figure out how to do it on a computer, we think it can’t be done at all.</div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZMGtJGU0JBtMllCgyRw0e1vCIRJxvkxDpqELdAciVuTEivPKjY6-KNYVWXvkevuM6wnRiL6jpVpcHWrEvgh8gFK81YO68erOkdADEh4swSOpFOXPwwIDttdswWtxIS6CzqLqaqBnQ63uz/s1600/metro_by_anjelicek_large.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZMGtJGU0JBtMllCgyRw0e1vCIRJxvkxDpqELdAciVuTEivPKjY6-KNYVWXvkevuM6wnRiL6jpVpcHWrEvgh8gFK81YO68erOkdADEh4swSOpFOXPwwIDttdswWtxIS6CzqLqaqBnQ63uz/s320/metro_by_anjelicek_large.jpg" style="cursor: move;" width="320px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.greatbuildings.com/buildings/Paris_Metro_Entrances.html">Metro sign in Paris designed by Hector Guimard</a></div><div class="separator" style="clear: both; margin: 0px; text-align: left;">In Paris the most famous manifestation of Art Nouveau can be found on the streets. Guimard designed the iconic metro entrances made out of iron in swirling organic forms. Guimard was influenced by <a href="http://www.greatbuildings.com/cgi-bin/glk?http://www.hortamuseum.be/">Victor Horta</a> - whose finest work was seen in his usage of iron and how it could be used to mould pillars and beams into ‘living’ curves. Horta would study<span class="Apple-style-span" style="color: #222222; font-family: Georgia; font-size: 15px; line-height: 22px;"> <a href="http://www.infobarrel.com/Plants" style="color: #015bb8; text-decoration: none;">plants</a> </span>and flowers and look to replicate them ornamentally with his usage of iron and glass.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkJXtGRX10e1PCA-pxfOUls5x2mZD-yS8xhq_ThyphenhyphenorLz9RkTPgLXBIySVda1a9_tZ1pcy3BMIaFxNw9muVUgZo2SnaDCc3txsm_a7fi-FAsxMyH1g7XORyb-3WWPvw1cG40KMixayo_p07/s1600/mackintosh-copy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkJXtGRX10e1PCA-pxfOUls5x2mZD-yS8xhq_ThyphenhyphenorLz9RkTPgLXBIySVda1a9_tZ1pcy3BMIaFxNw9muVUgZo2SnaDCc3txsm_a7fi-FAsxMyH1g7XORyb-3WWPvw1cG40KMixayo_p07/s400/mackintosh-copy.jpg" style="cursor: move;" width="290px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjtiviSj21Clsx9tssA4vzBiO-n3e_J9r1RCXejA9sKHwuwijWPMT2cRTpADnquDpf0PShobgwyA2Uu0AtCXPjMYx3ajJBugJBVlRSOYeqLLpOrDfuYk5PzuwPrYkcyGZ0PuragU6kGtPg/s1600/Charles+Rennie+Mackintosh.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjtiviSj21Clsx9tssA4vzBiO-n3e_J9r1RCXejA9sKHwuwijWPMT2cRTpADnquDpf0PShobgwyA2Uu0AtCXPjMYx3ajJBugJBVlRSOYeqLLpOrDfuYk5PzuwPrYkcyGZ0PuragU6kGtPg/s320/Charles+Rennie+Mackintosh.jpg" style="cursor: move;" width="320px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs_8cgKl2lx_UH4iTe2VIdLZaOv8W9rv84AdteeY_8_Hdf3OqH_FeTv-Km1j5vf_LoK8d9q_n0nRDADR0l6_EGdg9jPkFPCssnxoJ-j4tkglpdWy4jOzS5JwVNUif-pa_zaWiMCbzb2WnJ/s1600/glasgow+school+of+art+1907.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="212px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs_8cgKl2lx_UH4iTe2VIdLZaOv8W9rv84AdteeY_8_Hdf3OqH_FeTv-Km1j5vf_LoK8d9q_n0nRDADR0l6_EGdg9jPkFPCssnxoJ-j4tkglpdWy4jOzS5JwVNUif-pa_zaWiMCbzb2WnJ/s320/glasgow+school+of+art+1907.jpg" style="cursor: move;" width="320px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://fotofacade.com/?p=1218">Charles Rennie Mackintosh</a> - <a href="http://www.gsa.ac.uk/">Glasgow school of Art </a>1907</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">In Britain Charles Rennie Mackintosh create his more geometric form of Art Nouveau. In some designs there are still swirls but the whole feel is harder and more modern. He designed furniture, architecture and graphic design with The Glasgow School of art being on of his most famous designs.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZ_OHhjNUzk9DdAM_Xr0k5k9amoSP6-a2Q32fjBb7F5ZuWWlYkTXMIYsq111BghpD_hwnFCdVCZVS6rpqMyFfdgevUshJmj88CWStKEiKShKnm6gDSMvgw5sS-m2U61UQkm76THyL67thT/s1600/muncha+studio.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="285px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZ_OHhjNUzk9DdAM_Xr0k5k9amoSP6-a2Q32fjBb7F5ZuWWlYkTXMIYsq111BghpD_hwnFCdVCZVS6rpqMyFfdgevUshJmj88CWStKEiKShKnm6gDSMvgw5sS-m2U61UQkm76THyL67thT/s400/muncha+studio.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.youtube.com/watch?v=qvyi27ISa4c&feature=related">Muncha in his studio</a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFd2yCqY1x_UhbYnz064Dg5-Ag8DlZVaLOGCxtKRL7azeN2b59OxgxIT2NPsrvb588mr56f19LeGUXsdWClignVus1QAJDxlWZk_xJP9I67Cnh8TH6IhAjnpzCgIkd1iG1xakhbI_Wlfx8/s1600/mucha6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="238px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFd2yCqY1x_UhbYnz064Dg5-Ag8DlZVaLOGCxtKRL7azeN2b59OxgxIT2NPsrvb588mr56f19LeGUXsdWClignVus1QAJDxlWZk_xJP9I67Cnh8TH6IhAjnpzCgIkd1iG1xakhbI_Wlfx8/s400/mucha6.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Banknote by Muncha - <a href="http://www.princeton.edu/main/news/archive/S29/25/25E44/">Money as art</a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8zV2vXLwg3xGqsJ-TeiTmEyuqJVzAsq7Oanr3V2KH9EC4PxRvdn0jlNJU06OSYMancN08Q7Gbc1VkkowOP8za5vEC0sFLdL_RexluUjBEsaqk2sjWnZUdtGJfHEL-n3uRmy3HhC0-DppU/s1600/mucha_job.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8zV2vXLwg3xGqsJ-TeiTmEyuqJVzAsq7Oanr3V2KH9EC4PxRvdn0jlNJU06OSYMancN08Q7Gbc1VkkowOP8za5vEC0sFLdL_RexluUjBEsaqk2sjWnZUdtGJfHEL-n3uRmy3HhC0-DppU/s400/mucha_job.jpg" style="cursor: move;" width="302px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.youtube.com/watch?v=-8PgPvVQcSo">Alphonse Muncha</a> 'JOB' 1896</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">In Prague Alphonse Muncha turned advertising, packaging and <a href="http://www.cointalk.com/t99799/">Banknotes</a> into mini romantic masterpieces. Hair, material and smoke has a life of its own and figures are framed in geometric patterned shapes. (Watch a documentary <a href="http://www.youtube.com/watch?v=LU5gCPQaW3g&NR=1">here</a>).</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeX4anPwPgmoosv_knQghZLvpyINcg43ko8fIKjMQ8qKmoSDDDf3gCNwYN8AwiNPFTdEEnrIEOacmHjYDySb9KJff0M-6Mja05yF8e4gpeQ9LsbeaM5_5RdUIroOft_1NCrIvy1P8YetTg/s1600/tropon.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeX4anPwPgmoosv_knQghZLvpyINcg43ko8fIKjMQ8qKmoSDDDf3gCNwYN8AwiNPFTdEEnrIEOacmHjYDySb9KJff0M-6Mja05yF8e4gpeQ9LsbeaM5_5RdUIroOft_1NCrIvy1P8YetTg/s400/tropon.jpg" style="cursor: move;" width="265px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.henry-van-de-velde.com/2/Van_de_Velde_facts.htm">Henry van de Velde</a> 'Tropon' 1898</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisJYKIw_nT99pm7EJf_pJ9nVSPoidJlLOoHSMKyB8ltsI5OeagLjMoXmTv6qALY2yYG-aASSbW9ZC3p8YY3Q3AfHj3tBpPZDiQzouPMj5rfscVqRy6OjBz_JWWgjSlDHBCex6Nyp_mUUVg/s1600/william+H+Bradley.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisJYKIw_nT99pm7EJf_pJ9nVSPoidJlLOoHSMKyB8ltsI5OeagLjMoXmTv6qALY2yYG-aASSbW9ZC3p8YY3Q3AfHj3tBpPZDiQzouPMj5rfscVqRy6OjBz_JWWgjSlDHBCex6Nyp_mUUVg/s400/william+H+Bradley.jpg" style="cursor: move;" width="273px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.nga.gov/education/tchan_5_18.shtm">William H Bradley</a> 'The Chap-Book' 1895</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnD0Pnyrqqq9oZaYKMuDipD6Nd5YVOTwdIbpqwHaBClZXQfYYfFgJrKI7SBCvrrO8gY0Om8Fhd5QXc4LGG9ScyGEoENtiNLEMc8PlZNXtOe4mWi0y3IjtCzFdgmcMdeQ8h7LB6aDl3Uhrp/s1600/peter+Bradley.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnD0Pnyrqqq9oZaYKMuDipD6Nd5YVOTwdIbpqwHaBClZXQfYYfFgJrKI7SBCvrrO8gY0Om8Fhd5QXc4LGG9ScyGEoENtiNLEMc8PlZNXtOe4mWi0y3IjtCzFdgmcMdeQ8h7LB6aDl3Uhrp/s400/peter+Bradley.jpg" style="cursor: move;" width="320px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Peter Bradley 'The Kiss' 1898</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">Art Nouveau would eventually go out of fashion and be replaced by the harder edges of modernism. However, modernism owed a debt to key individuals like William Morris and Charles Rennie Mackintosh. The swirling patterns and stylised figures would reappear and dominate the look of another key decade.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuLdBQxPKTkWYXk-jF05UFg3VyOl1_-3s61a6Mu1w0Lumh7fnW6-yait4IItwBr0B2Lvljsro6ASATinL-PqnMD85v28gZXmAcDpIqFondleVcogQd6ggb5OvW985sazxXpFMSUkTqOqba/s1600/wes+wilson.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuLdBQxPKTkWYXk-jF05UFg3VyOl1_-3s61a6Mu1w0Lumh7fnW6-yait4IItwBr0B2Lvljsro6ASATinL-PqnMD85v28gZXmAcDpIqFondleVcogQd6ggb5OvW985sazxXpFMSUkTqOqba/s400/wes+wilson.jpg" style="cursor: move;" width="255px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.wes-wilson.com/?p=443">Wes Wilson</a> Concert Poster 1966</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9efpETx2fqHP7euVkLc3YcZRW9TZf5Adqnc7Yy2GNWi2T1y472mU6xtJrckmBQT0LmyQj0SiNvxlzMn5yLMaiICCVWEWCfAOel_EoflhEYyYhiO_2FYZtRqdzLHRybHuwpbSaHNDHB1e9/s1600/BG064.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9efpETx2fqHP7euVkLc3YcZRW9TZf5Adqnc7Yy2GNWi2T1y472mU6xtJrckmBQT0LmyQj0SiNvxlzMn5yLMaiICCVWEWCfAOel_EoflhEYyYhiO_2FYZtRqdzLHRybHuwpbSaHNDHB1e9/s400/BG064.gif" style="cursor: move;" width="243px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.pooterland.com/index2/art/bonnie/bonnie.html">Bonnie Maclean</a> - <a href="http://www.youtube.com/watch?v=XE2fnYpwrng">Martha & the Vandellas</a> Poster</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_yVa6tSgE4Ax_915EIelWraPr-dw7uHa-f7zrn0Z83K1ZsdeSxpLNL79Fpo_k6xQh5-QN6hxlCog7BUC1rbZAZhYuLpyhf4vMKJTktO0BB5MT1EBq0RdB9UcptIERBJ4MLKKB_X9E0YMR/s1600/bonnie+Mclean.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_yVa6tSgE4Ax_915EIelWraPr-dw7uHa-f7zrn0Z83K1ZsdeSxpLNL79Fpo_k6xQh5-QN6hxlCog7BUC1rbZAZhYuLpyhf4vMKJTktO0BB5MT1EBq0RdB9UcptIERBJ4MLKKB_X9E0YMR/s400/bonnie+Mclean.jpg" style="cursor: move;" width="266px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Bonnie Maclean <a href="http://www.youtube.com/watch?v=HU5zqidlxMQ&feature=related">Yard Birds</a> poster 1967</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUdxNoC_jj5-dA9mjlSULO5FpxQImioWVy9ocwG2vu0R0eNvSDN3SKpKUKqyaYpQjAl1IrOVyzFCfjo6xy03Ay1qJ3ilyZqK-thJMaIIV_E3l8m8oxiTCt79A1kYwygxPIgzjegKRG5VDY/s1600/Sharp_Mr_Tambourine_Man.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUdxNoC_jj5-dA9mjlSULO5FpxQImioWVy9ocwG2vu0R0eNvSDN3SKpKUKqyaYpQjAl1IrOVyzFCfjo6xy03Ay1qJ3ilyZqK-thJMaIIV_E3l8m8oxiTCt79A1kYwygxPIgzjegKRG5VDY/s400/Sharp_Mr_Tambourine_Man.jpg" style="cursor: move;" width="263px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.bbc.co.uk/music/artists/dfaf409c-5ce5-4bf4-9970-d7edf5200a6f">Martin Sharp</a> - 'Mr Tambourine Man' 1967</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">It is the 1960's and things are getting strange. If you were born during the war years (1939-45) and grew up during the austerity of the 1950's (in Britain at least) you would be ready for some excitement. Europe and Britain were still covered in the scars of the War - they may have been gaps in your street where a house used to stand. You may have listened to <a href="http://www.youtube.com/watch?v=aLuxx2jhAJc&feature=related">Elvis</a> in 1955 or heard about the <a href="http://www.youtube.com/watch?v=QQLguQM41Ok&feature=related">mods & rockers</a> in Brighton in 1964 and realised things were changing. The 1960's didn't just happen - the build up to it and it influences are there in the decades before. The 1960's is a fascinating decade and the <a href="http://www.guardian.co.uk/artanddesign/2006/jun/05/art">Psychedelic posters</a> of the late 1960's seem to embody a mood (Try making one your self with this tutorial <a href="http://psd.tutsplus.com/tutorials/designing-tutorials/create-a-60s-psychedelic-style-concert-poster/">here</a>). </div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg29Y_hK59bR8fPfdmL6EknII6UaFL4bMH1-KcmISseUILyK1FHjciKPgxckjOtR75FLmOHRpsGHJTOmMzO9OcAQczjqXEGjZXpnxSkiQ08j5XnkH6V9M4VUCkMulWO499vGMAq7L6duvDQ/s1600/sir_william.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg29Y_hK59bR8fPfdmL6EknII6UaFL4bMH1-KcmISseUILyK1FHjciKPgxckjOtR75FLmOHRpsGHJTOmMzO9OcAQczjqXEGjZXpnxSkiQ08j5XnkH6V9M4VUCkMulWO499vGMAq7L6duvDQ/s400/sir_william.jpg" style="cursor: move;" width="306px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Sir William Butler (1838-1910) in his Army uniform</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXgmN0LIlRb_oOLIvEbmqeFJk5HPNg1-Fdia-zfsKZn-Gg2gZSxVSGLamPorYBbTjPU5yf31gFTbTpSEhk2mdqt0tf3NFdoZuOyRB99IvOH1IfcXBww9k6elqNvqXLY5YcHQ4qYrKJUW4J/s1600/_45965855_beatles_466.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="257px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXgmN0LIlRb_oOLIvEbmqeFJk5HPNg1-Fdia-zfsKZn-Gg2gZSxVSGLamPorYBbTjPU5yf31gFTbTpSEhk2mdqt0tf3NFdoZuOyRB99IvOH1IfcXBww9k6elqNvqXLY5YcHQ4qYrKJUW4J/s400/_45965855_beatles_466.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">The Beatles in 1967 in a promotional shoot for <a href="http://www.youtube.com/watch?v=A7F2X3rSSCU">St Pepper</a> </div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigEX5Mq3egdQboexgQMYYPiWkl6iNn6y-bg_24aeWDUHYEqdEbj_8cOfcs6eg4-UyuCtTFh2zVec5Ns9004GV7ZYhSVJqDJrk0GgWSGFXZBQ2tyI5KZScaC2tgwMypBf6hPozddCjgP1W3/s1600/pcs7009_a.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigEX5Mq3egdQboexgQMYYPiWkl6iNn6y-bg_24aeWDUHYEqdEbj_8cOfcs6eg4-UyuCtTFh2zVec5Ns9004GV7ZYhSVJqDJrk0GgWSGFXZBQ2tyI5KZScaC2tgwMypBf6hPozddCjgP1W3/s320/pcs7009_a.jpg" style="cursor: move;" width="320px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Klaus Voorman 'Revolver' album cover 1966</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiv4_2FTt3OaNqN4Tc5R1LhUmPoqsTOSUWB7rVr79g3Jg4-_c8igVzChohyphenhyphenitdDBXxBgfXzuP2sdcyOLOehZlP85IGYtRbEBcO39KSnGpvaVEqO8HJmC7Qe1To3Hbkpd1_P_dlr42ApTZ7A/s1600/serge.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiv4_2FTt3OaNqN4Tc5R1LhUmPoqsTOSUWB7rVr79g3Jg4-_c8igVzChohyphenhyphenitdDBXxBgfXzuP2sdcyOLOehZlP85IGYtRbEBcO39KSnGpvaVEqO8HJmC7Qe1To3Hbkpd1_P_dlr42ApTZ7A/s320/serge.jpg" style="cursor: move;" width="312px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Serge Gainsbourg et Brigitte Bardot '<a href="http://www.youtube.com/watch?v=QKfBJMIANsM">Bonnie and Clyde</a>' 1968</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">Those swirling lines and typography, those multiple circles - all contrasted with figurative elements owe a large debt to Art Nouveau.. In fact part of the youth culture in the 1960's, for all its anti establishment stance, looked back to elements of the Victorian era - <a href="http://www.guardian.co.uk/music/2009/dec/14/whats-that-sound-harpsichord">Harpsicords</a> in pop songs (listen <a href="http://www.youtube.com/watch?v=u5vn6OqnD_Q&feature=related">here</a>) and Psychedelic Victorian solders uniform were part of the mix. As well as being revolutionary the 1960's generation were also nostalgic - similar to William Morris. They were children in the 1940's, the youth of the 1960's and the people in charge in the 1980's - three decades with a very different feel - aesthically and ethically.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy7DV8qrWSRFOIZy-9MZ_eKKwVaBvCQAE5B5CzKRbLfqiJUlTRGSpQsiQFfk5KpIAbu3z3_HX6oeKa04REsBEArv0L3ESiaJ7Cq_nz1AFBK6woPjLf2d6rzG6wEvK4q0MhYWABzzbKqzne/s1600/iso50-nlights.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="318px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy7DV8qrWSRFOIZy-9MZ_eKKwVaBvCQAE5B5CzKRbLfqiJUlTRGSpQsiQFfk5KpIAbu3z3_HX6oeKa04REsBEArv0L3ESiaJ7Cq_nz1AFBK6woPjLf2d6rzG6wEvK4q0MhYWABzzbKqzne/s400/iso50-nlights.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpqez3EaLtQd4BKbhaA1K4TjqzlleYAHywHUn8bOdDP3VVpyjrEBESCIqOB5bgd5RzgjLSUCSVZ7t0RxkmXMLZKGVM86Nsg-3IEUGANJ_LzwXssE6-nut9zYw8TBrY0OWwmjTElUV0n_Ly/s1600/ISO50_ARBOR_blog.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpqez3EaLtQd4BKbhaA1K4TjqzlleYAHywHUn8bOdDP3VVpyjrEBESCIqOB5bgd5RzgjLSUCSVZ7t0RxkmXMLZKGVM86Nsg-3IEUGANJ_LzwXssE6-nut9zYw8TBrY0OWwmjTElUV0n_Ly/s400/ISO50_ARBOR_blog.jpg" style="cursor: move;" width="257px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr6lKlVTGoMmMO7pSc8hCSMjQpOjykZjfxTALSHjp-0rTOnpKB7NOJlwSIgJq9VyhMkMKfBsnwJQ3Q4sbrbyu_dBqNNkNjo8UxshJzdyZ31XvhkqpL2JVoFGJmkJgbX6I-L5meAhWx41EO/s1600/terrabyte-iso50-poster-thumb.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr6lKlVTGoMmMO7pSc8hCSMjQpOjykZjfxTALSHjp-0rTOnpKB7NOJlwSIgJq9VyhMkMKfBsnwJQ3Q4sbrbyu_dBqNNkNjo8UxshJzdyZ31XvhkqpL2JVoFGJmkJgbX6I-L5meAhWx41EO/s400/terrabyte-iso50-poster-thumb.jpg" style="cursor: move;" width="267px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://blog.iso50.com/">ISO50</a> Scott Hansen- Contemporary Vector design</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">The curves, spirals and patterns that are found in Art Nouveau are evident in a lot of modern graphic design and illustration. The very nature of vector art lends itself to organic graphic curves and in these modern examples by Scott Hansen (ISO 50) those elements have bee given a modern twist. Technology often effects the art of its day - from oil paints, the printing press, the camera and, today, photoshop and the internet. The simple bold vector forms are given a worn texture and the faded colour and images give the images a retro feel. You can learn how he created these images in <a href="http://blog.iso50.com/3617/iso50-design-tutorial-1/">PDF tutorials here</a>.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9rSLj6WuN5ANtVAjnHZ2ypUJqP6CUywcwjkwo-LK42m9M2FsN38sm-aknK09aPBWpBthR7GgRweSb2LgIpapLBav1AInfrTiljqMdDV3KCQP6dgkPTR0sShi5vf8ROOQuvpABhV5_A_83/s1600/bmusic+art+nouv+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="282px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9rSLj6WuN5ANtVAjnHZ2ypUJqP6CUywcwjkwo-LK42m9M2FsN38sm-aknK09aPBWpBthR7GgRweSb2LgIpapLBav1AInfrTiljqMdDV3KCQP6dgkPTR0sShi5vf8ROOQuvpABhV5_A_83/s400/bmusic+art+nouv+2.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZSFJdu8bmDt5RlD6dGWKzhCcnGl-d_7I86M2R7VTL3ujjdsJJ-KikCcjp0crEW5g3EBRpnOX5P5L1rx_ccTBA7UvFIxCPIcejyFB4VIVOdCu49-R5D-_lY0jkiUnAIuspjy5up6t4XDo3/s1600/b+music+art+nouveau+esques.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZSFJdu8bmDt5RlD6dGWKzhCcnGl-d_7I86M2R7VTL3ujjdsJJ-KikCcjp0crEW5g3EBRpnOX5P5L1rx_ccTBA7UvFIxCPIcejyFB4VIVOdCu49-R5D-_lY0jkiUnAIuspjy5up6t4XDo3/s400/b+music+art+nouveau+esques.jpg" style="cursor: move;" width="298px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNh7CNNaAwy-Kg9H0-sr_ofwceSjNJWGgE0koyfsTTuk-2sDa04Q8T7GdB9VtuYoeJxBVxPIqVihZZsb5TbjNagioFRzUxPPMi6zegn4AKwdVo4WGxgTaegLDJRW_Sg1zRPgQ2Q4Al36jc/s1600/b+music+art+nouveau+esques2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNh7CNNaAwy-Kg9H0-sr_ofwceSjNJWGgE0koyfsTTuk-2sDa04Q8T7GdB9VtuYoeJxBVxPIqVihZZsb5TbjNagioFRzUxPPMi6zegn4AKwdVo4WGxgTaegLDJRW_Sg1zRPgQ2Q4Al36jc/s400/b+music+art+nouveau+esques2.jpg" style="cursor: move;" width="282px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEgB1gDb8wIIpg139OOIzAafxw47VSXOTMNuCp8ce4uVG9hqepkRwN2OBp3SQropSIfgUCZnG_dTV2PWPtVkIf7Wo1OxvpbDc1t0Jazw_O7nwUu4h4DPnUaZ7MLx6kYMyQxluT7CAxdpPH/s1600/bmusic+vannier.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEgB1gDb8wIIpg139OOIzAafxw47VSXOTMNuCp8ce4uVG9hqepkRwN2OBp3SQropSIfgUCZnG_dTV2PWPtVkIf7Wo1OxvpbDc1t0Jazw_O7nwUu4h4DPnUaZ7MLx6kYMyQxluT7CAxdpPH/s320/bmusic+vannier.jpg" style="cursor: move;" width="320px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">In these posters by <a href="http://www.myspace.com/bmusiccollective/photos/36480933#%7B%22ImageId%22%3A36480933%7D">Andy Votel</a> (for B music/<a href="http://www.finderskeepersrecords.com/">Finders Keepers records</a>) fonts become fluid and links can be made back to art Nouveau and 1960's Psychedelic posters. <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg8FqLeWpIRNShyAIwqTz9qFS3jQi3RGrXIlI3hsckWLodfrsvfnc7Ai8UxANfYf6xJane9kVu-cUsEI8j-3AU2M8r2a8Fy8rAAN_3TZeS_szgECkB3qJNRxCWDSzA932PUMLveUwNutkP/s1600/lebron-03+non+Format.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="291px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg8FqLeWpIRNShyAIwqTz9qFS3jQi3RGrXIlI3hsckWLodfrsvfnc7Ai8UxANfYf6xJane9kVu-cUsEI8j-3AU2M8r2a8Fy8rAAN_3TZeS_szgECkB3qJNRxCWDSzA932PUMLveUwNutkP/s320/lebron-03+non+Format.jpg" style="cursor: move;" width="320px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTic24i3rG8Fg6Vy2qkilfJ_sO9e6IoxyD9AW_YGbwscwyxA5OP-0npV2ErvVX3181UibibDwUwKV0B75ed5LjBQVs7Df9RVxeaigYSKLClVmNI_hR4p7SYoRoJDx98ry4w0NdYaZ7EJjh/s1600/Picture-5-450x391.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="278px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTic24i3rG8Fg6Vy2qkilfJ_sO9e6IoxyD9AW_YGbwscwyxA5OP-0npV2ErvVX3181UibibDwUwKV0B75ed5LjBQVs7Df9RVxeaigYSKLClVmNI_hR4p7SYoRoJDx98ry4w0NdYaZ7EJjh/s320/Picture-5-450x391.png" style="cursor: move;" width="320px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDk33bfKCJmwXK1FLmhyHd-qWNHf8BcIhEQLLRQ_UeYCXBcp9XX8VujacK259GsONqUCS6Egiz-Jua0W8QwOodzxVUQ3ff86HVu_fwH_o67tPcz8Gf3EsND_YlfFhvfdK4nmy_opr-oFT_/s1600/barry-01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="130px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDk33bfKCJmwXK1FLmhyHd-qWNHf8BcIhEQLLRQ_UeYCXBcp9XX8VujacK259GsONqUCS6Egiz-Jua0W8QwOodzxVUQ3ff86HVu_fwH_o67tPcz8Gf3EsND_YlfFhvfdK4nmy_opr-oFT_/s320/barry-01.jpg" style="cursor: move;" width="320px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCZLFriXG8URBZsaDDnemZfJyaBvpyC0Ziz3MQDpzDL-7SK4-GpNq7V4i4nzqFP0gwJIctPwPFk2RyBM8vN6tzA_9YLyDk1Zerub_TgDVixW2hxHMTODLh9-Ma0O2Lk1k8JyFbyCC1b1nG/s1600/barry+7.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="263px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCZLFriXG8URBZsaDDnemZfJyaBvpyC0Ziz3MQDpzDL-7SK4-GpNq7V4i4nzqFP0gwJIctPwPFk2RyBM8vN6tzA_9YLyDk1Zerub_TgDVixW2hxHMTODLh9-Ma0O2Lk1k8JyFbyCC1b1nG/s320/barry+7.jpg" style="cursor: move;" width="320px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Designs by <a href="http://www.non-format.com/">Non Format</a></div><div class="separator" style="clear: both; margin: 0px; text-align: left;"><a href="http://blog.iso50.com/10648/non-format-interview/">Non Format</a> are one of the most interesting studios today. Amongst other more hard edged looks some of their work has a flowing delicate feel - from flowing illustrations around text, figures disappearing into smoke and to hair becoming a circuit board (for Barry 7's <a href="http://www.guardian.co.uk/music/2008/aug/29/electronicmusic">Library music</a> compilation).</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga_U8gYKKgnCBFy-Gj4D6BPj6iuZlBeFynnIzaeYSj50EpEFpjJaCI8gddoo9gB89Xh5lPbpxCILZfIyTnwRtWs43KGvdRE1n9YRp5gMQuYJ5tFMsb9hGYj0KETk8eQS3MifVhF8tr1aw/s1600/Love-Magazine-March-2012-Linda-Evangelista-Cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga_U8gYKKgnCBFy-Gj4D6BPj6iuZlBeFynnIzaeYSj50EpEFpjJaCI8gddoo9gB89Xh5lPbpxCILZfIyTnwRtWs43KGvdRE1n9YRp5gMQuYJ5tFMsb9hGYj0KETk8eQS3MifVhF8tr1aw/s640/Love-Magazine-March-2012-Linda-Evangelista-Cover.jpg" width="490px" /></a></div><div class="separator" style="clear: both; text-align: center;">Love Magazine cover (March 2012)</div><div class="separator" style="clear: both; text-align: left;">Art Nouveau's influence has become another style for modern designers to reference and appropriate (whether they are aware or not). In this recent magazine cover a black and white images has been given a <a href="http://en.wikipedia.org/wiki/Halftone">halftone pattern</a> and overlaid with colourful bold forms - a reference to <a href="http://www.tate.org.uk/collections/glossary/definition.jsp?entryId=226">Pop Art</a>. However, contrasted against this is the title 'Love' which has all the elegance, curls and swirls of Art Nouveau - it could have been designed by Alphonse Muncha.</div></div></div></div></div>jfkturnerhttp://www.blogger.com/profile/04292497470976112213noreply@blogger.comtag:blogger.com,1999:blog-5743411721886035143.post-71371138503297041812012-02-27T03:42:00.000-08:002012-02-27T03:42:15.230-08:00Ordinary and/or Extraordinary - Places<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu_8tfk8VbVxc8Qag7JEOa1JsgXeOXZJyn6Dm4Y5HleGCa02P6Dczaj4LGSGapHthsWJVb61jpm_isrNu8gw6YVaDbIloRluK9vAwJ-rLIggkpI_nlmNadbIG71QVi1d9XmBK45purqwvZ/s1600/boeing747.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" h5="true" height="243px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu_8tfk8VbVxc8Qag7JEOa1JsgXeOXZJyn6Dm4Y5HleGCa02P6Dczaj4LGSGapHthsWJVb61jpm_isrNu8gw6YVaDbIloRluK9vAwJ-rLIggkpI_nlmNadbIG71QVi1d9XmBK45purqwvZ/s400/boeing747.jpg" width="400px" /></a></div>The similarities and/or difference between one place and another could offer an interesting focus. For example the exterior and interior of a place.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq4rIfSh2FPzqLzdIaGnLWjatgWoFVxr3d0gl7BfubxrauhkZbyv_-TUFpju8VTfsukJz3mPStklFV8LPAj1FWBNHM5Wh24s_ZmvvEYBKionN1NadcEgE6Yx24-POQjDs-2-5SXUeXc1fx/s1600/ngsmall_0.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" h5="true" height="272px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq4rIfSh2FPzqLzdIaGnLWjatgWoFVxr3d0gl7BfubxrauhkZbyv_-TUFpju8VTfsukJz3mPStklFV8LPAj1FWBNHM5Wh24s_ZmvvEYBKionN1NadcEgE6Yx24-POQjDs-2-5SXUeXc1fx/s400/ngsmall_0.jpg" width="400px" /></a></div><div class="separator" style="clear: both; text-align: center;">Nick Gleis </div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: left;">The above image is from a series of photographs by <a href="http://www.bizjetphotos.com/" target="_blank">Nick Gleis</a> which reveal the interior opulence of the private jets owned by African dictators in the 1960s and 70s.</div><div style="text-align: left;"><br />
</div><div style="text-align: left;">The photos, which belong to the <a href="http://www.amcbooks.com/blog/" target="_blank">Archive of Modern Conflict</a>, were on show as part of an installation of vernacular photography at <a href="http://fabrica.org.uk/" target="_blank">Fabrica</a> art gallery in <a href="http://www.culture24.org.uk/art/photography+%26+film/ART309805">Brighton</a>. Gleis has declined to reveal who's jet these photos are taken in, and the interior designer is also unknown, but the images all scream 70s glamour at its most extreme.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMRYRCZO-ris__QNLC4NEqF6C0ZrXSYzXijQeJs3yjXvs7dt_B3fjTyHkZ9tefxlSguw0WRLBAniUI3KP-Xm0UnPggD7kiZy8B1BH8Dyc7Gf9QjJtyj0tJDi7geyX6K2GKlvXUVdP4onfL/s1600/Gleis1_1693558i.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" h5="true" height="250px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMRYRCZO-ris__QNLC4NEqF6C0ZrXSYzXijQeJs3yjXvs7dt_B3fjTyHkZ9tefxlSguw0WRLBAniUI3KP-Xm0UnPggD7kiZy8B1BH8Dyc7Gf9QjJtyj0tJDi7geyX6K2GKlvXUVdP4onfL/s400/Gleis1_1693558i.jpg" width="400px" /></a></div></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1RQAVXUMm3kkEN-WysIAEUJlU5jVWop2z1tdchKylhyphenhyphenehIhDW6qw0FkKsNQKk1p3FZOOifJpbNiIHG73dNCG8-PUO88ybzXZRH5aCdWlrSpB1qcg1PWy7INlrzhffK0BjtQwRTLi_s8La/s1600/fabrica+installation.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" h5="true" height="240px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1RQAVXUMm3kkEN-WysIAEUJlU5jVWop2z1tdchKylhyphenhyphenehIhDW6qw0FkKsNQKk1p3FZOOifJpbNiIHG73dNCG8-PUO88ybzXZRH5aCdWlrSpB1qcg1PWy7INlrzhffK0BjtQwRTLi_s8La/s320/fabrica+installation.jpg" width="320px" /></a></div><div class="separator" style="clear: both; text-align: left;">The photographs were shown in an installation at the Fabrica gallery. The former church had been converted into separate rooms for the<a href="http://www.telegraph.co.uk/culture/photography/8018403/Brighton-Photo-Biennial-in-pictures.html?image=9"> 'House of Vernicular'</a> exhibition as part of the Brighton Photo Biennial 2010(<a href="http://www.culture24.org.uk/art/photography+%26+film/ART309805">curated by Martin Parr</a>). One section looked like a living room, another looked like it was made out of concrete - the aeroplane photographs were displayed in a mock up of an aeroplane.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu0c7fgN5ahZRiMkjE92NuA4iqkAWpqsyqadQD4A44dmNvRx26IHm6MEw0JVY6YXsnSq0wFf6gNoSO0Oj_YSUvaWVHe60k_CxySK_uwGC561Opd7tb-2jWM3kSlNwp3vXJ3DZMBcW9tANv/s1600/Sarajevo05.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" h5="true" height="315px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu0c7fgN5ahZRiMkjE92NuA4iqkAWpqsyqadQD4A44dmNvRx26IHm6MEw0JVY6YXsnSq0wFf6gNoSO0Oj_YSUvaWVHe60k_CxySK_uwGC561Opd7tb-2jWM3kSlNwp3vXJ3DZMBcW9tANv/s640/Sarajevo05.jpg" width="640px" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijHDCdlS4T-EPGEF7sCpM1jfmy9orufJybMoRcsuZq-c6VIZe-EppO9ywAUP2dvHGV6zsMuDaPhw6ufM1kqwWW39K-4ZS3EYBZUMYrc-Nu-anSJWkwu_EFGrCHG3FIW1BGE5_Vzcs9nJVR/s1600/Sarajevo03.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" h5="true" height="316px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijHDCdlS4T-EPGEF7sCpM1jfmy9orufJybMoRcsuZq-c6VIZe-EppO9ywAUP2dvHGV6zsMuDaPhw6ufM1kqwWW39K-4ZS3EYBZUMYrc-Nu-anSJWkwu_EFGrCHG3FIW1BGE5_Vzcs9nJVR/s640/Sarajevo03.jpg" width="640px" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.alastairthain.com/pages/Landscapes/Sarajevo/Sar_phpslideshow.php?directory=.">Alastair Thain</a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: left;"><a href="http://www.alastairthain.com/">Alastair Thain</a> first visited <a href="http://www.guardian.co.uk/lifeandstyle/2006/feb/04/weekend.maggieokane">Sarajevo</a> in 1996, just after the end of the brutal three and a half year siege by Bosnia Serbs that left thousands dead. He found a city in ruins, the scars of war visible wherever he pointed his lens. He retraced his steps after the country rebuilt itself and re-took the same photographs. <a href="http://www.guardian.co.uk/artanddesign/2006/jan/07/photography">Thain</a>, who is best known as a portrait photographer, rarely shows people in this body of work.</div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaIiCw-DjSfrfTFXYZoBseIR-6b4Za_FG1V9-IjhsxNQXaQHyTVIIFeEiPa1ldSvAteC1oMtr0GjHp_sLh3aYoed7GK0uBib3-00HocSJb54GDNCx30sKXN_conknYS4LIEP006j9tjk8/s1600/MartinParrCola.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" closure_uid_hnf5if="130" height="276px" s5="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaIiCw-DjSfrfTFXYZoBseIR-6b4Za_FG1V9-IjhsxNQXaQHyTVIIFeEiPa1ldSvAteC1oMtr0GjHp_sLh3aYoed7GK0uBib3-00HocSJb54GDNCx30sKXN_conknYS4LIEP006j9tjk8/s400/MartinParrCola.jpg" width="400px" /></a></div><div class="caption" itxtassessment="{hasWeightsets:true,isWeightset:false,hasContentnodes:true,isContentnode:false,hasExcludenodes:true,isExcludenode:false,hasUnbreaknodes:true,isUnbreaknode:false,hasBreaknodes:true,isBreaknode:false,nodeElem:true,nodeAttr:false,nodeText:false}" itxtharvested="1" style="text-align: center;">Martin Parr 'Parking Spaces Mexico La Paz', 2003</div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBz8pgbwHbzN0UbCEhdFUIUPtvOqTJKMQGdVmPJCAF2iOKM6edCEvQ8C3QzZgLlBv687oYLTC8CCComzovx3Ip8N6TgMe9QN73JWJUr3peSxCQkBuDlA1vG20ejSxX7btHDJYteHc5cP4/s1600/parr+parking+space.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="216px" s5="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBz8pgbwHbzN0UbCEhdFUIUPtvOqTJKMQGdVmPJCAF2iOKM6edCEvQ8C3QzZgLlBv687oYLTC8CCComzovx3Ip8N6TgMe9QN73JWJUr3peSxCQkBuDlA1vG20ejSxX7btHDJYteHc5cP4/s320/parr+parking+space.jpg" width="320px" /></a></div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;">Martin Parr 'The Last parking Space' series 2002 and 2007</div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: left;"><br />
</div><div style="text-align: left;">Between 2002 and 2007, Martin Parr photographed 'the last parking space' available in 41 countries - somewhere you could have parked your car, had you been there at the time. Using a compact camera, and driven by wanting to express "the individual frustration of finding somewhere to park, but on a global level". The desire for a precious parking space has been a banal unifier of the middle classes the world over. </div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: left;"><br />
</div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: left;">This series also does something else - it shows how the same piece of space can go from being the most sought after to being worthless. On a Saturday afternoon a parking space precious. That same space at 3am during the night is just another space in an empty car park. All that has changed is time and demand - the space itself has stayed the same.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYJVrmiLisTIJh0KufITdTwexkkjzDTjrFYQCE5W1puCGW8I4CfW5KMkOO1iptfGO9O9Mk3GKp-rYxzKejVSLrpZSD5G28Qf5ICQXUolD0pToqoVXznc9JYvVw8-M-94sOzU4a8E-o4euQ/s1600/atget+fountain.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" h5="true" height="270px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYJVrmiLisTIJh0KufITdTwexkkjzDTjrFYQCE5W1puCGW8I4CfW5KMkOO1iptfGO9O9Mk3GKp-rYxzKejVSLrpZSD5G28Qf5ICQXUolD0pToqoVXznc9JYvVw8-M-94sOzU4a8E-o4euQ/s400/atget+fountain.jpg" width="400px" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKYzP04TGgxdAzurw-pE78wNdCQwxZJ0dLlzqRW8KFUSLW4cfAmBsNXxWCAFjQO3c5_-NOw3h-LYGU4iibOJYow06asHOsn8rIUoNQ5o83QOTzhWsDco0ylTNPtPJAQ6_qt1pk4L8P1ril/s1600/surrealism-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" h5="true" height="293px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKYzP04TGgxdAzurw-pE78wNdCQwxZJ0dLlzqRW8KFUSLW4cfAmBsNXxWCAFjQO3c5_-NOw3h-LYGU4iibOJYow06asHOsn8rIUoNQ5o83QOTzhWsDco0ylTNPtPJAQ6_qt1pk4L8P1ril/s400/surrealism-2.jpg" width="400px" /></a></div><div style="text-align: center;">Eugène Atget's 'Le Cirque' (1924)</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCKzZlcuF7le6Ylh1CtlMvehzgEUNVz4m_hzclKLTJduEL3NaGjaNSnrCSDsTRlW_DF3mynYC8FtcywpJbXik4yHo_SmXXV7BySOzai2bXDUDTa5X0VULq0pKaiRmczNRrhPDeKZXjkI0n/s1600/Atget-Saint-Cloud.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" h5="true" height="292px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCKzZlcuF7le6Ylh1CtlMvehzgEUNVz4m_hzclKLTJduEL3NaGjaNSnrCSDsTRlW_DF3mynYC8FtcywpJbXik4yHo_SmXXV7BySOzai2bXDUDTa5X0VULq0pKaiRmczNRrhPDeKZXjkI0n/s400/Atget-Saint-Cloud.jpg" width="400px" /></a></div><div style="text-align: center;">Eugène Atget's 'Saint Cloud' (1921-1922)</div><div style="text-align: left;">These images by Eugene Atget show Paris caught at night and in the early hours of the morning. These city shots have no people in them - a world built by people for people but empty. The same space that during the day would be full of people take on a new life at night - they become deserted and eerie. The images have a still, quite quality about them and their subtle sepia tone give the sense of looking at a forgotten world.</div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.moma.org/collection_images/resized/174/w500h420/CRI_149174.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="http://www.moma.org/collection_images/resized/174/w500h420/CRI_149174.jpg" width="320px" /></a></div><div style="text-align: center;">Eugene Atget '<a href="http://www.moma.org/collection/browse_results.php?criteria=O%3ADE%3AI%3A4%7CG%3AHO%3AE%3A1&page_number=5&template_id=1&sort_order=1">Magasin, avenue des Gobelins</a>' 1925</div><div style="text-align: left;"><a href="http://www.lensculture.com/rauschenberg.html">Atget </a>spent his career documenting Paris often combining the old with the modern. This image, from his later period, shows the height of French fashion with the reflection of the three hundred year old Gobelins complex. People rarely appear in his images - only the traces of people remain. He would document Paris's grandest building and most humble corners. Advertising and shop windows were unusual themes for Photography - his images were mainly taken as reference for other artists and illustrators. He was relatively unknown in his time but <a href="http://www.schwitters-stiftung.de/english/index.html">Man Ray</a>, who lived only a few doors away from Atget, had been the first to celebrate his work. Man Ray saw Atget's work as a kind of naive proto-surrealism. Atget's unique eye and straightforward approach can be seen in the objective look of future generations like <a href="http://www.getty.edu/art/gettyguide/artMakerDetails?maker=1634">Walker Evans</a>, <a href="http://www.303gallery.com/artists/stephen_shore/">Stephen Shore</a>, <a href="http://www.moma.org/collection/artist.php?artist_id=2002">Lee Friedlander</a>.</div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-UP2s4VPUlpoON57QGUUB751hTt19txWH9ZQeYL0U65nyZoG2mEbmkdJQ_z2gYwA0Irep1PrLovvTNEhADM-obh08PrL7qK3JR2nhG-7isqC3kvrVMGkj40H5ImjqDJrvvBfYjJLaTCqL/s1600/magritte68.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-UP2s4VPUlpoON57QGUUB751hTt19txWH9ZQeYL0U65nyZoG2mEbmkdJQ_z2gYwA0Irep1PrLovvTNEhADM-obh08PrL7qK3JR2nhG-7isqC3kvrVMGkj40H5ImjqDJrvvBfYjJLaTCqL/s400/magritte68.jpg" width="302px" /></a></div><div class="separator" style="clear: both; text-align: center;">Rene Magritte - 'Empire of Lights' 1953-54 </div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: left;">Rene Magritte explores the relationship between night and day in one image. The sky is blue and scattered with cloud but the ground is dark apart from a single street light illuminating the scene.</div><br />
</div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_CI4pGYpjLe2-fll5x2IBMUp1titsgXIFw7Xe-U3RqYYjTcZKNGNMVJPV_1r5pKfyYSh0iiRCKveEmTBjhxRva5lpKq4KNrCS8to4TWLYrvMduO5Oi00Crq3zvJCGjUrc6ZMdEZ9A8WnN/s1600/michael+hughes.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="270px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_CI4pGYpjLe2-fll5x2IBMUp1titsgXIFw7Xe-U3RqYYjTcZKNGNMVJPV_1r5pKfyYSh0iiRCKveEmTBjhxRva5lpKq4KNrCS8to4TWLYrvMduO5Oi00Crq3zvJCGjUrc6ZMdEZ9A8WnN/s400/michael+hughes.jpg" width="400px" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl-mSFJYyXCDLIyodeoqQkA-aqwitsNPo0rMXVorvXRVoV15KxlbjyPSuwZvYFhJyAmb-tqguZE00lwq1DJmoYwrmKDPbyurYIO_947xQ12NslBIQATRXBNVpZggyJnR3Yd1_nAqUDimul/s1600/MichaelHughes4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="263px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl-mSFJYyXCDLIyodeoqQkA-aqwitsNPo0rMXVorvXRVoV15KxlbjyPSuwZvYFhJyAmb-tqguZE00lwq1DJmoYwrmKDPbyurYIO_947xQ12NslBIQATRXBNVpZggyJnR3Yd1_nAqUDimul/s400/MichaelHughes4.jpg" width="400px" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.hughes-photography.eu/">Michael Hughes</a></div><div class="separator" style="clear: both; text-align: left;">With these images Michael Hughes has taken the tacky souvenirs found at tourist attractions and held them in front of the real thing. They create funny juxtapositions and play around with our sense of scale.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjb6KsDAXEwqXD_qp8GhPoBkT7zlJyHKp0zAqjda6mFG51y3aFufyl4YMIjzIZe5M2bRLN7RV2U6oKTbI6zn1DTU5qi3nAL65KZE5O7AUd0BotbNF3NsAfSvrLrSTtUlTjXhgJhZthtqX_i/s1600/the_sea_of_ice-large.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjb6KsDAXEwqXD_qp8GhPoBkT7zlJyHKp0zAqjda6mFG51y3aFufyl4YMIjzIZe5M2bRLN7RV2U6oKTbI6zn1DTU5qi3nAL65KZE5O7AUd0BotbNF3NsAfSvrLrSTtUlTjXhgJhZthtqX_i/s400/the_sea_of_ice-large.jpg" width="400px" /></a></div><div class="separator" style="clear: both; text-align: center;">Casper David Friedrich 'Sea of Ice' 1824</div><div class="separator" style="clear: both; text-align: left;">Physical collisions, whether intentional or accidental, can provide artists with spectacular visual reference material. Casper David Friedrich exploits the incredible forms created by masses of ice colliding.</div><div class="separator" style="clear: both;"></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHiK8WOGzVnlyI3G63MI2N7yB7ihyyZqp3fzG0aG7hf0GMKcSVbiMJ5uEtK6ilvxFmObwQjIpkMtZSfsKu4j4aY6Z8wZ_8S0_yjLHnf26V4XpWBWjyyKxJBUffIaXishlJ9wI-Dq4TQXQ/s1600/malevich_aeroplane-flying.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" nx="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHiK8WOGzVnlyI3G63MI2N7yB7ihyyZqp3fzG0aG7hf0GMKcSVbiMJ5uEtK6ilvxFmObwQjIpkMtZSfsKu4j4aY6Z8wZ_8S0_yjLHnf26V4XpWBWjyyKxJBUffIaXishlJ9wI-Dq4TQXQ/s400/malevich_aeroplane-flying.jpg" style="cursor: move;" width="332px" /></a></div>The triangular forms of the ice are reminiscent of the the forms used in <a href="http://www.malevichsociety.org/">Supremacist</a> painting by <a href="http://www.ibiblio.org/wm/paint/auth/malevich/sup/">Malevich</a>.<br />
<div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.allartclassic.com/img/Caspar_David_Friedrich_FRC020.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="258px" src="http://www.allartclassic.com/img/Caspar_David_Friedrich_FRC020.jpg" style="cursor: move;" width="400px" /></a></div><div style="text-align: center;"><div style="margin: 0px;"><a href="http://www.andrewgrahamdixon.com/broadcast/byVcat/127">Casper David Friedrich</a> 'Monk by the Sea' 1808 - 1810</div></div><div style="text-align: left;"><div style="margin: 0px;">Friedrich often looked to nature. In this work The sea collides with the land and a lone figure gazes out at an expanse of sea. Most of us have gazed out to sea and gained a sense of the vastness of the world, of the universe - this is <a href="http://www.tate.org.uk/britain/exhibitions/sublimeincrisis/default.shtm">the sublime</a>. Casper David Friedrich breaks the whole world down to three elements - the blank foreground of land (earth), the blackish murky sea (water) and the vast empty bruise like sky (Air). It is almost abstract if seen through half closed eyes. It could be a late period Rothko with the same elements of bleakness and emptiness.</div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://artobserved.com/artimages/2008/09/untitled-1969-mark-rothko.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="313px" src="http://artobserved.com/artimages/2008/09/untitled-1969-mark-rothko.jpg" style="cursor: move;" width="400px" /></a></div><div style="margin: 0px;">This is a late period <a href="http://www.telegraph.co.uk/culture/3561147/Rothko-exhibition-opens-at-Tate-Modern.html">Rothko</a>, created a year before the artist committed suicide. It displays the dark colour palette the artist primarily used during his last years of life, a period that was said to be increasingly lonely and isolating for the artist. <a href="http://obit-mag.com/articles/starring-mark-rothko">Rothko</a>'s earlier work is much more colourful - the colours affect you on a visceral level. </div><div style="margin: 0px;"></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVhmSGWH1p6sN-9yfNLFjNShOEwWDv-HnWwWeBPhvfgjsskDU3yRmuxIskcAnvoLW3v0w7yNUPHe8Y5vUZogy40E9EGm-FuC7ZGf61gcfy0J16_SS8Hw7OkQX1vK8NhLrVTCvlLGy5F_hw/s1600/ROSS-Hur_XLII-exhib.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="321px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVhmSGWH1p6sN-9yfNLFjNShOEwWDv-HnWwWeBPhvfgjsskDU3yRmuxIskcAnvoLW3v0w7yNUPHe8Y5vUZogy40E9EGm-FuC7ZGf61gcfy0J16_SS8Hw7OkQX1vK8NhLrVTCvlLGy5F_hw/s400/ROSS-Hur_XLII-exhib.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3x6fJYZnlYJ0ZiMMCkIEjLji57a5d0lUEjfHFhKI9_ZKxi8WhqeyuG73UOsHaSrlE3Lxw1G0kh0QjX29mRjtgRSUQqyRTeMWaFo1DwAPT8NSDlbUIiWyBvVqwHIbiV2_vTJcKA9QN6Fu5/s1600/ross-waves.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3x6fJYZnlYJ0ZiMMCkIEjLji57a5d0lUEjfHFhKI9_ZKxi8WhqeyuG73UOsHaSrlE3Lxw1G0kh0QjX29mRjtgRSUQqyRTeMWaFo1DwAPT8NSDlbUIiWyBvVqwHIbiV2_vTJcKA9QN6Fu5/s400/ross-waves.jpg" style="cursor: move;" width="341px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2R1qpTODWAYzxiuk8SKtEQnkU3GhZjrLnfAd3uM1MHUVTIixdNicAniQpISJVeBd-uRWMaQvgNCkHPhQyGs9EMdIRsVvW0BsKUWt0Xxe5xbhcBzWRw_LQZWpVfKVFWYFKBeZAgz-K-v62/s1600/cliffordross.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="322px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2R1qpTODWAYzxiuk8SKtEQnkU3GhZjrLnfAd3uM1MHUVTIixdNicAniQpISJVeBd-uRWMaQvgNCkHPhQyGs9EMdIRsVvW0BsKUWt0Xxe5xbhcBzWRw_LQZWpVfKVFWYFKBeZAgz-K-v62/s400/cliffordross.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.cliffordross.com/photography/hurricanes/3/index.php">Clifford Ross</a> - from the 'Hurricane' series</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">Clifford Ross also explores where land collides with the sea. Water is transformed into a stationary solid form and has been frozen in time. The rich black obliterates the sea and sky creating a solid area of negative space to contrast with the white textured area. <a href="http://www.cliffordross.com/conversations/writings/melville.php">Ross</a>' images seem to be a heightened form of the real world - these are waves but they seem to be <a href="http://bombsite.com/issues/85/articles/2585">perfect solid waves.</a></div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://skepweaver.files.wordpress.com/2007/07/monet_haystack.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="316px" ox="true" src="http://skepweaver.files.wordpress.com/2007/07/monet_haystack.jpg" style="cursor: move;" width="400px" /></a></div><div style="text-align: center;"><div style="margin: 0px;"><a href="http://emptyeasel.com/wp-content/uploads/2007/07/morningsnoweffectbyclaudemonet.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="278px" ox="true" src="http://emptyeasel.com/wp-content/uploads/2007/07/morningsnoweffectbyclaudemonet.jpg" style="cursor: move;" width="400px" /></a></div></div><div style="margin: 0px; text-align: center;">Claude Monet’s haystack <a href="http://thedelightsofseeing.blogspot.com/search/label/Series">series</a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBRHF6KnDSVlykGiJcGIBy495N9j9i1WazKLEsf9oy0VTQwQaE3hjvY8ogmmfqcAFVaRLsWCSrKbletRTfuNqLtTTwlq0a7vcHu-9rcLTVHhsgETVjXcTgakG_OBGly31miDurPTX3IwY/s1600/monet.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBRHF6KnDSVlykGiJcGIBy495N9j9i1WazKLEsf9oy0VTQwQaE3hjvY8ogmmfqcAFVaRLsWCSrKbletRTfuNqLtTTwlq0a7vcHu-9rcLTVHhsgETVjXcTgakG_OBGly31miDurPTX3IwY/s400/monet.jpg" style="cursor: move;" width="356px" /></a></div><div style="margin: 0px; text-align: center;"><div style="margin: 0px;">A group of <a href="http://www.intermonet.com/">Monet</a>'s Haystacks</div></div><div style="margin: 0px; text-align: left;"><div style="margin: 0px;">As an <a href="http://www.youtube.com/watch?v=SFD2koxKITI">impressionist</a> painter Monet was fascinated by <a href="http://thedelightsofseeing.blogspot.com/search/label/Light%20and%20Dark">light</a>. The warmth of the early morning light, the strong contrast of midday, the golden hour when the sun begins to set, twilight or the diffused light on a cloudy day. When he visited London he didn't see dullness, instead he was amazed by all the different shades of grey and white. During the harvest season of 1890 -91 he returned to the same hay stacks and painted them on site. The same ordinary subject is transformed by observing how the light changes at different times of day and year. Although technically a series of images there is a sense of time passing and the images seem to follow a natural sequence.</div></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-74WOLS6adPFVEU1NqmTvUFCHfXszQWPgYX2FmzwRuHx4J_AQXFmN1agwYSTzqiQee8VePuKQ5TD8FPSkWZ31-n-1Bpsx0Lk7RyJnIsSZ36k8x0QKBbuwnCo201EvXiEjnrW6yiXy-Oo/s1600/Hopper_8462a.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-74WOLS6adPFVEU1NqmTvUFCHfXszQWPgYX2FmzwRuHx4J_AQXFmN1agwYSTzqiQee8VePuKQ5TD8FPSkWZ31-n-1Bpsx0Lk7RyJnIsSZ36k8x0QKBbuwnCo201EvXiEjnrW6yiXy-Oo/s400/Hopper_8462a.jpg" width="400px" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.independent.co.uk/arts-entertainment/art/great-works/hopper-edward-early-sunday-morning-1930-744415.html">'Early Sunday Morning' 1930 Edward Hopper</a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilEgkGzkIF3vieV67Sz__vKePv04pAUQ5Kmvq57OwBiFL4OBevlnJzZOwDmr_ZcTvem9uDrZE0VFf3h-8K4wNAPetSKT_jOzae4Tb40mNOHI4LxcrZO4fRKXIPm43-jNUEAzhnAwNVviY/s1600/wim+wenders.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="204px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilEgkGzkIF3vieV67Sz__vKePv04pAUQ5Kmvq57OwBiFL4OBevlnJzZOwDmr_ZcTvem9uDrZE0VFf3h-8K4wNAPetSKT_jOzae4Tb40mNOHI4LxcrZO4fRKXIPm43-jNUEAzhnAwNVviY/s640/wim+wenders.jpg" width="640px" /></a></div><div class="separator" style="clear: both; text-align: center;">Wim Wenders</div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;">Keld Helmer Petersen</div><div class="separator" style="clear: both; text-align: left;"><br />
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</div><div style="text-align: center;">Hopper</div><div style="text-align: center;">Early sunday Morning<br />
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<div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1bR_AKtMpB9WnAhIlYacV0gBI3HvjdGsflt7UIiUg2yBg3Vr2geooMDMbrIxiaeE694BpLz0OZfgW-36zQTlPO8fbcqhbSy0NnPk0mPFfoIJZoMGVplVWP0aq5T-p1kiQtxUl41VNBfk/s1600/Gregory-Crewdson-at-White-Cube-Susan-Hiller-at-Timothy-Taylor-Gallery3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1bR_AKtMpB9WnAhIlYacV0gBI3HvjdGsflt7UIiUg2yBg3Vr2geooMDMbrIxiaeE694BpLz0OZfgW-36zQTlPO8fbcqhbSy0NnPk0mPFfoIJZoMGVplVWP0aq5T-p1kiQtxUl41VNBfk/s400/Gregory-Crewdson-at-White-Cube-Susan-Hiller-at-Timothy-Taylor-Gallery3.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.aperture.org/crewdson/">Gregory Crewdson</a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbq6OQ7JAv6xzTqjsaGHCHdBz4hsVKOWHwiqQb4ruNf2gVU24Vrv6rdLrEzf9eZWvprVzJqM_4XN1BlM0BgUOuPiO4VLXd4Wc1uzqNR2aYMOla1CrgE0NBYBRIOG90Mf2O5r5vFuilYAY/s1600/gregory-crewdson-24.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbq6OQ7JAv6xzTqjsaGHCHdBz4hsVKOWHwiqQb4ruNf2gVU24Vrv6rdLrEzf9eZWvprVzJqM_4XN1BlM0BgUOuPiO4VLXd4Wc1uzqNR2aYMOla1CrgE0NBYBRIOG90Mf2O5r5vFuilYAY/s400/gregory-crewdson-24.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Gregory Crewdson</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">Gregory Crewdson uses <a href="http://www.guardian.co.uk/artanddesign/2005/apr/19/photography">Hollywood techniques</a> to create glossy <a href="http://www.npr.org/blogs/pictureshow/2009/07/edward_hoppers_influence.html">Edward Hopper</a>-esque portraits of American life. He works like a Film Director with an enormous crew and artificial lighting. But where <a href="http://www.guardian.co.uk/culture/2004/may/25/1">Hopper</a> stripped life bare, Credson's images offer an overabundance of detail.</div></div></div></div>jfkturnerhttp://www.blogger.com/profile/04292497470976112213noreply@blogger.comtag:blogger.com,1999:blog-5743411721886035143.post-89332242957749629722012-02-27T03:34:00.000-08:002012-02-27T03:34:01.067-08:00Ordinary and/or Extraordinary - People<div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJt21EwBXNWiEPVl0UumxACBMd7S8QVQOKIWFW-UOqONt1P9XzpF8L3RquLz9-EqoB2SR464KQfxXrhiMnJr2Q41vIB83YXh39jDKnRbVaT55bXSeaPbnkMKf0YZ8yxsiWSoiGOd-KD5oV/s1600/nick+danziger.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" h5="true" height="285px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJt21EwBXNWiEPVl0UumxACBMd7S8QVQOKIWFW-UOqONt1P9XzpF8L3RquLz9-EqoB2SR464KQfxXrhiMnJr2Q41vIB83YXh39jDKnRbVaT55bXSeaPbnkMKf0YZ8yxsiWSoiGOd-KD5oV/s400/nick+danziger.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhObK2pnMp26BRtX49-H3aRiHG7KSzRcTd5S6s-Y7pzUCNCQg2a2omF5hCuCxW7qilAUEkRtDVpNZpp_Yl6afTz2lPjfno6ShBky24GQLTv3eBY7MRXkp7ftH1u3am4hXs4s5gFteD-JMFn/s1600/rich53.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" h5="true" height="288px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhObK2pnMp26BRtX49-H3aRiHG7KSzRcTd5S6s-Y7pzUCNCQg2a2omF5hCuCxW7qilAUEkRtDVpNZpp_Yl6afTz2lPjfno6ShBky24GQLTv3eBY7MRXkp7ftH1u3am4hXs4s5gFteD-JMFn/s400/rich53.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.nickdanziger.com/index/home/">Nick Danziger</a> - a photograph from his book 'The British'</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">Artists have been inspired by ordinary and extraordinary people -</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">Humans are tribal and we like to notice how we are different from each other - class, gender, wealth, race, faith, nationality - the list goes on. Our differences is what gives the world variety and ultimately humans share more basic traits (hunger, love, jealousy, fear, happiness, sleep, dreams) than we have differences. Some people tend to forget this.</div><div style="margin: 0px;"><br />
</div><div style="margin: 0px;">For this work, Nick Danziger selected the pick of his black-and-white images of Britain's underclass and upperclass to create a vivid portrait of Britain at the start of the second millennium. He juxtaposed two very different ways of life.</div><div style="margin: 0px;"><br />
</div><div style="margin: 0px;">From the palaces of Westminster to Durham's high-security, H-block prison wing for women murderers, from remote Scottish crofting communities to the violence-scarred, inner-city neighbourhoods of Scottswood and Benwell in Newcastle-upon-Tyne, from the richest man in England (the Duke of Westminster) and the C-in-C of the British Army to lives dominated by the abuse of drugs, violence and unemployment, Nick Danziger traverses the land in images of dramatic power.</div><div style="margin: 0px;"><br />
</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIAYIuNtZa63y5ONwd5vH6F7GumSAFAmHz_DPM9ybr5SyauKLeGwIrNqzo8BcUmlq9MIq_B8uNInFYR3Eh4a-FfDQ4dPCM5UyyZB823uHxnerE9wCqU__TDLdwmu1VJ8NBE-QZ9skOZRag/s1600/9am217.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" h5="true" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIAYIuNtZa63y5ONwd5vH6F7GumSAFAmHz_DPM9ybr5SyauKLeGwIrNqzo8BcUmlq9MIq_B8uNInFYR3Eh4a-FfDQ4dPCM5UyyZB823uHxnerE9wCqU__TDLdwmu1VJ8NBE-QZ9skOZRag/s400/9am217.jpg" style="cursor: move;" width="285px" /></a></div><div style="text-align: center;"><div style="margin: 0px;">Irving Penn 'Chimney Sweep, London' 1950</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtPHYsPelsu0LCew38SUY03_m277cMQZsr12QPv5lwQVwFIAjcg1cxtbt9R9o9d_RLtTpf7kr2oLlrZdQJ-r2BQYGgy7iURGGxnorUBtriN4-EhoFk1s00RF97Eha1ggU5gY630OtMOrVT/s1600/irving_penn_lorry_washers_london_1950_d5355080h.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" h5="true" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtPHYsPelsu0LCew38SUY03_m277cMQZsr12QPv5lwQVwFIAjcg1cxtbt9R9o9d_RLtTpf7kr2oLlrZdQJ-r2BQYGgy7iURGGxnorUBtriN4-EhoFk1s00RF97Eha1ggU5gY630OtMOrVT/s400/irving_penn_lorry_washers_london_1950_d5355080h.jpg" style="cursor: move;" width="301px" /></a></div><div style="margin: 0px;">IRVING PENN (1917-2009) 'Lorry Washers, London' 1950</div></div><div style="margin: 0px;">Irving Penn was a leading fashion photographer in the 20th century. He photographed some of the most glamorous, famous and important people of his time. He also photographed everyday people - butchers, bakers and chimney sweeps in his series <a href="http://www.getty.edu/art/exhibitions/penn/">'Small Trades'</a> in 1950. Working in Paris, London, and New York in the early 1950s, photographer Irving Penn (American, 1917–2009) created masterful representations of skilled tradespeople dressed in work clothes and carrying the tools of their occupations. A neutral backdrop and natural light provided the stage on which his subjects could present themselves with dignity and pride. Penn revisited his Small Trades series over many decades.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT8PDE6fGnyY3-0RLrVnEPBPZ8k5FbrvTjywIR8-sSKggPcmIL98YyI7W5k-yx-c8WDYo1gXLBdKw4Ctm6Az0MqMtqmNaWVUEgnq7LzHM-VPBuZ3D26Uzx_0h6UBOnReQWnvCgaQCmeCkt/s1600/cheese-seller-chevrier-paris.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" h5="true" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT8PDE6fGnyY3-0RLrVnEPBPZ8k5FbrvTjywIR8-sSKggPcmIL98YyI7W5k-yx-c8WDYo1gXLBdKw4Ctm6Az0MqMtqmNaWVUEgnq7LzHM-VPBuZ3D26Uzx_0h6UBOnReQWnvCgaQCmeCkt/s400/cheese-seller-chevrier-paris.jpg" style="cursor: move;" width="291px" /></a></div><div style="text-align: center;"><div style="margin: 0px;">Irving Penn, Small Trades, Chevrier, Paris, 1950</div></div><div style="margin: 0px;"><br />
</div><div style="text-align: left;"><div style="margin: 0px;">He photographed them in the same way as he photographed the famous - through his camera lens people became equal. The ordinary became iconic. Penn is said to have asked a sitter 'What does it feel like to realise this eye that is looking at you is the eye of one hundred and twenty thousand people?'. Along with unusual questions he would photograph his subjects for hours to capture that natural moment when they let their guard down. Irving Penn's photographs are icons that provide a fascinating record of cultural and economic trends that have now passed.</div><div style="margin: 0px;"><br />
</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWc64ug_P3twD6ZOUSeivp3xe0rjGMHViHSG9xapXD1c4UUWMwCSyKlF5I8A5tVulS21_aPoGUhqaceltozNXdKy7IFmqGAhVRYBV61VpnpPsKxEvebNKwoytHAGeg6_jF813KqMhd8Bua/s1600/steve+mccurry+before+and+after.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" h5="true" height="480px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWc64ug_P3twD6ZOUSeivp3xe0rjGMHViHSG9xapXD1c4UUWMwCSyKlF5I8A5tVulS21_aPoGUhqaceltozNXdKy7IFmqGAhVRYBV61VpnpPsKxEvebNKwoytHAGeg6_jF813KqMhd8Bua/s640/steve+mccurry+before+and+after.jpg" style="cursor: move;" width="640px" /></a></div><div style="margin: 0px;"><br />
</div><div style="margin: 0px;">In 1984 <a href="http://www.stevemccurry.com/main.php">Steve McCurry</a> photographed a young girl in Afghanistan. It is a simple portrait and the girls piecing blue/green eyes are the point of emphasis for the viewer. Her head is framed by a red scarf which is contrasted with a blurred grey/blue background (that picks up colours in the girls eyes). The image became iconic but the girl herself carried on her life. The image was taken for <a href="http://photography.nationalgeographic.com/photography/">National Geographic</a> and became known as the 'Afghan girl' - for years McCurry has tried to once again <a href="http://www.youtube.com/watch?v=cK6EnFu3NHc">find the girl</a> from his famous 1984 photo and he did in 2002. He took an almost identical image 17 years later - but the woman seems to have aged a lot more than that. The natural effects of time coupled with the troubled history of Afghanistan can be read in the woman's face.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNLk8I2_qmMgxhf0xXN6AugqiqCMQMrfd-ehXxkMSSyfZeCvchnVmsSdmMAokxd5E7p1AlhWk9rTnGUKysqQGYvDekKdebne6_Ia-YyLcvEXU3FxH1LLYuStShz9MBoEU_1TtvWiQevLU/s1600/Duncan+1990+-+2006.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNLk8I2_qmMgxhf0xXN6AugqiqCMQMrfd-ehXxkMSSyfZeCvchnVmsSdmMAokxd5E7p1AlhWk9rTnGUKysqQGYvDekKdebne6_Ia-YyLcvEXU3FxH1LLYuStShz9MBoEU_1TtvWiQevLU/s400/Duncan+1990+-+2006.jpg" style="cursor: move;" width="386px" /></a></div><div style="margin: 0px;"><a href="http://www.pyke-eye.com/view/jack_transcript3.html">Steve Pryke</a> - <a href="http://www.google.co.uk/imgres?imgurl=https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNLk8I2_qmMgxhf0xXN6AugqiqCMQMrfd-ehXxkMSSyfZeCvchnVmsSdmMAokxd5E7p1AlhWk9rTnGUKysqQGYvDekKdebne6_Ia-YyLcvEXU3FxH1LLYuStShz9MBoEU_1TtvWiQevLU/s1600/Duncan+1990+-+2006.jpg&imgrefurl=http://stevepyke.blogspot.com/2010/04/jack-and-duncan.html&usg=__Kv3xbpcfeQpXXvDGU0qHv92h_MU=&h=1600&w=1545&sz=246&hl=en&start=2&zoom=1&um=1&itbs=1&tbnid=90-1OZO1sc1hDM:&tbnh=150&tbnw=145&prev=/images%3Fq%3Dsteve%2Bpyke%2Bphotographer%2Bseries%2Bof%2Bson%2Bjack%26um%3D1%26hl%3Den%26rls%3Dcom.microsoft:en-US%26rlz%3D1I7SKPB_en%26tbs%3Disch:1">portraits of his son Duncan taken every year.</a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.nga.gov/press/exh/219/assets/219-004-lrg.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="323px" src="http://www.nga.gov/press/exh/219/assets/219-004-lrg.jpg" style="cursor: move;" width="400px" /></a></div><div style="margin: 0px;"><div style="margin: 0px;"><span class="Apple-style-span" style="color: #333333; font-family: verdana, 'trebuchet MS', trebuchet, arial, sans-serif; font-size: xx-small; line-height: 21px;"></span></div></div><div style="margin: 0px;"><div style="margin: 0px;"><span class="Apple-style-span" style="color: #333333; font-family: verdana, 'trebuchet MS', trebuchet, arial, sans-serif; font-size: xx-small; line-height: 21px;"></span></div></div><div style="margin: 0px;"></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><span class="Apple-style-span" style="color: #333333; font-family: verdana, 'trebuchet MS', trebuchet, arial, sans-serif; font-size: xx-small; line-height: 21px;"><strong></strong></span><a href="http://sp9.fotolog.com/photo/57/1/55/frame_lado/1234779003176_f.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320px" src="http://sp9.fotolog.com/photo/57/1/55/frame_lado/1234779003176_f.jpg" style="cursor: move;" width="400px" /></a></div><div style="margin: 0px;"></div><div style="margin: 0px; text-align: center;"><div style="margin: 0px;">Nicholas Nixon 'The Brown Sisters 1975-2007' 2/16/09</div></div><div style="margin: 0px;"><div style="margin: 0px;"><br />
</div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://blog.photoshelter.com/image/grid-nixon.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="356px" src="http://blog.photoshelter.com/image/grid-nixon.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Nicholas Nixon 'The Brown Sisters 1975-2007'</div><div style="margin: 0px;"><div style="margin: 0px;">Time has a natural effect on the world around us. Time is a central element of Photography - at it purest form it can be <a href="http://thedelightsofseeing.blogspot.com/search/label/Shutter%20speeds%20-%20SLOW">the length of time a shutter is left open for</a>. On another level it can record time - <a href="http://thedelightsofseeing.blogspot.com/search/label/Shutter%20speed%20-%20FAST">freezing it forever</a>. We cannot see time - we invented clocks to give form to this abstract concept. However, we can see the effects of time - the sun moving over head, a worn step, a landscape eroding or the aging effect on humans. We notice people growing old mainly by looking back at old photographs. The Photographer <a href="http://www.mocp.org/collections/permanent/nixon_nicholas.php">Nicholas Nixon</a> has Photographed his wife and her three sisters ever year since <a href="http://www.youtube.com/watch?v=9tkyLHgnK7I">1975</a>. He created a <a href="http://www.americansuburbx.com/2010/03/steidl-new-topographics-2009.html">Topograhic series</a>. They are informal portraits but the women are always stood in the same order. If you look at the photographs chronologically the change is subtle. However, if you look at a photograph from the 1970's and compare it to a recent one the change is dramatic. Soft skin and features age and show the marks of a life's experience. Individuals faces can still be recognised but, at the same time, can change dramatically.</div></div><div style="margin: 0px;"><div style="margin: 0px;"><br />
</div></div><div style="margin: 0px; text-align: center;"><div style="margin: 0px;"><a href="http://hoocher.com/Rembrandt/Rembrandt_Self_Portrait_at_an_Early_Age_1628.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" ox="true" src="http://hoocher.com/Rembrandt/Rembrandt_Self_Portrait_at_an_Early_Age_1628.jpg" style="cursor: move;" width="331px" /></a></div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.youtube.com/watch?v=euKjvw42blw">Rembrandt </a>Self Portrait 1628</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">We take it for granted that we can document our lives. It is easy for us to create a photographic image of ourselves. Before the invention of photography all portraits had to be drawn by hand. If you couldn't draw you would have to pay an artist. This meant only the rich and successful were immortalised in an image. Rembrandt made <a href="http://www.andrewgrahamdixon.com/archive/readArticle/541">self portraits</a> from an early age and left one of the few pre-photographic documents of a person growng old.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.ascmag.com/blog/wp-content/uploads/2010/09/02_Rembrandt-self-portrait.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" ox="true" src="http://www.ascmag.com/blog/wp-content/uploads/2010/09/02_Rembrandt-self-portrait.jpg" style="cursor: move;" width="336px" /></a></div><div style="margin: 0px;">Rembrandt, “<a href="http://www.blogger.com/"><span id="goog_1109668016"></span>Self-Portrait in Painter's Costume<span id="goog_1109668017"></span></a>.” 1660-62</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">Over thirty years separate these two images by Rembrandt and show him transform from a young ambitious artist to an <a href="http://www.guardian.co.uk/culture/2001/jan/13/art">old master</a>. He made a unusually large amount of self portraits that show him in various guises from a mischievous clown, respectable member of society to a lone artist. You can see these varied portraits <a href="http://www.youtube.com/watch?v=go0feRWIz90">here</a> and <a href="http://www.rembrandtpainting.net/rembrandt_self_portraits.htm">here</a>.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXS3kE8R6OsP3sx35eKqTrp7ImESOSZHhUo0QFauWajpF0HyAnuhGhoJ2QabRQ5rFgfMlCfoKj40wuLTqG14gWvYPDfxUCNvycnVzHdTJgJU5Z8pfYBhcwmLqtdpRtPjjynJXP6F4r84Vt/s1600/20_lali-web-450x318.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="282px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXS3kE8R6OsP3sx35eKqTrp7ImESOSZHhUo0QFauWajpF0HyAnuhGhoJ2QabRQ5rFgfMlCfoKj40wuLTqG14gWvYPDfxUCNvycnVzHdTJgJU5Z8pfYBhcwmLqtdpRtPjjynJXP6F4r84Vt/s400/20_lali-web-450x318.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigc_a7XtJC3ZN_IPOvcdQIrqb-xqrpwywiNNl2jpouKThK5JIzzen53kdt4y9l1qgqAHsh0qEp3xmptcZMRPZGRZaSgnWSbj1R0yOheoLpIlsQDnBLK15LJ0kuFwR8OFPx4hxftc4Gs5ra/s1600/20_viejos-web-450x229.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="202px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigc_a7XtJC3ZN_IPOvcdQIrqb-xqrpwywiNNl2jpouKThK5JIzzen53kdt4y9l1qgqAHsh0qEp3xmptcZMRPZGRZaSgnWSbj1R0yOheoLpIlsQDnBLK15LJ0kuFwR8OFPx4hxftc4Gs5ra/s400/20_viejos-web-450x229.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwNFOEDA_AuwEQObJ2Ut4LzdFGt7hwErV4wE_aU0vhgNjgOKv2offmC49GnO42fvcEj4DV7v01LGmkXMVpVgyoxHXVvOtwy5OCyvvxcdFVtf_qo9EB69Mu271EALU-LE4ztvzSFIbt8FoV/s1600/20_pancho-web-450x306.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="271px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwNFOEDA_AuwEQObJ2Ut4LzdFGt7hwErV4wE_aU0vhgNjgOKv2offmC49GnO42fvcEj4DV7v01LGmkXMVpVgyoxHXVvOtwy5OCyvvxcdFVtf_qo9EB69Mu271EALU-LE4ztvzSFIbt8FoV/s400/20_pancho-web-450x306.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Irina Werning 'Back to the future'</div><div style="margin: 0px;">'Back to the Future' is a fascinating project by <a href="http://irinawerning.com/back-to-the-fut/back-to-the-future/">Irina Werning</a>. She has convinced friends and family to recreate their old photos — in some cases, the resemblance is absolutely uncanny. Of course the location, person, clothes etc are all the exact same, but she’s also done a wonderful job of matching the look and feel of the original photograph. That is harder than it looks - matching the lighting must have taken forever.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHhU0MyvrOVo4YDSkiW1eKiIirlxGO-z6T3CPC_nApRFPGs575jEGz8HDcEl9SqBAW_GFLgOaZtxxvoeCDqwehLm1dFHxSzcmq3wY_2zksMUH0vmqmp6iMvk2m_87CKNzQi9kvEQ3wmlSz/s1600/Screen+shot+2011-12-12+at+6.36.54+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHhU0MyvrOVo4YDSkiW1eKiIirlxGO-z6T3CPC_nApRFPGs575jEGz8HDcEl9SqBAW_GFLgOaZtxxvoeCDqwehLm1dFHxSzcmq3wY_2zksMUH0vmqmp6iMvk2m_87CKNzQi9kvEQ3wmlSz/s400/Screen+shot+2011-12-12+at+6.36.54+PM.png" width="316px" /></a></div><div style="text-align: center;">William Mansel Llewelyn photographed by his aunt <a href="http://www.guardian.co.uk/uk/2003/feb/26/artsandhumanities.arts1">Mary Dillwyn</a>.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuqmHYa1f5wwpxpdVyyNVEUXpY_jeXI6VJKFNh0XNqAub6SI0yh3KHihWHGArOb1JNBQbBBACoENfOO7Np1jTY3T42ZVdnN_y8fmagQlz1XBWhSIaMtzMCkd504KAWxmPQR-mjHqQmFkdl/s1600/01-11.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuqmHYa1f5wwpxpdVyyNVEUXpY_jeXI6VJKFNh0XNqAub6SI0yh3KHihWHGArOb1JNBQbBBACoENfOO7Np1jTY3T42ZVdnN_y8fmagQlz1XBWhSIaMtzMCkd504KAWxmPQR-mjHqQmFkdl/s400/01-11.jpg" width="296px" /></a></div><div class="separator" style="clear: both; text-align: center;">Joe Strummer by Rankin</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpuQqWTcnC1OfuwLYRLiO5FEiVDwVUI8S85qqErA3IFDgV5WDvw7aUBxAeW2pRvP066HY5rgiNDOwVZckqDSjCZdHKk_7BYS844C26NyHRc-VhkSvPVRwvOFvsVqijTWao7laSAQXzVdva/s1600/joe_strummer_by_hirst_0.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpuQqWTcnC1OfuwLYRLiO5FEiVDwVUI8S85qqErA3IFDgV5WDvw7aUBxAeW2pRvP066HY5rgiNDOwVZckqDSjCZdHKk_7BYS844C26NyHRc-VhkSvPVRwvOFvsVqijTWao7laSAQXzVdva/s400/joe_strummer_by_hirst_0.jpg" width="298px" /></a></div><div style="text-align: center;"><a href="http://www.creativereview.co.uk/cr-blog/2009/november/youth-music-destroy-rankin">Damien Hirst's version of Rankin's Joe Strummer</a> - (<a href="http://www.youtube.com/watch?v=7R2_4-421GM">The Clash</a>) portrait</div><div style="text-align: center;">"I tried to keep it about him as a person. I kept looking at the thing on the hand, where it said 'Joe'. Joe Strummer was a great guy who I met, who was much more of a hero in real life. You don't meet many people like that".</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><span class="Apple-style-span" style="color: #330033;">Damien Hirst</span></div><div style="text-align: center;"><span class="Apple-style-span" style="color: #330033;"><br />
</span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTvdlMiTSF138bRHQjGpS9Tr7RIRML-GuVZqvHW-ulkdWhkaqcocx_Ef7hKNVY4Q1aXVrhP0QAKZkzU4I1ORXirEy94eLRiWmB8dfg1wryqkg0v9YLgCqwacvbQFtfja2r_02bKyLCiWnh/s1600/01-6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTvdlMiTSF138bRHQjGpS9Tr7RIRML-GuVZqvHW-ulkdWhkaqcocx_Ef7hKNVY4Q1aXVrhP0QAKZkzU4I1ORXirEy94eLRiWmB8dfg1wryqkg0v9YLgCqwacvbQFtfja2r_02bKyLCiWnh/s400/01-6.jpg" width="330px" /></a></div><div><div style="text-align: center;"><span class="Apple-style-span" style="font-family: Times;"><span class="Apple-style-span" style="font-size: small; line-height: normal;"><span class="Apple-style-span" style="color: white;">Marianna Faithful by Rankin</span></span></span></div></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQRnERi8WAn7jvo2c44Ig751bAPWbLhcghqWkTdIN5v452-T7ZmCmHoK4cqUvEWCWhwJw93hexvXYsZgA6jz8C6pxHjQWfwTnAgy9EY3vIaikqf_AqpNMILJ-hgqS1DUlRN0PzUc1aCZDD/s1600/02-6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQRnERi8WAn7jvo2c44Ig751bAPWbLhcghqWkTdIN5v452-T7ZmCmHoK4cqUvEWCWhwJw93hexvXYsZgA6jz8C6pxHjQWfwTnAgy9EY3vIaikqf_AqpNMILJ-hgqS1DUlRN0PzUc1aCZDD/s400/02-6.jpg" width="348px" /></a></div><div><div style="text-align: center;"><span class="Apple-style-span" style="font-family: Times;"><span class="Apple-style-span" style="font-size: small; line-height: normal;"><span class="Apple-style-span" style="color: white;">Marianna Faithful's 'Destroyed' version of herself by Rankin</span></span></span></div></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-u5EoceHsEhPKZOt_bGZKkCkdlAdn6oO2k0R452Z5wcW394ImBfjEbi0akkc4rhfIW6JILpPZ7bc_pwcW07PkdK0x0sKmk2XrzmrydVUIxixRFp_pYxzm7c8Ss36NNefmFJfE8zUmxdnD/s1600/01-3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-u5EoceHsEhPKZOt_bGZKkCkdlAdn6oO2k0R452Z5wcW394ImBfjEbi0akkc4rhfIW6JILpPZ7bc_pwcW07PkdK0x0sKmk2XrzmrydVUIxixRFp_pYxzm7c8Ss36NNefmFJfE8zUmxdnD/s400/01-3.jpg" width="295px" /></a></div><div><div style="text-align: center;"><span class="Apple-style-span" style="font-family: Times;"><span class="Apple-style-span" style="font-size: small; line-height: normal;"><span class="Apple-style-span" style="color: white;">Goldie by Rankin</span></span></span></div></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyDMRVOU9bzlzSNI3zx6MKAmDF-JjxvcqaCaKog481BF6d4KYDz7wkFXklST22khXewj8bUiUJb256i9qTbl2RS7qnxqtiMErmMCtrqO2wpVlUrbTMoiXNKtlrWE1NXGPJRLwcOFACtMv3/s1600/02-4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyDMRVOU9bzlzSNI3zx6MKAmDF-JjxvcqaCaKog481BF6d4KYDz7wkFXklST22khXewj8bUiUJb256i9qTbl2RS7qnxqtiMErmMCtrqO2wpVlUrbTMoiXNKtlrWE1NXGPJRLwcOFACtMv3/s400/02-4.jpg" width="287px" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div><span class="Apple-style-span" style="font-family: Times;"><span class="Apple-style-span" style="font-size: small; line-height: normal;"><span class="Apple-style-span" style="color: white;">Goldies' </span><a href="http://fashionsmostwanted.blogspot.com/2009/11/destroy-rankin.html"><span class="Apple-style-span" style="color: white;">'Destroyed'</span></a><span class="Apple-style-span" style="color: white;"> version of his own portrait by Rankin</span></span></span></div><div><span class="Apple-style-span" style="font-family: Times;"><span class="Apple-style-span" style="font-size: small; line-height: normal;"><span class="Apple-style-span" style="color: white;"><br />
</span></span></span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Times;"><span class="Apple-style-span" style="font-size: small; line-height: normal;"><span class="Apple-style-span" style="color: white;">In a collaborative project called '</span><a href="http://www.youthmusic.org.uk/rankin/home/#/gallery"><span class="Apple-style-span" style="color: white;">Destroy Rankin</span></a><span class="Apple-style-span" style="color: white;">' musicians have 'Destroyed' or reinterpreted portraits of themselves taken by </span><a href="http://www.independent.co.uk/arts-entertainment/music/features/observations-musicians-rip-it-up-and-start-again-for-destroy-rankin-1815321.html"><span class="Apple-style-span" style="color: white;">Rankin</span></a><span class="Apple-style-span" style="color: white;">. The original photograph is Rankin's but the musicians portrait is, ultimately, a self portrait.</span></span></span></div><div><span class="Apple-style-span" style="font-family: Times;"><span class="Apple-style-span" style="font-size: small; line-height: normal;"><span class="Apple-style-span" style="color: white;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIBxqiyw3rS27uxJOQjgMCeFwNLA3PIdL3DEFpSmmkHmXYbwPZKBhxcUhm0xjmRYRtm1ykHHnWMnT9uWpecUnteMjHOvxbGnEj12TQpqmFCefHicIQ6uvmLX6skNNj9PLbG35TPk2IYTnI/s400/1-mzd041.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="287px" n4="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIBxqiyw3rS27uxJOQjgMCeFwNLA3PIdL3DEFpSmmkHmXYbwPZKBhxcUhm0xjmRYRtm1ykHHnWMnT9uWpecUnteMjHOvxbGnEj12TQpqmFCefHicIQ6uvmLX6skNNj9PLbG35TPk2IYTnI/s400/1-mzd041.jpg" width="400px" /></a></div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAraMPq-XpDRuFUI0ai1U1JIGMer0vZssSnp1G8pPRGUf6qvkjRzjlL6O5aPNil0aK3aCxf3xdvIZZWRJfOPYa5FUZcF4nugpe9honlPyUuI88G5wBqAytIbt5vDSww4uyQKFqK4xbS4Km/s1600/mai.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" n4="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAraMPq-XpDRuFUI0ai1U1JIGMer0vZssSnp1G8pPRGUf6qvkjRzjlL6O5aPNil0aK3aCxf3xdvIZZWRJfOPYa5FUZcF4nugpe9honlPyUuI88G5wBqAytIbt5vDSww4uyQKFqK4xbS4Km/s400/mai.jpg" width="275px" /></a></div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: left;">These images are political propaganda - whoever controls images has control (and Vice Versa). In each image <a href="http://en.wikipedia.org/wiki/Mao_Zedong">Mao Zedong</a> (leader of the peoples republic 1949 to 1976) salutes and waves at the people like a friendly uncle, father and leader. There is a great warmth to the images and the symbol of the sun radiates behind him. In fact - he is the sun - the centre of your world. On both images sunflower seeds grow reaching for the sun. They are symbols - the sunflower seeds are the people draw towards their great leader.</div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://cache.gawkerassets.com/assets/images/4/2010/10/sunflower01seeeds.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="251px" n4="true" src="http://cache.gawkerassets.com/assets/images/4/2010/10/sunflower01seeeds.jpg" width="400px" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://news.sky.com/sky-news/content/StaticFile/jpg/2010/Oct/Week2/15756032.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" n4="true" src="http://news.sky.com/sky-news/content/StaticFile/jpg/2010/Oct/Week2/15756032.jpg" width="298px" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.aiweiwei.com/">Ai Weiwei</a> - Tate Modern Turbine Hall</div><div class="separator" style="clear: both; text-align: left;">The Chinese artist <a href="http://www.guardian.co.uk/artanddesign/jonathanjonesblog/2010/nov/08/ai-weiwei-democracy-china">Ai Weiwei</a> has filled <a href="http://www.tate.org.uk/modern/exhibitions/unileverseries2010/default.shtm">Tate Moderns Turbine hall</a> with 150 tons of sunflower seeds which cover 1,000 square metres. However, these are no ordinary kernels - they are made of porcelain and each one is completely unique. The imitation seed husks have been individually hand carved by skilled artisans working in the city of Jingdezhen. The ceramic seeds were moulded, fired at soaring temperatures, hand-painted and then fired again over the course of two years. Weiwei is using the same images as the political propaganda poster - the sunflower seeds. Weiwei's view of Mao is not of a cuddly father figure.</div>Mao remains a controversial figure to this day, with a contentious and ever-evolving legacy. He is officially held in high regard in China as a great revolutionary, political strategist, military mastermind, and savior of the nation. Conversely, Mao's social-political programs, such as the <a href="http://en.wikipedia.org/wiki/Great_Leap_Forward" title="Great Leap Forward">Great Leap Forward</a> and the <a href="http://en.wikipedia.org/wiki/Cultural_Revolution" title="Cultural Revolution">Cultural Revolution</a>, are blamed for costing millions of lives, causing severe <a href="http://en.wikipedia.org/wiki/Famine" title="Famine">famine</a> and damage to the <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Chinese_culture" title="Chinese culture">culture</a>, <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Chinese_society" title="Chinese society">society</a> and <a href="http://en.wikipedia.org/wiki/Economy_of_the_People%27s_Republic_of_China" title="Economy of the People's Republic of China">economy</a> of China. Mao's policies and political purges from 1949 to 1976 are widely believed to have caused the deaths of between 40 to 70 million people.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://www.goway.com/40th/images/cultural_revolution_asia.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="265px" n4="true" src="http://www.goway.com/40th/images/cultural_revolution_asia.gif" width="400px" /></a></div>Here in another Mao poster and those graphic lines emanating from his head are rays from the sun. They create a graphic halo and add a rhythm to the image. The colours of red, white and black are often used in Communist art - Red for Revolution. This can also be seen in Russian art.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://imagecache5.art.com/LRG/15/1552/E27DD00Z.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" n4="true" src="http://imagecache5.art.com/LRG/15/1552/E27DD00Z.jpg" width="300px" /></a></div>This is a Russian photomontage and it has similar elements to the Mao posters. Stalin is prominent and is towering above the people who cheer below - he is the leader but with the people. Russia is technologically strong - we can tell this by the airships soaring above. This was a new way of creating images for a new time.<br />
<div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.zzegnablog.com/wp-content/uploads/2010/10/rodchenko1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="322px" src="http://www.zzegnablog.com/wp-content/uploads/2010/10/rodchenko1.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Alexander Rodchenko 'Lilya Brik' 1924</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.arantxaalcubierre.com/wp-content/uploads/2008/04/rodchenko.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="278px" src="http://www.arantxaalcubierre.com/wp-content/uploads/2008/04/rodchenko.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: left;"><br />
</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">Rodchenko, along with <a href="http://www.tate.org.uk/modern/exhibitions/rodchenkopopova/">Liubov Popova</a>, gave the visual look for this new world. Designing a humble advertisement had more worth than making a piece of art. Art is seen by a few people in galleries - adverts are seen by everyone everywhere. This graphic language, designed under <a href="http://www.andrewgrahamdixon.com/broadcast/search/165">Communism</a>, gave the visual language of Capitalism to the West - <a href="http://www.youtube.com/watch?v=YC6fgr5ggHQ">the origins of the McDonald's logo began here</a>. This look has been used and revisited by <a href="http://www.researchstudios.com/neville-brody/">Neville Brody</a> (at <a href="http://kingygraphicdesignhistory.blogspot.com/2010/05/roxy-1980s-face-neville-brody.html">Face Magazine</a>) to <a href="http://www.southbankcentre.co.uk/minisites/rodchenko/reviews/index.html">Modern album covers</a>.</div><div class="separator" style="clear: both; margin: 0px; text-align: left;"><br />
</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">Above we can see how Rodchenko took his photographs and cut them up and resembled them with flat coloured paper and text. The colours, forms and angles are taken from suprematism and are the language of constructivism. <a href="http://www.guardian.co.uk/artanddesign/2009/feb/10/rodchenko-popova-tate">The text shouts out</a> - in this image above the head of <a href="http://www.independent.co.uk/arts-entertainment/art/features/rodchenkos-revolution-a-socialist-with-true-vision-767595.html">Lilya Brik</a> actually does shout out. Rodchenko has given a visual triangle form to the way sound seems to travel - we understand that this girl is shouting. 'Books' she cries 'in all fields of Knowledge' - it a propaganda poster urging people to read books. This is good advice - we could all do with reading more books - they're much better on the eyes than a computer screen.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://mechanicrobotic.files.wordpress.com/2007/08/rodchenko.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="306px" src="http://mechanicrobotic.files.wordpress.com/2007/08/rodchenko.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Alexander Rodchenko 'Dobrolet' 1923</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgikncZ-aNPic-5zhPnZqM_j7dpUy9wgdAN8szodDqp0aZU9P-v0mZVfM6DhzkWZ96Z-0lOoEJLc6ulyEJrw3KiLMYDDzfDKd5JRrj0LYYm78B5UMvv95BZRtjhtx9QpxfiCTVPqjoByxQ/s1600/russian-icon.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgikncZ-aNPic-5zhPnZqM_j7dpUy9wgdAN8szodDqp0aZU9P-v0mZVfM6DhzkWZ96Z-0lOoEJLc6ulyEJrw3KiLMYDDzfDKd5JRrj0LYYm78B5UMvv95BZRtjhtx9QpxfiCTVPqjoByxQ/s640/russian-icon.gif" style="cursor: move;" width="424px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Russian icon 15th to 17th Century</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><span class="Apple-style-span" style="font-size: x-large;">"In Russia there is a word for 'Thing' with no precise equivalent in English: 'vesch' means 'a thing with a soul" Warner, M 'Things'</span></div><div style="margin: 0px;">Constructivism's new look - bold flat areas of colour, sections of pattern and geometric shapes created a new visual language. The Russia artists, usually on the outskirts of society, found themselves central - as the Bolsheviks sought out an art that was as radical as their new politics - Lenin even included artist in his hero's of the revolution. However, placed next to an old <a href="http://www.andrewgrahamdixon.com/broadcast/search/157">Russian icon</a> those geometric shapes, flat areas of colour and pattern do not seem so alien.<a href="http://en.wikipedia.org/wiki/Russian_icons"> Icon's</a> where made for churchs, to tell the story of Christ to an illiterate congregation. They were painted directly onto wood and often had other elements attached. There is a directness, a 'thingness' about icon's that can also be felt with a <a href="http://en.wikipedia.org/wiki/Suprematism">Malevich suprematist painting</a>. Icon's where commissioned by the church (who had control) and the new look was adopted by the Communists (who had control). Some things don't change.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://artmundus.files.wordpress.com/2010/06/gustav-klutsis.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640px" src="http://artmundus.files.wordpress.com/2010/06/gustav-klutsis.gif" style="cursor: move;" width="412px" /></a></div><div style="text-align: center;"><div style="margin: 0px;"><a href="http://www.moma.org/collection/artist.php?artist_id=12501">Gustav Klutsis</a></div></div><div style="text-align: left;"><div style="margin: 0px;">Many hands saluting in unison - the original utopian vision would eventually breed greed, division and horror under <a href="http://www.bbc.co.uk/history/historic_figures/stalin_joseph.shtml">Stalin</a>. The constructivists set the look - Red, white and black mixed with cut and paste methods - they didn't have photoshop only paper, photographs scissors and glue. The use of scissors and paste was advocated during <a href="http://www.cusd.chico.k12.ca.us/~bsilva/projects/russia/stalin/5yearplan.htm">the five year plan</a> as the proletarian and propagandistic device of choice. Like Photography (even more so today with our invisible technology), it required virtually no training and the most ordinary materials. Of course Rodchenko, Klutsis and the Stenberg Brothers did have wonderful visual skill.</div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.tommcmahon.net/images/stenberg4_375.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640px" src="http://www.tommcmahon.net/images/stenberg4_375.jpg" style="cursor: move;" width="452px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://designhistorymashup.blogspot.com/2008/03/stenberg-brothers-revolutionary-poster.html">The Stenberg Brothers</a> 'The Traitor' 1926</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.fitacola.com/blog/wp-content/plugins/wp-o-matic/cache/2c55c_d09c45fa851fe78943bd9b4e8bc948bb00e81e9c_m.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640px" src="http://www.fitacola.com/blog/wp-content/plugins/wp-o-matic/cache/2c55c_d09c45fa851fe78943bd9b4e8bc948bb00e81e9c_m.jpg" style="cursor: move;" width="433px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.youtube.com/watch?v=8rUOgCJDMB4">Stenberg Brothers</a> 'The Last Flight' 1929</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">Geometric shapes, flat colours, text and figurative elements jostle to tell aspects of the narrative. These are both examples of Film Posters by <a href="http://www.moma.org/interactives/exhibitions/1997/sternbergbrothers/">The Stenberg Brothers</a> produces hundreds of film posters during the 1920's and 1930's. The influence of Suprematism, Dada and Rodchenko are evident. These artists working under communism were creating a language we still use today in modern graphic design.</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://newmediastorytelling.files.wordpress.com/2010/03/man_with_a_movie_camera1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640px" src="http://newmediastorytelling.files.wordpress.com/2010/03/man_with_a_movie_camera1.jpg" style="cursor: move;" width="412px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://letempsperduretrouve.blogspot.com/2010/05/blog-post.html">Stenberg Brothers</a> 'Man with a Movie Camera' 1929</div><br />
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</div></div></div></div>jfkturnerhttp://www.blogger.com/profile/04292497470976112213noreply@blogger.comtag:blogger.com,1999:blog-5743411721886035143.post-63514428593841640632012-02-27T03:21:00.000-08:002012-02-27T03:21:45.472-08:00Combinations and Alliances - Pattern, Rhythm and Repetition<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnttBtqINtNeipq0L9r5A3hC4HkuQekNNc3ChNrM3imJn_D8gtTeEq60WqLPve1ryCh0vLvHCSB5uBGsOrxZNSacpkZ7hMyI4GbV3r1oT1vMBuRPIuoZkvZhLoonjyna1Y9VTC5HuG83Q/s1600/los_alamos_o.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnttBtqINtNeipq0L9r5A3hC4HkuQekNNc3ChNrM3imJn_D8gtTeEq60WqLPve1ryCh0vLvHCSB5uBGsOrxZNSacpkZ7hMyI4GbV3r1oT1vMBuRPIuoZkvZhLoonjyna1Y9VTC5HuG83Q/s640/los_alamos_o.jpg" width="425px" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.egglestontrust.com/">William Eggelston</a> - from his 'Los Alomos' series</div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Patterns are found everywhere – Nature, Literature, Music and Art.</span></div><br />
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</span></div><span style="font-family: Arial, Helvetica, sans-serif;">By repeating something again and again it can become something else. In music if you take a sound and repeat it, it not only changes in itself but it can change our mood. Religious chanting is an example of how the sound can change peoples emotions. Even if you are not placed in a trance like state there is a definite change in our mood by hearing repeated sound.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">Try this yourself - follow this link to use the <a href="http://lab.andre-michelle.com/tonematrix">Tone Matrix</a>. By adding white squares to the grid you can make a pattern that will loop - creating a delicate sound like a music box. See what loop you can create and see if it changes your mood (you could also try the <a href="http://aux.zendesk.com/wall/">FM3 Buddha Machine</a>) - then come back!<span class="Apple-style-span" style="font-family: Times;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCbzqniPPV8DU19q9kJLOOgDqVOsrX2WYAksBJj1DJDo7N0rNd1Pjfv1zL3iI7QJY7fxEoVxPawtkSYPJ-wON91Yh0cFZldWnjJeqIl5NZoNPVg6WtTJpM6MK_LaJ-zzVw8iGmaWFxVfo/s400/paul-klee-ancient-sound.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCbzqniPPV8DU19q9kJLOOgDqVOsrX2WYAksBJj1DJDo7N0rNd1Pjfv1zL3iI7QJY7fxEoVxPawtkSYPJ-wON91Yh0cFZldWnjJeqIl5NZoNPVg6WtTJpM6MK_LaJ-zzVw8iGmaWFxVfo/s400/paul-klee-ancient-sound.jpg" width="387px" /></a></div><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This image is called ‘Ancient Sound’ by the 20th century artist <a href="http://www.youtube.com/watch?v=P4qx6zlZKL0">Paul Klee</a>. He was a member of the Bauhaus and also wrote about art.</span><br />
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<div style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="color: #555555; font-family: Arial, Verdana, Helvetica, sans-serif; line-height: 16px;"><span style="margin: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><span class="Apple-style-span" style="color: black; font-family: Times;"><span class="Apple-style-span" style="line-height: normal;"><span class="Apple-style-span" style="font-size: x-large;">'Art does not reproduce the visible but makes visible' - Paul Klee</span></span></span></span></span></span></div><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This image reflects <a href="http://www.guardian.co.uk/education/2002/jan/13/arts.highereducation">Klee</a>’s interest in Colour and Music. The squares seem to have a rhythmic quality like the notes in a song. The colours complement, contrast and work with one another. There is a flicker effect and movement in this image.</span><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://aflatinberlin.files.wordpress.com/2010/04/gsw1-small.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="http://aflatinberlin.files.wordpress.com/2010/04/gsw1-small.jpg" width="335px" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.sauerbruchhutton.de/"><img border="0" height="272px" src="http://www.pushpullbar.com/forums/attachment.php?attachmentid=2048&stc=1&d=1124491283" width="400px" /></a></div><div class="separator" style="clear: both; text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The GSW Headquaters in Berlin was designed by <a href="http://www.architectureweek.com/2003/0813/environment_1-1.html">Sauerbruch Hutton</a> (1999). This architecture shares similar characteristic to Klee's. Like a Klee painting (or a repeated sound) the building has a visual rhythm with the various hues of red reacting with one another and contrasting with the blue sky. </span></div><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="http://gregcookland.com/journal/uploaded_images/picAnatsuiBlogHovorwithArtist-733074.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="255px" src="http://gregcookland.com/journal/uploaded_images/picAnatsuiBlogHovorwithArtist-733074.jpg" width="400px" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: left;"><a href="http://uima.uiowa.edu/el-anatsui/"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">El Anatsui</span></a><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> creates shimmering </span><a href="http://www.octobergallery.co.uk/microsites/anatsui/"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">large scale artwork</span></a><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">s made from discarded bottle caps. They are simultaneously sculptures, paintings, collage and installation and have a genuine visual zeal. Like Klee's work and the GSW Headquarters the smaller visual elements come together to make a greater whole.</span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-0RwMnvP09zorVqbBiMtOLspEwcILzjzzdw7g6xQ1b8wzFOB_QCp2OMLq7BcYboX6HaSrhgHvdjBi9LAvV989SRtnhCTtwHb09TCpby9IU_xCKM4tdVKgg8k-7zdibjsm2nSpjhBlXiE/s1600/Lance_Letscher_Six_Months_2004_14_377.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-0RwMnvP09zorVqbBiMtOLspEwcILzjzzdw7g6xQ1b8wzFOB_QCp2OMLq7BcYboX6HaSrhgHvdjBi9LAvV989SRtnhCTtwHb09TCpby9IU_xCKM4tdVKgg8k-7zdibjsm2nSpjhBlXiE/s320/Lance_Letscher_Six_Months_2004_14_377.jpg" width="305px" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhc3TNN32aTU0ZvAfsTi8WGo7Q-NDRKuysOeXE9V7drfC6DHMQPquFcPnwHbIOZsxoOktHjjMiWx0D8HYU8d95h73J9_7DSehPiQfehSHZsIlv_tQkdEQ00Qn8OANQTLQmDVI_9jf3GYHs/s1600/l_letscher1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhc3TNN32aTU0ZvAfsTi8WGo7Q-NDRKuysOeXE9V7drfC6DHMQPquFcPnwHbIOZsxoOktHjjMiWx0D8HYU8d95h73J9_7DSehPiQfehSHZsIlv_tQkdEQ00Qn8OANQTLQmDVI_9jf3GYHs/s320/l_letscher1.jpg" width="248px" /></a></div><div class="separator" style="clear: both; text-align: left;"><a href="http://www.dbermangallery.com/artist-portfolios/letscher-0504/provisionalbeautynewworkby/01-96_jpg.html">Lance Letscher</a> is a contemporary artist who collects old books, paper and materials and pieces them together to give them new life. The manufactured colour's that are all around us are combined and contrasted using different structures. Letscher's work, like Anatsui's work, seems to have its roots in craft and <a href="http://www.folkartmuseum.org/collectiongallery">folk art</a>.</div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.jfkturner.com/page7.htm"><img border="0" height="320px" px="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIGJ5Z0awSWxjf0STcOOYojib_OYCZR0ef0HNyXZuTp-SGY1FLoRvujDxuIdu9YfQmYJF7Ppju2_GnPH7SVPzAVL-pe36bPih9_6iJWpZOTcG5vq4tj17t2onRd1jjK2FYXXwj8u7Yf7Q/s320/bunting-sq.jpg" width="312px" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.picturesheffield.com/jpgl/s02061.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="249px" src="http://www.picturesheffield.com/jpgl/s02061.jpg" width="320px" /></a></div><div style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-size: small;">VE Day Celebrations, Hoyland Street, Wincobank</span></span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Bunting is little triangles cut out of various left over material, attached to string and hung up for decoration. The 'make do and mend' aesthetic and the combination of different materials make bunting an interesting artifact. It was often used in <a href="http://www.independent.co.uk/life-style/watch-out-street-party-about-1615944.html">street parties </a>- for example the <a href="http://www.youtube.com/watch?v=gtzrA2VfV7E">VE day celebrations</a>. Notice in this photograph above how it hangs above the street blowing in the wind. As our sense of community has changed there are less street parties that take place - bunting seems to belong to this bygone era.</span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhu2DPgFeUc9v-l6Vc5ITnVdozqxSExij-rZ-_xRyFJ-Us3p4lwS_UGNWAD_c-TdZRji_dZ2hI2T3JtldMpH-LySWtYxey-Ifgr3kQL0FD1agXlVX-dePAPuNN03idvEFaz2Rex0t9JnA/s1600/rug.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="316px" px="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhu2DPgFeUc9v-l6Vc5ITnVdozqxSExij-rZ-_xRyFJ-Us3p4lwS_UGNWAD_c-TdZRji_dZ2hI2T3JtldMpH-LySWtYxey-Ifgr3kQL0FD1agXlVX-dePAPuNN03idvEFaz2Rex0t9JnA/s320/rug.jpg" width="320px" /></a></div><div class="separator" style="clear: both; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This is </span><a href="http://www.rockymountainquilts.com/files/antique_quilts_logcabin.php"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Log Cabin Quilt</span></a><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> circa 1900 from North America shows the characteristic design of the American frontier home. They adapted an economic way of using up even the smallest fragment of material achieving a surprising variety of designs. The design was influenced by the width of the strips and the placements of the various colours.</span></div><div class="separator" style="clear: both; text-align: center;"><a href="http://t3.gstatic.com/images?q=tbn:YYUjDBgAnFzH1M:http://dances_with_cats.tripod.com/angelsdevils_mc_escher.jpg&t=1" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="http://t3.gstatic.com/images?q=tbn:YYUjDBgAnFzH1M:http://dances_with_cats.tripod.com/angelsdevils_mc_escher.jpg&t=1" width="289px" /></a></div><div class="separator" style="clear: both; text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This image by <a href="http://www.worldofescher.com/gallery/">M C Escher</a> juxtaposes Bats and angels to create a continuous pattern. There is an element of <a href="http://www.se7en.org.za/2010/09/18/se7ens-escher-fun-pictures-polygons-and-paper-kaleidoscopes">playfulness</a> to Escher's work.</span></div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.vam.ac.uk/images/image/31298-large.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="314px" src="http://www.vam.ac.uk/images/image/31298-large.jpg" width="400px" /></a></div><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span><br />
<div style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.vam.ac.uk/images/image/31298-popup.html">Owen Jones</a> 'Designs for tiles' Watercolour' 1849</span></div><br />
<div><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">These Victorian tile designs are influenced by Islamic tile design. Owen Jones soon realised the debt that Islamic design had to geometry, mathematics and astronomy. He was a strong influence in the contemporary development of tile designs, seeing the patterns of tessellation as a key to rationalising the beauty of <a href="http://www.mia.org.qa/english/#collection/galler2">Islamic ornament</a>.</span><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7IJ5RPjFLJ50jTEbpq1pMFF-Q8UXDNAAUbJuUUqH9Y3IBxSQiajwwwp78u5LNCMHJZh6VD_IpTsEgBr4nvU9ApwDtJmREzrujRCFTPiQ6PWaofvFoP99q-rgveFc3sO4K6bzhcRKkz6U/s400/emmabiggsmattcollings03.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="197px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7IJ5RPjFLJ50jTEbpq1pMFF-Q8UXDNAAUbJuUUqH9Y3IBxSQiajwwwp78u5LNCMHJZh6VD_IpTsEgBr4nvU9ApwDtJmREzrujRCFTPiQ6PWaofvFoP99q-rgveFc3sO4K6bzhcRKkz6U/s400/emmabiggsmattcollings03.jpg" width="400px" /></a></div><div style="clear: both; text-align: left;"><div style="text-align: center;"><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This painting is by <a href="http://www.emmabiggsandmatthewcollings.net/02_work.html">Emma Biggs and Matthew Collings</a> – it is a collaborative act where Biggs designs the painting (shape, colours and combinations) and Collings paints them. The simple geometric shapes and subtle colour combinations shimmer and create a sense of movement. Collings is also a critic who has his own theory on <a href="http://www.saatchi-gallery.co.uk/blogon/art_news/put_downs_and_suck_ups_matthew_collings_weekly_ventings_about_the_art_world_no_39_beauty_and_rules/6027">Beauty</a></span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">. </span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy4VuU0gKert_Myw9W2oYJCkdqezRpRSqToTCIzftefqOzKt4wgJGo_LzwcCSDa_3VmK97AJyk8SD61P3COH9L_Z90qjXWLirNZApCPlJ2ZS_4IQtPQ8BlQ9riESDMp67FrF7HOoG7Zq8/s1600/david+buckingham.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="391px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy4VuU0gKert_Myw9W2oYJCkdqezRpRSqToTCIzftefqOzKt4wgJGo_LzwcCSDa_3VmK97AJyk8SD61P3COH9L_Z90qjXWLirNZApCPlJ2ZS_4IQtPQ8BlQ9riESDMp67FrF7HOoG7Zq8/s400/david+buckingham.jpg" width="400px" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.buckinghamstudio.com/">David Buckingham</a></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLEksYq3YVsQQk2vcmZAZrq-p4efDAdiDnxksoHmJaB_5xbHy9fO1bHgRQ5QyRz2EdIL9i-rqF_7iG9_HAKKWNbR8n8S404RrlJy7In0bn9a-y30mtHeuXhd4ODgFwQTNSHZnHE5UCTsg/s1600/CHRIMSON-RED-BLACK-PARCHEESI-GAME-BOARD-ON-OYSTER-WHITE-GROUND-Seller-Jeff-R-Bridgman-American-Antiques.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLEksYq3YVsQQk2vcmZAZrq-p4efDAdiDnxksoHmJaB_5xbHy9fO1bHgRQ5QyRz2EdIL9i-rqF_7iG9_HAKKWNbR8n8S404RrlJy7In0bn9a-y30mtHeuXhd4ODgFwQTNSHZnHE5UCTsg/s400/CHRIMSON-RED-BLACK-PARCHEESI-GAME-BOARD-ON-OYSTER-WHITE-GROUND-Seller-Jeff-R-Bridgman-American-Antiques.jpg" width="400px" /></a></div></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkanTTFxHAXNGjO44BiazRgOst-24j5ETRifDsYw7JQhSuIcVLZHk4haEK6PRq6drGzDX_rfAJNSmkF0ci1-qyxrD6M-UoRFP_JAik2HcQP8ae2SAQ1TIu7UL8N2iC0wea9KoFnGD4EGI/s1600/Grain-Painted-Antique-Parcheesi-Gameboard-4-sod-by-Northeast-Auctions-300x300.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkanTTFxHAXNGjO44BiazRgOst-24j5ETRifDsYw7JQhSuIcVLZHk4haEK6PRq6drGzDX_rfAJNSmkF0ci1-qyxrD6M-UoRFP_JAik2HcQP8ae2SAQ1TIu7UL8N2iC0wea9KoFnGD4EGI/s400/Grain-Painted-Antique-Parcheesi-Gameboard-4-sod-by-Northeast-Auctions-300x300.jpg" width="400px" /></a></div></div><div class="separator" style="clear: both; text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">These are </span><a href="http://fineestateliquidation.com/antique-painted-parcheesi-gameboard/"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">antique board games</span></a><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">. The circles, lines and colour are mainly there because of the rules of the </span><a href="http://theantiquetoy.com/archives/primitive-wood-game-boards"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">game</span></a><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">. The worn paint wearing off the wood gives them a feel of a </span><a href="http://www.russianicons.net/index.php?lang=en&data=view&zoek=categorie&show=ar&id=195"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Russian Icon</span></a><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> or evan a later work by Frank Stella.</span></div><div class="separator" style="clear: both; text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYlqK8y8_8SEKq8zkPqQ-W8gFd36k2yN8bSH6cQ0-kO4Q2G90drv4o8K8EQoqrsmMFEgEZEIr-pqflCRL6yFJitRATaBJojHP18PixVwRrNE7Kz2lknsfJ9qJE7J4fMUd39XEhkdInybKg/s1600/Frank_Stella's_'Harran_II',_1967.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYlqK8y8_8SEKq8zkPqQ-W8gFd36k2yN8bSH6cQ0-kO4Q2G90drv4o8K8EQoqrsmMFEgEZEIr-pqflCRL6yFJitRATaBJojHP18PixVwRrNE7Kz2lknsfJ9qJE7J4fMUd39XEhkdInybKg/s400/Frank_Stella's_'Harran_II',_1967.jpg" width="400px" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://doanna07.files.wordpress.com/2008/01/00333087.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="273px" src="http://doanna07.files.wordpress.com/2008/01/00333087.jpg" width="400px" /></a></div><div class="separator" style="clear: both; text-align: left;"><a href="http://www.frankstella.net/"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Frank Stella</span></a><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> used house hold paint out of the tin with painter and decorators brushes. The bands in his paintings are determined by simple things - the width of his brush or the width of the wooden frame. His painting were about themselves and completely self contained. Like the Log Cabin quilt the image has a direct relationship to the materials used. </span><a href="http://www.youtube.com/watch?v=cN_rRCfRdmQ"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Stella came to prominence in the 1960s</span></a><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> and is considered one of the fathers of </span><a href="http://art.docuwat.ch/videos/this-is-modern-art/this-is-modern-art-04-nothing-matters/?channel_id=6"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Minimalism</span></a><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> - seeing his paintings as objects not signs to something else. </span><a href="http://www.guardian.co.uk/culture/2001/apr/05/artsfeatures1"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Stella's later work</span></a><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> broke out of the square frame and became more colourful and vibrant. Whether you look at his monochrome early work or his bold later work there is a sense of movement and pattern in his paintings. There are visual effects that happen when you look at these paintings.</span></div><div class="separator" style="clear: both; text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div><div class="separator" style="clear: both; text-align: center;"><a href="http://ddreesart.files.wordpress.com/2008/08/bridget_riley_fall_1963_emulsion_on_hardboard_55_1-2x55_1-42.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="http://ddreesart.files.wordpress.com/2008/08/bridget_riley_fall_1963_emulsion_on_hardboard_55_1-2x55_1-42.jpg" width="395px" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.karinsanders.com/Bridget_Riley_Blaze_1_1962_Emulsion_on_Hardboard_43x43.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="397px" src="http://www.karinsanders.com/Bridget_Riley_Blaze_1_1962_Emulsion_on_Hardboard_43x43.jpg" width="400px" /></a></div><div class="separator" style="clear: both; text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Bridget Riley came to prominence in the 1960's during the <a href="http://www.op-art.co.uk/">Op Art movement</a>. Riley counts <a href="http://www.guardian.co.uk/education/2002/jan/13/arts.highereducation">Paul Klee amongst her influences</a> and recently arranged a show at the Hayward Gallery. Her images create a dizzying optical effect and create the illusion of movement. All an image is, is pigment on a surface and these images by Riley a flat black lines on canvas. However, they seem to move, rotate and can not be look at too long. <a href="http://www.youtube.com/watch?v=jwY-eKlnCSg">Riley used Rhythm and Repetition</a> to create her work and knew that a simple line is transformed when repeated.</span></div><div class="separator" style="clear: both; text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div><div class="separator" style="clear: both; text-align: center;"><a href="http://blog.ounodesign.com/wp-content/uploads/2008/11/barbara-brown-heal-fabrics-ltd-1969-spiralblog.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="http://blog.ounodesign.com/wp-content/uploads/2008/11/barbara-brown-heal-fabrics-ltd-1969-spiralblog.jpg" width="297px" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.vam.ac.uk/collections/fashion/features/1960s/1960s_textiles_database/object.php?id=35&id2=0&action=&hits=&page=&pages=&object_type=&country=&start_year=&end_year=&object=&artist=&maker=">Barbara Brown</a> 'Spiral' fabric design</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiI7BHviBsxKA4SkAyCO1X4q7_kMmJsbzKEsb3udzeJxTKe3yG8Cx3gLuXSkdmBn5PQyZxoXYJSZXDlSNWxW-Rc9SctTc7ZFKxapEKBH2P8GkKPghxl36SKVjiV2R9llz_QCrqMzN8Vego/s400/Chrissie+Shrimpton+and+Ossie+Clark65.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiI7BHviBsxKA4SkAyCO1X4q7_kMmJsbzKEsb3udzeJxTKe3yG8Cx3gLuXSkdmBn5PQyZxoXYJSZXDlSNWxW-Rc9SctTc7ZFKxapEKBH2P8GkKPghxl36SKVjiV2R9llz_QCrqMzN8Vego/s400/Chrissie+Shrimpton+and+Ossie+Clark65.jpg" width="393px" /></a></div><div class="separator" style="clear: both; text-align: center;"><span class="Apple-style-span" style="color: #333333; font-family: Georgia, serif; font-size: 16px; line-height: 24px;">Chrissie Shrimpton and Ossie Clark, 1965 by <a href="http://pdngallery.com/legends/bailey/gallery.shtml">David Bailey</a></span></div><div class="separator" style="clear: both; text-align: center;"><a href="http://glasshouseimages.files.wordpress.com/2009/01/picture-142.png?w=450&h=319" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="282px" src="http://glasshouseimages.files.wordpress.com/2009/01/picture-142.png?w=450&h=319" width="400px" /></a></div><div class="separator" style="clear: both; text-align: center;">A modern Op Art influenced fashion shoot by <a href="http://www.independent.co.uk/life-style/fashion/features/solve-sundsbo-his-bizarre-cleverly-manipulated-images-have-made-him-fashion-photographys-hottest-new-star-776508.html">Solve Sundsbo</a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Op Art bold use of stark black and white led to it be incorporated in 1960's popular culture. Op Arts influence can be seen in the work of <a href="http://blog.ounodesign.com/2008/11/30/barbara-brown-on-the-textile-blog/">fashion designers</a>, advertising, magazine layouts and still has an influence today. Go <u><a href="http://ddreesart.wordpress.com/tag/bridget-riley/">here</a></u> to find an Op Art Adobe illustrator tutorial. </span></div><div class="separator" style="clear: both; text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
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<div class="separator" style="clear: both; font-family: Times; margin: 0px; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://photos.liveauctioneers.com/houses/galeriebassengeberlin/11035/4235_1_lg.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="293px" src="http://photos.liveauctioneers.com/houses/galeriebassengeberlin/11035/4235_1_lg.jpg" style="cursor: move;" width="400px" /></a></span></div><div style="font-family: Times; text-align: left;"><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div></div><div class="separator" style="clear: both; font-family: Times; margin: 0px; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://art.findartinfo.com/images/artwork/2006/8/a000914556-001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="http://art.findartinfo.com/images/artwork/2006/8/a000914556-001.jpg" style="cursor: move;" width="296px" /></a></span></div><div class="separator" style="clear: both; font-family: Times; margin: 0px; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div><div class="separator" style="clear: both; font-family: Times; margin: 0px; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://1.bp.blogspot.com/_MmRVVROy-Jo/TC0IbXLMZlI/AAAAAAAANwA/KEpnMg0hpuE/s1600/Peter+Keetman4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="http://1.bp.blogspot.com/_MmRVVROy-Jo/TC0IbXLMZlI/AAAAAAAANwA/KEpnMg0hpuE/s400/Peter+Keetman4.jpg" style="cursor: move;" width="318px" /></a></span></div><div class="separator" style="clear: both; font-family: Times; margin: 0px; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div><div class="separator" style="clear: both; font-family: Times; margin: 0px; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://1.bp.blogspot.com/_MmRVVROy-Jo/TC0IbXLMZlI/AAAAAAAANwA/KEpnMg0hpuE/s1600/Peter+Keetman4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"></a><a href="http://www.webbox.org/cgi/pix-content/1950-52%20Oscillations%20by%20Peter%20Keetman.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="302px" src="http://www.webbox.org/cgi/pix-content/1950-52%20Oscillations%20by%20Peter%20Keetman.jpg" style="cursor: move;" width="400px" /></a></span></div><div class="separator" style="clear: both; margin: 0px; text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Peter Keetman was a key member of fotoform (see the section on Otto Steinert <a href="http://thedelightsofseeing.blogspot.com/search/label/Shutter%20speeds%20-%20SLOW">here</a>). These images show he use of pattern - whether he is photographing pipes or creating experimental abtract images.</span></div><div style="text-align: left;"><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div></div><div style="font-family: Times; text-align: left;"><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">As of 1948, Keetman experimented with abstract rhythmic images which he produced by swinging a flashlight over a camera with an open shutter placed on a rotating record player. The images recorded two dynamic movements yet produced a very harmonious pattern.</span></span></div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
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<div class="separator" style="clear: both; font-family: Times; margin: 0px; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.abstract-art.com/abstraction/l2_grnfthrs_fldr/g0000_gr_inf_images/g029b_kandinsky_tr_ln.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="275px" src="http://www.abstract-art.com/abstraction/l2_grnfthrs_fldr/g0000_gr_inf_images/g029b_kandinsky_tr_ln.jpg" style="cursor: move;" width="400px" /></a></span></span></div><div style="font-family: Times;"><div style="text-align: center;"><div style="text-align: left;"><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The painting above is by Wassily Kandinsky (1866-1944) 'Transverse Line' 1923. </span></span></span></div></div><div style="text-align: left;"><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Like Klee, </span><a href="http://www.guardian.co.uk/artanddesign/2008/nov/01/kandinsky-art-painting-abstract-paris"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Wassily Kandinsky</span></a><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> taught at the </span><a href="http://www.guardian.co.uk/books/2007/nov/17/architecture.art"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Bauhaus</span></a><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> and his ideas influenced modernist art. He is credited with making the first purly abstract painting.</span></span></span></div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
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<div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span></span></div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span></span></div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span></span></div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span></span></div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span></span></div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span></span></div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span></span></div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span></span></div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span></span></div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span></span></div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span></span></div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span></span></div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span></span></div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span></span></div><div class="separator" style="clear: both; margin: 0px; text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.youtube.com/watch?v=z0aXb-Gls4g&feature=related">Kandinsky</a> used music to influence his compositions – </span></span></div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span style="font-family: Arial, Helvetica, sans-serif;">‘Hearing tones and chords as he painted, Kandinsky theorized that, for examples, yellow is the colour of middle-C on a piano, a brassy trumpet blast; black is the colour of closure and the ends of things; and that combinations and associations of colours produce vibrational frequencies akin to chords played on a piano. <a href="http://en.wikipedia.org/wiki/Wassily_Kandinsky">Kandinsky</a> also developed an intricate theory of geometric figures and their relationships, claiming, for example, that the circle is the most peaceful shape and represents the human soul. These theories are set forth in 'Point and Line to Plane’.</span></span></div></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://www.blogger.com/goog_2072085076"><img border="0" height="365px" src="http://www.laboralcentrodearte.org/feedback/f-moholy-nagy__licht_raum-modilator_3085_normal_001.jpg" width="400px" /></a></div><div style="text-align: center;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.tate.org.uk/research/tateresearch/tatepapers/07autumn/lie.htm">Moholy-Nagy 'Light Prop for an Electric Stage' 1930</a></span></span><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span><span style="font-family: Arial, Helvetica, sans-serif;">The merging of sound and vision was also being explored in avant garde films of the 1920's. <a href="http://thedelightsofseeing.blogspot.com/search/label/Photograms%20and%20Camera-less%20Photography">Moholy-Nagy</a>'s 'Light Prop for an Electric Stage' is a development of his earlier work with photography, photograms and painting. It is a sculpture, a piece of <a href="http://www.kinetica-museum.org/">Kinetic Art</a> and a device he used to make an <a href="http://www.youtube.com/watch?v=hAPLscAO3mE&feature=related">early abstract experimental films.</a></span> <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://www.youtube.com/watch?v=uhv2KpQGMqY"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGxoXzoz4qGTUJ2b9TDt8KcQKQMMvj59swBhZnTbAi5xeIuUHSm2X4uwE77sKmYwzVC9M0-lI8KOKpm2nQJLKgW__S91rq-gmYlMIjYokneWk0t-l9UuTRBYt3C33E4DoRW5HgMxSEL8m0/s400/Hans+Richter1.jpg" width="330px" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Film was still evolving at this time and artists who experimented with film were leading the way for title sequences, animation, music videos and computer animation. During the 1920's pioneering abstract films were being made by </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.webbox.org/cgi/1950s%20Oscilloscope%20Art%20Movement.html">Hans Richter and Viking Eggeling</a> (for example <a href="http://www.youtube.com/watch?v=hRYepu7Iqng&feature=related">Filmstudie</a>)</span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">.</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Also see <a href="http://www.youtube.com/watch?v=9SgsqmQJAq0&feature=related">Fernand Leger</a>.</span><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://www.youtube.com/watch?v=dXINTf8kXCc&feature=related"><img border="0" height="281px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZGnwm4iviets6SK0Btk0NBrKIiWnCINuBEbptLqSAc_mSrBHg5UZRABBE8Qvw8_HNKXDOsczDITfGa_Oc9jn945MuZgRr38mp1dMjhB66knV3C7vIcR9hcU9fSTFxWBwl6eYge4HAbTQ/s320/MarcelDuchamp+Rotorelief+EggAndChicken+1935+PompidouCenter-Paris.jpg" width="320px" /></a></div><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Also during the 1920's <a href="http://www.understandingduchamp.com/">Marcel Duchamp</a> created</span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> a series of kinetic works that he conceived as optical toys. Making apparent the deceptions that visual perceptions play on our minds fascinated Duchamp.</span><br />
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Beginning as a series of lithographs, The Rotoreliefs work as a series of gyrating discs that the artist dubbed an <a href="http://www.youtube.com/watch?v=dXINTf8kXCc&feature=related">'Anemic Cinema'</a>. When the discs are spun on a turntable, they appear as three-dimensional objects, making visual symphonies that also parody traditional art.</span><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://artforum.com/uploads/upload.000/id22181/preview00.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300px" src="http://artforum.com/uploads/upload.000/id22181/preview00.jpg" width="400px" /></a></div><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Kandinsky's urge to give visual form to the ephemeral qualities of music is basic human nature. Traditionally live music was often part of a greater performance - colour, dance and light were all used with music. </span><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Mary Ellen Bute made a series of films called 'Seeing Sounds Films'. Her first colour film '<a href="http://artforum.com/video/mode=large&id=22181">Synchromy No.4:Escape' (1937)</a> tells the story in abstraction of an orange/red triangle set to the music of Bach -'Toccata in D Minor'. (see Also <a href="http://www.youtube.com/watch?v=ZnLJqJBVCT4">Norman Mclaren - Spook Sport 1940</a>).</span><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://www.youtube.com/watch?v=9SoYO9Vid40&feature=player_embedded"><img border="0" height="261px" src="http://i2.ytimg.com/vi/9SoYO9Vid40/default.jpg" width="320px" /></a></div><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Ultimately avant garde art filters down into the mainstream - A Mondrian bag, A Bridget Riley dress to modern surreal adverts. <a href="http://www.youtube.com/watch?v=9SoYO9Vid40&feature=player_embedded">This Advert for Total Oil (1958)</a> </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">by <a href="http://motiondesign.wordpress.com/category/1940/">Andre Sarrut</a> shows sound being merged with abstract images.</span><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://wildcardinc.jp/"><img border="0" height="261px" src="http://www.w6rp.org/wp-content/uploads/wildcard.jpg" width="400px" /></a></div><div class="separator" style="clear: both; text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">These early experiments have filtered down to popular culture and influenced the next generation.</span></div><div class="separator" style="clear: both; text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Jeremy Deller (Turner prize winner 2004) has claimed the internet could be the next evolution of art - once we know how to use it. The internet is still in its infancy and could be to the 21st Century what Cinema was to the 20th Century. Most websites can look fairly familiar but the best employ a combination of sound, moving images and an interactive element.</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">You could follow the <a href="http://www.wechoosethemoon.org/">Apollo 11 mission to the moon</a>, <a href="http://soytuaire.labuat.com/">influence an abstract pop video</a>, <a href="http://www.moma.org/interactives/exhibitions/2008/colorchart/flashsite/">reinvent colour at the MOMA</a>, <a href="http://www.incredibox.fr/">conduct your own doo wop group</a>, <a href="http://www.thejohnnycashproject.com/">contribute to a Johnny Cash video</a>, <a href="http://rorrimkcalb.com/arcadefire.html">edit a pop song</a>, <a href="http://www.storyabout.net/typedrawing/">draw with type (like John Cage)</a>, <a href="http://fontpark.morisawa.co.jp/">make drawings out of fonts</a> or <a href="http://wildcardinc.jp/">take a line for a walk</a>.</span><br />
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<div style="margin: 0px;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhe8YRgLbXQjZ24T30XcVK4fN6MRnUv4BhtG2z_UVfQaIbSzzJsse3rNjVKjUar2ay6ignvhCwhhIS0_APTtTa0HYhk0Xdi8BOSKAgOFmupswmhw4eWznkQxGYUVhPD8IrytIDwQfz6zKQc/s400/Plant_Watering_Instruction_John_cage.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="286px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhe8YRgLbXQjZ24T30XcVK4fN6MRnUv4BhtG2z_UVfQaIbSzzJsse3rNjVKjUar2ay6ignvhCwhhIS0_APTtTa0HYhk0Xdi8BOSKAgOFmupswmhw4eWznkQxGYUVhPD8IrytIDwQfz6zKQc/s400/Plant_Watering_Instruction_John_cage.jpg" width="400px" /></a></div><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">John Cage was primary known as a musician – his most famous musical composition is called <a href="http://www.youtube.com/watch?v=pcHnL7aS64Y">4'33"</a>. It consists of the pianist going to the piano, and not hitting any keys for four minutes and 33 seconds (see also Rauschenberg’s and <a href="http://art.docuwat.ch/videos/this-is-modern-art/this-is-modern-art-04-nothing-matters/?channel_id=6&skip=0">Robert Rymans White paintings</a>). In the <a href="http://www.impetustoanalysis.com/2010/04/509/">silence</a> the audience is encouraged to listen to all the sounds that take place during silent moments.</span></div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.arras.net/brown_ewriting/wp-content/uploads/2006/02/cage-mesostic.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="http://www.arras.net/brown_ewriting/wp-content/uploads/2006/02/cage-mesostic.jpg" width="331px" /></a></div><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Cage also created poetry and </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.independent.co.uk/arts-entertainment/art/features/john-cage-once-more-without-feeling-2006776.html">art </a></span></span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">using elements sutch as chance. His images often have the fluidity of a piece of music – giving visual form to sound. Cage’s ‘Mesostics’ are his chance experiments with writing creating visually striking graphic texts.</span></span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Cage worked closely with </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.moma.org/collection/artist.php?artist_id=4823">Robert Rauschenberg</a></span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> at the </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.arthistoryguide.com/Black_Mountain_College.aspx">Black Mountain College</a></span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">.</span><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://www.artlex.com/ArtLex/c/Images/cutout_mat.snail.lg.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="http://www.artlex.com/ArtLex/c/Images/cutout_mat.snail.lg.jpg" width="400px" /></a></div><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This is Matisse's '<a href="http://www.tate.org.uk/imap/pages/animated/cutout/matisse/snail.htm">The Snail</a>' in Tate Modern. The works seems simple but it is perfectly </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.youtube.com/watch?v=C0gTuUH7SpU">composed</a> and has a visual rhythm. This is a collage made from pieces of paper painted different colours (this part was done by Matisse’s assistant’s). It's 1953, Matisse has cancer, he's very ill. Between him and the assistants the work somehow gets done: the sheets are torn, their edges changed, and the resulting shapes are stuck onto a white ground. He makes a natural, organic form: <a href="http://thedelightsofseeing.blogspot.com/search/label/Rule%20of%20thirds%20and%20The%20Golden%20Rectangle">a spiral</a>. But the shapes themselves are not particularly natural. As well as torn edges there are plenty of hard straight lines. There aren't any straight lines in nature. So Matisse makes you re-see nature by creating it in an unexpected way. </span><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This is an early <a href="http://www.youtube.com/watch?v=u1AaJ_pw8i4">Matisse</a> 'The Dessert: Harmony in Red' (1908). Matisse's early work show a huge move away from the traditions of western art. He was a key member of the <a href="http://www.nga.gov/feature/artnation/fauve/beasts_1.shtm">Fauves ('The Wild Beasts')</a> who used colour and brush marks in a unseen expressive way. However, Matisse once said he wanted his work to have the same effect as a comfortable chair on a tired business man. This seems at odds with his contemporaries, for example <a href="http://www.jstor.org/pss/3852316">Picasso</a> and his delight in challenging the viewer.</span><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">'Harmony in Red' doesn't have traditional perspective and instead has flat bold areas of colour against areas of pattern. During the 19th century <a href="http://www.tate.org.uk/collections/glossary/definition.jsp?entryId=327">Japanese art</a> was imported into Europe after trade was reopened after 300 years. Photography had taken over the role of the artist and painters started to look for new ways of making images. Western artists combined this new aesthetic with other cultures to create the <a href="http://xroads.virginia.edu/~MA03/staples/douglas/modern.html">Modernist Aesthetic.</a> </span><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This Woodcut Print by Toyokuni III/Kunisada (1786 - 1864) shows areas and planes of pattern contrasted with flat blocks of colour. The image is closer to abstract art and the eye moves with the rhythm of the composition.</span><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://www.harmenliemburg.nl/menu/whale.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300px" src="http://www.harmenliemburg.nl/menu/whale.jpg" width="640px" /></a></div><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This print by <a href="http://www.royalacademy.org.uk/exhibitions/kuniyoshi/">Kuniyoshi</a> (1798-1861): 'Miyamoto Musashi and the big whale'</span><span style="font-family: Arial, Helvetica, sans-serif;"> has a graphic quality that seems to predict the stylised '<a href="http://www.guardian.co.uk/books/booksblog/2010/mar/01/best-contemporary-japanese-novel-manga">Manga</a>' art.</span><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://www.webexhibits.org/colorart/i/african/Sisters,-2-Great-Ladies,-19.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640px" src="http://www.webexhibits.org/colorart/i/african/Sisters,-2-Great-Ladies,-19.jpg" width="440px" /></a></div><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span><br />
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<div style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Untitled (Sisters, Two Great Ladies), Seydou Keita, 1958. </span></div></div><div><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div><div><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This photograph is by <a href="http://www.webexhibits.org/colorart/keita-shonibare.html">Seydou Keita</a>. People would go to Keita for a portrait and they would dress for the occasion. They would take their most prized possessions, as with all portraits, peolpe want to show a specific view to the world. In this portrait t</span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">he subjects and their surroundings are interrelated, which creates a lively atmosphere with a sense of movement.</span></div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.metmuseum.org/toah/images/h2/h2_1997.364.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640px" src="http://www.metmuseum.org/toah/images/h2/h2_1997.364.jpg" width="452px" /></a></div><div><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This is another untitled portrait by <a href="http://www.metmuseum.org/toah/works-of-art/1997.364">Keita</a> from 1959 - 60. Like Matisse we see a visual clash of patterns between the sitters dress and the back drop. The black and white emphasises this juxtaposition and subtle vignetting blurs areas of pattern.</span><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://bintphotobooks.blogspot.com/2009_03_01_archive.html"><img border="0" height="300px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfXjpmhY2uM49rhtCXogbsT_AltJzEuogVOZaT-gF_tcBmWijXz-fMkbxQQxbGoYeWa2oQseZKfR3UzQjVN3xjHDCG3DP204jjHvnk0vBhTJ5nGaoRqsb3Q8a2b8r-K759Xdcaf44oh6U/s400/IMG_6678.JPG" width="400px" /></a></div><div class="separator" style="clear: both; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Simple net sails of a boat overlap to create a delicate pattern.</span></div></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheSvd6kc7o0OCrpEzry7q4QTmYXRUTfoTHDuzhSKmT8iQqB81shI7Z0wz9J0-e_tG6f5Ld4QJaODaQ5zhOkVtu9ndpPCHfjI3R1n_urF1DvFPmrsrjwH_9Uj4qzWNOKZlgTxE-O_pfXj0/s1600/Caponigro_FW.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="321px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheSvd6kc7o0OCrpEzry7q4QTmYXRUTfoTHDuzhSKmT8iQqB81shI7Z0wz9J0-e_tG6f5Ld4QJaODaQ5zhOkVtu9ndpPCHfjI3R1n_urF1DvFPmrsrjwH_9Uj4qzWNOKZlgTxE-O_pfXj0/s400/Caponigro_FW.jpg" width="400px" /></a></div><div class="separator" style="clear: both; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Times;"></span></span></div><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Times;"></span></span><br />
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<div class="separator" style="clear: both; margin: 0px; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Times;"><a href="http://www.soulcatcherstudio.com/artists/caponigro.html">Paul Caponigro</a> 'Frost Window No.2' 1961</span></span></div><div class="separator" style="clear: both; margin: 0px; text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Times;">A picture of frost crystals on a bedroom window makes a tapestry out of a mixture of pattern and texture. Positioning his view camera about 30cm from the glass, the photographer stopped the lens all the way down to f32 so as not to loose the dark trees in the background.</span></span></div><div class="separator" style="clear: both; margin: 0px; text-align: left;"></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Times;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiBkczvu76zcGUj9aH5oifrO_tbIFR3D8oSWUc1dBeNPk1cYCBXHMOWaQIaDLxkjXgRPvx9m2ChrTQ0Cryd30QmBvw57KmCn_6w6NDHbmXw0wGA9T6uFZDLpIaiPouZYy4qkS4Yhc4prsw/s1600/mario_giacomelli_14.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="301px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiBkczvu76zcGUj9aH5oifrO_tbIFR3D8oSWUc1dBeNPk1cYCBXHMOWaQIaDLxkjXgRPvx9m2ChrTQ0Cryd30QmBvw57KmCn_6w6NDHbmXw0wGA9T6uFZDLpIaiPouZYy4qkS4Yhc4prsw/s400/mario_giacomelli_14.jpg" style="cursor: move;" width="400px" /></a></span></span></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Times;">Mario Giacomelli</span></span></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Times;"><a href="http://www.comune.senigallia.an.it/senigalliaTurismoEn/img/redaction/5318/5692/Giacomelli5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="301px" src="http://www.comune.senigallia.an.it/senigalliaTurismoEn/img/redaction/5318/5692/Giacomelli5.jpg" style="cursor: move;" width="400px" /></a></span></span></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Times;">Mario Giacomelli</span></span></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Times;"><a href="http://t0.gstatic.com/images?q=tbn:Gs3kCAD_ac2W9M:http://img257.imageshack.us/img257/1402/mariogiacomelli32320020.jpg&t=1" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="295px" src="http://t0.gstatic.com/images?q=tbn:Gs3kCAD_ac2W9M:http://img257.imageshack.us/img257/1402/mariogiacomelli32320020.jpg&t=1" style="cursor: move;" width="400px" /></a></span></span></div><div style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Times;"><a href="http://translate.google.co.uk/translate?hl=en&sl=it&u=http://www.mariogiacomelli.it/&ei=Xqf3TO_ROYSxhAf0nrDFDw&sa=X&oi=translate&ct=result&resnum=7&sqi=2&ved=0CDMQ7gEwBg&prev=/search%3Fq%3Dmario%2Bgiacomelli%26hl%3Den%26client%3Dsafari%26rls%3Den%26prmd%3Divo">Mario Giacomelli</a></span></span></div><div><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Times;">The patterns created by the grooves in the earth have been captured by Mario <a href="http://www.telegraph.co.uk/travel/picturegalleries/5016654/Mario-Giacomelli-exhibition.html">Giacomelli</a>. Giacomelli was a true local, tied to his region, town, and its rhythms and traditions. He was self taught and even in his artistic expression he was influenced by his homeland. We can see this in his landscapes showing signs of man’s labour, with folds like wrinkles on a person’s hands, landscapes that speak of faces and things living in the soul. The story goes that Giacomelli would borrow his neighbors tractor to make the tracks go in another direction to create the perfect graphic, semi abstract photograph. He printed all his work in a trade mark high contrast style. For Giacomelli, photography was above all love, the image telling a poem of the heart which continues to surprise and move us (he originally trained as a poet and a painter).</span></span></div><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Times;"><br />
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<div class="separator" style="clear: both; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Times;"><a href="http://images.artnet.com/artwork_images_424571671_234199_ernst-haas.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="261px" src="http://images.artnet.com/artwork_images_424571671_234199_ernst-haas.jpg" width="400px" /></a></span></span></div><div class="separator" style="clear: both; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Times;">Ernst Haas</span></span></div><div class="separator" style="clear: both; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Times;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGp-7VXt9LE9M0iUE9zvngKtsVDdDNFTodBHDXODEcUMTZOv_V1DuZcVyTm4Pf2rYdX0gW7YyOGfjUPWN6ee7OMF8Zpjz4CGm-RuU4UGm2boqq9E9b57rYx99FWRhkmFLWtR7dP41Z3Is/s1600/IrvingPenn-Fflower1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGp-7VXt9LE9M0iUE9zvngKtsVDdDNFTodBHDXODEcUMTZOv_V1DuZcVyTm4Pf2rYdX0gW7YyOGfjUPWN6ee7OMF8Zpjz4CGm-RuU4UGm2boqq9E9b57rYx99FWRhkmFLWtR7dP41Z3Is/s400/IrvingPenn-Fflower1.jpg" width="391px" /></a></span></span></div><div class="separator" style="clear: both; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Times;">Irvin Penn</span></span></div><div class="separator" style="clear: both; text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Times;">Droplets of water have been caught in the delicate stems of a dandelion clock. The flower has been backlit to create a simple silhouette. There is a contrast between the sharp translucent circular water droplets and the soft tonal quality of the silhouetted stems.</span></span></div><div class="separator" style="clear: both; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Times;"><br />
</span></span></div><div class="separator" style="clear: both; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Times;"><a href="http://images.artnet.com/artwork_images_545_372760_adam-fuss.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="http://images.artnet.com/artwork_images_545_372760_adam-fuss.jpg" width="340px" /></a></span></span></div><div class="separator" style="clear: both; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Times;"><a href="http://www.vam.ac.uk/collections/photography/blind_visually_impaired/fuss/index.html">Adam Fuss</a> 'Untitled' Photogram 2007</span></span></div><div class="separator" style="clear: both; text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Times;">Adam Fuss has made a photogram by getting a snake to more through water. The patterns created by the creature moving through the water has been captured directly onto the photographic paper.</span></span></div><div class="separator" style="clear: both; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Times;"><a href="http://browardnetonline.com/wp-content/uploads/2009/10/EscherRippledSurfaceLR.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="327px" src="http://browardnetonline.com/wp-content/uploads/2009/10/EscherRippledSurfaceLR.jpg" width="400px" /></a></span></span></div><div class="separator" style="clear: both; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Times;"><a href="http://www.mcescher.com/">M.C. Escher</a> 'Rippled Surface' 1950</span></span></div><div class="separator" style="clear: both; text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Times;">M.C. Esher has created the illusion of the rippling surface of water. He has carved into a surface, inked it up and taken a print from it. The raised areas of the surface have left a mark - creating the black ripple effect. There our elements of science and mathematics to Escher art and a fascination in <a href="http://www.antiquespectacles.com/games/optical/illusions/illusions.htm">optical illusions.</a></span></span></div><div class="separator" style="clear: both; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Times;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi10PtFCw-xFdXomhV8qgcc6nArQ_DxbtUdAoipVLvvGGsbC17hPqx-qNINdGlsivUYwdkz_qxAiSrMlTF6kprFpaLQ0Jp81ikFXPVE_r04Rp2ekRKpVfhjgHIqsMSijgnSvYLFAeZWHK4/s1600/Hand+with+Reflecting+Sphere+1935+Lithograph.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi10PtFCw-xFdXomhV8qgcc6nArQ_DxbtUdAoipVLvvGGsbC17hPqx-qNINdGlsivUYwdkz_qxAiSrMlTF6kprFpaLQ0Jp81ikFXPVE_r04Rp2ekRKpVfhjgHIqsMSijgnSvYLFAeZWHK4/s640/Hand+with+Reflecting+Sphere+1935+Lithograph.jpg" width="422px" /></a></span></span></div><div style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Times;">'Hand with Reflecting Sphere' M. C. Escher 1935</span></span></div><div style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Times;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.mcescher.com/Gallery/back-bmp/LW356.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="293px" src="http://www.mcescher.com/Gallery/back-bmp/LW356.jpg" style="cursor: move;" width="400px" /></a></span></span></span></div><div style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Times;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">M C Escher</span></span></span></div><div class="separator" style="clear: both; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Times;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmGfjBANrbChVeeqwEj9DG9Ho2nlrggXz1jCXYoegqHR0NCCmG-bMdg0HYjhSp2Gh6TIVsMh4XJicQupZP9PcLVBF__8_B12x1nrXFBu-RCwKmUuX9ze2NXkkQ_QQxo0UUj_7PaKXsuXg/s1600/mcescher_02_photo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmGfjBANrbChVeeqwEj9DG9Ho2nlrggXz1jCXYoegqHR0NCCmG-bMdg0HYjhSp2Gh6TIVsMh4XJicQupZP9PcLVBF__8_B12x1nrXFBu-RCwKmUuX9ze2NXkkQ_QQxo0UUj_7PaKXsuXg/s640/mcescher_02_photo.jpg" width="565px" /></a></span></span></div><div style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Times;">M C Escher</span></span></div><br />
<div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span></div><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span><br />
<div class="separator" style="clear: both; font-family: Times; margin: 0px; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTTbeY9Zc6Y5aAAPanX5zsYvPDrBL1URAp2Z91RO_M9chlSl3sDJVkS5-l2jiwMIXlQLjSqwzAdBlVb-QEkm6MLSIZ7D5E1GNjH-GBionODu3pefc8zCZaFwInPwphC4JBelOab2Ks1SPz/s1600/hitchcock-champaige-bottom-of-glass.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="343px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTTbeY9Zc6Y5aAAPanX5zsYvPDrBL1URAp2Z91RO_M9chlSl3sDJVkS5-l2jiwMIXlQLjSqwzAdBlVb-QEkm6MLSIZ7D5E1GNjH-GBionODu3pefc8zCZaFwInPwphC4JBelOab2Ks1SPz/s400/hitchcock-champaige-bottom-of-glass.jpg" style="cursor: move;" width="400px" /></a></span></div><div class="separator" style="clear: both; font-family: Times; margin: 0px; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Still from <a href="http://hitchcock.tv/">Alfred Hitchcock's</a> - <a href="http://www.youtube.com/watch?v=qLVmaBQ8Gdo">'Champagne' 1928</a> - shot through the bottom of a wine glass.</span></div><div class="separator" style="clear: both; font-family: Times; margin: 0px; text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This is a strange still from an <a href="http://www.youtube.com/watch?v=UtSAivIJrZs">early silent Alfred Hitchcock</a> film. It is taken from his 1928 film 'Champagne' were he experimented with a camera lens placed inside a giant champagne glass. The glass fills with liquid and is tipped as if we, the viewer, are drinking from it and seeing through it. We can just make out a crowd and couple dancing.</span></div><div class="separator" style="clear: both; font-family: Times; margin: 0px; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgynqKxkzrryMov8Fdj4PoykVPDmWF1jYnDf6PBN4pvfnOa8griC4OYT7OdIIi3yet0BvLwoJD_g9hovRYhDXARXZJB1qdyarAAKkx6gqlamQWYFIl2F75S7ksiXWDmjdI_oNF5-4cbo2rD/s1600/hitchcock-water-reflection.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="365px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgynqKxkzrryMov8Fdj4PoykVPDmWF1jYnDf6PBN4pvfnOa8griC4OYT7OdIIi3yet0BvLwoJD_g9hovRYhDXARXZJB1qdyarAAKkx6gqlamQWYFIl2F75S7ksiXWDmjdI_oNF5-4cbo2rD/s400/hitchcock-water-reflection.jpg" style="cursor: move;" width="400px" /></a></span></div><div class="separator" style="clear: both; font-family: Times; margin: 0px; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Still from Hitchcock's <a href="http://www.youtube.com/watch?v=yeHMuJ7yJKI">'The Ring' 1927</a> - a moving reflection in a stream</span></div><div class="separator" style="clear: both; font-family: Times; margin: 0px; text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">During the filming of <a href="http://www.independent.co.uk/arts-entertainment/films/news/hitchcocks-forgotten-silent-films-restored-1958696.html">Hitchcock's early silent film</a> The Ring (1927) he experimented with trick photography. In the above still we see a reflection of a couple in a stream. When the water ripples the image itself ripples and the figure go in and out of abstraction.</span></div><div class="separator" style="clear: both; font-family: Times; margin: 0px; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMkJiM64LRRsCN2M8TKp-vaxMGljzh3mwsh1_n_kBLkIHScjqZj-48eDu3F_UJzDddyvJ9sZHFUcgP7moIg0CuqFiDyTPgZdYb7rY6qmzqlcuINiu1YzTM0IFhFpW670xBL2tdRbqkFfbZ/s1600/hitchcock-drunk-dancers.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="360px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMkJiM64LRRsCN2M8TKp-vaxMGljzh3mwsh1_n_kBLkIHScjqZj-48eDu3F_UJzDddyvJ9sZHFUcgP7moIg0CuqFiDyTPgZdYb7rY6qmzqlcuINiu1YzTM0IFhFpW670xBL2tdRbqkFfbZ/s400/hitchcock-drunk-dancers.jpg" style="cursor: move;" width="400px" /></a></span></div><div class="separator" style="clear: both; font-family: Times; margin: 0px; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div><div class="separator" style="clear: both; font-family: Times; margin: 0px; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl9cIcaw1AL8HBKvA62eER1CdkuDambOsIOqXRKFU0sdSnxl2HkWwjO7XdlWfVVEEyAbteuObOwxUTbU4XY8qWzj7ZV0u2Sw_cASSmyRHz1zM710Vqi8lMPCTawdO6_lgC8h_tXyEzdsTc/s1600/hitchcock-drunk-scene.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="363px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl9cIcaw1AL8HBKvA62eER1CdkuDambOsIOqXRKFU0sdSnxl2HkWwjO7XdlWfVVEEyAbteuObOwxUTbU4XY8qWzj7ZV0u2Sw_cASSmyRHz1zM710Vqi8lMPCTawdO6_lgC8h_tXyEzdsTc/s400/hitchcock-drunk-scene.jpg" style="cursor: move;" width="400px" /></a></span></div><div class="separator" style="clear: both; font-family: Times; margin: 0px; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Stills from Hitchcock's 'The Ring' 1927 - seen from the viewpoint of a drunk man</span></div><div class="separator" style="clear: both; font-family: Times; margin: 0px; text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">In these two scenes we see what a drunk sees and the world appears distorted. This could emulate the effect of drink but also be a metaphore for viewingt he world through the bottom of a glass. Dancers distort until they are unrecognizable. Hitchcock uses blurring and mirrors to distort the image and create a sense of disorientation. The keys of a piano appear elongated as if seen through a fairground mirror. This visual experimentation is a key aspect of Hitchcock's Cinematic style.</span></div><div class="separator" style="clear: both; font-family: Times; margin: 0px; text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div><div class="separator" style="clear: both; font-family: Times; margin: 0px; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.iphotocentral.com/Photos/VintageWorks_Images/Full/9492AndreKerteszDoor.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="http://www.iphotocentral.com/Photos/VintageWorks_Images/Full/9492AndreKerteszDoor.jpg" style="cursor: move;" width="273px" /></a></span></div><div class="separator" style="clear: both; font-family: Times; margin: 0px;"></div><div style="font-family: Times; text-align: center;"><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Andre Kertesz - Paris, Door Distortion, July 29, 1984</span></div></div><div class="separator" style="clear: both; font-family: Times; margin: 0px; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://artblart.files.wordpress.com/2009/10/andre_kertesz_distortion_144_paris_1933.jpg?w=500&h=339" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="270px" src="http://artblart.files.wordpress.com/2009/10/andre_kertesz_distortion_144_paris_1933.jpg?w=500&h=339" style="cursor: move;" width="400px" /></a></span></div><div style="font-family: Times;"><div style="text-align: center;"><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Andre Kertesz ‘Distortion 144, Paris’ 1933</span></div></div></div><div class="separator" style="clear: both; font-family: Times; margin: 0px; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.bulgergallery.com/dynamic/images/display/Estate_of_Andre_Kertesz_Distortion_147_1933c1980_3121_41.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="317px" src="http://www.bulgergallery.com/dynamic/images/display/Estate_of_Andre_Kertesz_Distortion_147_1933c1980_3121_41.jpg" style="cursor: move;" width="400px" /></a></span></div><div style="font-family: Times; text-align: center;"><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Andre Kertesz ‘Distortion 147, Paris' 1933</span></div></div><div style="font-family: Times; text-align: left;"><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">These strange distorted images are by André Kertesz. ‘Distortions’ (1933) is a series of photographs of women reflected in distorting carnival mirrors that transform them into dreamlike creatures. </span></div></div><div class="separator" style="clear: both; font-family: Times; margin: 0px; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.sptimes.com/2005/02/21/images/xlarge/FLO_1_td21dali1_207706_0221.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="http://www.sptimes.com/2005/02/21/images/xlarge/FLO_1_td21dali1_207706_0221.jpg" style="cursor: move;" width="400px" /></a></span></div><div style="font-family: Times; text-align: center;"><div style="margin: 0px;"><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Salvador Dali 'Soft Construction With Boiled Beans (Premonition of Civil War)',1936, oil on canvas.</span></div></div><div style="margin: 0px; text-align: left;"><div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The deformed melting figures of Dali's painting mirrors the distortions that appear in Kertesz's photographs. This painting is one of only a handful in which Dalí turned his attention to the tragedy that beset his homeland on July 17, 1936, when General Francisco Franco led a military coup d'état against the democratically elected Popular Front government. The artist's savage vision of his country as a decomposing figure tearing itself apart preceded the outbreak of the Spanish Civil War and thus prophetically foretold the atrocities committed during this bloody conflict. Other artists who have focused on the Spanish Civil War are <a href="http://www.guardian.co.uk/artanddesign/artblog/2007/apr/26/picassosguernicabattlelives">Picasso</a> (<a href="http://art.docuwat.ch/videos/power-of-art/power-of-art-picasso">Guernica</a>), <a href="http://www.youtube.com/watch?v=iqdEKahV-gs">Guillermo del Toro</a> (<a href="http://www.guardian.co.uk/film/2006/nov/05/features.review1">Pan's Labyrinth</a>) and, during the earlier civil war, Goya (<a href="http://en.wikipedia.org/wiki/The_Disasters_of_War">Disasters of War</a>). <a href="http://thedelightsofseeing.blogspot.com/search/label/Photomontage">Dada Photomontage</a> distorted the human form immediately after the first world war. As well as having surreal qualities these images, like the Dada Photomontages could be a reaction to the human horrors of the first world war and the rise of 1930's fascism.</span></div></div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.artlex.com/ArtLex/p/images/plaster_moor.unesco.lg.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="276px" src="http://www.artlex.com/ArtLex/p/images/plaster_moor.unesco.lg.jpg" style="cursor: move;" width="400px" /></a></span></div></div><div style="font-family: Times; text-align: center;"></div><div style="clear: both; font-family: Times; text-align: center;"><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.guardian.co.uk/artanddesign/2010/feb/23/henry-moore-tate-britain">Henry Moore</a>. Working Model for Reclining Figure, 1957. Bronze.</span></div></div><div style="font-family: Times; margin: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.tate.org.uk/britain/exhibitions/henrymoore/roomintro.shtm">Henry Moore</a> emerged in the 1920s as a radical, experimental and avant-garde figure and was rapidly established as the leading British sculptor of his generation. His principal and enduring subject was the human body, through which he believed ‘one can express more completely one’s feelings about the world than in any other way’. <a href="http://www.youtube.com/watch?v=8_hpQcJe0BY">Moore</a> also reflected in his work his reaction to two world wars. The smooth quality of these images are similar to the effect of <a href="http://examthemes.blogspot.com/2010/11/preservation.html">melting ice</a> and how is distorts as it transforms back into liquid.</span></div></div></div>jfkturnerhttp://www.blogger.com/profile/04292497470976112213noreply@blogger.comtag:blogger.com,1999:blog-5743411721886035143.post-89875690254774385722012-02-27T03:16:00.000-08:002012-02-27T03:16:52.247-08:00Combinations and Alliances - Photomontage<div class="separator" style="clear: both; text-align: center;"><a href="http://www.digitaljournalist.org/issue0008/ng2.htm"><img border="0" height="233px" src="http://www.cas.sc.edu/hist/OvalOfficeTapes/images/Vietnam/napalm_nick_ut_8june1972_ap_wiki.jpg" width="400px" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://bigotblog.files.wordpress.com/2008/09/n516365978_104222_40951.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="290px" px="true" src="http://bigotblog.files.wordpress.com/2008/09/n516365978_104222_40951.jpg" width="400px" /></a></div>This is an image by the British graffiti artist <a href="http://www.banksy.co.uk/">Banksy</a>. He has cut out a stencil and used spray paint to create the piece. He has used Grey paint for the background, Black for the detail and White for the highlights. He usually works directly onto walls and the background is the texture of the wall. So initially you could describe it as a painting but I think it can also be described as a <a href="http://www.cutandpaste.info/">Photomontage</a>. This is because before he made the painting he had to make the stencil. To make the stencil he took/appropriated three iconic images - Mickey Mouse, a photograph by <a href="http://news.bbc.co.uk/1/hi/4517597.stm">Nick Ut</a> and Ronald McDonald. Banksy has taken two icons of capitalism (Disney and McDonalds) and juxtaposed them on either side of a Vietnamese girl running from a napalm explosion (she represents communism or a figure being repressed by capitalism). He has taken a serious image and made it lighthearted - they seem to be running with glee. One <a href="http://www.guardian.co.uk/commentisfree/2006/sep/22/arts.visualarts">criticism of Bansky</a> is all of his work is <a href="http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/visual_arts/article3260064.ece">ultimately a punch line or a joke</a>. However, you could also say he takes serious subjects and disguises them as a piece of modern Pop Art.<br />
<br />
A Photomonage is related to <a href="http://thedelightsofseeing.blogspot.com/search/label/Collage">Collage</a>. However, where a Collage is made from a variety of different materials a Photomontage is made purely from photographic images and then rephotographed. In the age of Photoshop most images you see have been edited in someway and could be described as Photomontages.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://www.artknowledgenews.com/files2007a/JohnHeartfieldWarAndCorpses.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240px" src="http://www.artknowledgenews.com/files2007a/JohnHeartfieldWarAndCorpses.jpg" width="320px" /></a></div><div style="text-align: center;"><img height="400px" src="http://williamlmoore.files.wordpress.com/2008/09/adolf_the_superman.jpg" width="292px" /></div><div style="text-align: center;"><a href="http://homepage.ntlworld.com/davepalmer/cutandpaste/heartfield.html">John Heartfield</a> 'Adolf the Superman Swallows Gold and Spouts Junk' 1932.</div><div style="text-align: left;">All the characteristics of Banksy's art - Juxtaposition, Photomontage, Humour and Political ideas have a long history. This image is by the German artist <a href="http://www.john-heartfield.com/">John Heartfield</a>. The image was made in 1932, one year later <a href="http://www.johndclare.net/Weimar7.htm">Adolf Hitler would become chancellor</a> and take Germany into <a href="http://www.youtube.com/watch?v=DhTg7Pys8rk">World War II</a> (1939). Heartfield's images were Anti-Nazi - he used art to warn of the terrors to come and this can be seen in his <a href="http://www.towson.edu/heartfield/artarchive.html">body of work</a>. This photomontage would have been created without the use of Photoshop. A combination of cut and paste techniques, rephotographing and burning & dodging darkroom work were used to piece together the work. You don't have to be able to speak German to read the montage. Hitler is portrayed as being greedy for power and money. Combined with the title ('Adolf the Superman Swallows Gold and Spouts Junk') we are left with a powerful Anti Fascist message.</div><div style="text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://static.guim.co.uk/Arts/gallery/2007/mar/20/surrealism/6-6990.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="256px" px="true" src="http://static.guim.co.uk/Arts/gallery/2007/mar/20/surrealism/6-6990.jpg" width="400px" /></a></div><div style="text-align: left;">This is a photograph of <a href="http://www.tate.org.uk/servlet/ViewWork?workid=2988&tabview=text">Salvador Dalí's</a> 'Téléphone-homard (<a href="http://www.google.co.uk/imgres?imgurl=http://static.guim.co.uk/Arts/gallery/2007/mar/20/surrealism/6-6990.jpg&imgrefurl=http://www.guardian.co.uk/arts/gallery/2007/mar/20/surrealism&usg=__ynXojV2f-e94Kzp1MBjFm8Px-HI=&h=404&w=630&sz=26&hl=en&start=18&zoom=1&um=1&itbs=1&tbnid=29Za_V06mIdFlM:&tbnh=88&tbnw=137&prev=/images%3Fq%3DDali%2Blobster%2Btelephone%26um%3D1%26hl%3Den%26sa%3DN%26rls%3Dcom.microsoft:en-US%26rlz%3D1I7SKPB_en%26tbs%3Disch:1">Lobster Telephone</a>)', 1938. Dali was a Surrealist and one of the key themes of Surrealism was the unconscious mind. They were fascinated by dreams and the juxtapositions that occur in them. Often in a dream we combine everyday things to create something new and strange. We have all seen a plastic lobster and we have all seen a telephone but by combining them together Dali has created something Surreal. The surreal look has slowly merged with popular culture and many adverts today have a surreal quality. Surrealism is now the norm. </div><div style="text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.youtube.com/watch?v=64F-18m5LC0&feature=related"><img border="0" height="297px" px="true" src="http://www.wetcanvas.com/Community/images/30-Sep-2005/11410-chiene.jpg" width="400px" /></a></div><div class="separator" style="clear: both; text-align: left;">This is a still from the <a href="http://www.imdb.com/title/tt0020530/plotsummary">1928 film 'The Andalusian dog'</a> that Dali was involved with (see <a href="http://www.moma.org/interactives/exhibitions/2008/dali/dali.html#/introduction">MOMA exhibition</a>). There is a clever juxtaposition between moving images, most famously the section where an eye is slit but at the key moment the camera jumps to a cloud passing a moon and then to a false eye. Although mild by today's standards the film is still able to shock.</div><div style="text-align: left;"><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">The ideas of the Surrealists were a development of Dada. Many Dada artists became surrealists and Heartfield's roots lie in Dada.</div></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKsrxdSLfgVtbWyp-33zscm_4BIZYa8qmV_zfMtZ3SoKvEfcmohD47wgDrJL1lPx20pOyReAOijaxVRwOFrqHAsy750KkCYY7zBmcSrEP8HH8U_1XSNi-LFIwb6Fo0TmAtOH8sB6QBTWs/s1600/raoul-hausmann-ABCD-1923.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640px" n4="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKsrxdSLfgVtbWyp-33zscm_4BIZYa8qmV_zfMtZ3SoKvEfcmohD47wgDrJL1lPx20pOyReAOijaxVRwOFrqHAsy750KkCYY7zBmcSrEP8HH8U_1XSNi-LFIwb6Fo0TmAtOH8sB6QBTWs/s640/raoul-hausmann-ABCD-1923.jpg" width="441px" /></a></div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"><img height="640px" src="http://www.qompendium.com/fileadmin/img/mod_overview/RHaussman.jpg" width="467px" /></div><div class="separator" style="clear: both; text-align: left;">These images are by one of <a href="http://www.youtube.com/watch?v=EqkIJ0odFxA">Dada</a>'s founding members, <a href="http://www.google.co.uk/imgres?imgurl=http://paperstreetsupplies.com/wp-content/uploads/RaoulHausmann_001.jpg&imgrefurl=http://paperstreetsupplies.com/art-and-artists/dada-collage-photomontage-by-raoul-hausmann/&usg=__tNcnjdrS4hd8sfJ86wFhyjrtFB8=&h=867&w=600&sz=193&hl=en&start=1&zoom=1&um=1&itbs=1&tbnid=daFwGsL4GGbeJM:&tbnh=145&tbnw=100&prev=/images%3Fq%3DRaoul%2BHausmann%26um%3D1%26hl%3Den%26sa%3DN%26rls%3Dcom.microsoft:en-US%26rlz%3D1I7SKPB_en%26tbs%3Disch:1">Raoul Hausmann</a>, who claimed he invented Photomontage. The top image is actually a collage that mixes different printed emphemeria to create a jarring image. This image was created almost a hundred years ago and to Hausmann's contemporarys would have seemed raw and ugly. This busy, hectic visual language is common place today but it would not exist without the experiments of these early 20th century artists.</div><div class="separator" style="clear: both; text-align: center;"><img height="640px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbQBEDc6DGQLDyzd24dZ63JlNAxVJ01dXnGzSgvQOLwD-OebrgEDSExvGNwVxfQnML8MSLlMZNNWR20-GWvGRdW9Qd_pizDxwbr3bkg-rwBaE-aXti89i4IS-GlovHtNjtmiR480PJh8jA/s640/hannah-hoch1.jpg" width="508px" /></div><div class="separator" style="clear: both; text-align: center;">A Dada collage by <a href="http://www.yellowbellywebdesign.com/hoch/gallery.html">Hannah Hoch</a></div><div class="separator" style="clear: both; text-align: left;">In 1916 a meeting of artists and writers, emigres and opposition figures took place in the <a href="http://www.moma.org/explore/multimedia/audios/85/1128">Cabaret Voltaire</a> in Zurich. The French poet Tristan Tzara thrust a penknife into the pages of a dictionary to randomly find a name for the movement. This act in itself displays the importance of <a href="http://www.art-newzealand.com/Issues21to30/chance.htm">chance</a> in Dada art. Irreverence was another key feature: in one of Dada's most notorious exhibitions, organised by Max Ernst, axes were provided for visitors to smash the works on show. Dada began under the shadow of the first world war - a generation of young men returning from the front line disfigured and broken. The movement, which lasted until about 1923, was a reaction against the ideas of the bourgeoisie (the establishment or main stream). Their intention was to create an anti-art that questioned the aesthetic taste and pushed the boundaries of what art could be. Their major form of artistic expression were collage, photomontage, assemblage, poetry and performance. The artists often used the fragments of the everyday (objects and newspapers etc) and brought them together to create (seemingly chaotic) pictures and sound poems. They both celebrated and ridiculed the everyday. Leading members included <a href="http://thedelightsofseeing.blogspot.com/search/label/Collage">Kurt Schwitters</a>, Raoul Hausmann, <a href="http://www.understandingduchamp.com/">Marcel Duchamp</a>, Hans Arp, Man Ray, Max Ernst and Hannah Hoch.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyg-XbcV-xBC6VnzIZBKDl80mpIHcKrjIZ6pVLApOOZ6YpjNk506HpuOZVH5YlJaMGtxUl3Sd-Lv2fDSjryeyfrol5YD_xDJ2WPec7Wyxyfyz3mcf0o5R5BHM4zNVe_pnnPqvQ7bOLiDE/s320/ManRay1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyg-XbcV-xBC6VnzIZBKDl80mpIHcKrjIZ6pVLApOOZ6YpjNk506HpuOZVH5YlJaMGtxUl3Sd-Lv2fDSjryeyfrol5YD_xDJ2WPec7Wyxyfyz3mcf0o5R5BHM4zNVe_pnnPqvQ7bOLiDE/s400/ManRay1.jpg" width="311px" /></a></div>This is a Rayogram by the 20th century artist Man Ray. It is actually a photogram but in a bold act of self promotion Man Ray called his images Rayograms. Coiled paper has been placed on the photographic paper casting shadows which in turn create gradient tones. A sequence of circles getting larger travel from the top left hand corner of the image. What is this image other than Man Ray's own special kind of Photomontage?<br />
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These images were produced in the 1920's - eighty years after Fox Talbot. In many ways these were still early days for photography and photographers were just starting to create images that were their own thing - not just mimicking painting. Man Ray was originally a painter but had used the relatively new medium of photography to find new forms and a new aesthetic. <a href="http://thedelightsofseeing.blogspot.com/search/label/Photorealism%20and%20the%20Relationship%20Between%20Photography%20and%20Painting">The generation before had questioned the very notion of painting because of the invention photography.</a> Look at the expressive brush marks, subject matter and compositions (especially <a href="http://www.nytimes.com/1998/10/16/arts/photography-review-degas-s-eye-for-the-unseen-world.html">Degas</a>) of <a href="http://www.bbc.co.uk/arts/multimedia/impressionism/">The Impressionists</a> to <a href="http://www.nationalgallery.org.uk/paintings/learn-about-art/guide-to-impressionism/">see</a>.<br />
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Man Ray was a key member of the <a href="http://www.youtube.com/watch?v=lpNJDBJOkFs">Dada</a> group and he went on to be part of the surrealists. If you follow the Dada link there is a wonderful documentary that will give you a bit more insight.<br />
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<div class="separator" style="clear: both; text-align: left;">Dada (and its leading figures) influenced future generations of artists. Their love of the everyday (either as ready-mades or distorted out of context) can be seen in Surrealism, <a href="http://course1.winona.edu/geddy/Eng353/popart.html">Pop Art</a> and <a href="http://wwar.com/masters/movements/conceptual_art.html">Modern Conceptual art.</a> In 1922 two Russian artists Alexander Rodchenko and El Lissitzky saw the Dada artists photomontages and were inspired -</div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0-JYIx4HnYEl7avsOedKoilo8rj-9b87MKuX6K-IhtN133woRb97_iQhwfysLDHNObPeSvJ6KtRb3bgtT3umSoIo3qc7pyOaCHXJ6kyZ32KLN0c1XMiJuxlCNihHzcoo0nCr7pduSJyk/s1600/Nickolas2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" hda="true" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0-JYIx4HnYEl7avsOedKoilo8rj-9b87MKuX6K-IhtN133woRb97_iQhwfysLDHNObPeSvJ6KtRb3bgtT3umSoIo3qc7pyOaCHXJ6kyZ32KLN0c1XMiJuxlCNihHzcoo0nCr7pduSJyk/s400/Nickolas2.jpg" width="302px" /></a></div><div class="separator" style="clear: both; text-align: left;">This is a photograph of <a href="http://www.russiannobility.org/Default.asp?page=22">Tzar Nicholas II</a> - Russia's last crowned emperor (he reigned from 1894 until 1917). This photograph seems to be an embodiment of Nicholas' rule. It is a photograph (a modern invention) posed like a traditional portrait painting - even with added colour to add to this feel. Nicholas wasn't able to break away fully with the old traditions - <a href="http://depts.washington.edu/baltic/papers/russianrevolution.htm">the world was changing</a>. While Russian <a href="http://www.online-literature.com/anton_chekhov/1285/">Peasants</a> lived in poverty the Russian Royal family lived a lavish life. The flamboyant costume speaks of Nicholas statues and absolute power. Nicholas stands for <a href="http://www.andrewgrahamdixon.com/broadcast/search/157">old Russia</a> - a divide between rich and poor, autocratic rule, superstition, religion and traditional approaches to art (read <a href="http://ebooks.adelaide.edu.au/c/chekhov/anton/">Chekhov</a> and <a href="http://ebooks.adelaide.edu.au/g/gogol/nikolai/">Gogol</a>). The people wanted <a href="http://www.thecorner.org/hist/russia/revo1917.htm">change</a> and the story of his downfall includes the <a href="http://www.firstworldwar.com/bio/nicholasii.htm">First World War</a>, <a href="http://www.alexanderpalace.org/2006rasputin/">Rasputin</a> and, most dramatically, <a href="http://www.youtube.com/watch?v=mMGrIwLj7gU">The Russian Revolution</a>.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRBL7XQwiEYFoKk_x7O12enje6wq_xxDsk-PkoES-SjDU-7VDGYZ4m8nviqnZCbUY93ACRjD_btiGjwN1ve9fM0V0mUKqrwN0d4-fXT26XtTBULEmh70efP_wJGi0qf7KSo9Bp09aRKX6K/s400/Beat+the+Whites+with+the+Red+Wedge.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="319px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRBL7XQwiEYFoKk_x7O12enje6wq_xxDsk-PkoES-SjDU-7VDGYZ4m8nviqnZCbUY93ACRjD_btiGjwN1ve9fM0V0mUKqrwN0d4-fXT26XtTBULEmh70efP_wJGi0qf7KSo9Bp09aRKX6K/s400/Beat+the+Whites+with+the+Red+Wedge.jpg" width="400px" /></a></div><div style="text-align: center;"><a href="http://www.moma.org/collection/artist.php?artist_id=3569">El Lissitzky</a> '<a href="http://www.newworldencyclopedia.org/entry/El_Lissitzky">Beat the whites with the red wedge</a>' 1919</div><div style="text-align: left;"><a href="http://www.youtube.com/watch?v=mQURCU6jN58&feature=related">The Revolution took place in 1917</a>, Tzar Nicholas II and his family were <a href="http://www.eyewitnesstohistory.com/nicholas.htm">assassinated 1919</a>, <a href="http://www.bbc.co.uk/history/historic_figures/lenin_vladimir.shtml">Lenin</a> and other Bolshevik leaders took power in 1919 - from this point on they are known as Communists. Almost overnight an entire society was destroyed and replaced with one of the most radical social experiments ever seen - poverty, crime, privilege and class division were to be eliminated. A new era of socialism promised peace prosperity and equality for the peoples of the world. There was an optimism in the air.</div><div style="text-align: left;"><br />
</div><div>A new society needs a new vision - <span class="Apple-style-span" style="border-collapse: collapse; font-family: Arial;"><a href="http://www.slideshare.net/guestde49df2/david-hockney-feature-april-2010-modern-painters" style="color: #2288bb; text-decoration: none;">David Hockney</a></span><span class="Apple-style-span" style="border-collapse: collapse; font-family: Arial;"> </span><span class="Apple-style-span">has said that visual control equals power. The people who have power control images – and the people who control images have power. The image above is by </span><a href="http://www.getty.edu/research/conducting_research/digitized_collections/lissitzky/index2.html">El Lissitzky</a><span class="Apple-style-span"> who, along with his mentor </span><a href="http://www.kazimir-malevich.org/">Malevich</a><span class="Apple-style-span">, created </span><a href="http://www.moma.org/collection/theme.php?theme_id=10202">Suprematism</a><span class="Apple-style-span">. 'Beat the whites with the red wedge' is a propaganda poster that initially seems abstract. A large red triangle breaks into a large white circle surrounded by black. In fact the red represented the new communists who were breaking down the old world of tradition and monarchy - represented by the white circle embedded in seemingly solid black form. This was a new visual look for a new world where graphic shapes represent ideas.</span><br />
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</span><br />
<div style="text-align: center;"><span class="Apple-style-span" style="font-size: large;">'We must Revolutionize our visual thinking'</span></div><div style="text-align: right;"><span class="Apple-style-span">Alexander Rodchnko 1928</span></div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.michaelhoppengallery.com/files/c897d78d6377cc5307be72a8d0dae3d1.large.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="http://www.michaelhoppengallery.com/files/c897d78d6377cc5307be72a8d0dae3d1.large.jpg" width="363px" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><span class="Apple-style-span" style="color: #333333; font-family: Verdana, Arial, Helvetica, sans-serif; line-height: 15px;"><span class="Apple-style-span" style="font-size: x-large;">"the streets are our brushes, the </span></span></div><div class="separator" style="clear: both; text-align: center;"><span class="Apple-style-span" style="color: #333333; font-family: Verdana, Arial, Helvetica, sans-serif; line-height: 15px;"><span class="Apple-style-span" style="font-size: x-large;"><br />
</span></span></div><div class="separator" style="clear: both; text-align: center;"><span class="Apple-style-span" style="color: #333333; font-family: Verdana, Arial, Helvetica, sans-serif; line-height: 15px;"><span class="Apple-style-span" style="font-size: x-large;">squares our palettes"</span></span></div><div class="separator" style="clear: both; text-align: center;"><span class="Apple-style-span" style="color: #333333; font-family: Verdana, Arial, Helvetica, sans-serif; line-height: 15px;"><span class="Apple-style-span" style="font-size: x-large;"><br />
</span></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgye097-fXyjKgeZgvobC653wbwZJLb793VPxLF8OdIX6jy9l3yBGpZn94BTaer0zxMl1xn4V7JmtPcGX6bd7jg1cNLLnI0Bbbtifw9eW_LKkgDDhXZDvuKaP_s3704XV-4USdnp55BQg/s1600/Rodchenko33.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgye097-fXyjKgeZgvobC653wbwZJLb793VPxLF8OdIX6jy9l3yBGpZn94BTaer0zxMl1xn4V7JmtPcGX6bd7jg1cNLLnI0Bbbtifw9eW_LKkgDDhXZDvuKaP_s3704XV-4USdnp55BQg/s400/Rodchenko33.jpg" width="282px" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div style="text-align: center;"><span class="Apple-style-span" style="border-collapse: collapse;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><a href="http://www.southbankcentre.co.uk/minisites/rodchenko/">Alexander Rodchenko 'Girl with Leica' 1934</a></span></span></div><div style="text-align: left;">In the middle of the 1920's <a href="http://www.youtube.com/watch?v=i29tL-LHyY8">Alexander Rodchenko</a> announced he would no longer paint and instead he would focus purely on photography as a means of searching for a new visual language. He made pure photography that broke away from the traditions of painting. Photographs would be taken from <a href="http://www.aworldtowin.net/reviews/Rodchenko.html">unusual angles</a> - from underneath the subject or looking down turning the world into forms. His images had a graphic quality that seemed like a new way of seeing. There were strong diagonals, verticals and areas of graphic pattern. <a href="http://www.andrewgrahamdixon.com/archive/readArticle/547">Rodchenko</a> believed the era of painting was over and a new visual era was about to begin.</div></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP3uJcktWchogo4Im9hWGOhjOWOmVH0SpYhvsYUdANwecPsZoq5dEh3eCF4AD_8BnkfqLYG02jpo9X20kBxB4I9QajpeX8HMPTIQIy0uh0lgH9EyLquYCiyA6ejH7GbkGmlyJVNJxdCXM/s1600/rodchenko-brik1-1024x766.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="239px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP3uJcktWchogo4Im9hWGOhjOWOmVH0SpYhvsYUdANwecPsZoq5dEh3eCF4AD_8BnkfqLYG02jpo9X20kBxB4I9QajpeX8HMPTIQIy0uh0lgH9EyLquYCiyA6ejH7GbkGmlyJVNJxdCXM/s320/rodchenko-brik1-1024x766.jpg" width="320px" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;">Alexander Rodchenko 'Lilya Brik' 1924</div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.arantxaalcubierre.com/wp-content/uploads/2008/04/rodchenko.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="278px" src="http://www.arantxaalcubierre.com/wp-content/uploads/2008/04/rodchenko.jpg" width="400px" /></a></div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;">Rodchenko, along with <a href="http://www.tate.org.uk/modern/exhibitions/rodchenkopopova/">Liubov Popova</a>, gave the visual look for this new world. Designing a humble advertisement had more worth than making a piece of art. Art is seen by a few people in galleries - adverts are seen by everyone everywhere. This graphic language, designed under <a href="http://www.andrewgrahamdixon.com/broadcast/search/165">Communism</a>, gave the visual language of Capitalism to the West - <a href="http://www.youtube.com/watch?v=YC6fgr5ggHQ">the origins of the McDonald's logo began here</a>. This look has been used and revisited by <a href="http://www.researchstudios.com/neville-brody/">Neville Brody</a> (at <a href="http://kingygraphicdesignhistory.blogspot.com/2010/05/roxy-1980s-face-neville-brody.html">Face Magazine</a>) to <a href="http://www.southbankcentre.co.uk/minisites/rodchenko/reviews/index.html">Modern album covers</a>.</div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;">Above we can see how Rodchenko took his photographs and cut them up and resembled them with flat coloured paper and text. The colours, forms and angles are taken from suprematism and are the language of constructivism. <a href="http://www.guardian.co.uk/artanddesign/2009/feb/10/rodchenko-popova-tate">The text shouts out</a> - in this image above the head of <a href="http://www.independent.co.uk/arts-entertainment/art/features/rodchenkos-revolution-a-socialist-with-true-vision-767595.html">Lilya Brik</a> actually does shout out. Rodchenko has given a visual triangle form to the way sound seems to travel - we understand that this girl is shouting. 'Books' she cries 'in all fields of Knowledge' - it a propaganda poster urging people to read books. This is good advice - we could all do with reading more books - they're much better on the eyes than a computer screen.</div><div class="separator" style="clear: both; text-align: center;"><a href="http://mechanicrobotic.files.wordpress.com/2007/08/rodchenko.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="306px" src="http://mechanicrobotic.files.wordpress.com/2007/08/rodchenko.jpg" width="400px" /></a></div><div class="separator" style="clear: both; text-align: center;">Alexander Rodchenko 'Dobrolet' 1923</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgikncZ-aNPic-5zhPnZqM_j7dpUy9wgdAN8szodDqp0aZU9P-v0mZVfM6DhzkWZ96Z-0lOoEJLc6ulyEJrw3KiLMYDDzfDKd5JRrj0LYYm78B5UMvv95BZRtjhtx9QpxfiCTVPqjoByxQ/s1600/russian-icon.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgikncZ-aNPic-5zhPnZqM_j7dpUy9wgdAN8szodDqp0aZU9P-v0mZVfM6DhzkWZ96Z-0lOoEJLc6ulyEJrw3KiLMYDDzfDKd5JRrj0LYYm78B5UMvv95BZRtjhtx9QpxfiCTVPqjoByxQ/s640/russian-icon.gif" width="424px" /></a></div><div class="separator" style="clear: both; text-align: center;">Russian icon 15th to 17th Century</div><div class="separator" style="clear: both; text-align: center;"><span class="Apple-style-span" style="font-size: x-large;">"In Russia there is a word for 'Thing' with no precise equivalent in English: 'vesch' means 'a thing with a soul" Warner, M 'Things'</span></div>Constructivism's new look - bold flat areas of colour, sections of pattern and geometric shapes created a new visual language. The Russia artists, usually on the outskirts of society, found themselves central - as the Bolsheviks sought out an art that was as radical as their new politics - Lenin even included artist in his hero's of the revolution. However, placed next to an old <a href="http://www.andrewgrahamdixon.com/broadcast/search/157">Russian icon</a> those geometric shapes, flat areas of colour and pattern do not seem so alien.<a href="http://en.wikipedia.org/wiki/Russian_icons"> Icon's</a> where made for churchs, to tell the story of Christ to an illiterate congregation. They were painted directly onto wood and often had other elements attached. There is a directness, a 'thingness' about icon's that can also be felt with a <a href="http://en.wikipedia.org/wiki/Suprematism">Malevich suprematist painting</a>. Icon's where commissioned by the church (who had control) and the new look was adopted by the Communists (who had control). Some things don't change.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://artmundus.files.wordpress.com/2010/06/gustav-klutsis.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640px" src="http://artmundus.files.wordpress.com/2010/06/gustav-klutsis.gif" width="412px" /></a></div><div style="text-align: center;"><a href="http://www.moma.org/collection/artist.php?artist_id=12501">Gustav Klutsis</a></div><div style="text-align: left;">Many hands saluting in unison - the original utopian vision would eventually breed greed, division and horror under <a href="http://www.bbc.co.uk/history/historic_figures/stalin_joseph.shtml">Stalin</a>. The constructivists set the look - Red, white and black mixed with cut and paste methods - they didn't have photoshop only paper, photographs scissors and glue. The use of scissors and paste was advocated during <a href="http://www.cusd.chico.k12.ca.us/~bsilva/projects/russia/stalin/5yearplan.htm">the five year plan</a> as the proletarian and propagandistic device of choice. Like Photography (even more so today with our invisible technology), it required virtually no training and the most ordinary materials. Of course Rodchenko, Klutsis and the Stenberg Brothers did have wonderful visual skill.</div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.tommcmahon.net/images/stenberg4_375.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640px" src="http://www.tommcmahon.net/images/stenberg4_375.jpg" width="452px" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://designhistorymashup.blogspot.com/2008/03/stenberg-brothers-revolutionary-poster.html">The Stenberg Brothers</a> 'The Traitor' 1926</div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.fitacola.com/blog/wp-content/plugins/wp-o-matic/cache/2c55c_d09c45fa851fe78943bd9b4e8bc948bb00e81e9c_m.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640px" src="http://www.fitacola.com/blog/wp-content/plugins/wp-o-matic/cache/2c55c_d09c45fa851fe78943bd9b4e8bc948bb00e81e9c_m.jpg" width="433px" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.youtube.com/watch?v=8rUOgCJDMB4">Stenberg Brothers</a> 'The Last Flight' 1929</div><div class="separator" style="clear: both; text-align: left;">Geometric shapes, flat colours, text and figurative elements jostle to tell aspects of the narrative. These are both examples of Film Posters by <a href="http://www.moma.org/interactives/exhibitions/1997/sternbergbrothers/">The Stenberg Brothers</a> produces hundreds of film posters during the 1920's and 1930's. The influence of Suprematism, Dada and Rodchenko are evident. These artists working under communism were creating a language we still use today in modern graphic design.</div><div class="separator" style="clear: both; text-align: center;"><a href="http://newmediastorytelling.files.wordpress.com/2010/03/man_with_a_movie_camera1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640px" src="http://newmediastorytelling.files.wordpress.com/2010/03/man_with_a_movie_camera1.jpg" width="412px" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://letempsperduretrouve.blogspot.com/2010/05/blog-post.html">Stenberg Brothers</a> 'Man with a Movie Camera' 1929</div><div class="separator" style="clear: both; text-align: center;"><a href="http://brianholmes.files.wordpress.com/2009/11/vertov.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640px" src="http://brianholmes.files.wordpress.com/2009/11/vertov.jpg" width="450px" /></a></div><div class="separator" style="clear: both; text-align: center;">Stenberg Brothers <a href="http://video.google.com/videoplay?docid=-2809965914189244913#">'Man with a movie camera' 1929 a film by Dziga Vertov</a></div><div class="separator" style="clear: both; text-align: left;">This is the Stenberg's poster for <a href="http://www.guardian.co.uk/film/2005/jul/02/2">Dziga Vertov</a>'s revolutionary film '<a href="http://www.youtube.com/watch?v=00ZciIC4JPw">Man with a Movie Camera</a>' (watch an ongoing modern remake <a href="http://dziga.perrybard.net/">here</a>). The diagonal lines of Constructivism become the legs of Vertov's film camera tripod. The moving image is <a href="http://www.youtube.com/watch?v=brVO2l4bONc">the ultimate Photomontage</a> but rather than a static image you have multiple images, one after the other, creating strange juxtapositions and new meanings. Vertov's films are like a living Dada Photomontage.</div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.medienkunstnetz.de/assets/img/data/2191/bild.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="297px" src="http://www.medienkunstnetz.de/assets/img/data/2191/bild.jpg" width="400px" /></a></div><div class="separator" style="clear: both; text-align: center;"><span class="Apple-style-span" style="font-family: 'Book Antiqua', 'Century Schoolbook', 'Times New Roman';"><span class="Apple-style-span" style="font-size: x-large;">"I am kino-eye, I am mechanical eye, I, a machine, show you the world as only I can see it."</span></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiux-pAETf80Q_oAozGBQIapAuh3iXZroC5GGsb_HB1Zj32Ux-kzg72bZvRJJw-LpF7S40_q8KpBzp03b5_kfIzSptKXnOJ35t8bR5Z0Cxjw8lTLDvm7Vpuf7bfjWwBX79HzpNvC3GWFA/s1600/vertov2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="224px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiux-pAETf80Q_oAozGBQIapAuh3iXZroC5GGsb_HB1Zj32Ux-kzg72bZvRJJw-LpF7S40_q8KpBzp03b5_kfIzSptKXnOJ35t8bR5Z0Cxjw8lTLDvm7Vpuf7bfjWwBX79HzpNvC3GWFA/s320/vertov2.jpg" width="320px" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div>Vertov wasn't making art - he was making work for the people. In doing so he helped create the language of cinema. Like the juxtaposition used in Surrealism, editing film together creates new meaning. When the director Lev Kuleshov demonstrated the psychology of cinema by splicing the same shot of an actor's face with, alternately, a dead woman, a child and a bowl of soup, audiences interpreted the actor's unchanging expression as a reaction to the three contextualising shots. This is known as <a href="http://vimeo.com/8082147">The Kuleshov Effect.</a><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://www.youtube.com/watch?v=UtSAivIJrZs"><img border="0" height="298px" src="http://blogs.suntimes.com/ebert/assets_c/2010/10/psycho-1-1024-thumb-450x337-25850.jpg" width="400px" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div><a href="http://vimeo.com/8082147"></a><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://www.hitchcockwiki.com/files/misc/psycho_montage.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300px" src="http://www.hitchcockwiki.com/files/misc/psycho_montage.jpg" width="400px" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://img2.timeinc.net/ew/dynamic/imgs/100615/PSYCHO-SCREAM_320.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300px" src="http://img2.timeinc.net/ew/dynamic/imgs/100615/PSYCHO-SCREAM_320.jpg" width="400px" /></a></div><div class="separator" style="clear: both; text-align: center;">A Poster, Story board and close up from <a href="http://hitchcock.tv/">Alfred Hitchcock</a>'s 'Psycho' 1960</div><div class="separator" style="clear: both; text-align: left;">The <a href="http://www.guardian.co.uk/film/2010/mar/29/psycho-body-double-marli-renfro">shower scene</a> from <a href="http://www.youtube.com/watch?v=wHPCLfY4ni8">Hitchcock</a>'s Psycho is wonderful example of editing. The scene, where Janet Lee is attacked in the shower, shocked audience's on the films initial release. However, the scene is pieced together from relatively innocent shots; <a href="http://www.youtube.com/watch?v=8VP5jEAP3K4">a screaming mouth, a knife, music, a silhouetted figure and blood spiraling down the drain</a>. For further information watch <a href="http://www.youtube.com/watch?v=xJcQgQHR78Q">'The Magic of Movie Editing'.</a></div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdTtClAbDIp4veGVfZ1de_Z73fl1HH0qgi8VcEpwwLCW3XyH7z_RtaC6K9_Nh-JDgleDLzIs7TH3Z9ZGq8Z55InISusMzPF3NFJuynv2NOHE_6dBs3Z28FlfAII0LqHMIFBvxwtRvsM9c/s1600/duane-michals.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdTtClAbDIp4veGVfZ1de_Z73fl1HH0qgi8VcEpwwLCW3XyH7z_RtaC6K9_Nh-JDgleDLzIs7TH3Z9ZGq8Z55InISusMzPF3NFJuynv2NOHE_6dBs3Z28FlfAII0LqHMIFBvxwtRvsM9c/s1600/duane-michals.jpg" /></a></div><div class="separator" style="clear: both; text-align: left;">This above image is a sequence of images, designed to be seen one after the other. If seen in any other order they would not work. The photographs should be read from left to right - the same way we would read a book.</div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;">Image 1 - we see a simple bathroom, with a picture above the sink. </div><div class="separator" style="clear: both; text-align: left;">Image 2 - A large foot has appeared making the scene surreal.</div><div class="separator" style="clear: both; text-align: left;">Image 3 - It makes sense, it wasn't a giant just a normal man in a tiny bathroom in a shop window.</div><div class="separator" style="clear: both; text-align: left;">Image 4 - Our perspective is altered again. We zoom out. It was actually a photograph in a book.</div><div class="separator" style="clear: both; text-align: left;">Image 5 - We zoom out further. The man reading the book is silhouetted against a doorway.</div><div class="separator" style="clear: both; text-align: left;">Image 6 - This was a Photograph itself, in a frame on the wall.</div><div class="separator" style="clear: both; text-align: left;">Image 7 - The photograph hangs above a sink.</div><div class="separator" style="clear: both; text-align: left;">Image 8 - We see a simple bathroom, with a picture above the sink. This is where we started.</div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;">This is the work of Duane Michals and he has been playing a game with us. It is a picture in a picture in a picture. This is a digital reproduction on your screen - adding another layer.</div><div class="separator" style="clear: both; text-align: center;"><a href="http://images.artnet.com/artwork_images_490_101637_duane-michals.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640px" src="http://images.artnet.com/artwork_images_490_101637_duane-michals.jpg" width="504px" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.photoinsider.com/pages/michals/michals.html">Duane Michals</a></div><div class="separator" style="clear: both; text-align: left;">He is doing it again. He takes a photograph of glasses next to a chair (playing with scale). He prints that photo and put it on what appears to be a radio and photographs it again. He continues this game of photographing and re-photographing.</div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><b>It is no accident that you are reading this. I am making black marks on white paper. These marks are my thoughts, and although I do not know who you are reading this now, in some way the lines of our lives have intersected... For the length of these few sentences, we meet here. </b></div><div class="separator" style="clear: both; text-align: center;"><b>It is no accident that you are reading this. This moment has been waiting for you, I have been waiting for you. Remember me."</b></div><div class="separator" style="clear: both; text-align: center;"> -<a href="http://www.pdngallery.com/legends3/michals/"> Duane Michals</a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx4Qz8vX4-m_AO3a6PCjgtW0VB-BJukb-DW_E7XjdEqhZVrY7EHBz-lLa47kMwylvJCVmrLTGnUa1PREp4ZdF8HufCR7ls8In_6NL-AHMycI7HDJy6aLHadpBqxJpkKT83e-bgYNGIRbbR/s400/DuaneMichals1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx4Qz8vX4-m_AO3a6PCjgtW0VB-BJukb-DW_E7XjdEqhZVrY7EHBz-lLa47kMwylvJCVmrLTGnUa1PREp4ZdF8HufCR7ls8In_6NL-AHMycI7HDJy6aLHadpBqxJpkKT83e-bgYNGIRbbR/s400/DuaneMichals1.jpg" width="398px" /></a></div><div class="separator" style="clear: both; text-align: center;">Duane Michals</div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: left;">Michals often combines text with images. He is interested in how we see images, text and narratives. His work is ideas based and he seems more like a conceptual artist than simply a photographer.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT7k4AHSxYKNDU0wkkYQbvB8b46wGdqEoXD0sHSpcVTipBIuRMCtDrWmNZnpw8moDFTFoDh9DldFB5jlYfBvxz_nUBb2VGJdX4BrqhEh5WiixG5ycHTCmMuk07AFfEy4TtdgCkUbx99gw/s1600/553_spread5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="341px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT7k4AHSxYKNDU0wkkYQbvB8b46wGdqEoXD0sHSpcVTipBIuRMCtDrWmNZnpw8moDFTFoDh9DldFB5jlYfBvxz_nUBb2VGJdX4BrqhEh5WiixG5ycHTCmMuk07AFfEy4TtdgCkUbx99gw/s400/553_spread5.jpg" width="400px" /></a></div><div style="text-align: center;">example of Orell Füssli's <a href="http://wiedler.ch/felix/books/story/95">"schaubücher"</a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://greg.org/archive/ruscha_sunset_strip-thumb.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="206px" src="http://greg.org/archive/ruscha_sunset_strip-thumb.gif" width="400px" /></a></div><div class="separator" style="clear: both; text-align: center;">Ed Ruscha - '<a href="http://greg.org/archive/2005/02/07/every_building_on_the_sunset_stripand_then_some.html">Every building on sunset strip'</a> 1966</div><div class="separator" style="clear: both; text-align: left;">Presenting Photographs in a sequence is common. You are guided around a gallery in a certain direction, coming across certain images first. A website or slide show on a computer screen is often designed to guide us through the images in order. Arguably the most natural and intimate was to experience photography is in a book. A book designed by photographers to be read in a certain way is know as a <a href="http://bintphotobooks.blogspot.com/2009_03_01_archive.html">Photobook</a>. Another way that photographs can tell a story is through <a href="http://www.nytimes.com/interactive/2011/11/13/opinion/sunday/20111113_Opinion_Exposures.html#1">Photo Essays</a> - look <a href="http://inmotion.magnumphotos.com/essays">here</a> and <a href="http://lens.blogs.nytimes.com/2011/08/04/where-children-sleep/">here</a>.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDw83u0PbJOI5IxMdE8KsQ-xAiOiZuXjplbKecCcN1hjf8gey-FujA1hdoYnLRzgjyl7hovW1F765v5W42ciR93NWTBZ1CyZ-ot_rLe9lIw1RyfM-lNMlJaCp3RdZ_LqyJJVQ7767MOcI/s1600/facesofevil.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDw83u0PbJOI5IxMdE8KsQ-xAiOiZuXjplbKecCcN1hjf8gey-FujA1hdoYnLRzgjyl7hovW1F765v5W42ciR93NWTBZ1CyZ-ot_rLe9lIw1RyfM-lNMlJaCp3RdZ_LqyJJVQ7767MOcI/s640/facesofevil.jpg" width="511px" /></a></div><div class="separator" style="clear: both; text-align: center;">Hans Weishaupl <a href="http://www.faces-of-evil.com/index.php?id=753&L=753">'Faces of Evil'</a></div><div class="separator" style="clear: both; text-align: left;">A photograph is the perfect tool for describing something, for showing the world as it is. However, photographs are not always what they seem. These images have been create by Hans Weishaupl who recreated the faces of dictators by combining the faces of other people together. For Hitler he took 37 portraits of people from Germany to recreate Hitlers face.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWFssuCN-go4UI2LyqWkb7V6oGs1AdgMvPAITgCZpXJrUbYm35EqNhZkMDgI3UHVB1HsCmmANKO3H7NQ93sC7VPwLjFpH-ErW_TvrOHl21ifVu90KTE_04E0PMe7iO_9PKarWl2e9SOUo/s1600/00_southbank_PB.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" n4="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWFssuCN-go4UI2LyqWkb7V6oGs1AdgMvPAITgCZpXJrUbYm35EqNhZkMDgI3UHVB1HsCmmANKO3H7NQ93sC7VPwLjFpH-ErW_TvrOHl21ifVu90KTE_04E0PMe7iO_9PKarWl2e9SOUo/s400/00_southbank_PB.jpg" width="302px" /></a></div><div style="text-align: center;"><a href="http://www.typeg.org/">George Walker</a> - <a href="http://www.typeg.org/work/41_southbank.html">'South Bank Centre'</a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidqyOPeyNOOS8zSd6L-ZxAR6q8Zaoewo77ggnkM0pvNFJjXb0KmPOwoOta-mB7177LPcU5Etq_sEEoUsNYU8e8lyrLYbJrssDuGSRppKo3-25mgcDw8sJHaU0423frY-_SR7lBDCA-a-g/s1600/photomontage.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" nda="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidqyOPeyNOOS8zSd6L-ZxAR6q8Zaoewo77ggnkM0pvNFJjXb0KmPOwoOta-mB7177LPcU5Etq_sEEoUsNYU8e8lyrLYbJrssDuGSRppKo3-25mgcDw8sJHaU0423frY-_SR7lBDCA-a-g/s400/photomontage.jpg" width="282px" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYj6aw0Vd3QW8jORsrRvizbUvEZLcXD7W1Jt764D8-Bigc2p8GIiQNWVc_Z6P66gOfN_IVj0Tc0xh32KuIApCiFy06CiNceAZVgAi_u5otAvNG-SenqstVsKNNoAEEFY9aAl8iSLr7a9A/s1600/photomontagelong-distance-relationship.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320px" nda="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYj6aw0Vd3QW8jORsrRvizbUvEZLcXD7W1Jt764D8-Bigc2p8GIiQNWVc_Z6P66gOfN_IVj0Tc0xh32KuIApCiFy06CiNceAZVgAi_u5otAvNG-SenqstVsKNNoAEEFY9aAl8iSLr7a9A/s400/photomontagelong-distance-relationship.jpg" width="400px" /></a></div><div class="separator" style="clear: both; text-align: center;">Contemporary Photomontages by <a href="http://julienpacaud.com/">Julien Pacaud</a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy7DV8qrWSRFOIZy-9MZ_eKKwVaBvCQAE5B5CzKRbLfqiJUlTRGSpQsiQFfk5KpIAbu3z3_HX6oeKa04REsBEArv0L3ESiaJ7Cq_nz1AFBK6woPjLf2d6rzG6wEvK4q0MhYWABzzbKqzne/s1600/iso50-nlights.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="318px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy7DV8qrWSRFOIZy-9MZ_eKKwVaBvCQAE5B5CzKRbLfqiJUlTRGSpQsiQFfk5KpIAbu3z3_HX6oeKa04REsBEArv0L3ESiaJ7Cq_nz1AFBK6woPjLf2d6rzG6wEvK4q0MhYWABzzbKqzne/s400/iso50-nlights.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpqez3EaLtQd4BKbhaA1K4TjqzlleYAHywHUn8bOdDP3VVpyjrEBESCIqOB5bgd5RzgjLSUCSVZ7t0RxkmXMLZKGVM86Nsg-3IEUGANJ_LzwXssE6-nut9zYw8TBrY0OWwmjTElUV0n_Ly/s1600/ISO50_ARBOR_blog.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpqez3EaLtQd4BKbhaA1K4TjqzlleYAHywHUn8bOdDP3VVpyjrEBESCIqOB5bgd5RzgjLSUCSVZ7t0RxkmXMLZKGVM86Nsg-3IEUGANJ_LzwXssE6-nut9zYw8TBrY0OWwmjTElUV0n_Ly/s400/ISO50_ARBOR_blog.jpg" width="257px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://blog.iso50.com/">ISO50</a> Scott Hansen- Contemporary Vector design</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">The curves, spirals and patterns that are found in <a href="http://thedelightsofseeing.blogspot.com/2011/02/art-nouveau.html">Art Nouveau</a> are evident in a lot of modern graphic design and illustration. The very nature of vector art lends itself to organic graphic curves and in these modern examples by Scott Hansen (ISO 50) those elements have bee given a modern twist. Technology often effects the art of its day - from oil paints, the printing press, the camera and, today, photoshop and the internet. The simple bold vector forms are given a worn texture and the faded colour and images give the images a retro feel. You can learn how he created these images in <a href="http://blog.iso50.com/3617/iso50-design-tutorial-1/">PDF tutorials here</a>.</div><div class="separator" style="clear: both; text-align: left;"></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiS7sNaTR6ke-OSJhgfvb7Z6bixuMyQEyrMGUlIIE_7sy4EBhKaX1v8PzsU6SD7udK_ifmiiUSzh0DYu_JUKNidnR5etX8xL68Z0cMZZt7HVkiSSz7842BAxqTIogTmZX70KwCE5Xeow-w/s1600/cuttingedges21_J.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" nda="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiS7sNaTR6ke-OSJhgfvb7Z6bixuMyQEyrMGUlIIE_7sy4EBhKaX1v8PzsU6SD7udK_ifmiiUSzh0DYu_JUKNidnR5etX8xL68Z0cMZZt7HVkiSSz7842BAxqTIogTmZX70KwCE5Xeow-w/s400/cuttingedges21_J.jpg" width="316px" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.mario-wagner.com/">Mario Wagner</a> 'Learning' 2010</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpk6WArrxvcrAr-zlRxyjINcd1s3eFeMJvwkItVpIwvz9YiDz4kejm_-1DMDoQLtBiFRWaxsh9OLIW2Gmv37mb6N-nbhcuDnj5V8dRwGnMGg75ZYyAE7j9yaeCepmVraaTmIW3z5peL9E/s1600/gordan+magnin.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" nda="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpk6WArrxvcrAr-zlRxyjINcd1s3eFeMJvwkItVpIwvz9YiDz4kejm_-1DMDoQLtBiFRWaxsh9OLIW2Gmv37mb6N-nbhcuDnj5V8dRwGnMGg75ZYyAE7j9yaeCepmVraaTmIW3z5peL9E/s400/gordan+magnin.jpg" width="308px" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://gordonmagnin.com/">Gordon Magnin</a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9DfOYWVHkoGr5ZVjKtD-Q0z3o15Ksw5KzFMGDthZh-SBCeh_alNmSF48xWEQ6yc7ykcdisN3YF36kddnFFxnkRz-GqhVD4xrKBd-8ainldCDJZz6Kf6BKIx4lfahjq1UN45T7wZ8M3_4/s1600/eva+eun+sil+han.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" nda="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9DfOYWVHkoGr5ZVjKtD-Q0z3o15Ksw5KzFMGDthZh-SBCeh_alNmSF48xWEQ6yc7ykcdisN3YF36kddnFFxnkRz-GqhVD4xrKBd-8ainldCDJZz6Kf6BKIx4lfahjq1UN45T7wZ8M3_4/s400/eva+eun+sil+han.jpg" width="291px" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://evahan.weebly.com/deg11.html">Eva Eun-sil Han</a> - Untitled 2010</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOJuIOgDoZJ6aXbn8xSi1Zrq-8y-dFyJysaOvaN06FGKsOs3QMIPjXpe7T1hkNu6L4zloQ716at3tIDmaNqy9pObTds-HPZrPzNVxHbD5-Zs86PWuPK2SaiqOwWO7ksjOgj-JnXr0Lwh0/s1600/JelleMartens-03.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" nda="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOJuIOgDoZJ6aXbn8xSi1Zrq-8y-dFyJysaOvaN06FGKsOs3QMIPjXpe7T1hkNu6L4zloQ716at3tIDmaNqy9pObTds-HPZrPzNVxHbD5-Zs86PWuPK2SaiqOwWO7ksjOgj-JnXr0Lwh0/s400/JelleMartens-03.jpg" width="377px" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://martensjelle.zxq.net/">Jelle Martens</a></div><br />
</div></div>jfkturnerhttp://www.blogger.com/profile/04292497470976112213noreply@blogger.comtag:blogger.com,1999:blog-5743411721886035143.post-87474291401806226822012-02-27T03:12:00.000-08:002012-02-27T03:12:54.084-08:00Combinations and Alliances - Collage<div class="separator" style="clear: both; text-align: center;"><a href="http://facweb.cs.depaul.edu/sgrais/images/Collage/Picasso%20-%20picasso.guitar-ceret-1913.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" px="true" src="http://facweb.cs.depaul.edu/sgrais/images/Collage/Picasso%20-%20picasso.guitar-ceret-1913.jpg" width="297px" /></a></div><div align="center">Pablo Picasso 'Guitar' 1913</div><div style="text-align: left;">This image above is by <a href="http://www.picasso.com/">Pablo Picasso</a> and is a picture of a guitar. <a href="http://thedelightsofseeing.blogspot.com/search/label/Cubism">He has abstracted the image as if it has been seen from multiple viewpoints</a> and so the guitar itself seems fractured. Segments of the 'Guitar' are cut from a variety of materials - a piece of old wall paper, a scrap of cardboard and a circle cut out of newspaper. The different patterns and textures contrast and compliment one another - <span style="background-color: white;">drawing your eye in different directions. This is an example of Picasso's and <a href="http://www.visual-arts-cork.com/famous-artists/braque-georges.htm">George Braque</a>'s <a href="http://www.google.co.uk/imgres?imgurl=http://facweb.cs.depaul.edu/sgrais/images/Collage/Picasso%2520-%2520picasso.guitar-ceret-1913.jpg&imgrefurl=http://facweb.cs.depaul.edu/sgrais/collage.htm&usg=__b3jFQVhFMsfhM5_8x2b1q-zQ_Yg=&h=1070&w=796&sz=150&hl=en&start=2&zoom=1&um=1&itbs=1&tbnid=DGUR67sG6s9NRM:&tbnh=150&tbnw=112&prev=/images%3Fq%3Dcollage%2Bpicasso%2Bguitar%2B1913%26um%3D1%26hl%3Den%26rls%3Dcom.microsoft:en-US%26rlz%3D1I7SKPB_en%26tbs%3Disch:1">Synthetic Cubism</a> and shows a break away from traditional mediums in western art. Where once artists would manipulate paint to create objects, Picasso takes elements from the real world to depict the real world.</span></div><div style="text-align: left;"><br />
</div><div style="text-align: left;">This is an example of collage - an image made from different materials and images combined. To understand <a href="http://www.collageart.org/">Collage</a> completely we must look at <a href="http://thedelightsofseeing.blogspot.com/search/label/Photomontage">Photomontage</a> as the two are closely related. Collage had existed before Picasso but this was the first time the 'high' culture of professional art had mixed with the 'low' culture of a scrap of newspaper or a torn bit of wall paper.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjD2k8OwcbBqtmDcBT-6Abp4yCkihyUhiBRIpSi0qombjYUEtv9USKq8j5h6kRdYJ5snpluVF3MEMczcYkfN3MjVZQpoUpHFiR3gl_bOMA2xpZOOBWZCUA8BDUoozeBEAsmZW6gtJD5cyk/s1600/atget-place-andre-des-arts-1903.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="280px" px="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjD2k8OwcbBqtmDcBT-6Abp4yCkihyUhiBRIpSi0qombjYUEtv9USKq8j5h6kRdYJ5snpluVF3MEMczcYkfN3MjVZQpoUpHFiR3gl_bOMA2xpZOOBWZCUA8BDUoozeBEAsmZW6gtJD5cyk/s400/atget-place-andre-des-arts-1903.jpg" width="400px" /></a></div><div style="text-align: center;">Eugene Atget Place Saint-Andre-des-Arts, Paris 1903-4</div><div style="text-align: left;">This is a photograph of the Parisian streets Picasso and Braque walked while they developed their cubist work and their use of collage. Atget has captured the excitement and apparent randomness of the information environment of the modern city, emblazoned on a scale no sensitive eye could miss. Squares, rectangles, vertical lines, triangles, fonts and tones compete for our attention. This is almost a found collage - could this scene have influenced Picasso? It reminds me of a busy web page with flashing adverts, links and information vying for our attention.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://www.moma.org/collection_images/resized/174/w500h420/CRI_149174.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="http://www.moma.org/collection_images/resized/174/w500h420/CRI_149174.jpg" width="320px" /></a></div><div style="text-align: center;">Eugene Atget '<a href="http://www.moma.org/collection/browse_results.php?criteria=O%3ADE%3AI%3A4%7CG%3AHO%3AE%3A1&page_number=5&template_id=1&sort_order=1">Magasin, avenue des Gobelins</a>' 1925</div><div style="text-align: left;"><a href="http://www.lensculture.com/rauschenberg.html">Atget </a>spent his career documenting Paris often combining the old with the modern. This image, from his later period, shows the height of French fashion with the reflection of the three hundred year old Gobelins complex. People rarely appear in his images - only the traces of people remain. He would document Paris's grandest building and most humble corners. Advertising and shop windows were unusual themes for Photography - his images were mainly taken as reference for other artists and illustrators. He was relatively unknown in his time but <a href="http://www.schwitters-stiftung.de/english/index.html">Man Ray</a>, who lived only a few doors away from Atget, had been the first to celebrate his work. Man Ray saw Atget's work as a kind of naive proto-surrealism. Atget's unique eye and straightforward approach can be seen in the objective look of future generations like <a href="http://www.getty.edu/art/gettyguide/artMakerDetails?maker=1634">Walker Evans</a>, <a href="http://www.303gallery.com/artists/stephen_shore/">Stephen Shore</a>, <a href="http://www.moma.org/collection/artist.php?artist_id=2002">Lee Friedlander</a>.</div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.personal.kent.edu/~areischu/Schwitters%20-%20Cherry%20Picture.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="http://www.personal.kent.edu/~areischu/Schwitters%20-%20Cherry%20Picture.jpg" width="309px" /></a></div><div style="text-align: center;"><a href="http://www.kurtschwitters.org/">Kurt Schwitters</a> 'Merz Picture 32 A (The Cherry Picture) 1921</div><div></div><div style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: x-large;">"I'm a painter and I nail my pictures together."</span></div><div style="text-align: center;"><div><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">These are the words that Kurt Schwitters used to introduce himself to Raoul Hausmann (<a href="http://en.wikipedia.org/wiki/Kurt_Schwitters">according to Hausmann</a>). Painters don't nail things together they just apply layers of paint onto one another to create their images. However, images have been made out of all manner of materials for thousands of years - why can't a collage be a painting?</span></span><br />
<span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"></span></span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Schwitters joined the Dada group (<a href="http://thedelightsofseeing.blogspot.com/search/label/Photomontage">see the Photomontage section for more info on Dada</a>) although Schwitters chaos always had a sense of beauty - a fact that made the other Dada artists see him as being too romantic.</span><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://www.kurtschwitters.org/ks23.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="http://www.kurtschwitters.org/ks23.jpg" width="339px" /></a></div><div style="text-align: center;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><a href="http://www.schwitters-stiftung.de/english/index.html">Kurt Schwitters</a> - 'Mz 601' 1923</span></span></div><div class="separator" style="clear: both; text-align: left;">Picasso's collages and paintings still depicted the real world - like a guitar. Schwitters created collages that were purely abstract and were made up of fragments of detritus from the streets. He called these collages Merz - taken from the words left on a fragment of torn paper. In this collage Schwitters has used a series of squares laid next to and on top of one another. Fragments of paper are joined by fragments of letters and numbers - the overall composition is dominated by a large number 23 just left of center. The image could be described as having a random nature but there also seems to be movement, animation and rhythm. There could be an order to this chaos - as if Schwitters has used elements of the <a href="http://thedelightsofseeing.blogspot.com/search/label/Rule%20of%20thirds%20and%20The%20Golden%20Rectangle">golden rectangle</a> in his work.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpvr7qUsSAvMUNCgsWcUvNyefTsc6bQxg2v0bgZM9rGYPkNzMEjiWviFvBT9kSllV4aGOC8VAQ4bHyhiHZTkaWTBSsYVWPuFhyAK5mcViXb5hcLlA_5KGspsd-V3O34Bi_m76aP-Q4WAg/s1600/schwitters-merzbau.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpvr7qUsSAvMUNCgsWcUvNyefTsc6bQxg2v0bgZM9rGYPkNzMEjiWviFvBT9kSllV4aGOC8VAQ4bHyhiHZTkaWTBSsYVWPuFhyAK5mcViXb5hcLlA_5KGspsd-V3O34Bi_m76aP-Q4WAg/s320/schwitters-merzbau.jpg" width="240px" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBF5f9yWqiPDgcIrelJaYZgN_UycEigz4tlBmUFtu-TCN-tHNPL6LXUBF98hPWW7L_iRpOpCjkFZiWsddDjt-2IPEpc9cEM-TXgMTiPl0mtADaYQAWt9JKbwU-3SDQ2Cf-rd5o27FdgzY/s320/454px-Merzbau.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBF5f9yWqiPDgcIrelJaYZgN_UycEigz4tlBmUFtu-TCN-tHNPL6LXUBF98hPWW7L_iRpOpCjkFZiWsddDjt-2IPEpc9cEM-TXgMTiPl0mtADaYQAWt9JKbwU-3SDQ2Cf-rd5o27FdgzY/s400/454px-Merzbau.jpg" width="300px" /></a></div><div class="separator" style="clear: both; text-align: left;">These photographs above were taken of <a href="http://www.tate.org.uk/research/tateresearch/tatepapers/07autumn/orchard.htm">Schwitters 'Merzblau'</a>. From 1923 Scwitters began work on what he regarded to be his life's work. In his home he began to place collages on the walls, eventually adding and expanding them all over his home. He gradually connected them with string, wire, wood and plaster. His home eventually became a <a href="http://www.merzbau.org/Schwitters.html">'Merzblau' (a Merz Building)</a> - both his home and a giant three dimensional sculpture/installation. The flat angles from his collages became sculptural forms, wall became distorted planes like <a href="http://randomcrusader.wordpress.com/2009/05/04/the-birth-of-the-horror-film-german-expressionism-and-the-cabinet-of-doctor-caligari/">a german expressionist stage set</a>. As with many key German artists Schwitters fled to escape the Nazis' in 1937. Never one to be put off by the tyranny of fascism Schwitters <a href="http://www.merzbarn.net/merzbarn/merzbauten/">built more Merzblau</a> in Norway (1937 -1940) and Cumbria, England (Merz Barn 1947).</div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.artculture.com/wp-content/uploads/2008/02/chocolate_factory.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="345px" src="http://www.artculture.com/wp-content/uploads/2008/02/chocolate_factory.jpg" width="400px" /></a></div><div class="separator" style="clear: both; text-align: left;">The three dimensional angles of Schwitters Merzblau and German expressionism are found in this visually rich building. This is the <a href="http://www.dezeen.com/2007/08/26/nestle-chocolate-museum-by-rojkind-arq/">Nestle Chocolate Museum</a> designed by <a href="http://www.rojkindarquitectos.com/">Rojkind</a>. The exterior is made up of rich primary red prefabricated sections pieced together. Many of the skins of buildings combine different materials like a Scwitters collage. When Collage moves into three dimensions it becomes an <a href="http://www.tate.org.uk/collections/glossary/definition.jsp?entryId=34">Assemblage</a>.</div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.paul-rand.com/assets/thoughts/playInstinct/playInstinct13.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="362px" src="http://www.paul-rand.com/assets/thoughts/playInstinct/playInstinct13.jpg" width="400px" /></a></div><div class="separator" style="clear: both; text-align: left;">This is a photograph of one of Picasso's Assemblages. <a href="http://www.tate.org.uk/servlet/ViewWork?cgroupid=999999961&workid=11867&searchid=9670">Picasso had been making assemblages of objects since 1912</a>. He took a Bicycle seat and handle bars and stuck them together on a plinth. On one level that is exactly what we see. On another level it is quite clearly a bull's head (or a ram or goat). A transformation has occurred - Picasso has had the creative idea and set up the signals for us to read. This is what a drawing does - graphite is built up on the surface of paper to create the illusion of something. The drawing manages to be both a sign to the thing depicted and still a piece of paper with graphite on it. Picasso is taking advantage of our ability to what to see things. We see shapes in clouds and faces in marks often. We are programed to see faces and Picasso has <a href="http://www.paul-rand.com/site/thoughts_designAndthePlayInstinct/">playfully</a> taken simple things and made us see a bull.</div><div class="separator" style="clear: both; text-align: left;"></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.moma.org/collection_images/resized/210/w500h420/CRI_7210.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="http://www.moma.org/collection_images/resized/210/w500h420/CRI_7210.jpg" style="cursor: move;" width="321px" /></a></div><div style="text-align: center;"><div style="margin: 0px;">Walker Evans <a href="http://www.moma.org/collection/browse_results.php?object_id=53661">'Interior Detail, West Virginia Coal Miner's House'</a></div><div style="margin: 0px; text-align: left;">Atget found collages in the city - on billboards, shop windows and walls. In this image above Walker Evans has photographed a found collage. Did the occupant use card board on the wall as cheap insulation or decoration. Maybe there is element of both. Evans noticed this aesthetic quality. It is reminiscent of the the <a href="http://thedelightsofseeing.blogspot.com/search/label/Collage">Collage</a> and <a href="http://thedelightsofseeing.blogspot.com/search/label/Photomontage">Photomontage</a> work of Robert Rauschenberg.</div><div style="margin: 0px; text-align: left;"><br />
</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.escapeintolife.com/wp-content/uploads/2010/08/imgRobert-Rauschenberg2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="295px" src="http://www.escapeintolife.com/wp-content/uploads/2010/08/imgRobert-Rauschenberg2.jpg" style="cursor: move;" width="400px" /></a></div></div><div style="text-align: center;"><div style="margin: 0px;"><a href="http://www.escapeintolife.com/essays/rauschenbergs-erased-de-kooning-2/">Robert Rauschenberg, Untitled, 1955</a></div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://edu.warhol.org/Images/rauschenberg.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="http://edu.warhol.org/Images/rauschenberg.jpg" style="cursor: move;" width="282px" /></a></div><div style="text-align: center;"><div style="margin: 0px;">Robert <a href="http://edu.warhol.org/app_rauschenberg.html">Rauschenberg </a>'Retroactive I' 1964<br />
<div style="text-align: left;">Rauschenberg appropriated images from the media but also combined them with his own images</div></div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdynRYDeDLcAy0dWRHsDazB5z1YBIgUH3yHBNeHfa7T9Jd0cGaGwLtmQH-Qz6HCfR9HVjP9DQh20LpNlvvM4SoUyOI5FEWLZae8g6bXhHTKuXKNOVhHqXIqRDmKlASkcUkE-1gPEZDcN81/s1600/Rauschenburg.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="270px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdynRYDeDLcAy0dWRHsDazB5z1YBIgUH3yHBNeHfa7T9Jd0cGaGwLtmQH-Qz6HCfR9HVjP9DQh20LpNlvvM4SoUyOI5FEWLZae8g6bXhHTKuXKNOVhHqXIqRDmKlASkcUkE-1gPEZDcN81/s400/Rauschenburg.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Robert Rauschenberg</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIV_lh7GcaQvXx5Dm9Rk5AGlaWiP21d0DhOZInO1IVf1tPBLH3p75DpK3UB2vZegRQutr3V48p_uzBYdghlHnQA12NQdJ9LMRz9bUoDr9II9oZt5rsVp2sHnRydrIOAMpmHhn5blRw790C/s1600/rauschenburg2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="273px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIV_lh7GcaQvXx5Dm9Rk5AGlaWiP21d0DhOZInO1IVf1tPBLH3p75DpK3UB2vZegRQutr3V48p_uzBYdghlHnQA12NQdJ9LMRz9bUoDr9II9oZt5rsVp2sHnRydrIOAMpmHhn5blRw790C/s400/rauschenburg2.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://www.rauschenbergfoundation.org/">Robert Rauschenberg</a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8vbP9J_fbCt3Xjs4cuDbRhs4r6Rh-I_mjroKsv0vYqfAVxpSAx2yTgw5Pn4ZPEbdJdXZb-N-yvYyJuU9EGvozdG6MLxThJLT89lEamZsJDF2B8ju12QHUv39SlouYUmviLjhIN6EJcxo/s1600/RAUSCHENBERG04.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8vbP9J_fbCt3Xjs4cuDbRhs4r6Rh-I_mjroKsv0vYqfAVxpSAx2yTgw5Pn4ZPEbdJdXZb-N-yvYyJuU9EGvozdG6MLxThJLT89lEamZsJDF2B8ju12QHUv39SlouYUmviLjhIN6EJcxo/s400/RAUSCHENBERG04.jpg" style="cursor: move;" width="275px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://robertmars.blogspot.com/2009/05/robert-rauschenberg-photographs.html">Robert Rauschenberg</a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDQ48T1RAs4UtZtLMtv33vZ-p2MfLGHfPTLTI5Zx0a5KV_9ebTtU23tZufCMx6ftfAuU1j31ReRWGnxVJbXiHk8T4JcBvJNBNW0O5tH1Sx6wvGN16aHGpnH6Vqtmes6hCOhQ-qoWMb4H0/s1600/RAUSCHENBERG03.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="273px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDQ48T1RAs4UtZtLMtv33vZ-p2MfLGHfPTLTI5Zx0a5KV_9ebTtU23tZufCMx6ftfAuU1j31ReRWGnxVJbXiHk8T4JcBvJNBNW0O5tH1Sx6wvGN16aHGpnH6Vqtmes6hCOhQ-qoWMb4H0/s400/RAUSCHENBERG03.jpg" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2Rgt8peLeW1Mh4lPcBgfhvbbalIfCXt2FZecHAgzCsmnDlek-jsWwFI-fK6vbFkbqjF2sbQWqR1wXmlrBUDYa8BOBPI49_2BZTKZ2gkt024fUPJVwxme5judLWwvcphF0jWIVyeIlg6g/s1600/RAUSCHENBERG01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="270px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2Rgt8peLeW1Mh4lPcBgfhvbbalIfCXt2FZecHAgzCsmnDlek-jsWwFI-fK6vbFkbqjF2sbQWqR1wXmlrBUDYa8BOBPI49_2BZTKZ2gkt024fUPJVwxme5judLWwvcphF0jWIVyeIlg6g/s400/RAUSCHENBERG01.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: left;">In these images you can see <a href="http://www.guardian.co.uk/artanddesign/2006/jan/26/art1">Rauschenberg</a> is finding strange juxtapositions, unusual compositions, found collages and using photography as tool for his paintings. They almost have an anti-atheistic and a sense of a <a href="http://thedelightsofseeing.blogspot.com/2010/11/utopiadystopia.html">dystopia</a> or broken society. <a href="http://re-photo.co.uk/?p=291">Rauschenberg</a> comments that for him photography is “a kind of archaeology in time only, forcing one to see whatever the light of the darkness touches”.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhbgw2VK9x8oDIDD7BPyBUt4OjwaG4iMB1EnUNYraUnzZsYUo-YSzBVaxU1CT0P12ofYk40mqP-zZtoNOWGSDehOCsmOEJzBxxSgXDn627eOgSNojPWDfMAYD3XHRA5WPwlXb69IjOa4U/s1600/short_circuit_closed.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhbgw2VK9x8oDIDD7BPyBUt4OjwaG4iMB1EnUNYraUnzZsYUo-YSzBVaxU1CT0P12ofYk40mqP-zZtoNOWGSDehOCsmOEJzBxxSgXDn627eOgSNojPWDfMAYD3XHRA5WPwlXb69IjOa4U/s320/short_circuit_closed.jpg" width="296px" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://greg.org/archive/2011/01/26/art_in_process_reading_finch_college_museum.html">Robert Rauschenberg 'Short Circuit'</a> (Closed) 1955</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx7HPLxReEDboUQzszPsDzFcJ895NNRgn0Q4dkhBcgxa7NOjfsGPZVPuTWUCEG0LWeC_VSSAABvyC7BYDEroQcwO4wlaBp62h8nH4i_nAuJTe1FFMr1PKbld-IgGDj8TsOJp4Tyh_Jmjc/s1600/rauschenberg+short+circuit.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="403px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx7HPLxReEDboUQzszPsDzFcJ895NNRgn0Q4dkhBcgxa7NOjfsGPZVPuTWUCEG0LWeC_VSSAABvyC7BYDEroQcwO4wlaBp62h8nH4i_nAuJTe1FFMr1PKbld-IgGDj8TsOJp4Tyh_Jmjc/s640/rauschenberg+short+circuit.jpg" width="640px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Robert Rauschenberg 'Short Circuit' (Open) 1955</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">Rauschenburg's early work mixes printed images (newpaper, photographs etc.) with scraps of material, found letters, paint and objects. Even though they used photographs they were not simply <a href="http://thedelightsofseeing.blogspot.com/search/label/Photomontage">Photomontages</a>, and even though they used a variety of materials they were not just Collages, and they were more than paintings. Rauschenberg himself called them <a href="http://www.centrepompidou.fr/education/ressources/ENS-Rauschenberg-EN/ENS-rauschenberg-EN.htm">Combines </a>- because they combined all the deitrus the city left behind. Rauschenberg said -</div><div><br />
<span class="Apple-style-span" style="font-size: large;">'You can't make either life or art, you have to work in the hole in between, which is undefined. That's what makes the adventure of painting.'</span></div><div><div style="text-align: right;"> Robert Rauschenberg</div><br />
<div style="text-align: left;">There is a raw beauty to his early work and a great feeling of energy - just like the city itself. Rauchenberg's was also influenced by <a href="http://thedelightsofseeing.blogspot.com/search/label/Photomontage">Dada</a>.</div></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhxjBrrDzg50SwCKPonzD9BX-y7acA5QRxr2uPlBSkFYsccTkmxUZtn1DSxQIDXI0QI6whjFWvZ4oK0ieQeb6qsWIdDzXmvcu9tSf3AHk6tHjVsyHzo3bhzp5UdOKx9xyAt2tgG0rFonE/s1600/88350_original.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhxjBrrDzg50SwCKPonzD9BX-y7acA5QRxr2uPlBSkFYsccTkmxUZtn1DSxQIDXI0QI6whjFWvZ4oK0ieQeb6qsWIdDzXmvcu9tSf3AHk6tHjVsyHzo3bhzp5UdOKx9xyAt2tgG0rFonE/s640/88350_original.jpg" width="455px" /></a></div><div class="separator" style="clear: both; text-align: center;">Robert Rauschenberg 'Canto XXXI: The Central Pit of of Malebolge, The Giants' 1959 -60 - Solvent transfer</div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: left;">As Rauschenberg's works progressed it became flatter and more graphic. In this piece he rubbed solvent onto the back of newsprint and scratched the image onto another surface. This can still be done today with news print, magazines and photocopies and rubbed on with <a href="http://www.rustins.eu/Details.asp?ProductID=738">Brush Restorer (Rustins)</a>. However, it can irritate the skin and is bad for the environment (in his final collage Rauschenberg used Vegetable dyes because of this).</div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;">You can also transfer photograsphs on surface using <a href="http://www.ehow.co.uk/video_4947183_experimental-photography-liquid-light.html">Liquid Light/Emulsion</a>, <a href="http://www.lazertran.com/">Lazertran</a>, Acrylic Gel (<a href="http://www.calsk8.com/zeitgeist/acrylicgeltransfers.htm">here</a>) or Wet Decal Transfer Paper (also look <a href="http://www.rockaloid.com/instruc1.html">here</a> and <a href="http://www.youtube.com/watch?v=WjT2Yt37wpc">here</a>).</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWD2UvaAkyzZ2F3Dc5pf9u_a4AQLN-KuytPGjtX7JYIVkHO9yjNTPAt7M5EPJrUqeUzWyBbLINY3Wx59G5mAKvvWjvwO9Mi3TWuaiPZYy5OfLRRgD5btQVvCU2aUdnc7FXsP4np9NnvcA/s1600/99.360.A-C_01_d02.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="273px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWD2UvaAkyzZ2F3Dc5pf9u_a4AQLN-KuytPGjtX7JYIVkHO9yjNTPAt7M5EPJrUqeUzWyBbLINY3Wx59G5mAKvvWjvwO9Mi3TWuaiPZYy5OfLRRgD5btQVvCU2aUdnc7FXsP4np9NnvcA/s400/99.360.A-C_01_d02.jpg" width="400px" /></a></div><div style="text-align: center;"><span class="Apple-style-span" style="color: #666666; font-family: 'Trebuchet MS', Trebuchet, Verdana, sans-serif; font-size: 13px; line-height: 18px;"><a href="http://blog.sfmoma.org/2009/08/sterrett-on-rauschenberg/" style="color: #2288bb; text-decoration: none;">Robert Rauschenberg 'Port of Entry'</a> </span>1998 -vegetable dye transfer on polyminate<br />
<div style="text-align: left;">Rauschenburg, along with his friend and fellow artist <a href="http://www.jasperjohns.com/">Jasper Johns</a>, would influence a shift in art. Their work was the bridge between the pure abstraction and 'high art' values of the <a href="http://www.metmuseum.org/toah/hd/abex/hd_abex.htm">Abstract Expressionists</a> and the commercial figurative world of <a href="http://www.tate.org.uk/collections/glossary/definition.jsp?entryId=226">Pop Art</a>.</div><div style="text-align: left;"></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZg7DBrgj8dNykfTFWSIwJCJMIKnZQsursMKvVlv5ksiR_Y2K5cG8wQm3TmjKe5olFqcKe4EqxqoIYSayCVsrENpJYyPgomt7I75a9hHjfX2Y0hx2uloJRotpW28ARvshyphenhyphenPMawOgvWCaU/s1600/rosenquist-president-elect-study.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" hda="true" height="317px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZg7DBrgj8dNykfTFWSIwJCJMIKnZQsursMKvVlv5ksiR_Y2K5cG8wQm3TmjKe5olFqcKe4EqxqoIYSayCVsrENpJYyPgomt7I75a9hHjfX2Y0hx2uloJRotpW28ARvshyphenhyphenPMawOgvWCaU/s400/rosenquist-president-elect-study.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-JmkHnDxzHwCwVPJnutyPz1ZVH2nGy0eubIM-zrfT0Lq6pHO7BlgmGE-XTfh5JK3qmA8SsuHbJq4q1wvyKMOSewSkgK38c4fNW6MNrkTZR5kjUwi_eiXTjah_Iug8Mt0U2_j3EUV0epU/s1600/rosenquist-president-elect-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" hda="true" height="317px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-JmkHnDxzHwCwVPJnutyPz1ZVH2nGy0eubIM-zrfT0Lq6pHO7BlgmGE-XTfh5JK3qmA8SsuHbJq4q1wvyKMOSewSkgK38c4fNW6MNrkTZR5kjUwi_eiXTjah_Iug8Mt0U2_j3EUV0epU/s400/rosenquist-president-elect-1.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="http://c4gallery.com/artist/database/james-rosenquist/james-rosenquist.html">James Rosenquist</a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">American Pop Art referenced its own culture and reference the everyday commercial world. Collage became central to Pop Art. Above we can see how James Rosenquist collaged together ephemeral scraps of paper from magazines. He then gridded up his collages and painted then on a huge Panoramic scale. At first it seems like a random collection of images, like the chance juxtapositions of dada. However, Rosenquist was referring to the John F Kennedy campaign receiving funding or 'sweeteners' (hence the cake) from Pirelli tyres (hence the car tyre) - democracy sponsored by commerce.</div><div class="separator" style="clear: both; margin: 0px; text-align: left;"><br />
</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">Rauschenberg's and John's work still had the drips and smears of Abstract expressionism - along with the everyday. The American Pop Artist work had the professional, smooth, polished sheen of an advert, a Billboard or a glass television screen.</div><div class="separator" style="clear: both; margin: 0px; text-align: left;"><br />
</div><div class="separator" style="clear: both; margin: 0px; text-align: left;">The most Famous American Pop Artist was Andy Warhol.</div><div class="separator" style="clear: both; margin: 0px; text-align: left;"><br />
</div><div class="separator" style="clear: both; margin: 0px; text-align: left;"></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><span class="Apple-style-span" style="font-size: large;">'Buying is more American than thinking'</span></div><div class="separator" style="clear: both; margin: 0px; text-align: right;">from '<a href="http://www.guardian.co.uk/artanddesign/2007/dec/05/art">The Philosophy of Andy Warhol: From A to B and back again</a>'</div><div><br />
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<div><div style="margin: 0px;"><div style="text-align: center;"><div style="margin: 0px;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5BaSbZ4spf8aNj9OetRmRMOBte0rBBi2-Dgo_8LOHakejRRljnz1uAxSKmxu6PHVNxLYnq2sXO1zn7VAurd-s0fwhO973JGv0Gr4B6cBigGPU0e2msANOUVPSAlou3KeiExXULwR9hBzL/s1600/warhol+trip%255Ble+elvis.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5BaSbZ4spf8aNj9OetRmRMOBte0rBBi2-Dgo_8LOHakejRRljnz1uAxSKmxu6PHVNxLYnq2sXO1zn7VAurd-s0fwhO973JGv0Gr4B6cBigGPU0e2msANOUVPSAlou3KeiExXULwR9hBzL/s400/warhol+trip%255Ble+elvis.jpg" style="cursor: move;" width="340px" /></a></div></div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><a href="http://www.guardian.co.uk/culture/gallery/2008/jul/25/warhol">Warhol</a> 'Triple Elvis' 1963. Acrylic and silkscreen ink on canvas</span></div><div style="text-align: center;"><div style="text-align: left;"><div style="margin: 0px;"><div style="margin: 0px;"><div style="margin: 0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">In 'Triple Elvis' a promotional photograph of Elvis is overlaid three times using the <a href="http://www.youtube.com/watch?v=CzrPmfaYcMM">silkscreen process</a>. This creates a visual Jump - creating movement in a static image. It also suggests that celebrity is shallow - that stars are turned into products to be consumed by the viewer. When you see a Warhol in the flesh you notice that each silkscreened image is slightly different to the next. Little imperfections give the initially mechanical image painterly qualities.</span></div></div></div></div></div><div style="margin: 0px;"><br />
</div><div class="separator" style="clear: both; margin: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1T9bXWhGS8N32gd_cZt29u243pLgfzmROfSgETkHIAhYPFLXN4nPh8_I3MRQD42F5kCGRUEcdwnynJnyFmM7n2B9VdOrBgxYHz4PhG5EUAvUj2fF5Gq2sH6APfBIEEbQm06IyT5PY9V8/s1600/warhol_car_crash.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1T9bXWhGS8N32gd_cZt29u243pLgfzmROfSgETkHIAhYPFLXN4nPh8_I3MRQD42F5kCGRUEcdwnynJnyFmM7n2B9VdOrBgxYHz4PhG5EUAvUj2fF5Gq2sH6APfBIEEbQm06IyT5PY9V8/s400/warhol_car_crash.jpg" style="cursor: move;" width="370px" /></a></div><div class="separator" style="clear: both; margin: 0px; text-align: center;">Andy Warhol 'Orange Car Crash' Silk Screen print on Canvas 1964</div><div class="separator" style="clear: both; margin: 0px; text-align: left;"> <a href="http://www.youtube.com/watch?v=eUxwuNw4oIE">Warhol celebrates all that is common, everyday, vulgar and mechanical.</a> Coke bottles, soup cans, movie stars, adverts, newspapers - they were all up for grabs for <span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><a href="http://www.guardian.co.uk/culture/gallery/2008/jul/25/warhol">Warhol</a></span>. This is Pop Art - Pop because it is popular or Pop because you get it in a instant - like an advert. He did not paint these images by hand - instead he used the<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"> <a href="http://www.youtube.com/watch?v=CzrPmfaYcMM">silkscreen process</a></span> so he could reproduce the images again and again. <a href="http://www.telegraph.co.uk/culture/art/3668281/The-Painting-of-Modern-Life-An-odyssey-from-print-to-paint.html">In his Car Crash series he repeats an image found in a newspaper, again and again, until it becomes meaningless. We just stare, like we would at a TV screen, and let real life tragedies become wallpaper to our world.</a></div><div class="separator" style="clear: both; margin: 0px; text-align: left;"><br />
</div><div class="separator" style="clear: both; margin: 0px; text-align: left;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Pop Art was also a major movement in Britain and had a different feel. In Europe a kind of Pop Art was explored but not to the same degree. In Europe, which still had the scares of war in every major city, advertising were not used smoothly like in America - they were battered, ripped and (war) torn.</span></div></div></div><br />
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</div></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="http://masters-of-photography.com/images/full/evans/evans_torn.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" n4="true" src="http://masters-of-photography.com/images/full/evans/evans_torn.jpg" width="272px" /></a></div><div style="text-align: center;">Walker Evans 'Torn Movie Poster' 1931</div><div style="text-align: left;">Here is a photograph of a torn movie poster by Walker Evans. Evans would often appropriate the work of others and take a photograph of a photograph. Layers of life and culture build up only to be replaced by the latest trend. These images are ephemeral - destined to be lost and Evans has captured it forever. These images have the look of Decollage.</div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.fondazionemimmorotella.net/"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi31VMvkcQM7viSjqH0gUzqd4iEjD6TPVZxieY0MnP4q546ognmLZ8E3xe8RVktg8ioSrWOcZLb77FmA0MzvFASEeHqt_I2xmrPB-ZdzMvue7jKqkIwguRdr9Iko1ftXDfkDxQdpZC_g5Y/s400/mimmo_rotella.jpg" width="300px" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.guardian.co.uk/news/2006/jan/19/guardianobituaries.artsobituaries">Mimmo Rotella</a></div><div style="text-align: left;">In the early 1950s, Mimmo Rotella began to rip posters away from the walls of outdoor hoardings in Rome, and used them to create elaborate collages. Many of these were film posters but he also used advertisements for appliances and other goods, so that his works became a commentary on the post-war consumer boom. In the studio he would mount the poster fragments onto canvas, rearranging the pieces into new compositions but also stripping away further layers to accentuate their distressed appearance.</div><div class="separator" style="clear: both; text-align: center;"><a href="http://static.picassomio.com/images/art/e5/51/13/mimmo-rotella-artwork-large-58243.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="295px" src="http://static.picassomio.com/images/art/e5/51/13/mimmo-rotella-artwork-large-58243.jpg" width="400px" /></a></div><div class="separator" style="clear: both; text-align: center;">Mimmo Rotella</div><div style="text-align: left;">This is an example of Decollage (a French word meaning literally to unstick). The term is generally associated with the <a href="http://www.centrepompidou.fr/education/ressources/ENS-newrea-EN/ENS-newrea-EN.htm">Nouveau Réalisme</a> (new realism) movement. Nouveau Realism often found beauty in the everyday and was a poetic recycling of reality. In the context of Nouveau Réalisme it meant making art works from posters ripped from walls, exhibiting them as aesthetic objects and social documents.</div><div class="separator" style="clear: both; text-align: center;"><a href="http://artinvestment.ru/content/download/news/20080723_jacques_villegle.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="367px" src="http://artinvestment.ru/content/download/news/20080723_jacques_villegle.jpg" width="400px" /></a></div><div style="text-align: center;">Jacques <a href="http://www.modernisminc.com/artists/Jacques_VILLEGLE/">VILLEGLÉ</a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/_Gw9FEx2IH_I/TGLuWu9DHjI/AAAAAAAAAoc/3OM-0A8AniE/s1600/Jacques+Villegle+3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640px" src="http://3.bp.blogspot.com/_Gw9FEx2IH_I/TGLuWu9DHjI/AAAAAAAAAoc/3OM-0A8AniE/s640/Jacques+Villegle+3.jpg" width="425px" /></a></div><div style="text-align: center;"><a href="http://translate.google.co.uk/translate?hl=en&sl=fr&u=http://villegle.free.fr/&ei=HcQETebBFIeXhQe31ZHtBw&sa=X&oi=translate&ct=result&resnum=10&ved=0CEgQ7gEwCQ&prev=/search%3Fq%3Djacques%2Bvillegle%26hl%3Den%26client%3Dsafari%26rls%3Den%26prmd%3Divo">Villegle</a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://realite.files.wordpress.com/2008/10/jacques-villegle.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="191px" n4="true" src="http://realite.files.wordpress.com/2008/10/jacques-villegle.jpg" width="400px" /></a></div><div style="text-align: center;"><a href="http://www.centrepompidou.fr/Pompidou/Manifs.nsf/AllExpositions/2DDA4F5D0DA91260C125748F0051CABF?OpenDocument&sessionM=2.2.1&L=2">Jacques Villegle</a></div><div style="text-align: left;">Jacques <a href="http://www.moma.org/collection/object.php?object_id=35414">Villegle</a> is another key decollage artist. Found objects, ripped posters, radical collages are all used in the New Realism movement of the early 1960s. <b>Décollage</b> is the opposite of collage; instead of an image being built up of all or parts of existing images, it is created by cutting, tearing away or otherwise removing, pieces of an original image.</div><div style="text-align: left;">De-coll/age was a term invented by Wolf Vostell after he saw (a version of) it used in a newspaper article to describe the crash of an airplane that had taken place at takeoff.</div></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWwSRGFKIut6xWMuSuLfRjmje0V677dROPwbW6hLABKR51GQtIgMrowoIANXNaYoMjBIUK2ASbJZHCK1iGXAHTzF8sUJN_511zSIPROzT8lWqkpZl9EF3Jf8APxhwueZRBpsJHMFyOlOs/s1600/Blake%252C_On_the_Balcony.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" nda="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWwSRGFKIut6xWMuSuLfRjmje0V677dROPwbW6hLABKR51GQtIgMrowoIANXNaYoMjBIUK2ASbJZHCK1iGXAHTzF8sUJN_511zSIPROzT8lWqkpZl9EF3Jf8APxhwueZRBpsJHMFyOlOs/s400/Blake%252C_On_the_Balcony.jpg" width="297px" /></a></div><div class="separator" style="clear: both; text-align: center;">Peter Blake 'On the Balcony' 1955-1957</div><div style="text-align: left;">Peter Blake is British artist who came to prominence in the 1956 exhibition <a href="http://www.whitechapelgallery.org/exhibitions/this-is-tomorrow">‘This is Tomorrow’.</a> In reference to this exhibition the art critic Lawrence Alloway invented the term ‘Pop Art’ to describe the artists use of images from ‘low brow’ pop culture. </div><div style="text-align: left;"><br />
</div><div style="text-align: left;">British pop art seemed more nostalgic and in oar of American culture. This could have been a development from the Second World War when American troops were based in Britain. Along with Hollywood this was most peoples first direct contact with Americans and there culture.</div><div style="text-align: left;"><br />
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</div><div style="text-align: left;">Although Blake was a painter by trade he has always used collage partly influenced by the Dada art movement and Kurt Schwitters. Blake was also influenced by Folk art and found collages e.g. – shop fronts, religious alters, bedroom shrines to pop stars badges on peoples jackets etc (see video <a href="http://channel.tate.org.uk/media/711679670001">here</a>). He used these ‘naïve’ influences to create his own aesthetic and elements of these can be seen in his work. </div><div style="text-align: left;"><br />
</div></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVCE0Bkh80xOxKxurzXEGBFZISkijKYcTKtYdoBGl5Q370dzrZE1HJRgcF5ezc8iopOnfVN_fe4NTEKIeG2tlwfzrmLv7mvcP3GVqlEAsjUJafWKD_QXdKjBBf9q5ncENYFRFpDtEGiak/s1600/natasha++kerr.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="392px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVCE0Bkh80xOxKxurzXEGBFZISkijKYcTKtYdoBGl5Q370dzrZE1HJRgcF5ezc8iopOnfVN_fe4NTEKIeG2tlwfzrmLv7mvcP3GVqlEAsjUJafWKD_QXdKjBBf9q5ncENYFRFpDtEGiak/s640/natasha++kerr.jpg" width="640px" /></a></div><a href="http://www.natashakerr.co.uk/">Natasha Kerr</a> - 'At the end of the Day' 2007<br />
<div style="text-align: left;">Natasha Kerr's collages have a look of the work of Peter Blake. There has always been an element of Nostalgia to Blake's work. <a href="http://thedelightsofseeing.blogspot.com/search/label/Ground%20Glass">In our modern world Nostalgia is every where</a>.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguBTz32XWxfekjmYY_jzr-C4QPLJOparl0iCA0KkAmNNMnMvSLfaEdfCud7M4qkaV4jrX_oahGzBCLDqbx_GP3NYGK34ZmNL4XH4U9JpJ5lAsnNMPUaOqRLGsASZZvSYils8Vi3hoYzA2D/s1600/stilllifewithdrinkinghornbywillemkalf.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="335" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguBTz32XWxfekjmYY_jzr-C4QPLJOparl0iCA0KkAmNNMnMvSLfaEdfCud7M4qkaV4jrX_oahGzBCLDqbx_GP3NYGK34ZmNL4XH4U9JpJ5lAsnNMPUaOqRLGsASZZvSYils8Vi3hoYzA2D/s400/stilllifewithdrinkinghornbywillemkalf.jpg" width="400" /></a></div>
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<a href="http://www.nationalgallery.org.uk/artists/willem-kalf">Willem Kalf</a> - 'Still life with drinking horn' about 1653</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0ENjTMua_WY2OfMNDwI2BhyphenhyphenWy5xs2VGafN4YXNBFp8KGWzJ2JwkW-S6qJhb7wqDOC9EC7w_ZR30lvc4q8dygJXphhSm7pLV-b-o7a1VoKgbUQPza_scFT020YaiO9w84-mXPi0jabcVv-/s1600/pieter.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="222" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0ENjTMua_WY2OfMNDwI2BhyphenhyphenWy5xs2VGafN4YXNBFp8KGWzJ2JwkW-S6qJhb7wqDOC9EC7w_ZR30lvc4q8dygJXphhSm7pLV-b-o7a1VoKgbUQPza_scFT020YaiO9w84-mXPi0jabcVv-/s400/pieter.jpg" width="400" /></a></div>
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Pieter Claesz - '<a href="http://www.rijksmuseum.nl/aria/aria_assets/SK-A-4646?lang=en&context_space=&context_id=">Still life with Turkey Pie'</a> 1627</div>
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The combination of elements in still-life paintings can have profound implications for the paintings meaning. Dutch 17th century still-life pictures frequently contained messages about the fragility of life and the onset of corruption. These combine with a sense of opulence, splendours and successes of international trading and maritime prowess. Such features can be seen in the detailed works of <a href="http://www.nationalgallery.org.uk/artists/willem-kalf">Willem Kalf</a> and <a href="http://www.nga.gov/exhibitions/claeszinfo.shtm">Pieter Claesz</a>.</div>
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<a href="http://t1.gstatic.com/images?q=tbn:x6fd5OW7jFtyoM:http://img232.imageshack.us/img232/3332/still1im9.png&t=1" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="218" src="http://t1.gstatic.com/images?q=tbn:x6fd5OW7jFtyoM:http://img232.imageshack.us/img232/3332/still1im9.png&t=1" style="cursor: move;" width="400" /></a></div>
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Sam Taylor Wood - '<a href="http://www.youtube.com/watch?v=SIl9rO9sURE&feature=related">A Little Death</a>' 2002</div>
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<a href="http://t2.gstatic.com/images?q=tbn:b5ded2b0EL1GqM:http://www.artadox.com/wp-content/uploads/2009/05/jan-lievens-still-life-with-books.jpg&t=1" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="278" src="http://t2.gstatic.com/images?q=tbn:b5ded2b0EL1GqM:http://www.artadox.com/wp-content/uploads/2009/05/jan-lievens-still-life-with-books.jpg&t=1" style="cursor: move;" width="400" /></a></div>
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<a href="http://www.nga.gov/exhibitions/lievensinfo.shtm">Jan Lievens</a> (Dutch, 1607–1674), 'Still Life with Books', ca. 1627–1628.</div>
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<a href="http://www.kunstportal-bw.de/bilder/2/8681.SamTaylorWood2StillLife2001small.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="http://www.kunstportal-bw.de/bilder/2/8681.SamTaylorWood2StillLife2001small.jpg" style="cursor: move;" width="400" /></a></div>
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Sam Taylor Wood '<a href="http://www.youtube.com/watch?v=MIzXWGcb3u0">Still Life</a>' 2001</div>
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Sam Taylor Wood is an artist, photographer and film maker. Her 2001 Film/animation ‘Still Life’ has the visual look of a 17th Century Dutch still life. Sequences of still photographs are taken over a period of time to show the fruit slowly decaying. This is shown as a piece of video art in a gallery space - it is almost displayed like a painting on the wall. It is similar to time lapse photography used to capture the <a href="http://www.youtube.com/watch?v=ieCmPxWBCOM">growth of a plant</a> - who move at a completely different pace to ourselves.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiEqRvB4BxpJMbR2X049Z_IsJN1osfL-cYczVG_zLE9tQ98p2mdgB_L4QuJdU7niWRofottGCG7jH3BDMjx4yRF8GewCBwsLBHoi91UuXBhiLFnAzOuZa3nubD5oObRB5pHp428Szl5rk/s1600/valerie+belin.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiEqRvB4BxpJMbR2X049Z_IsJN1osfL-cYczVG_zLE9tQ98p2mdgB_L4QuJdU7niWRofottGCG7jH3BDMjx4yRF8GewCBwsLBHoi91UuXBhiLFnAzOuZa3nubD5oObRB5pHp428Szl5rk/s400/valerie+belin.jpg" style="cursor: move;" width="300" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6Up0-HUFXdF-BsRT1foCG0zBaF5BFCH_h2MRiRDpuUJ4qbJD5JQqihkzQVZw5S6IcA4DU6S5Kd9ZAHeJwJwQJTn29nYQGO2cUofA0Pzh1VpFzhydjHLzYvenUdSjOFkY7Z4FueWsXl_M/s1600/valerie.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6Up0-HUFXdF-BsRT1foCG0zBaF5BFCH_h2MRiRDpuUJ4qbJD5JQqihkzQVZw5S6IcA4DU6S5Kd9ZAHeJwJwQJTn29nYQGO2cUofA0Pzh1VpFzhydjHLzYvenUdSjOFkY7Z4FueWsXl_M/s400/valerie.jpg" style="cursor: move;" width="300" /></a></div>
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<a href="http://translate.google.co.uk/translate?hl=en&sl=fr&u=http://www.valeriebelin.com/&ei=Y6mNTZ3EG4y2hAfZ9fW7Dg&sa=X&oi=translate&ct=result&resnum=1&ved=0CCAQ7gEwAA&prev=/search%3Fq%3Dvelerie%2Bbelin%26hl%3Den%26client%3Dsafari%26rls%3Den%26prmd%3Divnso">Valerie Belin</a> - Palettes</div>
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One of the great scandals of the modern age is "built in obsolescence". A product is no longer designed to be mended or maintained; the consumer is forced to <a href="http://www.junk-culture.com/2011_01_01_archive.html">throw it away</a> and buy a new one - while manufacturers gleefully count their profits. The computer industry has led the way in this, and it is computers that are the subject of French photographer Valerie Belin's 'Palettes'. They are a series of 6ft tall black and white prints that feature mournful stacks of abandoned hardware that Berlin photographed in a dump on the outskirts of Paris.</div>
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The columns are not her own arrangements; Belin shot the stacks of monitors, oscilloscopes and hard drives just as she found them, arranged on fork lift palettes. Blown up to life size and deprived of context by the black velvet background against which she shot them, the stacks look like weird <a href="http://www.mesopotamia.co.uk/ziggurats/home_set.html">ziggurats</a> for the digital era.</div>
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"I use a large photographic plate to produce a very high definition image," she says." It means you get a strong sense of surface of the objects - the texture. Each one is a <a href="http://www.nationalgallery.org.uk/paintings/glossary/vanitas">'vanitas'</a>, based on the 17th century still life's that were allegories for the transience of life. Computers are objects that are part of everyone's lives, and this is the moment of their demise. Each tower is like a jigsaw, made by hand. And this is the moment when man triumphs over this machinery - when man destroys the robot!"</div>
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(words by<a href="http://www.telegraph.co.uk/culture/art/3653311/Viewfinder-Palettes-by-Valerie-Belin.html"> Tom Horan</a>).</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgF4HtRMjb5c7PDvZglqFkAALuLLb5jg8MpRm7hcA4XzQOMuEmJ8tKzCmV0rvN8mPnga4Dk-mczbmovtRuhXqsPPDjJ2kQD8SPTjG9fdBDoAgJYS-MxxN1rHCLzOPp4ipVoLCup5nHSA8fB/s1600/williams.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="294" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgF4HtRMjb5c7PDvZglqFkAALuLLb5jg8MpRm7hcA4XzQOMuEmJ8tKzCmV0rvN8mPnga4Dk-mczbmovtRuhXqsPPDjJ2kQD8SPTjG9fdBDoAgJYS-MxxN1rHCLzOPp4ipVoLCup5nHSA8fB/s640/williams.jpg" width="640" /></a></div>
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<a href="http://www.getty.edu/art/gettyguide/artObjectDetails?artobj=64218">Thomas Richard Williams </a>'The sands of Time' 1850-52</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGCRuFy9IVWfef4OXrsDK6IlbXY_ULcWRViVEeOoeHVXmv9BaKS2Eiu9lJMYORMb7atERam67Ua7c9llD6inNF7KHXc9S0dxNPNTwiC-PdCAA_AIBxP-ZXLEpoE6hl-n9gLYGKbiGNacxK/s1600/still+life.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGCRuFy9IVWfef4OXrsDK6IlbXY_ULcWRViVEeOoeHVXmv9BaKS2Eiu9lJMYORMb7atERam67Ua7c9llD6inNF7KHXc9S0dxNPNTwiC-PdCAA_AIBxP-ZXLEpoE6hl-n9gLYGKbiGNacxK/s400/still+life.jpg" width="290" /></a></div>
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Adolphe Braun - 'A Hunting Scene' 1867</div>
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<span class="Apple-style-span" style="font-size: large;">Since the 17th century, along with landscape and portraiture, still-life has been one of the great traditional art forms. Objects could be arranged to suggest new meanings or they could simply be found and depicted as they are. Within the simple traditions of the Still-Life artists and photographers were free to experiment and explore - pushing our progress into modernism. Painters used still-life to push the boundaries of seeing (<a href="http://thedelightsofseeing.blogspot.com/2011/03/cubism-joiners-and-multiple-viewpoint.html">Cezanne and Picasso</a>), modern artists explored the use of everyday objects (from Marcel <a href="http://www.understandingduchamp.com/">Duchamp</a> to <a href="http://www.carlandre.net/">Carl Andre</a>) and <a href="http://www.getty.edu/art/exhibitions/focus_still_life/focus_still_life_checklist.pdf">Photographers, in particular, became fascinated with simple scenes of the every day world. </a>A photograph, by its very nature, captures a section of ephemeral transience life and makes it permanent. <a href="http://www.theasc.com/blog/2011/03/28/paul-martineau-the-%E2%80%9Cstill-life%E2%80%9D-in-photography/">Still life is central to photography's story.</a></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGWPgdVYAbbmLnyqAoY3-4G_VaH_xYVkaqzAUXRbbYJ4sgfQT_MsXHWGpbYuPWab0aewmiV3oyHYwIeaYj7zghcRmh3z3pOJyOA-HQ8F6Xt7-MMKfcaAiqqtOZ6Eaihv8SR4CJ0xdh130/s1600/Joseph_Niepce_First_Picture.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="293" nx="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGWPgdVYAbbmLnyqAoY3-4G_VaH_xYVkaqzAUXRbbYJ4sgfQT_MsXHWGpbYuPWab0aewmiV3oyHYwIeaYj7zghcRmh3z3pOJyOA-HQ8F6Xt7-MMKfcaAiqqtOZ6Eaihv8SR4CJ0xdh130/s400/Joseph_Niepce_First_Picture.jpg" style="cursor: move;" width="400" /></a></div>
One Summers day in 1826 Nicephore (Joseph) <a href="http://www.niepce.com/">Niepce</a> created the image above. This Grainy image is thought to be <a href="http://www.youtube.com/watch?v=sOkd8ObhN_M&feature=related">the first permanent photograph</a> and it had an exposure of over eight hours. It is too simple to say Niepce invented photography because the photographic process has undergone so many significant modifications since then (most famously <a href="http://foxtalbot.dmu.ac.uk/">Fox Talbot</a> and <a href="http://www.daguerre.org/">Daguerre</a>1839).<br />
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The invention of a device that could allow anybody to record the world in perfect detail would revolutionise how we see ourselves, how we communicate and how we make art. Without Photography Modern art, film and the Internet would not exist – or at least not as we know them.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRccntO0za9eHb3Go2QatQ2WVEBOagJpKP_XzDii3_vjwRHoYVkvRpqppBxKqe_P7_-KCnm4DU2q1K54o_ULiOoCL3jaUvd9b3VXSXh4cPp1lKjve4N31bsncwuDk9xKy0aQculdKDRSs/s1600/Niepce_table.jpg" imageanchor="1" style="height: 232px; margin-left: 1em; margin-right: 1em; width: 376px;"><img border="0" height="241" nx="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRccntO0za9eHb3Go2QatQ2WVEBOagJpKP_XzDii3_vjwRHoYVkvRpqppBxKqe_P7_-KCnm4DU2q1K54o_ULiOoCL3jaUvd9b3VXSXh4cPp1lKjve4N31bsncwuDk9xKy0aQculdKDRSs/s400/Niepce_table.jpg" style="cursor: move;" width="400" /></a></div>
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Another one of Niepce’s earliest images was of a table – a traditional <a href="http://www.theartgallery.com.au/kidsart/learn/stilllife/">still life</a>. It is a time honoured theme in Art that would still be revisited by future artists. During the 18th century <a href="http://www.artchive.com/artchive/C/chardin.html">Chardin</a> produced beautiful painted still lives of simple Kitchen Utensils. There is great poetry in Chardin’s ability to bring such importance to such humble things.<br />
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Niepce was simply continuing a long tradition – what else would you do with a camera other than make images in the tradition of Painting? These two early photographs show photography's two directions - as <a href="http://thedelightsofseeing.blogspot.com/search/label/The%20First%20Photograph">a force for modernism</a> and connected to the history of painting.</div>
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<a href="http://jmcolberg.com/weblog/archives/RinkoKawauchi.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="396" src="http://jmcolberg.com/weblog/archives/RinkoKawauchi.jpg" style="cursor: move;" width="400" /></a></div>
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<a href="http://michaelpsilva.com/blog/wp-content/uploads/2007/10/Kawauchi_droplet.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://michaelpsilva.com/blog/wp-content/uploads/2007/10/Kawauchi_droplet.jpg" style="cursor: move;" width="400" /></a></div>
<a href="http://www.designboom.com/contemporary/kawauchi.html">Rinko Kawauchi</a> is a contemporary Japanese photographer who creates beautiful and elegant images that find the beauty in the everyday. Kawauchi uses a Minimum Depth of Field (for example f/2 – a large hole) which results in only a fraction of the image being in focus – these images have a shallow depth.<br />
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<a href="http://www.mexicanpictures.com/headingeast/images/RinkoKawauchi.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://www.mexicanpictures.com/headingeast/images/RinkoKawauchi.jpg" style="cursor: move;" width="397" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwFkrLkfEaxLLSFiV6YZTotgJItO3HkiPgmF1Z6-2DkvUow537nwru0qSqrJ4P2tPTADPqw5FEsSVN3wTebNjDornEZ2NeIXA0ps3X6PCwOUwTGdedGNFt4hl3Z9zd9YCnmk_As0Z4otk/s400/Rinko+Kawauchi+-+Uatane.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="398" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwFkrLkfEaxLLSFiV6YZTotgJItO3HkiPgmF1Z6-2DkvUow537nwru0qSqrJ4P2tPTADPqw5FEsSVN3wTebNjDornEZ2NeIXA0ps3X6PCwOUwTGdedGNFt4hl3Z9zd9YCnmk_As0Z4otk/s400/Rinko+Kawauchi+-+Uatane.jpg" style="cursor: move;" width="400" /></a></div>
Kawauchi explores the poetry of the common place – a dead wasp on a window sill, a brief glance of the eye and a piece of chicken hanging over a table. These are none events – the kind of thing we may notice briefly and possibly dismiss or contemplate in a day dream.<br />
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<a href="http://3quarksdaily.blogs.com/photos/uncategorized/2008/07/26/chardin_veg_zoom.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="375" src="http://3quarksdaily.blogs.com/photos/uncategorized/2008/07/26/chardin_veg_zoom.jpg" style="cursor: move;" width="400" /></a></div>
The everyday has been a fascination for many artists – the things they immediately experience as part of their existence. <a href="http://www.guardian.co.uk/theguardian/2000/mar/02/features11.g26">Jean-Baptiste-Simeon Chardin</a><br />
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<a href="http://www.peterfraser.net/index.htm" target="_blank" title="Peter Fraser"><img alt="Peter Fraser" height="327" hspace="0" src="http://www.hipshots.co.uk/images/fraser.jpg" width="500" /></a></div>
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<a href="http://www.peterfraser.net/">Peter Fraser</a></div>
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William Henry Fox Talbot - 'The Open Door' </div>
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Roger Fenton - 'Still Life with Fruit and Decanter' 1860</div>
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Early photographic pioneers used still life partly because of the tradition of painting (this is the same reason a photograph is square or rectangular and not round - because of canvas frames and <a href="http://thedelightsofseeing.blogspot.com/search/label/Rule%20of%20thirds%20and%20The%20Golden%20Rectangle">the golden rectangle</a>). The long exposures needed with early processes lent themselves to static still life objects. However, soon painting and photography would develop through experimentation with still life.</div>
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<a href="http://www.youtube.com/watch?v=wNNAfLXR1gw&feature=related">Paul Cezanne </a>'Still life with plaster cupid' 1895</div>
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Paul Cezanne used landscapes and still life painting to explore how we see. At first glance <a href="http://www.metmuseum.org/toah/hd/pcez/hd_pcez.htm">Cezanne abandoned traditional perspective</a> and the table appears to buckle, as if viewed from shifting angles. This is because he painted the same scene from several viewpoints and not one - within one image.</div>
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<a href="http://facweb.cs.depaul.edu/sgrais/images/Collage/Picasso%20-%20picasso.guitar-ceret-1913.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" px="true" src="http://facweb.cs.depaul.edu/sgrais/images/Collage/Picasso%20-%20picasso.guitar-ceret-1913.jpg" style="cursor: move;" width="297" /></a></div>
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Pablo Picasso 'Guitar' 1913</div>
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Inspired by non western art and Cezanne's experiments <a href="http://www.picasso.com/">Pablo Picasso</a> has abstracted the image as if it has been seen from multiple viewpoints. At first glance it is abstract but is actually a still life of a guitar - it is just that the guitar itself seems fractured. Segments of the 'Guitar' are cut from a variety of materials - a piece of old wall paper, a scrap of cardboard and a circle cut out of newspaper. <span style="background-color: white;">This is an example of Picasso's and <a href="http://www.visual-arts-cork.com/famous-artists/braque-georges.htm">George Braque</a>'s <a href="http://www.google.co.uk/imgres?imgurl=http://facweb.cs.depaul.edu/sgrais/images/Collage/Picasso%2520-%2520picasso.guitar-ceret-1913.jpg&imgrefurl=http://facweb.cs.depaul.edu/sgrais/collage.htm&usg=__b3jFQVhFMsfhM5_8x2b1q-zQ_Yg=&h=1070&w=796&sz=150&hl=en&start=2&zoom=1&um=1&itbs=1&tbnid=DGUR67sG6s9NRM:&tbnh=150&tbnw=112&prev=/images%3Fq%3Dcollage%2Bpicasso%2Bguitar%2B1913%26um%3D1%26hl%3Den%26rls%3Dcom.microsoft:en-US%26rlz%3D1I7SKPB_en%26tbs%3Disch:1">Synthetic Cubism</a> and shows a break away from traditional mediums in western art. <a href="http://thedelightsofseeing.blogspot.com/search/label/Cubism">How did Picasso get to this stage?</a></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEyT-oE3XqBDqVsEpyrHG5-1TgjeEKVFrSgYRKeaxsMQdQF2g4gi1-NYT2dTaVKcuqrYkqcgS136NBBMG1jOEji3icoFAyP-UvQMc7FlsQih75hjs1QnjcrwEIFe4TlDaapNkxywcbCRXQ/s1600/hockney.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="366" r6="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEyT-oE3XqBDqVsEpyrHG5-1TgjeEKVFrSgYRKeaxsMQdQF2g4gi1-NYT2dTaVKcuqrYkqcgS136NBBMG1jOEji3icoFAyP-UvQMc7FlsQih75hjs1QnjcrwEIFe4TlDaapNkxywcbCRXQ/s400/hockney.jpg" width="400" /></a></div>
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David Hockney <a href="http://www.natures-pencil.co.uk/heroes/hockney.htm">'The Desk, July 1st 1984'</a></div>
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David Hockney's first love and main medium is drawing and painting, not photography. He is fascinated in <i>how</i> we make images and in the history of image making. To understand how Hockney, a painter, is as famous for his joiners we need to look at his influences.</div>
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Certain joiners hold clues to his thinking. In this joiner by Hockney he has photographed the desk from multiple viewpoints warping time and space. On the desk is a book and the book is open on a page that shows the above collage by Pablo Picasso. Hockney has looked at Cezanne and Picasso and responded by creating a photo-montage that includes multiple viewpoints. </div>
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All three of these breakthroughs use the tradition of the still life to push boundaries.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjrnSZHhRIa5dfrXcqIAypmycxVD2Md-wtt2bCRfu8tATfG_EhMy9XBim0zEa9aH68zzymNPnj9KJX33BoUVCYy4PcMPZAofaJIdW6eLO5T_FdnR9wheGfWN9z7mtFMbX6l0CL65D6lx3J/s1600/rayogram.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjrnSZHhRIa5dfrXcqIAypmycxVD2Md-wtt2bCRfu8tATfG_EhMy9XBim0zEa9aH68zzymNPnj9KJX33BoUVCYy4PcMPZAofaJIdW6eLO5T_FdnR9wheGfWN9z7mtFMbX6l0CL65D6lx3J/s400/rayogram.jpg" width="335" /></a></div>
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Man Ray 'Scissors and cut paper' 1927</div>
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This is a Rayogram by the 20th century artist Man Ray. It is actually a <a href="http://thedelightsofseeing.blogspot.com/search/label/Photograms%20and%20Camera-less%20Photography">photogram</a> but in a bold act of self promotion - Man Ray called his images Rayograms. It is created by moving object around light sensitive paper. The objects are humble - scissors, paper and possibly a stand of some sort. Man Ray has taken ordinary things and made them extraordinary. This is a photogram, a photo-montage but it is also a type of Still Life - but a modern one.<br />
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These images were produced in the 1920's - eighty years after Fox Talbot. In many ways these were still early days for photography and photographers were just starting to create images that were their own thing - not just mimicking painting.<br />
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Paul Strand, Untitled <a href="http://blog.sfmoma.org/2011/04/collection-rotation28/">'Still Life of Cigarette Boxes with Bowl and Bottle' 1917</a></div>
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Paul Strand 'Ackley Camera'</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK8UPo91TPfWmD0o51Y6EKxfFPTxz4Rm8lGXu0NuSxx-ng2e-bxy6l-ze9_x_orwezYdHsWe5EJyosKG6riHEAUIqrV4afX_0fpR_gHVFN_zkRwtABa3SW2306W4e_fPCEKKkbdpPmOBMD/s1600/paul2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK8UPo91TPfWmD0o51Y6EKxfFPTxz4Rm8lGXu0NuSxx-ng2e-bxy6l-ze9_x_orwezYdHsWe5EJyosKG6riHEAUIqrV4afX_0fpR_gHVFN_zkRwtABa3SW2306W4e_fPCEKKkbdpPmOBMD/s400/paul2.jpg" width="317" /></a></div>
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Paul Strand 'Black Bottle' ca.1919</div>
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Early photographers (for example Roger Fenton and Fox Talbot) took their inspiration from the history of painting. This meant that the compositions and layout followed conventional rules. A camera is a different tool to a paint brush and naturally allows the photographer to experiment with composition. The modernist photographer <a href="tp://www.aperture.org/strand/">Paul Strand</a> helped create the language of photography and he helped establish photography as an art form in itself. Strand often used the Still Life but his compositions were stark, geometric and modern. He would zoom into a subject, unlike a painter, and create compositions built up of strong diagonal lines, circles, triangles and contrast. Again we see the conventional form of Still Life used, altered and twisted to explore and develop visual ideas - and in the process creating the language of photography (different to the language of painting).</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2VuYHWvtVkeDIeQkeMEI-PKq1TdIl_pg6ZrK6Pbcm2wLlRYxwJAKoG9Vghnrx0PRZW4S6_Pihy9pcqDpmdjHZKPH2q8eqL9huFOqUR_fGiONUolqEf5aolmUE05zbkVKW0fV5QgeQdIGl/s1600/the+fork+-+kertessz-1928.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="317" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2VuYHWvtVkeDIeQkeMEI-PKq1TdIl_pg6ZrK6Pbcm2wLlRYxwJAKoG9Vghnrx0PRZW4S6_Pihy9pcqDpmdjHZKPH2q8eqL9huFOqUR_fGiONUolqEf5aolmUE05zbkVKW0fV5QgeQdIGl/s400/the+fork+-+kertessz-1928.jpg" width="400" /></a></div>
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<a href="http://www.getty.edu/art/gettyguide/artMakerDetails?maker=1883">Andre Kertesz</a> 'The Fork' 1928</div>
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In this image <a href="http://masters-of-photography.com/K/kertesz/kertesz.html">Andre Kertesz</a> turns the simple act of a fork leaning against a plate into a beatiful and simple early modernist photograph. Other photographers, who worked in a similar way to Strand and Kertesz, include <a href="http://www.josefsudek.net/">Josef Sudek</a>, <a href="http://www.getty.edu/art/exhibitions/outerbridge/">Paul Outerbridge</a>, <a href="http://www.moma.org/collection/artist.php?artist_id=452">Hans Bellmer</a> and Edward Weston.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj088V17kjsT4WDd6zbZ7i5FwE_adHmwYP-xuHg7n4AuDcq8KZ6oEmq-xufR0DM0boUiEd8iEMFfaWTbHNHAFQYw5hUqOk6mVS9a8_MGQN5a7MrtHC1Yq2jPYpfK97gWpGTucbiVTZETww/s1600/edwardwestonpepper_index.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" nda="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj088V17kjsT4WDd6zbZ7i5FwE_adHmwYP-xuHg7n4AuDcq8KZ6oEmq-xufR0DM0boUiEd8iEMFfaWTbHNHAFQYw5hUqOk6mVS9a8_MGQN5a7MrtHC1Yq2jPYpfK97gWpGTucbiVTZETww/s400/edwardwestonpepper_index.gif" width="327" /></a></div>
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Edward Weston <a href="http://www.edward-weston.com/index.htm">'Pepper'</a> 1930</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmxf_ZRkWb-mdq8MPyrRAYys-iFbKsDz2kGVFhl6xZ230TFzNM0WMHhP-TYEDL_cV8KhPkgodtzKG78c9a7CMEcX_Nh6cLOqgWBHu6am0ptTngHTv5cEtB3g74vqLl3GxiIYmwx_2Kpnw/s1600/westonnude.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" nda="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmxf_ZRkWb-mdq8MPyrRAYys-iFbKsDz2kGVFhl6xZ230TFzNM0WMHhP-TYEDL_cV8KhPkgodtzKG78c9a7CMEcX_Nh6cLOqgWBHu6am0ptTngHTv5cEtB3g74vqLl3GxiIYmwx_2Kpnw/s320/westonnude.jpg" style="cursor: move;" width="260" /></a></div>
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Edward Weston 'Nude' 1936</div>
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Both of the images above are by <a href="http://www.photo-seminars.com/Fame/EdWeston.htm">Edward Weston</a>. Whether Weston was photographing a natural form, a human figure, a car engine or a toilet (he create a series of these) he considered curves, light and form. Although he has not combined the images, by photographing them in the same way, he encourages us to compare them.</div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://art.findartinfo.com/images/artwork/2006/8/a000914556-001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://art.findartinfo.com/images/artwork/2006/8/a000914556-001.jpg" style="cursor: move;" width="296" /></a></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://1.bp.blogspot.com/_MmRVVROy-Jo/TC0IbXLMZlI/AAAAAAAANwA/KEpnMg0hpuE/s1600/Peter+Keetman4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://1.bp.blogspot.com/_MmRVVROy-Jo/TC0IbXLMZlI/AAAAAAAANwA/KEpnMg0hpuE/s400/Peter+Keetman4.jpg" style="cursor: move;" width="318" /></a></span></div>
The influence of these early pioneers encouraged photographer to reinvent small aspects of the everyday to create a new kind of Still Life image that was photographic. Peter Keetman's (a key member of fotoform <a href="http://thedelightsofseeing.blogspot.com/search/label/Shutter%20speeds%20-%20SLOW">here</a>) images show his use of pattern - whether he is photographing pipes or creating experimental abstract images.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjS8C9hLWf2DA1fjNMjJQLHd0amkt1j_2hGDgLEPfgtIZwEOIyGkQQ8z0G08qQ-KeiL4tJmOXQGc1NbShs6hMMIVz4rqFLUy1PK76QhBFfB7S6iUe_MOATZOTMuqCfI5qscdPD_jacvuDRA/s1600/wevans1.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="312" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjS8C9hLWf2DA1fjNMjJQLHd0amkt1j_2hGDgLEPfgtIZwEOIyGkQQ8z0G08qQ-KeiL4tJmOXQGc1NbShs6hMMIVz4rqFLUy1PK76QhBFfB7S6iUe_MOATZOTMuqCfI5qscdPD_jacvuDRA/s400/wevans1.gif" width="400" /></a></div>
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Walker Evans 'Alabama Farm Interior (Fields Family Cabin) 1936</div>
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Strand, Weston and Kertesz were pioneers and their images were inventive, creative and, crucially, obviously artistic. The camera is an objective instrument that is capable of showing the world as it is - coldly with no sentiment. Walker Evans recognised this quality of the camera and he images just seem to document what lay before it. </div>
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Evans was a hugely influential 20th century photographer. He came to prominence during the 1930's while working for the <a href="http://ticketing.southbankcentre.co.uk/find/hayward-gallery-and-visual-arts/hayward-touring/current/walker-evans-photographs-1935-1936">FSA (Farm Security Administration)</a> in America. His black and white images often focused on aspect of life other photographers might ignore - the interior of a barbershop, an old sign, cutlery jammed in lock etc. His images had an <a href="http://xroads.virginia.edu/~ug97/fsa/images.html">objective look</a> - showing the everyday as it was, but ultimately, showing it to be other than itself.</div>
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The image above was taken during the <a href="http://www.youtube.com/watch?v=MRZwlF5-89Y">great depression</a> for the FSA (<a href="http://en.wikipedia.org/wiki/Farm_Security_Administration">Farm Security Administration</a>) to show America how many of the poorest lived. Evans documented every aspect of life - even a simple wall in a field family's cabin and their simple storage system for their cutlery.</div>
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As a young man Evan's wanted to be a writer and his images have the quality of a descriptive passage from a piece of literature -</div>
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<span class="Apple-style-span" style="font-size: large;">"the sloping, paper-littered bank" </span></div>
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<a href="http://www.dylanthomas.com/">Dylan Thomas</a> 'Reminiscences of Childhood'</div>
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<span class="Apple-style-span" style="font-size: large;">"Eight mahogany chairs were lined up against the white painted wainscoting, and under the barometer stood an old piano loaded with a pyramid of boxes and cartons" </span></div>
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<a href="http://en.wikipedia.org/wiki/Gustave_Flaubert">Gustave Flaubert</a> 'A Simple Heart'</div>
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<span class="Apple-style-span" style="font-size: large;">'I saw in Louisiana a live-oak growing, all alone stood it and the moss hung down from the branches'</span></div>
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<a href="http://www.whitmanarchive.org/">Walt Whitman</a> 'I saw in Louisiana a live-oak growing'</div>
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It is worth bearing the connection in mind when viewing any Still Life photographer - how would the same scene be described in literature? Evans work in particular had this quality - as if he was a frustrated writer with only a camera to record the small unnoticed details of life.<br />
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<a href="http://maggiesfarm.anotherdotcom.com/uploads/barbershop.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="315" src="http://maggiesfarm.anotherdotcom.com/uploads/barbershop.jpg" style="cursor: move;" width="400" /></a></div>
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Walker Evan <a href="http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A1777&page_number=13&template_id=1&sort_order=1">'Barber shop Interior'</a></div>
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<a href="http://theschleicherspin.com/2009/11/01/america-by-walker-evans/">Walker Evans</a> was fascinated by the everyday. Things that were taken for granted in their day become strange portholes to another time. Evans had an eye for what would be interesting in the future. There is so much detail captured in this image - a shop that has probably long since been demolished and and chairs that are no longer sat in. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBOd9oLZybaIhuzCmsQJVN-d7z-2Rgwsz8a5KEfQzsFJb5Zo7MrE3Uh1Lw61mSfMWz6aWkFltShC9dwME96RW8bB0-KqOrkwf40J7gMufC043fnIvHPVpbIzZnT2fM8ZP37K3bGnl4YXGV/s1600/walker-evans-Alabama-1936.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBOd9oLZybaIhuzCmsQJVN-d7z-2Rgwsz8a5KEfQzsFJb5Zo7MrE3Uh1Lw61mSfMWz6aWkFltShC9dwME96RW8bB0-KqOrkwf40J7gMufC043fnIvHPVpbIzZnT2fM8ZP37K3bGnl4YXGV/s320/walker-evans-Alabama-1936.jpg" style="cursor: move;" width="320" /></a></div>
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'Hale County, Alabama' 1936</div>
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A documentary within a documentary, this picture suggests the way an Alabama tenant family lived, and, in the two snapshots tacked to the wall, bears witness to the family's informal documentation of its own experiences. The photograph was taken by Walker Evans in 1936, while he was employed by the Farm Security Administration; it was the powerful and moving record of rural poverty made by him and his FSA colleagues that popularised the term documentary photography.</div>
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<a href="http://www.moma.org/collection_images/resized/803/w500h420/CRI_11803.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" ox="true" src="http://www.moma.org/collection_images/resized/803/w500h420/CRI_11803.jpg" style="cursor: move;" width="318" /></a></div>
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Walker Evans - <a href="http://www.google.co.uk/imgres?imgurl=http://www.moma.org/collection_images/resized/803/w500h420/CRI_11803.jpg&imgrefurl=http://www.moma.org/collection/browse_results.php%3Fcriteria%3DO%253ADE%253AI%253A4%257CG%253AHO%253AE%253A1%26page_number%3D8%26template_id%3D1%26sort_order%3D1&h=420&w=335&sz=98&tbnid=tZHXJaDyu4N4xM:&tbnh=125&tbnw=100&prev=/images%3Fq%3Dwalker%2Bevans%2Bpenny%2Bpictures&zoom=1&q=walker+evans+penny+pictures&usg=__dhONqdlVZxN5br2ZjK2s6jWy-g8=&sa=X&ei=lY3vTJ27CsSLhQfNhc3ADA&ved=0CB0Q9QEwAQ">Penny Picture Display, Savannah, Georgia 1936</a></div>
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In this photograph by Evans he has photographed a set of Photographs. This is something he returned to again and again - the layers build up and you are looking at an image of an image. It is a shop window display in a penny photo arcade - people would go in to have a portrait taken as a memory. We photograph ourselves to prove we existed - we were here. These original images are not art in themselves but Evans photographs them and draws our attention to them. The act of using the work of others is know as <a href="http://weblog.delacour.net/photography/appropriation-art-and-walker-evans/">Appropriating</a>.</div>
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<a href="http://masters-of-photography.com/images/full/evans/evans_torn.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" n4="true" src="http://masters-of-photography.com/images/full/evans/evans_torn.jpg" style="cursor: move;" width="272" /></a></div>
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Walker Evans 'Torn Movie Poster' 1931</div>
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Here is a photograph of a torn movie poster by Walker Evans. Evans would often appropriate the work of others and take a photograph of a photograph. Layers of life and culture build up only to be replaced by the latest trend. These images are ephemeral - destined to be lost and Evans has captured it forever. These images have the look of Decollage.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPv-HNsXyXSfhVglN5MAWq2r4lpTA3_MQuTwiFJEWWduQa666dDK2NakCdz4kQOxe1EDyP-TmgcGGaEPPWifvYEd8Tr2OO-8K7N5urn3mpXH829xemIFxavQqctxa1vyhPhc20p73g798/s1600/walker+mail+box+Alibama+1973.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="387" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPv-HNsXyXSfhVglN5MAWq2r4lpTA3_MQuTwiFJEWWduQa666dDK2NakCdz4kQOxe1EDyP-TmgcGGaEPPWifvYEd8Tr2OO-8K7N5urn3mpXH829xemIFxavQqctxa1vyhPhc20p73g798/s400/walker+mail+box+Alibama+1973.jpg" style="cursor: move;" width="400" /></a></div>
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Walker Evans 'Mail Box, Alabama' 1973 (from <a href="http://www.metmuseum.org/works_of_art/collection_database/photographs/mail_box_alabama_walker_evans/objectview_zoom.aspx?page=1&sort=6&sortdir=asc&keyword=walker%20evans&fp=1&dd1=19&dd2=0&vw=1&collID=19&OID=190032967&vT=1&hi=0&ov=0">metmusuem</a> archive)</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz4w0VEVwOWxKdZJEPqffhRdJI_WbOzTdodvoASwcS_XZ_kMzrX4vw0vg4SLFbdg9W8u1NJNVcNZ8xJbdj14jEA2O7aBYvK5xjP1vuDGTQQc2QWItUQdzz0TF9D4l-k1x8Tq7I89MCeHU/s1600/walker+evans+polaroid.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz4w0VEVwOWxKdZJEPqffhRdJI_WbOzTdodvoASwcS_XZ_kMzrX4vw0vg4SLFbdg9W8u1NJNVcNZ8xJbdj14jEA2O7aBYvK5xjP1vuDGTQQc2QWItUQdzz0TF9D4l-k1x8Tq7I89MCeHU/s320/walker+evans+polaroid.jpg" style="cursor: move;" width="309" /></a></div>
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<a href="http://memory.loc.gov/ammem/fsahtml/fachap04.html">Walker Evans</a></div>
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We can still see this quality in his later work. He had spent his life transforming the world onto Black and White until, when given a Polaroid SX70 and film by Polaroid, spent his final years using seeing in (Polaroids warped) colour. His subject matter of sidewalks, signs and street furniture suddenly exploded with colour. We live in an age when people take colour photographs purely because technology allows it - not because we see and appreciate colour.</div>
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Walker Evans <a href="http://www.moma.org/collection/browse_results.php?object_id=53661">'Interior Detail, West Virginia Coal Miner's House'</a></div>
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In this image above Evans has photographed a found collage. Did the occupant use card board on the wall as cheap insulation or decoration. Maybe there is element of both. Evans noticed this aesthetic quality. It is reminiscent of the the <a href="http://thedelightsofseeing.blogspot.com/search/label/Collage">Collage</a> and <a href="http://thedelightsofseeing.blogspot.com/search/label/Photomontage">Photomontage</a> work of Robert Rauschenberg.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdynRYDeDLcAy0dWRHsDazB5z1YBIgUH3yHBNeHfa7T9Jd0cGaGwLtmQH-Qz6HCfR9HVjP9DQh20LpNlvvM4SoUyOI5FEWLZae8g6bXhHTKuXKNOVhHqXIqRDmKlASkcUkE-1gPEZDcN81/s1600/Rauschenburg.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdynRYDeDLcAy0dWRHsDazB5z1YBIgUH3yHBNeHfa7T9Jd0cGaGwLtmQH-Qz6HCfR9HVjP9DQh20LpNlvvM4SoUyOI5FEWLZae8g6bXhHTKuXKNOVhHqXIqRDmKlASkcUkE-1gPEZDcN81/s400/Rauschenburg.jpg" style="cursor: move;" width="400" /></a></div>
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Robert Rauschenberg</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIV_lh7GcaQvXx5Dm9Rk5AGlaWiP21d0DhOZInO1IVf1tPBLH3p75DpK3UB2vZegRQutr3V48p_uzBYdghlHnQA12NQdJ9LMRz9bUoDr9II9oZt5rsVp2sHnRydrIOAMpmHhn5blRw790C/s1600/rauschenburg2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="273" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIV_lh7GcaQvXx5Dm9Rk5AGlaWiP21d0DhOZInO1IVf1tPBLH3p75DpK3UB2vZegRQutr3V48p_uzBYdghlHnQA12NQdJ9LMRz9bUoDr9II9oZt5rsVp2sHnRydrIOAMpmHhn5blRw790C/s400/rauschenburg2.jpg" style="cursor: move;" width="400" /></a></div>
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<a href="http://www.rauschenbergfoundation.org/">Robert Rauschenberg</a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8vbP9J_fbCt3Xjs4cuDbRhs4r6Rh-I_mjroKsv0vYqfAVxpSAx2yTgw5Pn4ZPEbdJdXZb-N-yvYyJuU9EGvozdG6MLxThJLT89lEamZsJDF2B8ju12QHUv39SlouYUmviLjhIN6EJcxo/s1600/RAUSCHENBERG04.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8vbP9J_fbCt3Xjs4cuDbRhs4r6Rh-I_mjroKsv0vYqfAVxpSAx2yTgw5Pn4ZPEbdJdXZb-N-yvYyJuU9EGvozdG6MLxThJLT89lEamZsJDF2B8ju12QHUv39SlouYUmviLjhIN6EJcxo/s400/RAUSCHENBERG04.jpg" style="cursor: move;" width="275" /></a></div>
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<a href="http://robertmars.blogspot.com/2009/05/robert-rauschenberg-photographs.html">Robert Rauschenberg</a></div>
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In these images you can see the painter Robert <a href="http://www.guardian.co.uk/artanddesign/2006/jan/26/art1">Rauschenberg</a> is finding strange juxtapositions, unusual compositions, found collages and using photography as tool for his paintings. They almost have an anti-atheistic and a sense of a <a href="http://thedelightsofseeing.blogspot.com/2010/11/utopiadystopia.html">dystopia</a> or broken society. <a href="http://re-photo.co.uk/?p=291">Rauschenberg</a> comments that for him photography is “a kind of archaeology in time only, forcing one to see whatever the light of the darkness touches”.</div>
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The influence of Evans is everywhere in modern photography - as is the photographic evolution of the Still Life.</div>
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<a href="http://bintphotobooks.blogspot.com/2009_03_01_archive.html"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfXjpmhY2uM49rhtCXogbsT_AltJzEuogVOZaT-gF_tcBmWijXz-fMkbxQQxbGoYeWa2oQseZKfR3UzQjVN3xjHDCG3DP204jjHvnk0vBhTJ5nGaoRqsb3Q8a2b8r-K759Xdcaf44oh6U/s400/IMG_6678.JPG" style="cursor: move;" width="400" /></a></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Times;"><a href="http://www.soulcatcherstudio.com/artists/caponigro.html">Paul Caponigro</a> 'Frost Window No.2' 1961</span></span></div>
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Simple net sails of a boat overlap to create a delicate pattern. <span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Times;">A picture of frost crystals on a bedroom window makes a tapestry out of a mixture of pattern and texture. Positioning his view camera about 30cm from the glass, the photographer stopped the lens all the way down to f32 so as not to loose the dark trees in the background. These are Still Lifes but they are far from the Still Life traditions in painting.</span></span></div>
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We now take these kind of images for granted and a lot of images taken today fall into the category of Still Life. When we start to look at photography after Strand, Weston and Evans we can see their influence and the health of Still Life.</div>
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<a href="http://www.theartnewspaper.tv/content.php?vid=598">Stephen Shore</a> - <a href="http://www.guardian.co.uk/artanddesign/2005/nov/13/photography.shopping">'American Surfaces'</a></div>
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<span class="Apple-style-span" style="font-size: large;">“Following Walker Evans’s example, a postwar generation focused on what everybody in America during the 1950s, 60s and 70s actually saw in front of their faces or through their windshields or across their backyard fences, but didn’t bother to register or preferred not to – much less to think was worth photographing. These were run of the mill subjects, mostly, shot with deadpan acumen.. seemingly nowhere places, shown to be somewhere after all. In the populist spirit of Walt Whitman, but with a heavy dose of dry-eyed scepticism, they found a fresh kind of poetics in the American everyday… [Wessel] had a knack for seeing a compositional order where it didn’t obviously present itself – making pictures like visual haikus.” </span></div>
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- Michael Kimmelman</div>
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Martin Parr Individual photographs from 'Common Sense' 1995 - 1999</div>
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<a href="http://www.martinparr.com/index1.html">Martin Parr</a> 'Common Sense' Series (displayed on a gallery wall) 1995-1999</div>
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Martin Parr photographs as if he is collecting and he focuses of the small details of life. In his 1995-99 Series 'Common Sense' he focused on minor trashy elements of everyday life - lipstick marks on a cup, finger marks on buttons or a cup of tea on a table cloth. He uses a ring flash to create bold, saturated colours giving his work the look of the hyper real. Does Parr have a genuine affection for his subject matter or is he poking fun? Does he reveal our own prejudices by presenting us images that create a certain reaction? Arguably he is somewhere in the middle - or neither - he just records and collects.</div>
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Stephen Gill <a href="http://www.stephengill.co.uk/portfolio/portfolio#num=content-497&id=album-21">'A series of Dissapointments'</a></div>
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<a href="http://www.stephengill.co.uk/portfolio/about">Stephen Gill</a> is a contemporary British photographer who often works in a series. He will often focus on subject you would normally pay no attention to - A lost stranger looking at a map, <a href="http://www.stephengill.co.uk/portfolio/portfolio#num=content-1003&id=album-11">painted over signs</a>, the <a href="http://www.stephengill.co.uk/portfolio/portfolio#num=content-571&id=album-24">backs of bill boards</a> or <a href="http://www.stephengill.co.uk/portfolio/portfolio#num=content-313&id=album-15">people sat on trains</a>. His work shares the straight forward irony of martin Parr, the cold methodical approach of The Bechers and the fascination with the everyday of Walker Evans.</div>
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His series 'A Series of Dissappointments' looks at the proliferation of betting shops in the Borough of Hackney. The discarded slips '<span style="font-style: italic;">were shaped by loss or defeat, then cast aside. these new forms perhaps now possess a state of mind, shaped by nervous tension and grief. After these images were made, little autopsies were performed on the papers to reveal the failed bets held within</span>.'</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZ2wyNASN4O-Nsgn2w8dJzWgYXbt6e07qW5BQAAlAx-Y-57zRNhGI3MRtTIsbtBZwhwpC7EM7nhmuE_ENkX1O9ghOW8n9ncRGEdLxzBJIhDg8-uXWMzv0sUxZnlhHtWWheEF8ECVGpKNw/s1600/guy_batey1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="310" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZ2wyNASN4O-Nsgn2w8dJzWgYXbt6e07qW5BQAAlAx-Y-57zRNhGI3MRtTIsbtBZwhwpC7EM7nhmuE_ENkX1O9ghOW8n9ncRGEdLxzBJIhDg8-uXWMzv0sUxZnlhHtWWheEF8ECVGpKNw/s320/guy_batey1.jpg" style="cursor: move;" width="320" /></a></div>
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<a href="http://www.guybatey.com/the_melancholy_of_objects_1.html">Guy Batey 'The Melancholy of Objects'</a> 2009</div>
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In our modern consumer world we rarely 'Make do and mend' - we just use things and discard them. A chair is designed for a person to sit on - it isn't whole when not in use. The chair has legs like us - when it is abandoned it looks like a injured creature that has been abandoned. A carpet slumps in a corner of an alley like a frail old man. These discarded objects were photographed on the streets of Southwark in south east London by Guy Batey. If you walked past them they could be easily missed and ignored. However, when gathered together and presented (with a perfect title) they take on a life of they own. The photographs has a simple, quite quality and, as the title suggests, a melancholy feel.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpkowQzhxU18wd05gcWs5hM7gZtxnBBTkRPAJFCYFQRYwnlJeYaQMULU3gN_n54Xs6pQs4EfhWJRmQjAzwt7FTO2Y62u3TyZiWRip2NyOj6buJ-NiX5ZZOn3qPtaz-LFwGePIs7qhMS7c/s1600/wentworth+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpkowQzhxU18wd05gcWs5hM7gZtxnBBTkRPAJFCYFQRYwnlJeYaQMULU3gN_n54Xs6pQs4EfhWJRmQjAzwt7FTO2Y62u3TyZiWRip2NyOj6buJ-NiX5ZZOn3qPtaz-LFwGePIs7qhMS7c/s400/wentworth+2.jpg" style="cursor: move;" width="271" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzBLnx_HM7pc5v7kH1hejRNhAd3kI3A_9iteZKyxxdXBZku3tw3KpNvZvLGEYT3AcPLa0GaE_wMrvSDdyonQhfOLpjX2hYyfIaJcIonCwcNsZpaADlurKsc793wJm3fCrBqBlZYnxUb4Q/s1600/wentworth+ghoves.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzBLnx_HM7pc5v7kH1hejRNhAd3kI3A_9iteZKyxxdXBZku3tw3KpNvZvLGEYT3AcPLa0GaE_wMrvSDdyonQhfOLpjX2hYyfIaJcIonCwcNsZpaADlurKsc793wJm3fCrBqBlZYnxUb4Q/s400/wentworth+ghoves.jpg" style="cursor: move;" width="265" /></a></div>
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<a href="http://www.lissongallery.com/#/artists/richard-wentworth/works/">Richard Wentworth</a> 'Making do and getting by' ongoing project</div>
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Batey's 'The Melancholy of Objects' remind me of the photographs by the British sculptor Richard Wentworth. <a href="http://www.tate.org.uk/liverpool/exhibitions/wentworth/">Wentworth</a>'s work (see '<a href="http://www.core77.com/reactor/03.07_parallel.asp">Making do and getting by</a>' and the work of <a href="http://www.thoughtlessacts.com/">Jane Fulton Suri</a>) is an ongoing conversation with his native habitat, fuelled by daily walks down the Caledonian Road and expeditions into the hinterlands of King's Cross. In photographs, objects and lectures he charts the contours of the inner city, the ebb and flow of urban life, the things that change and the things that never do. Wentworth and Batey are part of a long tradition of photographers who roam the streets with their cameras. </div>
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<span class="Apple-style-span" style="font-size: large;">"The photographer is an armed version of the solitary walker," </span></div>
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<span class="Apple-style-span" style="font-size: large;">"reconnoitring, stalking, cruising the urban inferno, the voyeuristic stroller who discovers the city as a landscape of voluptuous extremes." </span></div>
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Susan Sontag in <a href="http://www.pdfebooksdownloads.com/detail/Susan-Sontag-On-photography_16449">On Photography</a>,</div>
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Sontag's "voyeuristic strollers" included<span class="Apple-style-span" style="border-collapse: collapse; color: #333333; font-family: arial, sans-serif; font-size: 14px; line-height: 18px;"> <a href="http://en.wikipedia.org/wiki/Eug%C3%A8ne_Atget" style="border-collapse: collapse; color: #005689; margin: 0px; padding: 0px; text-decoration: none;" title="">Atget</a><span class="Apple-style-span" style="color: black; font-family: Times;"><span class="Apple-style-span" style="border-collapse: separate; font-size: small; line-height: normal;">, Brassai and </span></span><a href="http://www.amber-online.com/exhibitions/weegee-collection" style="border-collapse: collapse; color: #005689; margin: 0px; padding: 0px; text-decoration: none;" title="">WeeGee</a>,</span> all of whom were "not attracted to the city's official realities but to its dark seamy corners, its neglected populations". She could also have mentioned <a href="http://www.billbrandt.com/">Bill Brandt</a>, an often-solitary wanderer on the night-time streets of wartime London, or <a href="http://www.henricartierbresson.org/index_en.htm">Cartier-Bresson</a>, forever in search of the decisive moment, as well as all manner of street photographers, from the frantically obsessive <a href="http://www.mocp.org/collections/permanent/winogrand_garry.php">Gary Winogrand</a> to the gently observant <a href="http://www.lensculture.com/levitt.html">Helen Levitt</a>. (words by <a href="http://www.guardian.co.uk/artanddesign/2011/feb/24/sohei-nishino-diorama-maps">Sean O'Hagan</a>).</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIDvMDgqZDsqutNBvd5IFlSi9xJEtkfgA_sTT_oohee3XH_Zq1NMtGDWx6wPPxI-Q0UgQtruwF2cbk8vqfHE1WFRxebnkbu1rz0Y76RwRY0NkzeVwH3WGD7I_gXIFL4oNuBVmglmifaHA/s1600/jeffbrouws_signswithoutsignificance.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIDvMDgqZDsqutNBvd5IFlSi9xJEtkfgA_sTT_oohee3XH_Zq1NMtGDWx6wPPxI-Q0UgQtruwF2cbk8vqfHE1WFRxebnkbu1rz0Y76RwRY0NkzeVwH3WGD7I_gXIFL4oNuBVmglmifaHA/s400/jeffbrouws_signswithoutsignificance.jpg" style="cursor: move;" width="400" /></a></div>
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<a href="http://www.jeffbrouws.com/">Jeff Brouws</a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEDgSAFYMvsznDoGO9IXYF75ssSU3xwZFttJB__Of8MAkB8cbG02zf2e-Q-jP5EcIHDCwoPnoJOnMw8b-bNC9sMb74CM6oOlMPL1k6kRMC6ksDdEBXB5xNqbvLt9pDFsqhaxi-8XjFFLE/s1600/jeffbrouws_freshlypaintedpickups.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="306" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEDgSAFYMvsznDoGO9IXYF75ssSU3xwZFttJB__Of8MAkB8cbG02zf2e-Q-jP5EcIHDCwoPnoJOnMw8b-bNC9sMb74CM6oOlMPL1k6kRMC6ksDdEBXB5xNqbvLt9pDFsqhaxi-8XjFFLE/s400/jeffbrouws_freshlypaintedpickups.jpg" style="cursor: move;" width="400" /></a></div>
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Jeff Brouws</div>
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Jeff Brouws focuses on lost forgotten aspects of American Culture - the same forgotten and disappearing aspects of life that Walker Evans look at 70 years earlier.</div>
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<a href="http://t0.gstatic.com/images?q=tbn:fEhowbyfwcNo1M:http://www-personal.umich.edu/~tirtzae/installation%20jpg/Calle_17.jpg&t=1" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://t0.gstatic.com/images?q=tbn:fEhowbyfwcNo1M:http://www-personal.umich.edu/~tirtzae/installation%20jpg/Calle_17.jpg&t=1" style="cursor: move;" width="268" /></a></div>
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<a href="http://www.guardian.co.uk/world/2007/jun/16/artnews.art">Sophie Calle</a> 'The Hotel'</div>
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Sophie Calle became a cleaner so she could get into people’s hotel rooms. In the series she photographs a room, photographs their personal items and mentions if they have been moved and writes a diary throughout the guests’ stay, deducing what she can about them by what they leave in their rooms e.g.</div>
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"Room 25 “ Thursday 19. Noon. He is gone. He has left his orange peels in the wastebasket. Three fresh eggs on the windowsill, and remains of a croissant which I polish off. I shall, miss him."</div>
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<a href="http://t3.gstatic.com/images?q=tbn:jpaPDxSNI8432M:http://www-personal.umich.edu/~tirtzae/installation%20jpg/Calle_15.jpg&t=1" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://t3.gstatic.com/images?q=tbn:jpaPDxSNI8432M:http://www-personal.umich.edu/~tirtzae/installation%20jpg/Calle_15.jpg&t=1" style="cursor: move;" /></a></div>
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The photographs make you feel as if you have sneaked into the people’s rooms too and might be caught out at any moment. <span class="Apple-style-span" style="font-family: 'Times New Roman', Arial; font-size: 16px;"><span class="Normal_0020_0028Web_0029__Char" style="font-family: Arial, Arial; font-size: 11pt;"><span class="Apple-style-span" style="font-family: Times;"><span class="Apple-style-span" style="font-size: small;">Calle's work was included in</span></span> <a href="http://www.tate.org.uk/modern/exhibitions/exposure/default.shtm">Tate Modern's 'Exposed' </a></span></span><span class="Apple-style-span" style="font-family: 'Times New Roman', Arial; font-size: 16px;"><span class="Apple-style-span" style="font-family: Times;"><span class="Apple-style-span" style="font-size: small;">exhibition. <a href="http://www.guardian.co.uk/artanddesign/2010/may/27/exposed-photography-tate-modern">The exhibition </a>was looking at the issue of voyeurism and how it has played a role in photography. It makes you consider the intrusive role that photography and surveillance can play in our society. Exposed looked at pictures made secretly, without people's permission, from the 19th century to the present day. Photographs gave a shocking, illuminating and witty perspective on iconic and taboo subjects. </span></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBoZhigucuvMMUH_B_NZ1IgWTRWqFXTyU56Vf4Dlpfgkfi2wqFb6Sh7CzVA23JRw7CC9layOulOr3ebnt6oHdYLnV61IVk72xEmIBmrPGKzHrMQd4imYGnBO4XFAAfTAFkcMYrqyzVmGE/s1600/Picture+43.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBoZhigucuvMMUH_B_NZ1IgWTRWqFXTyU56Vf4Dlpfgkfi2wqFb6Sh7CzVA23JRw7CC9layOulOr3ebnt6oHdYLnV61IVk72xEmIBmrPGKzHrMQd4imYGnBO4XFAAfTAFkcMYrqyzVmGE/s320/Picture+43.png" style="cursor: move;" width="313" /></a></div>
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<span class="Apple-style-span" style="font-family: 'Times New Roman', Arial; font-size: 16px;"><span class="Apple-style-span" style="font-family: Times;"><span class="Apple-style-span" style="font-size: small;"><a href="http://divinipotent.blogspot.com/2009/12/english-sunrise.html">'The English Sunrise' (1972) by Brian Rice and Tony Evans</a> is a beautiful book designed around a series of photographs of sunrise motifs. Many cultures have used the Sunrise motif from <a href="http://examthemes.blogspot.com/2010/12/discord-political.html">Communist China</a> to <a href="http://www.aberdeenquest.com/Artwork/PyeSunriseMainsRadio.asp?mode=detailed&timeline=1930_1950_Technology_Leisure">Art Deco Designs</a>. It is often a symbol of hope and optimism. However, this small book seems very English and from a period that there are less and less traces of.</span></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFZd7l-2x_dbZ-iKmR1VPJOSWmg3Lpt8MdkyvPf2ucu8sRW61qYFp4QN71XUWAogg3dV8FUOHGFGYD6SG5y6JezCYmO2YVvht6_GiAbh4YAfOxXetLbPn3QaWHGoQrbkI7irt1AhlI2bU/s1600/sunrise5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFZd7l-2x_dbZ-iKmR1VPJOSWmg3Lpt8MdkyvPf2ucu8sRW61qYFp4QN71XUWAogg3dV8FUOHGFGYD6SG5y6JezCYmO2YVvht6_GiAbh4YAfOxXetLbPn3QaWHGoQrbkI7irt1AhlI2bU/s400/sunrise5.jpg" style="cursor: move;" width="275" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHiVaP07mN8RtDFMTC9oxL7eBALywvDk-F_JrMeRawIcoTBksabp2V662TBwqo-MF2WpUSWyOiH78KzdpAJNk5l7U6NB5KaPSHRHzEfmVlubvwCZYNlKo9maFTNSkiJa6VKLUrNLyqVXE/s1600/sunrise-ice-cream.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHiVaP07mN8RtDFMTC9oxL7eBALywvDk-F_JrMeRawIcoTBksabp2V662TBwqo-MF2WpUSWyOiH78KzdpAJNk5l7U6NB5KaPSHRHzEfmVlubvwCZYNlKo9maFTNSkiJa6VKLUrNLyqVXE/s400/sunrise-ice-cream.jpg" style="cursor: move;" width="275" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieMuA-mbN9nWWR6XfKXgsLgLCGBxC2rGzicpYC0JcYYDVtbLs4xIVRqZSxsy23dQOV1JO_w1_y1WJDf2KByZZye3oNUISqs_ct9vXm5mazKjyjXU4dkUdPSbEF8MFJd9Z8MJIehtbqTDo/s1600/sunrise10.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieMuA-mbN9nWWR6XfKXgsLgLCGBxC2rGzicpYC0JcYYDVtbLs4xIVRqZSxsy23dQOV1JO_w1_y1WJDf2KByZZye3oNUISqs_ct9vXm5mazKjyjXU4dkUdPSbEF8MFJd9Z8MJIehtbqTDo/s400/sunrise10.jpg" style="cursor: move;" width="278" /></a></div>
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From the disappeared world to the rounded edges Tony Evan's Photographs in <a href="http://www.amazon.co.uk/English-Sunrise-Brian-Rice/dp/0701130768/ref=sr_1_4?s=books&ie=UTF8&qid=1322083587&sr=1-4">'The English Sunrise'</a> demonstrate that by focusing on one element in the world around us - becomes a world in itself.</div>
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Richard Heeps</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-PHy5-izGa1WfBB1N-dvmjryIKnYuykhJM8DNgfiuxwmEHJrrRV8BWA8jAXUnhX6z2MCoB7gVkfAEquN5llyBLUTVrQBYjnsL6tMQdMisJ6KXgvu-9h4m8B81aEKVGGYiBbYtUnaCIXU/s1600/richard+heeps+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-PHy5-izGa1WfBB1N-dvmjryIKnYuykhJM8DNgfiuxwmEHJrrRV8BWA8jAXUnhX6z2MCoB7gVkfAEquN5llyBLUTVrQBYjnsL6tMQdMisJ6KXgvu-9h4m8B81aEKVGGYiBbYtUnaCIXU/s320/richard+heeps+2.jpg" style="cursor: move;" width="320" /></a></div>
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Simple subject matter and found still life's are found constantly in photography. <a href="http://www.richardheeps.co.uk/index.html">Richard Heeps</a> subject matter is also nostalgic - they are contemporary but seem to come from another time.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZscpPhf4I6BPrAmsvMzSCW_E4tHkSlatEpTh8naqaqkcaCSw2it9V02Y6y0XuYrGEfVp1MotOAib9Xtc87JAKffoIbuy9SeYTK2ucZRJEoaQMpaEC82ke2O8bSbNSGoS7LKDPMrF2xJwG/s1600/redribbon.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="312" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZscpPhf4I6BPrAmsvMzSCW_E4tHkSlatEpTh8naqaqkcaCSw2it9V02Y6y0XuYrGEfVp1MotOAib9Xtc87JAKffoIbuy9SeYTK2ucZRJEoaQMpaEC82ke2O8bSbNSGoS7LKDPMrF2xJwG/s400/redribbon.jpg" style="cursor: move;" width="400" /></a></div>
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<a href="http://eastmanimages.com/vanishing-america">Michael Eastman</a> 'Red Ribbon' from the American Series</div>
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Early morning (or evening) light pours through a shop window turning a simple scene into a dreamlike image. You are reminded of Walker Evans' 1930's interiors or <a href="http://www.edwardhopper.com/">Edward Hopper's</a> paintings of America. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY8qRCQr9Nglr81Z8x6UlCK2irTC9UuXTYpgDdFp5I1FGzEiGO-LhXpfZnu7G1hoZsYjQFVUpiQ_vp0uql0WeNOydvZ6Qwyt6qWYzWN2-pMYwNPn23CgDa7wQGFdBRujV0qu171Lt-BAU/s400/thomas_demand_mgkbs_05.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="335" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY8qRCQr9Nglr81Z8x6UlCK2irTC9UuXTYpgDdFp5I1FGzEiGO-LhXpfZnu7G1hoZsYjQFVUpiQ_vp0uql0WeNOydvZ6Qwyt6qWYzWN2-pMYwNPn23CgDa7wQGFdBRujV0qu171Lt-BAU/s400/thomas_demand_mgkbs_05.jpg" style="cursor: move;" width="400" /></a></div>
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<a href="http://www.google.co.uk/imgres?imgurl=http://www.foto8.com/new/images/report/guy_main/fried_demand.jpg&imgrefurl=http://www.foto8.com/new/online/blog/834-michael-fried-on-why-photography-matters&usg=__WG9lg0G6SkwMprYhMl2_VnU53ac=&h=450&w=470&sz=150&hl=en&start=32&zoom=1&um=1&itbs=1&tbnid=3xNtDpVq18DxtM:&tbnh=124&tbnw=129&prev=/images%3Fq%3Dthomas%2Bdemand%26start%3D20%26um%3D1%26hl%3Den%26sa%3DN%26rls%3Dcom.microsoft:en-US%26rlz%3D1I7SKPB_en%26ndsp%3D20%26tbs%3Disch:1">Thomas Demand</a></div>
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<a href="http://www.foto8.com/new/images/report/guy_main/fried_demand.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="382" ox="true" src="http://www.foto8.com/new/images/report/guy_main/fried_demand.jpg" style="cursor: move;" width="400" /></a></div>
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<a href="http://www.thomasdemand.de/">Thomas Demand</a></div>
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Photographers have changed the way we view the Still Life but artists have also found new ways to respond to the objects around them. The do not always paint them but they do use and contemplate them.</div>
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At first <a href="http://www.guardian.co.uk/culture/2006/jun/08/1">Thomas Demands</a> images seem dull and everyday - a messy office, a kitchen table or a sink full of pots. All of his images are constructed and based on images he fines in text books, magazines and periodicals (usually buildings and interiors). Using these images as his basis he constructs meticulous models of the chosen scenarios in his studio. Look again at his photographs and you can just about tell that the material he has used is paper and card - like elaborate origami. He then carefully lights the models and photographs them using a large format camera. There always seems to be something 'wrong' with Demand's images and it is this tension between the real and the fake which exists in all photographs.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaVJ-emEIEmuxd8XGYnf0QOm4tbO43bAkVxdubNHsfv2jan2_RH_ezAd-C4WGOtJg42jI-_yrk6NEsuKHzPTwwt2lE_25ZlksQQ_VJWelVInRfjzW4SUsHkx_szfraH1QovqjaPQlOdds/s1600/penn+trash.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" n4="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaVJ-emEIEmuxd8XGYnf0QOm4tbO43bAkVxdubNHsfv2jan2_RH_ezAd-C4WGOtJg42jI-_yrk6NEsuKHzPTwwt2lE_25ZlksQQ_VJWelVInRfjzW4SUsHkx_szfraH1QovqjaPQlOdds/s400/penn+trash.jpg" style="cursor: move;" width="341" /></a></div>
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Irving Penn 1975</div>
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<a href="http://www.masters-of-photography.com/images/full/penn/penn_butts.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" n4="true" src="http://www.masters-of-photography.com/images/full/penn/penn_butts.jpg" style="cursor: move;" width="290" /></a></div>
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Irving Penn 'Cigarette 17' New York, 1972</div>
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<a href="http://www.lamarde.com/galeria/cache/fotografia__Irving-Penn-NY-1974-Cigarette-37.jpg_w390.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" n4="true" src="http://www.lamarde.com/galeria/cache/fotografia__Irving-Penn-NY-1974-Cigarette-37.jpg_w390.jpg" style="cursor: move;" width="293" /></a></div>
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Irving Penn - New York 1972</div>
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Irving Penn is mainly famous as a top fashion photographer and his images are the height of style and elegance. However, he also managed to create a wide range of images and amongst the most curious are his images of New York rubbish. Close up shots of Cigarette butts and empty carton's are reduced to pure black and white, with a white background and in fine detail. A lot can be learnt from the remnants and artifacts of a society. These are ours - magnified.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf3YNLh9o7ryDpPbfSq8mc_BqUw4V7CFjMLnDSvGoTZHcdKKJxdmRkouFe5vh9bJ4w1pui2fTEG9gJb8_S7yt2WDNVoRz-VC9_j1k991kqMFcqZ_-urd-SEH7_ZgHQtdGLiDx37hESsjg/s1600/arman_1968_0.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="292" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf3YNLh9o7ryDpPbfSq8mc_BqUw4V7CFjMLnDSvGoTZHcdKKJxdmRkouFe5vh9bJ4w1pui2fTEG9gJb8_S7yt2WDNVoRz-VC9_j1k991kqMFcqZ_-urd-SEH7_ZgHQtdGLiDx37hESsjg/s320/arman_1968_0.jpg" style="cursor: move;" width="320" /></a></div>
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<a href="http://translate.google.co.uk/translate?hl=en&sl=fr&u=http://www.armanstudio.com/&ei=RAYCTfLMK4bI4AbIxLWsCg&sa=X&oi=translate&ct=result&resnum=2&ved=0CCgQ7gEwAQ&prev=/search%3Fq%3DArman%26hl%3Den%26rls%3Dcom.microsoft:en-US%26rlz%3D1I7SKPB_en%26prmd%3Divn">Arman</a> 'Accumulation of electric razors embedded in plexiglas' 1968</div>
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Arman was a European pop artist who collected the same type of object and placed them inside glass containers. This act of taking what seems to be rubbish is exactly what is do in Museums - by taking an object out of its original context and placing it in a cabinet the viewer sees that object in a new way. Arman's objects seem to be relic's from another age and as we get further away (in time) from</div>
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Arman's work the objects seem stranger and more unusual. The second world war had still left scars on Europe and Arman started by going through the rubble of derelict building to collect these everyday objects. In many ways they are both relics but also an example of the everyday amassed and becoming strange.</div>
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<a href="http://static.guim.co.uk/sys-images/Guardian/Pix/arts/2005/10/11/GetPeterMacdiarmid_boxes3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="205" src="http://static.guim.co.uk/sys-images/Guardian/Pix/arts/2005/10/11/GetPeterMacdiarmid_boxes3.jpg" style="cursor: move;" width="400" /></a></div>
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Rachel Whiteread looks at many ignored areas -</div>
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the space under a chair,</div>
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<a href="http://multimedia.museomadre.it/foto/web/opera253_museo_madre.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="321" src="http://multimedia.museomadre.it/foto/web/opera253_museo_madre.jpg" style="cursor: move;" width="400" /></a></div>
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RACHEL WHITEREAD <a href="http://www.museomadre.it/opere.cfm?id=253&evento=50&pt=1">'UNTITLED (SIXTEEN SPACES)'</a> 1995</div>
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the space in front of a book case,</div>
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<a href="http://www.damonart.com/linkimages/l_whiteread_sequel_2002.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://www.damonart.com/linkimages/l_whiteread_sequel_2002.jpg" style="cursor: move;" width="386" /></a></div>
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Rachel Whiteread <a href="http://artsbooksshow.wordpress.com/rachel-whiteread/">"Sequel IV”</a>, 2002, Plaster, polystyrene and steel</div>
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or the space around a light switch.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjD5w9vQ9XB0aYhc-V-SerZEnFUeY8NsJ15GrEDAcPrLVzmiJ5YSrylUOuj_-fUdBWHH_XxS5duoNzxTatwBsss5hjbNKKnvBbfFtDuHnpf-h1n9IrxjzYHP4HgFZbBizTacVj0jjH8tE/s1600/rachel+whiteread.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjD5w9vQ9XB0aYhc-V-SerZEnFUeY8NsJ15GrEDAcPrLVzmiJ5YSrylUOuj_-fUdBWHH_XxS5duoNzxTatwBsss5hjbNKKnvBbfFtDuHnpf-h1n9IrxjzYHP4HgFZbBizTacVj0jjH8tE/s400/rachel+whiteread.jpg" style="cursor: move;" width="318" /></a></div>
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Rachel Whiteread, Untitled (Twenty-Four Switches) 1998</div>
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<a href="http://www.guardian.co.uk/artanddesign/2010/sep/06/rachel-whiteread-tate-drawings">Rachel Whiteread</a> <a href="http://www.guardian.co.uk/uk/2005/oct/11/1">'EMBANKMENT' 2005</a></div>
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Rachel Whiteread deals with negative space - the space under a chair, in front of a book case or in an empty room. In 'Embankment' Whiteread used the empty space inside a card board box - <a href="http://www.independent.co.uk/arts-entertainment/art/features/rachel-whiteread-ive-done-the-same-thing-over-and-over-2068718.html">giving form where there isn't any</a>. In Tate Moderns Turbine Hall, she created a gigantic labyrinth-like structure, entitled EMBANKMENT, made from 14,000 casts of the inside of different boxes, stacked to occupy this monumental space. The form of a cardboard box has been chosen because of its associations with the storage of intimate personal items and to invoke the sense of mystery surrounding ideas of what a sealed box might contain.</div>
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jfkturnerhttp://www.blogger.com/profile/04292497470976112213noreply@blogger.comtag:blogger.com,1999:blog-5743411721886035143.post-84034356951654454652012-02-18T00:23:00.002-08:002012-02-22T13:54:11.897-08:00Combinations and Alliances - Representation of Movement<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="http://www.theresilientearth.com/files/images/chauvet_lions.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="263" src="http://www.theresilientearth.com/files/images/chauvet_lions.jpg" style="cursor: move;" width="400" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><span class="Apple-style-span" style="font-size: x-large;">"We have learned nothing" </span></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">Picasso, after seeing the 30,000 year old cave paintings at<a href="http://news.bbc.co.uk/1/hi/sci/tech/1577421.stm"> Lascaux</a>, France</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="http://www.art2bank.com/london_art_news/art_investment_tate_boccioni.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://www.art2bank.com/london_art_news/art_investment_tate_boccioni.jpg" style="cursor: move;" width="298" /></a></div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="text-align: center;"><a href="http://www.art2vu.co.uk/london_art_news/featured-galleries/umberto-boccioni.php">Umberto Boccioni</a></div></div><br />
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">The Representation of movement has often challenged visual artists. From Hunting scenes in Palaeolithic cave paintings to the semi-abstract geometrical approach of Umberto Boccioni and the other futurists, the difficulty of representing a moving subject in a static image has always presented a challenge.</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="http://people.brunel.ac.uk/bst/3no2/Papers/Steve%20Dixon_files/image002.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="236px" src="http://people.brunel.ac.uk/bst/3no2/Papers/Steve%20Dixon_files/image002.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="http://identicaleye.blogspot.com/2010/05/bragaglia-brothers.html">Bragaglia Brothers</a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="http://www.friendsofart.net/static/images/art3/giacomo-balla-dynamism-of-a-dog-on-a-leash.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="336px" src="http://www.friendsofart.net/static/images/art3/giacomo-balla-dynamism-of-a-dog-on-a-leash.jpg" style="cursor: move;" width="400px" /></a></div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"> Balla - 'Dynamism of a Dog on a Leash' 1912</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;"><a href="http://www.unknown.nu/futurism/">Futurism</a> was an early twentieth century movement that was fascinated by the modern world of machines, movement and sound. They used a variety of media to create dynamic images that had a kaleidoscopic quality <a href="http://timpickup.wordpress.com/long-exposure-artists/">portraying movement</a>. In many ways it developed the broken and fractured images of <a href="http://www.tate.org.uk/collections/glossary/definition.jsp?entryId=80">cubism</a> (that was interested in multiple viewpoints) but adapted it to create images that depicted the movement of objects through time and space.</div><div style="text-align: left;"><br />
</div><div style="text-align: left;"><a href="http://www.beckyhorsfall.co.uk/?p=601">Photodynamism</a> was the use of photography to capture the movement through time and space and used photography’s natural ability to capture time passing through a lens. The <a href="http://tracesofthereal.com/2011/01/24/they-called-it-photodynamism/">Bragaglia</a> Brothers managed to turn the ordinary (somebody using a type writer or sitting down) into the extraordinary. They created their images by using a model against a plain background, a tripod and a <a href="http://thedelightsofseeing.blogspot.com/search/label/Shutter%20speeds%20-%20SLOW">slow shutter speed</a>. Their photographs were the photographic equivalent of the italian futurists paintings and sculptures.</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span lang="EN-GB" style="font-family: Arial;"><span lang="EN-GB" style="font-family: Arial;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></span></span></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="http://fokussiert.com/wp-content/uploads/2008/03/steinertw-tm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="http://fokussiert.com/wp-content/uploads/2008/03/steinertw-tm.jpg" style="cursor: move;" width="287px" /></a></div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKCT_GSR2fwenuS-RD4BEt5ysJ1XMshruTCF8-MZfoe5W3-wI3x0WOKzUU4tEWfHKBsATfrqmKYk3jJbWgmYUkY2AjAReQ6PbXGPt1HGEPQftjV1CZhqLcKMcQfK3QHq1UdzOcvh-hNGvP/s400/rosa6-15-3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="262px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKCT_GSR2fwenuS-RD4BEt5ysJ1XMshruTCF8-MZfoe5W3-wI3x0WOKzUU4tEWfHKBsATfrqmKYk3jJbWgmYUkY2AjAReQ6PbXGPt1HGEPQftjV1CZhqLcKMcQfK3QHq1UdzOcvh-hNGvP/s400/rosa6-15-3.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">Otto Steinert</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div>These images by German photographer <a href="http://www.upress.uni-kassel.de/online/frei/Bildteil.pdf">Otto Steinert</a> (taken a few decades later) have a similar look to Balla's 'Dynamism of a Dog on a Leash' 1912. The photographs have very simple compositions and are made up of horizontal lines and circles. These solid forms are then contrasted with the ghostly images of people who appear as a blur apart from one foot as it supports them as they take a step. The daily task of walking down the street is turned in to something strange and other from itself.<br />
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Steinert was part of a post war movement that wanted to revive the experimentation and creative spirit of the 1920s (see <a href="http://thedelightsofseeing.blogspot.com/search/label/Photograms%20and%20Camera-less%20Photography">Man Ray and Moholy-Nagy</a>). This expressive approach was stopped with the rise of Hitler in the 1930's - this saw many important artists emigrating to America. During the 1950's he set up <a href="http://www.uv.es/EBRIT/micro/micro_216_43.html">Fotoform</a> to explore these themes (key members <a href="http://www.bernheimer.com/Toni-Schneiders-Photographs-DesktopDefault.aspx?tabid=47&tabindex=46&eventid=1151">Toni Schneiders</a>, <a href="http://www.galleribalder.com/news17079.html">Christer Stromholm</a> (<a href="http://translate.google.co.uk/translate?hl=en&sl=sv&u=http://www.stromholm.com/index2.htm&ei=hrzOTLSTMdCNjAfEr9XVBw&sa=X&oi=translate&ct=result&resnum=2&ved=0CCEQ7gEwAQ&prev=/search%3Fq%3Dchrister%2BStormholm%26hl%3Den%26client%3Dsafari%26rls%3Den%26prmd%3Div">website</a>) and <a href="http://ms-collection.de/artists/keetman.htm">Peter Keetman</a>). Often photography is seen as an objective art and many great photographers have created 'pure' images based on this philosophy. Steinert saw photography as an expressive art and his images have a <a href="http://translate.google.co.uk/translate?hl=en&sl=fr&u=http://www.ifa.de/en/exhibitions/exhibitions-abroad/foto/subjective-phtography/groups-of-works/the-fotoform-group/&ei=ILrOTKbkBIKQjAf2_JXYBw&sa=X&oi=translate&ct=result&resnum=8&ved=0CDsQ7gEwBw&prev=/search%3Fq%3Dotto%2Bsteinert%2Bfotoform%2Bonline%26hl%3Den%26client%3Dsafari%26rls%3Den%26prmd%3Divbo">subjective quality</a> (<a href="http://www.uturn.org/Essays/SUBPHOTOpdf.pdf">Subjektive Fotografie</a>). <br />
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<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="http://www.unknown.nu/futurism/images/marinetti.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://www.unknown.nu/futurism/images/marinetti.jpg" style="cursor: move;" width="273" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9cxVnrpxmb6U64rap8T0zQtKWLbVhuFDeHTkJ6Uiq1NTb0t9b7JrJBAmscBxIjx3cGuiOG325UjqM8ub3GnoYpuJ_lBUKYc4T5qhDsVxJ0iv6XaIihCAuYjvE_BiAM10eLR1XpGgxnzs_/s1600/futurism-tatemodern-front.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9cxVnrpxmb6U64rap8T0zQtKWLbVhuFDeHTkJ6Uiq1NTb0t9b7JrJBAmscBxIjx3cGuiOG325UjqM8ub3GnoYpuJ_lBUKYc4T5qhDsVxJ0iv6XaIihCAuYjvE_BiAM10eLR1XpGgxnzs_/s400/futurism-tatemodern-front.jpg" style="cursor: move;" width="400" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: Arial, Helvetica, sans-serif;"><i><span class="Apple-style-span" style="font-family: Times;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; font-style: normal;"><br />
</span></span></i></span></div>As well as being fascinated by movement and speed The Futurists also celebrated the new. While some questioned the onslaught of technology The Futurists celebrated it. <a href="http://www.unknown.nu/futurism/manifesto.html">Marinetti</a> kick started the Futurist movement with the publication of the Futurist Manifesto. Expressing dynamism and rapid change, Futurism struck a cord with artists coming to terms with new elements of modern life. The <a href="http://www.tate.org.uk/modern/exhibitions/futurism/default.shtm">Tate Modern</a> celebrates the centenary of <a href="http://www.telegraph.co.uk/culture/culturecritics/richarddorment/5542683/Futurism-at-the-Tate-Modern-a-glimpse-into-tomorrows-whirl.html">Futurism</a> with an exhibition exploring key figures, works, and also the movements that reacted to Futurism.<br />
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNqYJf1Omtq2pwPwiZGCcWwvRLjwThp48A5bODkfTKbffKnvC69sl6tlmY-tg_s4m81fWYLPqIeCOCQAPRf_Imhj-eGuwvlWQ8ta6gLaB0X02bUliCGB3soYrW1rc7QmdPbaEnoABsVLBt/s400/Fortunato+Depero%252C+Grattacieli+a+tunnel%252C+1930.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNqYJf1Omtq2pwPwiZGCcWwvRLjwThp48A5bODkfTKbffKnvC69sl6tlmY-tg_s4m81fWYLPqIeCOCQAPRf_Imhj-eGuwvlWQ8ta6gLaB0X02bUliCGB3soYrW1rc7QmdPbaEnoABsVLBt/s400/Fortunato+Depero%252C+Grattacieli+a+tunnel%252C+1930.jpg" style="cursor: move;" width="400" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="http://www.angelfire.com/wv2/fortunatodepero/">Fortunato Despero</a> - 'Sky Scraper and Tunnel' 1930 </div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">The glory of technology! The fascination of speed! The thrill of new products! For the creators of the Futurist movement of the early twentieth century, this was what inspired them. <a href="http://www.forbes.com/forbes-life-magazine/2009/0608/art-fortunato-depero-italian-futurism.html">Fortunato Despero</a> joined the furists late but was inspired by it ideas throughout his career. This is a piece of <a href="http://www.designboom.com/weblog/cat/8/view/5247/fortunato-depero-museum.html">Despero</a>'s theatre design - this stage set was never built. They represent the sense of vertigo in a city, sometimes by the means of skyscraper shapes placed in precarious perspective at acute angles, sometimes by showing the hidden underground subway system. <a href="http://pierrehale.com/kiu/1/art/fortunato_depero.html">Despero</a> described a mass of people as "crowd confetti, crowd ants, crowds of human sand flowing, slipping, falling apart". This indicated that in the midst of this mechanical paradise there is a sense of alienation and solitude.</div><br />
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="http://www.youtube.com/watch?v=UrRUDS1xbNs&feature=related"><img border="0" height="246" src="http://www.masters-of-photography.com/images/full/muybridge/muybridge_galloping_horse.jpg" style="cursor: move;" width="400" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="http://www.bbc.co.uk/photography/genius/gallery/images/muybridge.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266px" src="http://www.bbc.co.uk/photography/genius/gallery/images/muybridge.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"></div><div style="text-align: center;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: black;"><a href="http://www.youtube.com/watch?v=UrRUDS1xbNs&feature=related">'Motion Study' Eadweard Muybridge</a></span></div></div><br />
In 1877, 30 years before the futurists, Edweard Muybridge was trying to capture movement with his camera. <a href="http://www.tate.org.uk/britain/exhibitions/eadweardmuybridge/default.shtm?gclid=CLvvhdTi86QCFU0_4wodbzFBjA">Eadweard Muybridge</a> helped the governor of California to win a $25,000<br />
bet that at some point when a horse was running; all four hooves would leave the ground.<br />
He set up a row of <a href="http://www.dailymotion.com/video/x1hrag_3-e-j-muybridge-1830-1904_shortfilms">multiple cameras</a> and each time the horse tripped a wire a photograph was taken. He ended up with a series of images that when combined created the first moving images. Without <a href="http://www.tate.org.uk/tateetc/issue20/campanymuybridge.htm">Muybridge</a> there would no cinema, TV or most of the content on the internet.<br />
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<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoWrdVlP5sz82UkkIFzgS1fKQJii0ccJmZUHMosyQ9ET2ImL3PdtOFyvdHoOMpWx6L4kkgCzzKAeAaZqlrQerGeGfSPBNqfrZAvm8DL8k5BL6jTbdzOjlYji8dO2F2kjtE8UMQqvgHl8cv/s1600/muybridge06.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="257px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoWrdVlP5sz82UkkIFzgS1fKQJii0ccJmZUHMosyQ9ET2ImL3PdtOFyvdHoOMpWx6L4kkgCzzKAeAaZqlrQerGeGfSPBNqfrZAvm8DL8k5BL6jTbdzOjlYji8dO2F2kjtE8UMQqvgHl8cv/s400/muybridge06.jpg" style="cursor: move;" width="400px" /></a></div>This is a sequence of shots by <a href="http://calitreview.com/8802">Muybridge</a>'s taken from two different angles. In his later career he would develop this idea further. In his early work the camera would be it a line and be triggered one after the other - documenting movement. In his later experiments the cameras would be in a circle and take a picture at the same time. <br />
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A similar technique was used in the film ‘The Matrix’ to create the <a href="http://www.youtube.com/watch?v=_KtghA0rkDY">Bullet Time</a> effect.<br />
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</span></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="http://www.tate.org.uk/images/cms/14327w_marina_warner_17.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="http://www.tate.org.uk/images/cms/14327w_marina_warner_17.jpg" style="cursor: move;" width="400" /></a></div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div>Without the experiments of Muybridge and others Cinema would never have been born. Some of the most exciting early cinema came from <a href="http://www.youtube.com/watch?v=dXwGN2uSsn0">George Melies</a> and was truly realized in <a href="http://www.youtube.com/watch?v=7JDaOOw0MEE&feature=related">'A Voyage to the Moon' 1902.</a> For contemporary artists using animation look at <a href="http://moma.org/interactives/exhibitions/2010/williamkentridge/">William Kentridge.</a><br />
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="http://www.kiberpipa.org/gallery/album82/Etienne_Jules_Marey_Kronografije_mo_a_ki_hodi_in_te_e_ter_ptice_v_letu_1880.sized.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="280" src="http://www.kiberpipa.org/gallery/album82/Etienne_Jules_Marey_Kronografije_mo_a_ki_hodi_in_te_e_ter_ptice_v_letu_1880.sized.jpg" style="cursor: move;" width="400" /></a></div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div><a href="http://www.exeter.ac.uk/bdc/young_bdc/movingpics/movingpics6.htm">Etienne-Jules Marey</a> created similar images. Marey was a scientist who used art whereas Muybridge was an artist who created pseudo-scientific images. However, Marey's images were slow shutter speed shots and he used a strobe light. As the strobe flashed it created an image of the figure - therefore creating multiple figures showing the subject move though time and space.<br />
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</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"></div><div class="separator" style="clear: both; font-family: Times; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.smoca.org/images/education/ex/edgerton.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640px" src="http://www.smoca.org/images/education/ex/edgerton.jpg" style="cursor: move;" width="500px" /></a></span></div><div style="font-family: Times; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> <a href="http://edgerton-digital-collections.org/">Harold Edgerton</a> </span></span></div></div></div></div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">Photography is, in many ways, where art and science meet and these images show Harold Edgerton’s experiments with high speed photography. This image was created by having the camera on a tripod and using a<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> <a href="http://thedelightsofseeing.blogspot.com/search/label/Shutter%20speeds%20-%20SLOW">slow shutter speed</a>.</span></span> However, Edgerton used a strobe light – each time it flashed it captured the figure in mid movement.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3f-HTjpdvPVvblve3StcvPFatR7vEmP8GIIzal0tiCapK_eKDC-gUfQ7sOkOJuPO5FRexL08JgjPQmaVNC49LNBpElQmqz1MEhh-2Y2hJ8VuQF-3IE5GSda74XNCmioLaocS4bxF1JiIR/s1600/8-Rue-Valette-Pompertuzat-006.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3f-HTjpdvPVvblve3StcvPFatR7vEmP8GIIzal0tiCapK_eKDC-gUfQ7sOkOJuPO5FRexL08JgjPQmaVNC49LNBpElQmqz1MEhh-2Y2hJ8VuQF-3IE5GSda74XNCmioLaocS4bxF1JiIR/s400/8-Rue-Valette-Pompertuzat-006.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;">Jon Rafman - '8 Rue Valette, Pompertuzat, France' from <a href="http://www.guardian.co.uk/artanddesign/gallery/2012/feb/20/google-street-view-nine-eyes-in-pictures#/?picture=386213500&index=3">'The Nine Eyes of Google Street View'</a></div></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiod9W87jnmd28NFFqCR-ayKHnu9eIj-vg18W8df3ko7UxUXIzGAwn2Lb8YQstlit1O6scGmUwXbZzbVgZPzoUV7LJhEOTolglHfOiP5tjPO7FZwLDbgqA9iJBt9P_tcUGapmObASjztQKx/s1600/bragaglia.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="291" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiod9W87jnmd28NFFqCR-ayKHnu9eIj-vg18W8df3ko7UxUXIzGAwn2Lb8YQstlit1O6scGmUwXbZzbVgZPzoUV7LJhEOTolglHfOiP5tjPO7FZwLDbgqA9iJBt9P_tcUGapmObASjztQKx/s400/bragaglia.jpg" width="400" /></a></div><div style="text-align: center;">Anton Giulio Bragaglia 'Change Of Position' (1911)</div></div></div></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="http://www.art2bank.com/london_art_news/art_investment_tate_boccioni.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://www.art2bank.com/london_art_news/art_investment_tate_boccioni.jpg" width="298" /></a></div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div>In this sculpture above the futurist artist <a href="http://www.art2vu.co.uk/london_art_news/featured-galleries/umberto-boccioni.php">Umberto Boccioni</a> has captured in three dimensions a figure moving through time and space. Notice how the calf muscles are repeated - like a slow shutter speed photograph made solid - like the bluring effect in an image by the Bragaglia brothers.<br />
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It is similar to <a href="http://www.idiom.com/~wcs/duchamp.html">Marcel Duchamp's 'Nude Descending a Staircase'</a> where we see a figure repeated going down stairs.<br />
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLlJtDrebboh-F_AU0YfK6NvMeuj74lgedAb3tViUN08klt80m8KcOHYtAtWhbJ7shV39W0xetW0bt-7_dQiLErIxHecjf-Ehf9RN6QuOrRkWZpFHVTAwy2m-Q5ZrF3AmM4XivLAimMmPe/s1600/duchamp+descending+a+staircase+1952.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLlJtDrebboh-F_AU0YfK6NvMeuj74lgedAb3tViUN08klt80m8KcOHYtAtWhbJ7shV39W0xetW0bt-7_dQiLErIxHecjf-Ehf9RN6QuOrRkWZpFHVTAwy2m-Q5ZrF3AmM4XivLAimMmPe/s400/duchamp+descending+a+staircase+1952.jpg" style="cursor: move;" width="335px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">'Duchamp Descending a Staircase' Life Magazine 1952 by Eliot Elisofon</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">This image above was part of a 10-page spread in LIFE profiling Duchamp. ("<a href="http://thedelightsofseeing.blogspot.com/search/label/Photomontage">Dada's</a> Daddy," April 28, 1952). It would have been taken with the camera placed on a tripod on a bulb setting. Each time Duchamp took a step Elisdon set off a flash or strobe light - creating a faint impression of Duchamp on the negative.</div></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span></div><div class="separator" style="clear: both; font-family: Times; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://stormie01.files.wordpress.com/2008/12/duchamp_nude-descending-a-staircase1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640px" src="http://stormie01.files.wordpress.com/2008/12/duchamp_nude-descending-a-staircase1.jpg" style="cursor: move;" width="385px" /></a></span></div><div style="font-family: Times; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span style="font-family: Arial, Helvetica, sans-serif;">Marcel Duchamp 'Nude Descending the staircase' 1912</span></span></div></div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;"><div style="font-family: Times; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span style="font-family: Arial, Helvetica, sans-serif;">This is a key painting by <a href="http://www.youtube.com/watch?v=lmag4vL7hnQ">Marcel Duchamp</a>. At first it looks abstract but on closer inspection you can see a figure walking down a star case. It is similar to a Muybridge than has been overlaid on itself.</span></span></div><div class="separator" style="clear: both; font-family: Times; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVz4BnrUNlFjq3A_OLQuzgEp5uLPFaJWe-Mcn9RmPHmQXT6bb9SHedHyMLZ4jKACqwtCkEv9BdBB8g4lRhmoCU4kBOJykTjBhmV5uRfNXGvH8Gu5AUjSJ41NoqEEU7vABb7HHzeRVSUhQ/s1600/ik016_muybridge_2005.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVz4BnrUNlFjq3A_OLQuzgEp5uLPFaJWe-Mcn9RmPHmQXT6bb9SHedHyMLZ4jKACqwtCkEv9BdBB8g4lRhmoCU4kBOJykTjBhmV5uRfNXGvH8Gu5AUjSJ41NoqEEU7vABb7HHzeRVSUhQ/s400/ik016_muybridge_2005.jpg" style="cursor: move;" width="326px" /></a></span></div><div style="font-family: Times; text-align: center;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span style="font-family: Arial, Helvetica, sans-serif;"><a href="http://photoslaves.com/idris-khan%E2%80%99s-multi-layered-photos/">Idris Khan</a> </span>rising series… after eadweard muybridge ‘human and animal locomotion’, (2005)</span></div></div><div style="font-family: Times; text-align: left;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This image above is a muybridge overlaid on itself by th artist Idris Khan - we may come back to him. Duchamp painting</span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> looks like a cubist painting but where the cubists were interested it capturing the world from multiple viewpoints this shows a figure moving through time and space. It also wasn't a futurist painting - it was Duchamp's own idea.</span></span></div></div><div class="separator" style="clear: both; font-family: Times; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvMBok_WBIx_Y6ZvYC0wIdJf6JEzI437Sn_e_rtMkD_hPvZoIp-NapJKc3prcIoyL-e48U9wSRraFiS4YMiALDjNnwk-KvNqG3JReL68Cic981Ft9-AvB9T-eS9uxn3hyphenhyphendj5vKPG2KdEc/s1600/detailduchamp-nude-descending-staircase-no_-2-1912.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvMBok_WBIx_Y6ZvYC0wIdJf6JEzI437Sn_e_rtMkD_hPvZoIp-NapJKc3prcIoyL-e48U9wSRraFiS4YMiALDjNnwk-KvNqG3JReL68Cic981Ft9-AvB9T-eS9uxn3hyphenhyphendj5vKPG2KdEc/s400/detailduchamp-nude-descending-staircase-no_-2-1912.jpg" style="cursor: move;" width="341px" /></a></span></div><div style="font-family: Times; text-align: center;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Marcel Duchamp 'Nude Descending the staircase' (Detail) 1912</span></span></div></div><div style="font-family: Times; text-align: left;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">In this detailed section of Duchamp's 'Nude...' we can see it is made up of flat geometrical planes - triangles, lines and sections of circles. The browny yellowish hues allow the abstracted figure to stand out from the darker background. The whole image flickers with movement and jumps between a confusing abstract image to a figure 'decending a staircase'. Not anybody could paint like that.</span></span></div></div><div style="font-family: Times;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></span></div></div><div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="font-family: Times;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> Nobody liked the painting and Duchamp's own brother asked him to remove it from an exhibition. This experience would encourage Duchamp to follow his own ideas and turn his back on the traditional art world. Five years later he would sign a gentleman's toilet R Mutt and place it in a gallery. The art world was not ready for his 'Nude descending the staircase' (1912). However, his '<a href="http://www.telegraph.co.uk/culture/art/3671180/Duchamps-Fountain-The-practical-joke-that-launched-an-artistic-revolution.html">Fountain' (1917</a>) would revolutionise twentieth century art.</span></span></div><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
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<div class="separator" style="clear: both; font-family: Times; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr2Hvd6aaiXKLlVgr5zjnB0-k6TM4XH2Pj8sFB7031qWiGFeZnUmurYN69iuy5pA1uj-1UgRktC4Z3-TfxyNrn_MRTsYM-C52siS9liRSazXBoWci2mEnEw98raNM_Ai_KCtlBY-B8fHQX/s1600/duchamp-nude-descending-a-staircase.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr2Hvd6aaiXKLlVgr5zjnB0-k6TM4XH2Pj8sFB7031qWiGFeZnUmurYN69iuy5pA1uj-1UgRktC4Z3-TfxyNrn_MRTsYM-C52siS9liRSazXBoWci2mEnEw98raNM_Ai_KCtlBY-B8fHQX/s640/duchamp-nude-descending-a-staircase.jpg" style="cursor: move;" width="388px" /></a></span></span></div><div class="separator" style="clear: both; font-family: Times; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"></div><div style="font-family: Times; text-align: center;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Marcel Duchamp 'Nude Descending a staircase (No2)' 1912</span></div></div></div></div><div style="font-family: Times; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">'Nude descending a staircase (No2)' was the painting that changed Marcel Duchamp's life. The figure hardly looks nude because it hardly looks human. You can just about make out the form of a figure move diagonally across the composition. triangles and semi circles of brown and yellow hues add vibrancy to the image. When Duchamp submitted Salon des Independants, it was coldly received. The cubist painter and theorist Albert Gleizes asked Duchamp's brother to ask him to 'Voluntarily' withdraw it. It did not conform to what the cubist circle wanted to represent their ideas<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://thedelightsofseeing.blogspot.com/search/label/Cubism">(Cubism showed the world from multiple viewpoints)</a></span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">.<a href="http://www.blogger.com/goog_852873240"> </a></span>It seemed too futurist to them since it contained movement <a href="http://www.tate.org.uk/modern/exhibitions/futurism/rooms/room1.shtm"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">(Futurism, although sharing a certain look of Cubism, showed objects moving through time and space).</span></a><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> </span></span></div></div></div><div style="font-family: Times; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The Cubists wanted to clarify and strengthen their position against other 'ism' that were cropping up. Embarrassed Duchamp's brother asked him to concede, which he did without making a fuss. However, the incident did affect Duchamp -</span></div></div></div><div style="font-family: Times; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-size: large;">"This affair helped me to totally escape my past, my own personal past. I said to myself, 'Well, if that's how the way they want it, then there's no question about me joining a group; one can only count on oneself, one must be a loner.'"</span></span></div></div></div><div class="separator" style="clear: both; font-family: Times; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Soon after<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.youtube.com/watch?v=lmag4vL7hnQ">Duchamp would turn his back on painting and start to question the very nature of art.</a></span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> </span>He started placing objects from the world into gallery spaces, he called them<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.tate.org.uk/collections/glossary/definition.jsp?entryId=239">'ready-mades'</a></span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">, </span>most famously in<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.telegraph.co.uk/culture/art/3671180/Duchamps-Fountain-The-practical-joke-that-launched-an-artistic-revolution.html">1917 with 'Fountain'</a></span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">.</span></span></div></div></div></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMsNtiB4Co1uWUP39URGcdXXTJ_bVACHWnaWrq9T-H5GhP9IVEp0uTBYBvjBxI4dwr0jZHRp2NhMM9ulQT1ro0qKVdKGbr5XOq0QQd_kAzIw0KLuOVaNprQoLIXUYozNBIk7st61GS4G4s/s1600/cecil+beaton+ts+eliot.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMsNtiB4Co1uWUP39URGcdXXTJ_bVACHWnaWrq9T-H5GhP9IVEp0uTBYBvjBxI4dwr0jZHRp2NhMM9ulQT1ro0qKVdKGbr5XOq0QQd_kAzIw0KLuOVaNprQoLIXUYozNBIk7st61GS4G4s/s400/cecil+beaton+ts+eliot.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="http://www.telegraph.co.uk/culture/photography/8128794/How-Cecil-Beaton-captured-the-world.html">Cecil Beaton</a> - 'T.S.Eliot' 1956</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;"><a href="http://www.bbc.co.uk/bbcfour/documentaries/features/beaton.shtml">Cecil Beaton</a> often used Multiple exposures in his portraits to show different views of the same person in one image. He would have used a tripod to keep the camera in the same position so the back remains the same but the figure moves. This could be achieved by exposing the film four times in the camera (though you have to lower the exposure time accordingly), exposing the same piece of photographic paper with three different negatives or blending <a href="http://www.bbc.co.uk/bbcfour/documentaries/features/beaton.shtml">Layers in Photoshop</a>.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQsmWhcfL4Xq2vUY60Z_MmyR65Rse1jvHPeu3I8I6V2B8dTcfdILmrv4Q438QqikVhX1wrw8knJRXwObZVCdQYznqACf5kVPZiYpKyb6R5FOXS1dJxCE8dOVgb4nlA7d1k0xZBRI0I3rFu/s1600/ihP7qUhYmfps.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQsmWhcfL4Xq2vUY60Z_MmyR65Rse1jvHPeu3I8I6V2B8dTcfdILmrv4Q438QqikVhX1wrw8knJRXwObZVCdQYznqACf5kVPZiYpKyb6R5FOXS1dJxCE8dOVgb4nlA7d1k0xZBRI0I3rFu/s400/ihP7qUhYmfps.jpg" width="315" /></a></div><div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><span class="Apple-style-span" style="color: #f3f3f3; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 15px; line-height: 21px;">'Workshop' -</span><span class="Apple-style-span" style="color: #f3f3f3; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 15px; line-height: 21px;"> </span><span class="Apple-style-span" style="color: #f3f3f3; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 15px; line-height: 21px;"><a href="http://www.vorticism.co.uk/home.html" style="color: #2288bb; text-decoration: none;">Wyndham Lewis</a></span><span class="Apple-style-span" style="color: #f3f3f3; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 15px; line-height: 21px;"> </span><span class="Apple-style-span" style="color: #f3f3f3; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 15px; line-height: 21px;">1914 -15</span><a href="http://www.centrepompidou.fr/education/ressources/ENS-futurisme2008/images/xl/fut_103.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="273" src="http://www.centrepompidou.fr/education/ressources/ENS-futurisme2008/images/xl/fut_103.jpg" style="cursor: move;" width="400" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="http://213.121.208.204/tateetc/bomberg/">David Bomberg</a> 'The Mud Bath' 1914</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">The influence of futurism was far reaching and in Briatin it can been seen in the work of Wyndham Lewis and <a href="http://www.culture24.org.uk/places+to+go/south+west/bristol/art22288">Vorticism</a>. Lewis himself saw <a href="http://www.frieze.com/issue/review/blasting_the_future/">Vorticism</a> as an independent alternative to Cubism, Futurism and Expressionism. Though the style grew out of Cubism, it is more closely related to Futurism in its embrace of dynamism, the machine age and all things modern (cf. Cubo-Futurism).</div></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGNkEkNYHahD2_MRCImnJKN_wPiHQCIn_wUccp67PSwdhUTzJM8czmfEzxps6Y5BaZEBLXtqaVhorDyOBJhS0DJSDmuF_HoZmqH9zpHdhHBIlY6w85MYADPVDm8rcrlEgoKm-2wdlETdYY/s1600/heller-5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGNkEkNYHahD2_MRCImnJKN_wPiHQCIn_wUccp67PSwdhUTzJM8czmfEzxps6Y5BaZEBLXtqaVhorDyOBJhS0DJSDmuF_HoZmqH9zpHdhHBIlY6w85MYADPVDm8rcrlEgoKm-2wdlETdYY/s320/heller-5.jpg" style="cursor: move;" width="250" /></a></div><div style="text-align: center;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">A <a href="http://www.nytimes.com/slideshow/2008/06/01/books/review/20080601_HELLER_SLIDESHOW_5.html">1918 woodcut</a> by Edward Wadsworth, from “Rhythms of Modern Life.”</div></div><div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"> However, Vorticism diverged from Futurism in the way it tried to capture movement in an image. In a Vorticist painting modern life is shown as an array of bold lines and harsh colours drawing the viewer's eye into the centre of the canvas.</div></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDdNEA3oD7Oja3cNRJc4nHWGiuodUbwl6VB9SOqGbOMke-VGRWNm1rmWHfX0ZorNS6DhySTxL1ZVzBCLdlZVGfKL4M89AZiAz02D0s-xmRHV8MheIRWzksc_ItDjmEbMdIBZcSpItmy3hF/s1600/Blast-2-War-number_Review-of-the-great-English-vortex-July-1915-Front-cover-Wyndham-Lewis-The-Vorticists-Tate-publishing3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDdNEA3oD7Oja3cNRJc4nHWGiuodUbwl6VB9SOqGbOMke-VGRWNm1rmWHfX0ZorNS6DhySTxL1ZVzBCLdlZVGfKL4M89AZiAz02D0s-xmRHV8MheIRWzksc_ItDjmEbMdIBZcSpItmy3hF/s400/Blast-2-War-number_Review-of-the-great-English-vortex-July-1915-Front-cover-Wyndham-Lewis-The-Vorticists-Tate-publishing3.jpg" width="323" /></a></div></div><div style="text-align: center;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><a href="http://www.tate.org.uk/servlet/ArtistWorks?cgroupid=999999961&artistid=1502&page=1">Wyndham Lewis</a>' 'Blast - 2nd edition War Number' 1915</div></div><div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">They produced their own magazine Blast that<span class="Apple-style-span" style="font-family: sans-serif; font-size: 13px; line-height: 19px;"> </span>contained work by Ezra Pound and T. S. Eliot as well as by the Vorticists themselves. Its typographical adventurousness was cited by <a href="http://www.studiocleo.com/gallerie/lissitzky/lissitzkywel.html">El Lissitzky </a>as one of the major forerunners of the revolution in graphic design in the 1920s and 1930s.</div></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghyrbzqLl35xLNla6wBKzSkcempt3_w0Ja9cVQoIlhCfpTCMpiV2qB3Ma6GLkYm8BAAhG9LRzGfHRr6TZLPRcV_JtoAWfUtd0Y9qTd5cY8llIrNBU8qYP1YRngX9ZB7PpODoEgm6SLee49/s1600/Alvin+Langdon+Coburn+%252811%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghyrbzqLl35xLNla6wBKzSkcempt3_w0Ja9cVQoIlhCfpTCMpiV2qB3Ma6GLkYm8BAAhG9LRzGfHRr6TZLPRcV_JtoAWfUtd0Y9qTd5cY8llIrNBU8qYP1YRngX9ZB7PpODoEgm6SLee49/s640/Alvin+Langdon+Coburn+%252811%2529.jpg" style="cursor: move;" width="464px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="http://www.masters-of-photography.com/C/coburn/coburn.html">Alvin Langdon Coburn</a> 'Ezra Pound' 1917</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">This photograph by Alvin Langdon Coburn creates a vortex effect from a simple portrait shot. It is an image of Ezra Pound who was a key member of the English <a href="http://www.vorticism.co.uk/">Vorticism</a> group <a href="http://www.guardian.co.uk/artanddesign/2011/may/28/vorticists-tate-britain-exhibition-review">(Vorticism shared qualities with Cubism and Futurism)</a>. In the darkroom the paper has been exposed three times - with each exposure the image has been re sized and refocused. Exposure time would have to be reduced so the paper did not become over exposed.</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjduDf4ykh-2UmlxRnN_PgeSJpuEXcw-JX7G6L5RUzJsI6l76gzWqYUvclHMX_yltCv58U2ewwZ9sgJQDyvjiYCnoMF8b_5BaNj19yj9ceDOANMeDMknpb1jpx19hNo7ZZxAj6IrOTZ9Gtl/s1600/03-coburn_vortograph.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjduDf4ykh-2UmlxRnN_PgeSJpuEXcw-JX7G6L5RUzJsI6l76gzWqYUvclHMX_yltCv58U2ewwZ9sgJQDyvjiYCnoMF8b_5BaNj19yj9ceDOANMeDMknpb1jpx19hNo7ZZxAj6IrOTZ9Gtl/s640/03-coburn_vortograph.jpg" style="cursor: move;" width="491px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">Alvin Langdon Coburn 'Vortograph' 1917</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">At his best Coburn experimented with unusual viewpoints and created some of <a href="http://gallery.ca/cybermuse/enthusiast/acquisitions/2005-2006/Coburn_text_e.jsp">the first abstract photographs</a> with his <a href="http://arttattler.com/archivevorticists.html">'Vortographs'</a>. They were created by using three mirrors to create a kaleidoscopic images.</div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZAgQ2lYTsM5U60mAn7uyfHjts5rLVwue9jpgTrlPf8kDZfkzkSDNtn4DO4tEKGll9nwG3prPwUoBVrK6RMsC9Z1VmCOUJEDAQDVXkvxZucZWhnfqAM9O8kxx8ZhD5pmXtLrfmxBSzRas/s1600/meatyard81.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" hda="true" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZAgQ2lYTsM5U60mAn7uyfHjts5rLVwue9jpgTrlPf8kDZfkzkSDNtn4DO4tEKGll9nwG3prPwUoBVrK6RMsC9Z1VmCOUJEDAQDVXkvxZucZWhnfqAM9O8kxx8ZhD5pmXtLrfmxBSzRas/s400/meatyard81.jpg" style="cursor: move;" width="365px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">Ralph Eugene Meatyard</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">Steinert's experimental spirit can be found in the work of <a href="http://www.americansuburbx.com/2009/02/theory-ralph-eugene-meatyard-1925-1972.html">Ralph E. Meatyard</a>. In this untitled photography from 1961 Meatyard captures a boy flapping his arms so they disappear - an ordinary scene turns into a dreamlike image. Other photographers from this period who experiment with their images were <a href="http://henryholmessmith.com/">Henry Holmes Smith</a> and <a href="http://www.geh.org/ne/str085/htmlsrc9/callahan_sld00001.html">Harry Callahan.</a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="http://farm2.static.flickr.com/1201/867855940_6c038d1e0b_o.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="363px" src="http://farm2.static.flickr.com/1201/867855940_6c038d1e0b_o.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">Meatyard creates eerie and creepy images by including motion in his images. In '<a href="http://www.utata.org/salon/20486.php">Two Children'1962</a> he has created an image that seems to disappear like a painting by <a href="http://www.guardian.co.uk/greatinterviews/bacon/0,,2154560,00.html">Francis Bacon</a> where we recognise forms as figures as quickly as they revert to being an abstract blur.</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="http://www.artquotes.net/masters/bacon/bacon_twofigures1953.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640px" src="http://www.artquotes.net/masters/bacon/bacon_twofigures1953.jpg" style="cursor: move;" width="475px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">In 'Two Figures' 1953 we see a blurred image of figures on a bed. Bacon's painting slips from abstraction to figuration with our imagination filling in the gaps - often creating a disturbing effect. <a href="http://www.youtube.com/watch?v=QhaqwlZxJZI">Bacon</a> grew up on a farm and claims he had no access to images - no books, television or internet. This led to a fascination with the <a href="http://www.asminor.info/pantherprousa/bacon/bacon_influences.html">printed reproduced image</a> and he often worked from secondary sources and photographs. 'Two figures' is based on a image by <a href="http://thedelightsofseeing.blogspot.com/search/label/Shutter%20speed%20-%20FAST">Eadweard Muybridge</a> that he has then reinterpreted. </div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="http://www.artbelow.org.uk/images/glryimg_311.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="470px" src="http://www.artbelow.org.uk/images/glryimg_311.jpg" style="cursor: move;" width="640px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">These image are by the contemporary photographer <a href="http://www.davidbirkin.co.uk/">David Birkin</a> from his 'Confessions' series. The subject is asked to confess a secret they have never previously revealed. They are then left alone in a room facing a camera. When they feel ready, they open the shutter and when they are finished they close it. Each exposure is determined by the length of the confession. The confession remains a mystery to the viewer but every gesture, squirm and nervous tick is captured on the photograph.</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="http://images.artnet.com/artwork_images_424619947_484019_david-birkin.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="471px" src="http://images.artnet.com/artwork_images_424619947_484019_david-birkin.jpg" style="cursor: move;" width="640px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;"></div><div style="text-align: center;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><a href="http://clicks.robertgenn.com/images/artists/sally_brucker/040309_francis-bacon-artwork.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://clicks.robertgenn.com/images/artists/sally_brucker/040309_francis-bacon-artwork.jpg" style="cursor: move;" /></a></div></div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="clear: both; text-align: left;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><a href="http://www.telegraph.co.uk/culture/photography/7803373/David-Birkin-Compound-Ghosts.html">Birkin's</a> images have a Bacon-esque quality - especially when viewed next to bacons portraits of lone figures framed by his trade mark claustrophobic box.</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="http://www.youtube.com/watch?v=IhYfCWd5XQ0"><img border="0" height="470px" src="http://bombsite.com/images/attachments/0003/8449/Ann_Buchanan_body.jpg" style="cursor: move;" width="640px" /></a></div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">Birkin's 'Confessions' series is reminiscent of Andy Warhol's <a href="http://bombsite.com/articles/3326">'Screen Tests'</a>. Warhol would invite people to The Factory and sit them in front of a single light. He would then film them with a 16 mm film camera for the length of the reel (about three minutes). When he played these films back (often projected in a gallery) he set it to a slower speed - this way every gesture would be magnified. Initially the subject would try to retain the mask they showed the world but eventually little glimpses of the real person would appear. As with several of the references here this is not a slow shutter speed but the screen tests do document the passing of time. A still image is not time based - you can go back to it again and again (often over a lifetime). A film is <a href="http://www.tate.org.uk/conservation/time/about.htm">Time Based</a> and it has a beginning, a middle and an end - you read it differently. Still images can burn their way into your mind - even parts of films or your life are remembered like still images when they are recalled.</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgApKZBIwmKBUg49oF6CPvuSnZsQUxceyKzPXp_vBT4-67uHD33ospooreG1tIC_ZbSmwq9WXwAqp3E1zcT4M8I5ICPLm6BIjwBZXD3jqvnkxPcKqFAoJ6361DNNnescIkfD5CUHEWuPLA/s1600/1320333190-koyaanisqatsi2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgApKZBIwmKBUg49oF6CPvuSnZsQUxceyKzPXp_vBT4-67uHD33ospooreG1tIC_ZbSmwq9WXwAqp3E1zcT4M8I5ICPLm6BIjwBZXD3jqvnkxPcKqFAoJ6361DNNnescIkfD5CUHEWuPLA/s400/1320333190-koyaanisqatsi2.jpg" style="cursor: move;" width="400" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">Still from '<a href="http://www.thelmagazine.com/TheMeasure/archives/2011/11/03/ny-philharmonic-totally-rocked-philip-glass-koyaanisqatsi-last-night">Koyaanisgatsi</a>' Dir. Godfrey Reggio 1982 (watch scene <a href="http://www.youtube.com/watch?v=8NwE6CBBcV0">here</a> and more of the film <a href="http://www.youtube.com/watch?v=DlFg1MgATu4&feature=related">here</a>)</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="http://www.toimg.net/managed/images/bounded/10148123/w482/h317/image.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="427px" src="http://www.toimg.net/managed/images/bounded/10148123/w482/h317/image.jpg" style="cursor: move;" width="640px" /></a></div><div style="text-align: center;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">Christian Marclay's '<a href="http://www.whitecube.com/exhibitions/cm/">The Clock</a>' video installation</div></div><div style="text-align: center;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div></div><div style="text-align: left;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">Christian Marclay has made a fully functioning 24 hour clock - out of clips from films - <a href="http://www.youtube.com/watch?v=Y8svkK7d7sY">'The Clock'</a>. He has spent years looking for <a href="http://www.frieze.com/blog/entry/christian-marclay-the-clock-live/">scenes from films</a> where watches and clocks have been used or referred to. The film is synchronised perfectly with the real world - if you watch it at 10.36am it is 10.36am on the screen. <a href="http://www.youtube.com/watch?v=4yqM3dAqTzs">Marclay</a> has also made a symphony out of film clips called <a href="http://www.youtube.com/watch?v=9VmXoeZir7A">'Video Quartet'.</a> </div></div></div></div><br />
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"></div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;"><div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="http://t1.gstatic.com/images?q=tbn:x6fd5OW7jFtyoM:http://img232.imageshack.us/img232/3332/still1im9.png&t=1" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="218px" src="http://t1.gstatic.com/images?q=tbn:x6fd5OW7jFtyoM:http://img232.imageshack.us/img232/3332/still1im9.png&t=1" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">Sam Taylor Wood - '<a href="http://www.youtube.com/watch?v=SIl9rO9sURE&feature=related">A Little Death</a>' 2002</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="http://t2.gstatic.com/images?q=tbn:b5ded2b0EL1GqM:http://www.artadox.com/wp-content/uploads/2009/05/jan-lievens-still-life-with-books.jpg&t=1" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="278px" src="http://t2.gstatic.com/images?q=tbn:b5ded2b0EL1GqM:http://www.artadox.com/wp-content/uploads/2009/05/jan-lievens-still-life-with-books.jpg&t=1" style="cursor: move;" width="400px" /></a></div><div style="text-align: center;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">Jan Lievens (Dutch, 1607–1674), 'Still Life with Books', ca. 1627–1628.</div></div></div></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="http://www.kunstportal-bw.de/bilder/2/8681.SamTaylorWood2StillLife2001small.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300px" src="http://www.kunstportal-bw.de/bilder/2/8681.SamTaylorWood2StillLife2001small.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">Sam Taylor Wood '<a href="http://www.youtube.com/watch?v=MIzXWGcb3u0">Still Life</a>' 2001</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">Sam Taylor Wood is an artist, photographer and film maker. Her 2001 Film/animation ‘Still Life’ has the visual look of a 17th Century Dutch still life. Sequences of still photographs are taken over a period of time to show the fruit slowly decaying. This is shown as a piece of video art in a gallery space - it is almost displayed like a painting on the wall. It is similar to time lapse photography used to capture the <a href="http://www.youtube.com/watch?v=ieCmPxWBCOM">growth of a plant</a> - who move at a completely different pace to ourselves.</div></div><br />
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</div>jfkturnerhttp://www.blogger.com/profile/04292497470976112213noreply@blogger.comtag:blogger.com,1999:blog-5743411721886035143.post-91592949247865348752012-02-17T08:08:00.000-08:002012-02-17T08:08:04.058-08:00Combinations and Alliances - Photographs as three dimensional objects<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy3MHH6R-c2ih-pFY2Ck94dZcng6e2cTvHpHQ1dRvnUEHU6ZzJ47yWmdulo7jwJhk4hyphenhyphen4M2c8jgJA_VdVoN_MzjCEyEmERMEzlAr7TqSem9o0_jVGM58yjcXJJ5DBIMePu3M_X7YPuHh4/s1600/mother-torn-orig.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy3MHH6R-c2ih-pFY2Ck94dZcng6e2cTvHpHQ1dRvnUEHU6ZzJ47yWmdulo7jwJhk4hyphenhyphen4M2c8jgJA_VdVoN_MzjCEyEmERMEzlAr7TqSem9o0_jVGM58yjcXJJ5DBIMePu3M_X7YPuHh4/s320/mother-torn-orig.jpg" style="cursor: move;" width="215px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
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</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">What is a photograph? On one level it is a window to another world - you look at it and you are looking at a loved one, a beautiful beach or a sports car. It is a flat picture that takes you somewhere else.</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">We all have images of people we love and we might keep them in a draw, on the wall or in our wallets. Over the years the photographs may get torn, folded, scratched and stuck back together. </div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">Photographs are not just flat images (illusions of things in the real world) - they are three dimensional objects in there own right.</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
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</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="http://www.digitalscanningservices.com/7203.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="233px" src="http://www.digitalscanningservices.com/7203.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">A Daguerreotype in a decorative case 19th Century</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">Early photographs (see the Daguerreotype above) were often placed in decorative cases and sometimes included a <a href="http://www.flickr.com/photos/americanantiquarian/with/3566786791/">lock of hair</a>. This turned the photograph into an actual object.</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">Traditional photographs are printed on flat pieces of paper. A piece of paper can be folded into many shapes and stuck to other pieces to create three dimensional forms. There is no real reason a photograph has to be square - it could take any shape. </div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">Photographers and artists have taken advantage of this to create work that is somewhere between photography, art and sculpture.</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUZvqqa30BAOD_PfIseUg1wvDeizw_zXullUz6aYITPLcIDI6ckACKfmZIHfvpcBRHcnVhus8vx5SELbkAOSlW2X3OJCKP-sV5BbgJS80VPRrNrZjpdWk2qi2egGiYTmJOmWjsEmp-GEM/s1600/roinski_photo_sculpture03.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="298px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUZvqqa30BAOD_PfIseUg1wvDeizw_zXullUz6aYITPLcIDI6ckACKfmZIHfvpcBRHcnVhus8vx5SELbkAOSlW2X3OJCKP-sV5BbgJS80VPRrNrZjpdWk2qi2egGiYTmJOmWjsEmp-GEM/s400/roinski_photo_sculpture03.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-zZ-p8cq56fUyfBiLI3eVNH6XauPbqtK0hS4RJ_S0YWRyQIpIEZYQP11oz-1ZlMVVtA6YmKXr-NIZvYHM5W008wFhqgwNtUY1Qb-CA5Qp_YiBaS-dlIN2r0qVJK2QI6TIl6aMN5bYmXc/s1600/roinski_photo_sculpture01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-zZ-p8cq56fUyfBiLI3eVNH6XauPbqtK0hS4RJ_S0YWRyQIpIEZYQP11oz-1ZlMVVtA6YmKXr-NIZvYHM5W008wFhqgwNtUY1Qb-CA5Qp_YiBaS-dlIN2r0qVJK2QI6TIl6aMN5bYmXc/s400/roinski_photo_sculpture01.jpg" style="cursor: move;" width="302px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8GteJ6IkshazHkzD1YiU3JlTsVeHd-RlJ2Of1OsNFLahVAo3-wyT53tsBBG1JQHmUj8Yhyphenhyphen_zp9dSz7is5kGZ7LjevG7vDYn9kEEes3Ggb2OF-SAkwS4eeCcT_oU9QGPZsy9oJXunzl9Q/s1600/01_boxes_omiao_kuczynska_szymonroginski.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="227px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8GteJ6IkshazHkzD1YiU3JlTsVeHd-RlJ2Of1OsNFLahVAo3-wyT53tsBBG1JQHmUj8Yhyphenhyphen_zp9dSz7is5kGZ7LjevG7vDYn9kEEes3Ggb2OF-SAkwS4eeCcT_oU9QGPZsy9oJXunzl9Q/s320/01_boxes_omiao_kuczynska_szymonroginski.jpg" style="cursor: move;" width="320px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-KUs1SglemWL-eKuFVIQyZXnc5QUtcMPQUKacQ-9RdiG19nGv7N_P0imJYYfJ3nJspqjismh4vGwq_GJYWgadh3bPE7GQXKFwO0_shm9qH2bEMH2gFasOwPOlY8IXTvernKFVKfOZID4/s1600/roinski_photo_sculpture02.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="237px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-KUs1SglemWL-eKuFVIQyZXnc5QUtcMPQUKacQ-9RdiG19nGv7N_P0imJYYfJ3nJspqjismh4vGwq_GJYWgadh3bPE7GQXKFwO0_shm9qH2bEMH2gFasOwPOlY8IXTvernKFVKfOZID4/s320/roinski_photo_sculpture02.jpg" style="cursor: move;" width="320px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">Szymon Roginski</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">These works are by <a href="http://www.szymonroginski.com/Site/o_mia_o.html">Szymon Roginski</a> who said these works were inspired by <a href="http://thedelightsofseeing.blogspot.com/search/label/Cubism">Cubism</a>. The cubist painters wanted to show the world from multiple view points and here Roginski has tried to achieve this through photography. Roginski produced these works for the fashion designer Ania Kuczynska and began with a series of photo-shoots. The images were then printed, constructed into geometric shapes and assembled back together to create the original image. The photo-sculpture was then re-photographed to create the final piece.</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-u8dhp8TkmL6-Awz5gh9KzyBUG7VOenm8G5vQUqqTd89Frh8UMSyMVugLMZn_DMGsH2WzCknmRHE5yONqfEuJSdb_zBBO6A8WKzSJq-Ki5Tmjxel2mOATByvaE-oY0f07g2U5YSDjhd4/s1600/gabo1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-u8dhp8TkmL6-Awz5gh9KzyBUG7VOenm8G5vQUqqTd89Frh8UMSyMVugLMZn_DMGsH2WzCknmRHE5yONqfEuJSdb_zBBO6A8WKzSJq-Ki5Tmjxel2mOATByvaE-oY0f07g2U5YSDjhd4/s400/gabo1.jpg" style="cursor: move;" width="322px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="http://www.midcenturia.com/2011/06/naum-gabo-sculpture.html">Naum Gabo 'Head of a Woman' 1917</a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTvuyXHaSZHdKbCEOL4-dlLc1nYk06QIBaRYWiEUJRKTWuSCjcemKZt8AlslIFCXqqBGrwboppuNjEZWGnmgqIYD8moOR1FTi_KUTd-h9BgZz6K0BdMzmH8RAgK8D8rhE-kAR0vpYruKI/s1600/Naum-Gabo-Head-No-2-Zwart.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTvuyXHaSZHdKbCEOL4-dlLc1nYk06QIBaRYWiEUJRKTWuSCjcemKZt8AlslIFCXqqBGrwboppuNjEZWGnmgqIYD8moOR1FTi_KUTd-h9BgZz6K0BdMzmH8RAgK8D8rhE-kAR0vpYruKI/s400/Naum-Gabo-Head-No-2-Zwart.jpg" style="cursor: move;" width="287px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">Naum Gabo 'Head No.2' 1916</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6d8YoH0WyBgTaOFUIDy512NbyutoIJKfrVLFGdCz8if9Bzyh-uF-EA1eK598MO8xctasVfUIEc4EPeXA3uDNJo-lsWKi4Q2hGb4NIZKnJB3Q5WtIZkHCjNyRtf65RCf2at_P4oeAYsWg/s1600/Naum-Gabo-Head-No-2-Small.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="145px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6d8YoH0WyBgTaOFUIDy512NbyutoIJKfrVLFGdCz8if9Bzyh-uF-EA1eK598MO8xctasVfUIEc4EPeXA3uDNJo-lsWKi4Q2hGb4NIZKnJB3Q5WtIZkHCjNyRtf65RCf2at_P4oeAYsWg/s400/Naum-Gabo-Head-No-2-Small.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;"><a href="http://www.tate.org.uk/stives/exhibitions/naum-gabo/default.shtm">Naum Gabo</a>'s sculptures were not constructed from photographs, however, his approached to sculpture has a direct relevance to any artist who constructs sculptures from flat materials. Traditionally sculpture is carved from stone or wood, cast in bronze or molded from clay. <a href="http://www.naum-gabo.com/">Gabo</a> pioneer the use of unusual manmade materials - glass, metal, plastics - and then <i>constructed</i> his pieces from smaller elements. From his constructivist work in Russia to his later work in st Ives (<a href="http://www.youtube.com/watch?v=TQUB-N5fYtg">see The Art of Cornwall here</a>) Gabo was key figure from twentieth century art.</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;"></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div style="text-align: center;"><div style="text-align: left;"><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpvr7qUsSAvMUNCgsWcUvNyefTsc6bQxg2v0bgZM9rGYPkNzMEjiWviFvBT9kSllV4aGOC8VAQ4bHyhiHZTkaWTBSsYVWPuFhyAK5mcViXb5hcLlA_5KGspsd-V3O34Bi_m76aP-Q4WAg/s1600/schwitters-merzbau.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpvr7qUsSAvMUNCgsWcUvNyefTsc6bQxg2v0bgZM9rGYPkNzMEjiWviFvBT9kSllV4aGOC8VAQ4bHyhiHZTkaWTBSsYVWPuFhyAK5mcViXb5hcLlA_5KGspsd-V3O34Bi_m76aP-Q4WAg/s320/schwitters-merzbau.jpg" style="cursor: move;" width="240px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBF5f9yWqiPDgcIrelJaYZgN_UycEigz4tlBmUFtu-TCN-tHNPL6LXUBF98hPWW7L_iRpOpCjkFZiWsddDjt-2IPEpc9cEM-TXgMTiPl0mtADaYQAWt9JKbwU-3SDQ2Cf-rd5o27FdgzY/s320/454px-Merzbau.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBF5f9yWqiPDgcIrelJaYZgN_UycEigz4tlBmUFtu-TCN-tHNPL6LXUBF98hPWW7L_iRpOpCjkFZiWsddDjt-2IPEpc9cEM-TXgMTiPl0mtADaYQAWt9JKbwU-3SDQ2Cf-rd5o27FdgzY/s400/454px-Merzbau.jpg" style="cursor: move;" width="300px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">Kurt Schwitter was an early twentieth century artist who was a pioneer of <a href="http://thedelightsofseeing.blogspot.com/search/label/Collage">collage</a>. These photographs above were taken of <a href="http://www.tate.org.uk/research/tateresearch/tatepapers/07autumn/orchard.htm">'Merzblau'</a> Schwitters. From 1923 Scwitters began work on what he regarded to be his life's work. In his home he began to place collages on the walls, eventually adding and expanding them all over his home. He gradually connected them with string, wire, wood and plaster. His home eventually became a <a href="http://www.merzbau.org/Schwitters.html">'Merzblau' (a Merz Building)</a> - both his home and a giant three dimensional sculpture/installation. The flat angles from his collages became sculptural forms, wall became distorted planes like <a href="http://randomcrusader.wordpress.com/2009/05/04/the-birth-of-the-horror-film-german-expressionism-and-the-cabinet-of-doctor-caligari/">a german expressionist stage set</a>. As with many key German artists Schwitters fled to escape the Nazis' in 1937. Never one to be put off by the tyranny of fascism Schwitters <a href="http://www.merzbarn.net/merzbarn/merzbauten/">built more Merzblau</a> in Norway (1937 -1940) and Cumbria, England (Merz Barn 1947). </div></div></div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;"></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY8qRCQr9Nglr81Z8x6UlCK2irTC9UuXTYpgDdFp5I1FGzEiGO-LhXpfZnu7G1hoZsYjQFVUpiQ_vp0uql0WeNOydvZ6Qwyt6qWYzWN2-pMYwNPn23CgDa7wQGFdBRujV0qu171Lt-BAU/s400/thomas_demand_mgkbs_05.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="335px" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY8qRCQr9Nglr81Z8x6UlCK2irTC9UuXTYpgDdFp5I1FGzEiGO-LhXpfZnu7G1hoZsYjQFVUpiQ_vp0uql0WeNOydvZ6Qwyt6qWYzWN2-pMYwNPn23CgDa7wQGFdBRujV0qu171Lt-BAU/s400/thomas_demand_mgkbs_05.jpg" style="cursor: move;" width="400px" /></a></div><div style="text-align: center;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><a href="http://www.google.co.uk/imgres?imgurl=http://www.foto8.com/new/images/report/guy_main/fried_demand.jpg&imgrefurl=http://www.foto8.com/new/online/blog/834-michael-fried-on-why-photography-matters&usg=__WG9lg0G6SkwMprYhMl2_VnU53ac=&h=450&w=470&sz=150&hl=en&start=32&zoom=1&um=1&itbs=1&tbnid=3xNtDpVq18DxtM:&tbnh=124&tbnw=129&prev=/images%3Fq%3Dthomas%2Bdemand%26start%3D20%26um%3D1%26hl%3Den%26sa%3DN%26rls%3Dcom.microsoft:en-US%26rlz%3D1I7SKPB_en%26ndsp%3D20%26tbs%3Disch:1">Thomas Demand</a></div></div></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="http://www.foto8.com/new/images/report/guy_main/fried_demand.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="382px" ox="true" src="http://www.foto8.com/new/images/report/guy_main/fried_demand.jpg" style="cursor: move;" width="400px" /></a></div><div style="text-align: center;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><a href="http://www.thomasdemand.de/">Thomas Demand</a></div></div><div style="text-align: left;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">At first <a href="http://www.guardian.co.uk/culture/2006/jun/08/1">Thomas Demands</a> images seem dull and everyday - a messy office, a kitchen table or a sink full of pots. All of his images are constructed and based on images he fines in text books, magazines and periodicals (usually buildings and interiors). Using these images as his basis he constructs meticulous models of the chosen scenarios in his studio. Look again at his photographs and you can just about tell that the material he has used is paper and card - like elaborate origami. He then carefully lights the models and photographs them using a large format camera. There always seems to be something 'wrong' with Demand's images and it is this tension between the real and the fake which exists in all photographs.</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">Demand approaches the relationship between photography and sculpture from a different angle. He photographs the sculptures he makes - but his final work is the photograph.</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj62NPWxIXQ1TtfZBXjYU4lNbVLMXjy71wuJgMeNnjgPEIpl73-FFFFhtSXe51p8CSzbPb7GPmDQiy4g_OFK3qDxHeK9p8DLiayELmyCcYU-yBStj4dOdCVPd2cSUQnb_vr7wWmhMaUf_0m/s1600/osang15.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj62NPWxIXQ1TtfZBXjYU4lNbVLMXjy71wuJgMeNnjgPEIpl73-FFFFhtSXe51p8CSzbPb7GPmDQiy4g_OFK3qDxHeK9p8DLiayELmyCcYU-yBStj4dOdCVPd2cSUQnb_vr7wWmhMaUf_0m/s400/osang15.jpg" style="cursor: move;" width="390px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJ28JaEmcMNRGzIVvH5VFduPwigevmU6fcWtYIwr8onlHz3rgE-ERv-JBImm_HE0xgZ6n2joYUrD-VfGtSAalFIk5AtI8LKB4C066OIsTvwuqS6G9MhfMUisVr9DBEkDGecEcGfgq3J6r1/s1600/osang05.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJ28JaEmcMNRGzIVvH5VFduPwigevmU6fcWtYIwr8onlHz3rgE-ERv-JBImm_HE0xgZ6n2joYUrD-VfGtSAalFIk5AtI8LKB4C066OIsTvwuqS6G9MhfMUisVr9DBEkDGecEcGfgq3J6r1/s400/osang05.jpg" style="cursor: move;" width="306px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">Korean <a href="http://osang.net/">Gwon Osang</a> uses hundred of photographs to create his <a href="http://thedelightsofseeing.blogspot.com/search/label/Joiners%20and%20The%20Multiple%20Viewpoint">three dimensional joiner </a>sculptures. Like Demand and Roginski he blurs the line between the flat photographic image and sculpture.</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQa15O73Pv6aT7gUFOjugdw7hq_32hwSv6DtPdjGpYGp9oQpGXcKWzhpLNrOpFWWjSVtSCyCXk-NBhvC4sD4mr7Mb-lPIdo0RcrAUmlHnbl42-HJZyv7E-FsvgwWgnYlg4dSbyB_2Wovk/s1600/Marilene_Oliver.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQa15O73Pv6aT7gUFOjugdw7hq_32hwSv6DtPdjGpYGp9oQpGXcKWzhpLNrOpFWWjSVtSCyCXk-NBhvC4sD4mr7Mb-lPIdo0RcrAUmlHnbl42-HJZyv7E-FsvgwWgnYlg4dSbyB_2Wovk/s320/Marilene_Oliver.jpg" style="cursor: move;" width="252px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">Marilene Oliver</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMWaN4leqbzQs-6r8SM1-AEjY-mw63OGwSwSqzUlkdlCK3pXoCBUZrBioPa3PQEXQcX_QFdTK-oLVM0H_5dzQGtFKmznB2XRpoRYKYPVpNoPGfAKzOaQHhzAvJhUPRPfpoAw3M48cwMno/s1600/writings_published_papers_clip_image002.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMWaN4leqbzQs-6r8SM1-AEjY-mw63OGwSwSqzUlkdlCK3pXoCBUZrBioPa3PQEXQcX_QFdTK-oLVM0H_5dzQGtFKmznB2XRpoRYKYPVpNoPGfAKzOaQHhzAvJhUPRPfpoAw3M48cwMno/s1600/writings_published_papers_clip_image002.jpg" style="cursor: move;" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="http://news.bbc.co.uk/1/hi/health/8308217.stm">Marilene Oliver</a> 'Family Portrait' 2003</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">Marilene Oliver creates ghostly images by using an unusual technique -</div></div><div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">'Family Portrait is a series of sculptures of each of my family members – my father, my mother, my sister and myself. Each sculpture is a stack of 90 sheets of clear acrylic onto which an MRI scan has been silk screen printed. The scans when printed and stacked in correct order give the illusion of a ghostly figure, which appears and disappears depending on your view point.'</div></div><div><div style="text-align: right;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">- <a href="http://www.marileneoliver.com/writings/writpubpapers.html">Marilene Oliver</a></div></div><div style="text-align: right;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div></div><div style="text-align: right;"><div style="text-align: left;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">These images are three dimensional photographs shown as sculpture and when seen in gallery space they appear and re-appear as you move around them.</div></div></div><div style="text-align: left;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhchmE3V0Aj08RtOGRNhPX5KtmXPRc1ojfCR15EzMVtagpkHmbkNZ90T-pCcQAEhqUbmsutnSBXSl4Q5LranZym6hEUiUVxgVVN3Bb_nRjpBLDV_iHBuYlFf_rJrhTyEqMEDqX-RcsVV0g/s1600/AngelaPalmerDoubleSelfPortr.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="230px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhchmE3V0Aj08RtOGRNhPX5KtmXPRc1ojfCR15EzMVtagpkHmbkNZ90T-pCcQAEhqUbmsutnSBXSl4Q5LranZym6hEUiUVxgVVN3Bb_nRjpBLDV_iHBuYlFf_rJrhTyEqMEDqX-RcsVV0g/s320/AngelaPalmerDoubleSelfPortr.jpg" style="cursor: move;" width="320px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAFLVEw3XEzndybUlQT0sOeZJnhLPT3-q2A-lhmG0gwb0cFRIWEQ-d22zY6zzhlxLUMgryVkPzuSWCTudX12tbMjFPN8n1DYDrJ4J2GqSNKvrwun6NWZdBt4abUwodJb-s4ozHD3TuUnA/s1600/AngelaPalmerSagittal.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAFLVEw3XEzndybUlQT0sOeZJnhLPT3-q2A-lhmG0gwb0cFRIWEQ-d22zY6zzhlxLUMgryVkPzuSWCTudX12tbMjFPN8n1DYDrJ4J2GqSNKvrwun6NWZdBt4abUwodJb-s4ozHD3TuUnA/s320/AngelaPalmerSagittal.jpg" style="cursor: move;" width="296px" /></a></div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div></div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><a href="http://www.angelaspalmer.com/gallery/">Angela Palmer'</a>s work is similar to Marilene Oliver's in that it creates a three dimensional image from built up layers. <a href="http://www.artknowledgenews.com/Angela_Palmer.html">Palmer</a>'s images are connected to <a href="http://citrinitas.com/history_of_viscom/images/masters/vesalius.html">anatomical drawings</a> and are reminiscent of <a href="http://www.leonardo-da-vinci-biography.com/leonardo-da-vinci-anatomy.html">Leonardo Da Vinci's</a> sketches. </div></div></div></div></div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcawu0Y2mcphyphenhyphenKpa0dMdEiqiRATUQbOnda2Xw0s6PTPSzyioSo3cdQPZKg6TNV4GuHTEMH-yLD9o_ddI2aMFw43EF1uBcgjGF7mjIS2n4C0qUdnSiqtLC1dWTW2MibYlth6zS1sxHeJPQ/s1600/Picture+3.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="319px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcawu0Y2mcphyphenhyphenKpa0dMdEiqiRATUQbOnda2Xw0s6PTPSzyioSo3cdQPZKg6TNV4GuHTEMH-yLD9o_ddI2aMFw43EF1uBcgjGF7mjIS2n4C0qUdnSiqtLC1dWTW2MibYlth6zS1sxHeJPQ/s320/Picture+3.png" style="cursor: move;" width="320px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">This three dimensional greeting card creates a similar effect in a simpler way.</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"></div><div style="text-align: left;"><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiux2kgStJl8hYEh6A8p62g3n9MR6A_Sc3GhlZ4OhAqeHnc44LD09bhFHz8tygUw21sHdC2Q_6W9RdBKB_I_6MaG_hyphenhyphenoGyRaE8LAVXzXJGlHYewcamv4Ch9nu_BPJQ5U7F40cpICP-90zY/s1600/unreachable-by-thomas-allen.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" h5="true" height="332px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiux2kgStJl8hYEh6A8p62g3n9MR6A_Sc3GhlZ4OhAqeHnc44LD09bhFHz8tygUw21sHdC2Q_6W9RdBKB_I_6MaG_hyphenhyphenoGyRaE8LAVXzXJGlHYewcamv4Ch9nu_BPJQ5U7F40cpICP-90zY/s400/unreachable-by-thomas-allen.jpg" style="cursor: move;" width="400px" /></a></div></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgep4JfAE6mRi5BUygcm3XpvFAcYAnOgrad2yWH5zZEGwF7uzHsBH15Wdfz-opIuPN5I3VlXuqwhxa9_QXvexwDD6Js7hp0MRATKEdy4zhTQiB2wxyqBU7y_8aZihgD5N96GuugyAMPFOo/s1600/bookart_1+thomas+allen.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" h5="true" height="248px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgep4JfAE6mRi5BUygcm3XpvFAcYAnOgrad2yWH5zZEGwF7uzHsBH15Wdfz-opIuPN5I3VlXuqwhxa9_QXvexwDD6Js7hp0MRATKEdy4zhTQiB2wxyqBU7y_8aZihgD5N96GuugyAMPFOo/s400/bookart_1+thomas+allen.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="http://www.thomasbarry.com/allen_bio.html">Thomas Allen</a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;"><a href="http://thomasallenonline.com/">Thomas Allen</a> has taken an old pulp fiction book and cut into the front cover - creating a three dimensional image. These mini sculptures are then rephotographed from a particular angle for added drama. In this above image one man punches another who then falls backwards. It has all the drama of a pulp novel or film noir. Allen has used a minimum depth of field to blur out the punching man and draw our eyes to the falling man. Are these works book art, sculpture or photography?</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6XMxkvCSq3RbB9NB72ltJ9yqY_9rXYiXQJ3sAso6HLE6mSHBKw5y7YgQO__Ez_OIS-GjoFfi1x6pD9U7C8prWsikHODFBHrwpxHx7tYHytBoOsvoihyphenhyphenhcsyznKOjZnvfSp0PjHB9uVhg/s1600/tom+allen+cowboy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" h5="true" height="302px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6XMxkvCSq3RbB9NB72ltJ9yqY_9rXYiXQJ3sAso6HLE6mSHBKw5y7YgQO__Ez_OIS-GjoFfi1x6pD9U7C8prWsikHODFBHrwpxHx7tYHytBoOsvoihyphenhyphenhcsyznKOjZnvfSp0PjHB9uVhg/s400/tom+allen+cowboy.jpg" style="cursor: move;" width="400px" /></a></div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><a href="http://www.johncoulthart.com/feuilleton/2007/02/16/thomas-allens-paperback-art/">'Thomas Allen</a>, in essence, is a still life artist who through a very creative process disrupts the stillness. By carefully selecting from primarily vintage paperback novels and science journals, he brings two-dimensional images forward into three dimensional space. With simple lightning and the use of simple tools (i.e., scissors and razor-sharp knives), figures are cut out, bent and juxtapose in ways that present the tension and dynamics of staged drama. Other techniques are applied in achieving a pure sense of humor that also defy the original use of these materials and their ultimate destiny of being read once and retiring for eternity on the nearest bookshelf.'</div></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding-bottom: 6px; padding-left: 6px; padding-right: 6px; padding-top: 6px; text-align: center;"><tbody>
<tr><td style="text-align: center;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0bj7GO2g63DeANHYO52RzLCmMqaTrfDC1zZmHiujn2vpZfEfniIS0F9sWZQCU6kTOBca2UefkxjsuXC6iyXxFqlREzLp_gMpDnmPMOmamKPX4W-4DaSqjbEP64fWonOttv0LlXuGrbFs/s1600/ThankstoJosdeMay.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="197px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0bj7GO2g63DeANHYO52RzLCmMqaTrfDC1zZmHiujn2vpZfEfniIS0F9sWZQCU6kTOBca2UefkxjsuXC6iyXxFqlREzLp_gMpDnmPMOmamKPX4W-4DaSqjbEP64fWonOttv0LlXuGrbFs/s400/ThankstoJosdeMay.jpg" style="cursor: move;" width="400px" /></a></div></td></tr>
<tr><td class="tr-caption" style="font-size: 13px; padding-top: 4px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span class="Apple-style-span" style="font-size: small;"><a href="http://www.patrickhughes.co.uk/">Patrick Highes</a></span></div></td></tr>
</tbody></table><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx-Kq_f1hBa_UrCI7at-Q9wh62CRV13AATyWqYcohBPHtv1jDF1sBXxbH-Nn-Zd3WIE2-zfGl-jDutyHKmm5QMa9uj0QO7mpva4FwtdE4bJIgo6b0Xui23muD93h_gSG7O9FrBnwNN_Zys/s1600/boltanski.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx-Kq_f1hBa_UrCI7at-Q9wh62CRV13AATyWqYcohBPHtv1jDF1sBXxbH-Nn-Zd3WIE2-zfGl-jDutyHKmm5QMa9uj0QO7mpva4FwtdE4bJIgo6b0Xui23muD93h_gSG7O9FrBnwNN_Zys/s400/boltanski.jpg" style="cursor: move;" width="310px" /></a></div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><a href="http://www.tate.org.uk/magazine/issue2/boltanski.htm">Christian Boltanski</a>, 'Réliquaire' 1990</div></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="http://gammm.org/wp-content/uploads/2007/02/boltanskitw0.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="267px" ox="true" src="http://gammm.org/wp-content/uploads/2007/02/boltanskitw0.jpg" style="cursor: move;" width="400px" /></a></div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><a href="http://www.guardian.co.uk/artanddesign/2010/jan/13/christain-boltanski-grand-palais-paris">Christian Boltanski</a> 'A reserva dos suiços mortos' 1991</div></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyNQNGQ70o4jaVqRUbeeOL2AfVPjSpWwLOkWD8WzP8U8uU8MbpyWZJZT6ixqGd0EQzfsDeB7quQ8HRz4c4EUvwgANQDnxV8fhVHkhj4gkXZ52SzJT4KBi_0WB1wwmerFe5nvzeh61ltgIx/s1600/blake.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="322px" n4="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyNQNGQ70o4jaVqRUbeeOL2AfVPjSpWwLOkWD8WzP8U8uU8MbpyWZJZT6ixqGd0EQzfsDeB7quQ8HRz4c4EUvwgANQDnxV8fhVHkhj4gkXZ52SzJT4KBi_0WB1wwmerFe5nvzeh61ltgIx/s400/blake.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><span class="work_title"><a href="http://www.tate.org.uk/servlet/ArtistWorks?cgroupid=999999961&artistid=763&page=1">Peter Blake</a> - The Toy Shop</span> 1962</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;"><a href="http://www.timeout.com/london/art/article/1543/sir-peter-blakes-curiosity-shop">Blake</a> was interested in a wide range of cultural forms, from high art to pop music and children’s toys. Like many young ‘Pop’ artists of the time he was fascinated by American popular culture, such as denim jeans and the music of Elvis, which arrived in Britain in the late 1950s.</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">Alongside this, Blake retained a strong interest in English popular culture. His work suggests a sense of nostalgia for the paraphernalia of his childhood. Blake collected old toys and related imagery; this piece developed as both a work of art and a store for his collection of objects.</div></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhYzfu26almn72p0Ac9ZHPMRwR7a0AWOf0bJCN8LlhgOeKm5hrl-e77vnNrYdvC8ruRKccBwf6ylGT9hkoTPrVVyUy9L8x4WEC2aSy1mt5KroSXh4Pg4XcaOzVqdkyzb9Li0e8bEARidU/s1600/su+blackwell+book_1452430c.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="250px" nba="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhYzfu26almn72p0Ac9ZHPMRwR7a0AWOf0bJCN8LlhgOeKm5hrl-e77vnNrYdvC8ruRKccBwf6ylGT9hkoTPrVVyUy9L8x4WEC2aSy1mt5KroSXh4Pg4XcaOzVqdkyzb9Li0e8bEARidU/s400/su+blackwell+book_1452430c.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="http://www.sublackwell.co.uk/portfolio-book-cut-sculpture/">Su Blackwell</a></div>jfkturnerhttp://www.blogger.com/profile/04292497470976112213noreply@blogger.comtag:blogger.com,1999:blog-5743411721886035143.post-44735977873415054422012-02-17T08:05:00.000-08:002012-02-17T08:09:15.173-08:00Combinations and Alliances - Complex images by Combining shots<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">Photography faces the same problems as any other other two dimensional art form in that it is a two dimensional medium trying to create the illusion of three dimensions (<a href="http://examthemes.blogspot.com/2012/02/combinations-and-alliances-photographs.html">could photography become three dimensional?</a>). Like artists, photographers have experimented with various ways of solving the dilemma. Analytical Cubism addressed the problem of representing visual reality from multiple viewpoints. David Hockney's joiners have almost become a cliche in their production of complex images by combining many single shots taken from a variety of positions - exhausting this avenue of approach. However, are there other, more innovative ways, of exploring this problem? -</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCnwwjgyKUhOK2KfUkQsmW57K8uxbeUD4ficVRhyFUZfElIvEu-z6nGrRhcXm1JoLVi7lX8VpfloZfzYphadw-smNz9Rc5FFnVBfMKuBmFHb3l2CUHH-X0spU4URVRbjBplm1axYz16piJ/s1600/hockney+painting.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="277px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCnwwjgyKUhOK2KfUkQsmW57K8uxbeUD4ficVRhyFUZfElIvEu-z6nGrRhcXm1JoLVi7lX8VpfloZfzYphadw-smNz9Rc5FFnVBfMKuBmFHb3l2CUHH-X0spU4URVRbjBplm1axYz16piJ/s400/hockney+painting.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="http://www.tate.org.uk/servlet/ViewWork?cgroupid=999999961&workid=6534">David Hockney 'Mr & Mrs Clark and Percy' 1970-72</a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">How do you see the world? Look around you - do you see the scene in front of you as a whole scene, a neat little square with every thing visible at once - just like a photograph or painting? Or do you see a variety of elements and fragments? For example if you look at a person in a room do your eyes see the whole or do your eyes flicker between different parts of the scene - from......</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8ky18vWwYUb-cUgna6xaN520iUxpWi_GJiF_5DhKb-e7y6JOL8M7FoIAsynp478bF7BlP4CH2tX1IHFpWNVpb9DCiJkigMb_WgaAWUddX2mySncuqMz9EzbBcNtVyNwcLwpOsP2xaYBjl/s1600/hockney-polaroid-2-copy-4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8ky18vWwYUb-cUgna6xaN520iUxpWi_GJiF_5DhKb-e7y6JOL8M7FoIAsynp478bF7BlP4CH2tX1IHFpWNVpb9DCiJkigMb_WgaAWUddX2mySncuqMz9EzbBcNtVyNwcLwpOsP2xaYBjl/s200/hockney-polaroid-2-copy-4.jpg" style="cursor: move;" width="200px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">a fraction of the persons face...</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-7FuFzQMp2tNN86cULFiEk6hKmpgUKKfipKimFTIUwqqG3NPoqZz2F-sxYhF2ZKM_50F_zbEgjFanngBaFDvNWw-_QCSKiSjmb7J8QQGIhyphenhyphen0bo14fkdlr8NmkSXnMa585IXvQ0JViYoQd/s1600/hockney-polaroid-2-copy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-7FuFzQMp2tNN86cULFiEk6hKmpgUKKfipKimFTIUwqqG3NPoqZz2F-sxYhF2ZKM_50F_zbEgjFanngBaFDvNWw-_QCSKiSjmb7J8QQGIhyphenhyphen0bo14fkdlr8NmkSXnMa585IXvQ0JViYoQd/s200/hockney-polaroid-2-copy.jpg" style="cursor: move;" width="200px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">..to their hand resting...</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyIvJMdjH5KFA2yRrWwgjOKg_eEyB2XwgDblMnQedltvM0XfsyxWlhGNQsu7EGy89FjVHV4-09uwtUZeZ9ROfMqogSHnojJJNhb-RaaqBCeOlB8eEJQTibiabS_zEI5XKz3_SSpe-PmIL7/s1600/hockney-polaroid-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyIvJMdjH5KFA2yRrWwgjOKg_eEyB2XwgDblMnQedltvM0XfsyxWlhGNQsu7EGy89FjVHV4-09uwtUZeZ9ROfMqogSHnojJJNhb-RaaqBCeOlB8eEJQTibiabS_zEI5XKz3_SSpe-PmIL7/s200/hockney-polaroid-2.jpg" style="cursor: move;" width="200px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">...to a part of the ceiling.</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">Then does your brain piece all these elements together to create the whole scene...</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwdMVUOQq0g9ZQ9OSCEKOdKMWsPizu79Mhl8LyYZwpN-W5jefyWCjB0grXdm3c3oSsMtTJ462BohqjSQjc89BY867maz5sxhZWjwwv_EMjfuaFkwc7mmf-G7SDfNa_BAI5lvG_ykkvBq5-/s1600/hockney+polaroid+2.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwdMVUOQq0g9ZQ9OSCEKOdKMWsPizu79Mhl8LyYZwpN-W5jefyWCjB0grXdm3c3oSsMtTJ462BohqjSQjc89BY867maz5sxhZWjwwv_EMjfuaFkwc7mmf-G7SDfNa_BAI5lvG_ykkvBq5-/s640/hockney+polaroid+2.png" style="cursor: move;" width="411px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">This is probably a closer description of how we see the world - from multiple viewpoints that are then pieced together by our mind. In this joiner by <a href="http://www.bbc.co.uk/dna/h2g2/A449921">David Hockney</a> he has tried to create this effect out of 24 Polaroid prints. He did this because he was interested in how we see and depict space and time. His is interested in how we turn a 3 dimensional world into a 2 dimensional image, how perspective is used in western art and <a href="http://www.youtube.com/watch?v=4Fj6QovjdCM">how space is treated differently in non-western art</a>. He did not particularly make joiners because he liked the novel effect of using photographs in this way. However, he did like the way this technique allowed the viewer to read space. He sometimes laid the images out in a neat grid.</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQStnf9e4VELhN4RhYqjbNHWNLSUDBg-rF6ebUc_Pz_ekHYlqsINYAJaljqCPpoORxbmxdSYy3S3cQ7sr3W62uPeKBeYaf47lEZ7xUAzAF3KieiALtVbGgO8vkJe_iJuy111uUU8KFVxRd/s1600/hockney+polaroid.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="164px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQStnf9e4VELhN4RhYqjbNHWNLSUDBg-rF6ebUc_Pz_ekHYlqsINYAJaljqCPpoORxbmxdSYy3S3cQ7sr3W62uPeKBeYaf47lEZ7xUAzAF3KieiALtVbGgO8vkJe_iJuy111uUU8KFVxRd/s320/hockney+polaroid.png" style="cursor: move;" width="320px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguFBjZPu8Lj6pOdNv5VJq2g0UjEVRIXYx4h0-Z0rLMaj6hrZ-_kfwPDid00lw344WoCNjnCacw3oqpoE6iIzmR05y_mrFq_eo92nvZ4Qp826VEBLHj2SkhndU6cUcw6vIZdkgSVhgmtQMZ/s1600/kasmin-by-david-hockney.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguFBjZPu8Lj6pOdNv5VJq2g0UjEVRIXYx4h0-Z0rLMaj6hrZ-_kfwPDid00lw344WoCNjnCacw3oqpoE6iIzmR05y_mrFq_eo92nvZ4Qp826VEBLHj2SkhndU6cUcw6vIZdkgSVhgmtQMZ/s400/kasmin-by-david-hockney.jpg" style="cursor: move;" width="290px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">and sometimes <a href="http://www.hockneypictures.com/works_photos.php">Hockney</a> would overlap the images to create a whole scene out of smaller fragments.</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAbPHPGlgnGfancF8LBJUmZZInTmKwPXsZiVI40YaWS00iPV3Vr0DfHlTNRfA4hkdm4V30zrgYslg48jx1dA0AlhRYR40bMbjpvQ-QRLcYZXt4-CPtQ_I33Vdlputryr8W4GXVoYzcN5yX/s1600/hockney-pearblossom-highway.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="433px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAbPHPGlgnGfancF8LBJUmZZInTmKwPXsZiVI40YaWS00iPV3Vr0DfHlTNRfA4hkdm4V30zrgYslg48jx1dA0AlhRYR40bMbjpvQ-QRLcYZXt4-CPtQ_I33Vdlputryr8W4GXVoYzcN5yX/s640/hockney-pearblossom-highway.jpg" style="cursor: move;" width="640px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">David Hockney '<a href="http://www.getty.edu/art/gettyguide/artObjectDetails?artobj=112574">Pearblossom Highway, 11th to 18th April 1986 No.2'</a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">This is one of Hockney's most famous Joiners of an American Highway. This image is made out of thousands of photographs and is almost 2 meters high by 3 meters wide. When seen in real life your eyes can explore it from corner to corner.</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkPr1HcwMRaqj8I3qTsi7k1WGEEuYoI_a6Sw5teGxakvYSCUVmTMtrPfQU53FWrRuMLfTwuiKOyLIxfuLuqlN938xlJJl_mZUQLzFszsZJfDr60WYgnAN7wPINEeVHAdT0qXuCjBqgI_re/s1600/hockney-trash.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="216px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkPr1HcwMRaqj8I3qTsi7k1WGEEuYoI_a6Sw5teGxakvYSCUVmTMtrPfQU53FWrRuMLfTwuiKOyLIxfuLuqlN938xlJJl_mZUQLzFszsZJfDr60WYgnAN7wPINEeVHAdT0qXuCjBqgI_re/s400/hockney-trash.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">From the rubbish on the floor...</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2rA2979qcbx19xdZeHpFhuEuukVkyn2BvGJ6KOiwGVxEZ4TesOgPJs1TnWKrHEvUkpOjprpcSu28cMNYMYR3dJ-olkfbsrYf-3d1JyBavA6zmnreZq-tmJNN6cFaMJbO07BDIV9QuyQha/s1600/hockney-distance.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="181px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2rA2979qcbx19xdZeHpFhuEuukVkyn2BvGJ6KOiwGVxEZ4TesOgPJs1TnWKrHEvUkpOjprpcSu28cMNYMYR3dJ-olkfbsrYf-3d1JyBavA6zmnreZq-tmJNN6cFaMJbO07BDIV9QuyQha/s200/hockney-distance.jpg" style="cursor: move;" width="200px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">.. to the horizon.</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">Hockney would have had to bend down to photograph the floor, climb up ladders to photograph the street signs and walk down the highway to photograph the horizon. All this took him 8 days so he did not only warped space and distance but also showed the passing of time in one image. The image also showed the scene from multiple viewpoints - just like way we see the world.</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKOUQc0K8556T8iv1qmPVZi2aI6sWoO-vYA2lKcI0dBKq_h7Z-4GrknzRp2jf0b4uLb5TSYlBg3MX6pSarYONz3Jc1MdORrkv0axJYMmSQ9onb22-oQS6Fi5CqM1kHHzF6_9tAi9_oU7mu/s1600/hockney-furstenberg-paris.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="412px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKOUQc0K8556T8iv1qmPVZi2aI6sWoO-vYA2lKcI0dBKq_h7Z-4GrknzRp2jf0b4uLb5TSYlBg3MX6pSarYONz3Jc1MdORrkv0axJYMmSQ9onb22-oQS6Fi5CqM1kHHzF6_9tAi9_oU7mu/s640/hockney-furstenberg-paris.jpg" style="cursor: move;" width="640px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgepVIslgIjHvV3-7pMeuFQO-W87-ehG-95T0QmJe91xa5eDAYAqBSOTqNKJnAlNifAjMHYxSdE7gKTZsIL9_taEU5IHUvAHaoPAXD9sBI0H5lQPRuxQcbzFaTd300LZPtj-6f9qzMYjhG0/s1600/david+hockney+desk.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="395px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgepVIslgIjHvV3-7pMeuFQO-W87-ehG-95T0QmJe91xa5eDAYAqBSOTqNKJnAlNifAjMHYxSdE7gKTZsIL9_taEU5IHUvAHaoPAXD9sBI0H5lQPRuxQcbzFaTd300LZPtj-6f9qzMYjhG0/s640/david+hockney+desk.jpg" style="cursor: move;" width="640px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEyT-oE3XqBDqVsEpyrHG5-1TgjeEKVFrSgYRKeaxsMQdQF2g4gi1-NYT2dTaVKcuqrYkqcgS136NBBMG1jOEji3icoFAyP-UvQMc7FlsQih75hjs1QnjcrwEIFe4TlDaapNkxywcbCRXQ/s1600/hockney.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="586px" r6="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEyT-oE3XqBDqVsEpyrHG5-1TgjeEKVFrSgYRKeaxsMQdQF2g4gi1-NYT2dTaVKcuqrYkqcgS136NBBMG1jOEji3icoFAyP-UvQMc7FlsQih75hjs1QnjcrwEIFe4TlDaapNkxywcbCRXQ/s640/hockney.jpg" style="cursor: move;" width="640px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">David Hockney <a href="http://www.natures-pencil.co.uk/heroes/hockney.htm">'The Desk, July 1st 1984'</a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">Hockney's first love and main medium is drawing and painting, not photography. He is fascinated in <i>how</i> we make images and in the history of image making. To understand how Hockney, a painter, is as famous for his joiners we need to look at his influences.</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">Certain joiners hold clues to his thinking. In this joiner by Hockney he has photographed the desk from multiple viewpoints warping time and space. On the desk is a book and the book is open on a page that shows this picture by Pablo Picasso -</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="http://facweb.cs.depaul.edu/sgrais/images/Collage/Picasso%20-%20picasso.guitar-ceret-1913.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" px="true" src="http://facweb.cs.depaul.edu/sgrais/images/Collage/Picasso%20-%20picasso.guitar-ceret-1913.jpg" style="cursor: move;" width="297px" /></a></div><div align="center"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">Pablo Picasso 'Guitar' 1913</div></div></div><div style="text-align: left;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">The image is by <a href="http://www.picasso.com/">Pablo Picasso</a> and it is a picture of a guitar. He has abstracted the image as if it has been seen from multiple viewpoints and so the guitar itself seems fractured. Segments of the 'Guitar' are cut from a variety of materials - a piece of old wall paper, a scrap of cardboard and a circle cut out of newspaper. <span style="background-color: white;">This is an example of Picasso's and <a href="http://www.visual-arts-cork.com/famous-artists/braque-georges.htm">George Braque</a>'s <a href="http://www.google.co.uk/imgres?imgurl=http://facweb.cs.depaul.edu/sgrais/images/Collage/Picasso%2520-%2520picasso.guitar-ceret-1913.jpg&imgrefurl=http://facweb.cs.depaul.edu/sgrais/collage.htm&usg=__b3jFQVhFMsfhM5_8x2b1q-zQ_Yg=&h=1070&w=796&sz=150&hl=en&start=2&zoom=1&um=1&itbs=1&tbnid=DGUR67sG6s9NRM:&tbnh=150&tbnw=112&prev=/images%3Fq%3Dcollage%2Bpicasso%2Bguitar%2B1913%26um%3D1%26hl%3Den%26rls%3Dcom.microsoft:en-US%26rlz%3D1I7SKPB_en%26tbs%3Disch:1">Synthetic Cubism</a> and shows a break away from traditional mediums in western art. How did Picasso get to this stage?</span></div></div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span style="background-color: white;"><br />
</span></div></div></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiS8hVJRGdhUr8o1pWQmTD4geXUxhnSKiDprDDIVPGOtZLAlA57h8HuyICXtvAji1G_6g4penjCTmht9DvfxhHt2dIQYKk4LZ9sJPGwjYND2d5KOKyWMygHLo6mSSl6XZkrtzpHTW_Xz_51/s1600/39499-opp95-04.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiS8hVJRGdhUr8o1pWQmTD4geXUxhnSKiDprDDIVPGOtZLAlA57h8HuyICXtvAji1G_6g4penjCTmht9DvfxhHt2dIQYKk4LZ9sJPGwjYND2d5KOKyWMygHLo6mSSl6XZkrtzpHTW_Xz_51/s400/39499-opp95-04.jpg" style="cursor: move;" width="280px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">Picasso 'First Communion' 1895/96</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">When we think of <a href="http://art.docuwat.ch/videos/power-of-art/power-of-art-picasso">Picasso</a> we think of abstract faces and forms. People who do not like art use Picasso as an example of why Modern art has lost its way. They might say "It looks like a child has done it" or "I could do better with my eyes closed" - and they would be half right. Picasso spent a lifetime questioning art and western aesthetics traditions. When he was fourteen he painted this image above of his sisters first communion. He could have and spent the rest of his life painting the world as he saw it and continuing the traditions he had learnt - becoming an esteemed member of the Academy. However, <a href="http://firstflight.open.ac.uk/history/index.html">airplanes</a> were in the air, the first cars were on the street and a new century was on the horizon. Like any self respecting fourteen year old he wanted to make a difference, to rebel, to question and be remembered. So he helped to reinvent and revolutionise art - that is why we remember him.</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span class="Apple-style-span" style="font-size: large;">'The critics say I draw like a child. When I was a child I drew like Raphael. It took me my whole life to draw like a child.' </span></div></div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span class="Apple-style-span" style="font-size: large;">Pablo Picasso</span></div></div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div></div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">To understand why Picasso went from a realistic painting style to a style people could describe as abstract you have to look at his influences.</div></div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBUglW6sv0O4Bdq8iqsGO55evFRU00H5G_aK-H4bLvU_bvdXbh8v_HKP5WQFI2mIa6l0wdn8zey1cxzY9fvT0xd9hpDj4HUsbTByWq_3vrljtQcEhH-fTE1UscUUwvB3Q4JDQygCwRutPz/s1600/cezanne.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="332px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBUglW6sv0O4Bdq8iqsGO55evFRU00H5G_aK-H4bLvU_bvdXbh8v_HKP5WQFI2mIa6l0wdn8zey1cxzY9fvT0xd9hpDj4HUsbTByWq_3vrljtQcEhH-fTE1UscUUwvB3Q4JDQygCwRutPz/s400/cezanne.jpg" style="cursor: move;" width="400px" /></a></div><div style="text-align: center;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">Paul Cezanne <a href="http://www.telegraph.co.uk/culture/art/art-reviews/8086198/Paul-Cezanne-The-Card-Players-Courtauld-Gallery-review.html">'The Card Players'</a> 1890-1892</div></div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div></div><div style="text-align: left;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">In 1907 there was a retrospective exhibition of work by <a href="http://www.telegraph.co.uk/technology/google/8268378/Paul-Cezannes-172nd-birthday-celebrated-by-Google-Doodle.html">Paul Cezanne</a>. Picasso and George Braque both saw and were both influenced by <a href="http://www.guardian.co.uk/artanddesign/jonathanjonesblog/2011/jan/19/paul-cezanne-172-google-doodle">Cezanne</a>. Cezanne was a Post-Impressionist who was fascinated how the three dimensional world could be describes by paint as a two dimensional image.</div></div></div></div><div style="text-align: center;"><div style="text-align: left;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div></div></div></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgVYw5iN4LKT2HfUVp5wikBlyNDDTSVonEz3KiX3-x5IBBb4UI7bVM7t-QDlpG9qkl_y6zqfzSB2oQta5fIV5B66_w40VLAjKrnpzs5sEtp5pkeQ6MHGjPK59xNf3UEitnredTfWZQVMd-/s1600/Cezanne_Still-Life_with_Plaster_Cupid_1895.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgVYw5iN4LKT2HfUVp5wikBlyNDDTSVonEz3KiX3-x5IBBb4UI7bVM7t-QDlpG9qkl_y6zqfzSB2oQta5fIV5B66_w40VLAjKrnpzs5sEtp5pkeQ6MHGjPK59xNf3UEitnredTfWZQVMd-/s400/Cezanne_Still-Life_with_Plaster_Cupid_1895.jpg" style="cursor: move;" width="311px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="http://www.youtube.com/watch?v=wNNAfLXR1gw&feature=related">Paul Cezanne </a>'Still life with plaster cupid' 1895</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">At first glance Cezanne's<a href="http://www.metmuseum.org/toah/hd/pcez/hd_pcez.htm">Cezanne abandoned traditional perspective</a> and the table appears to buckle, as if viewed from shifting angles.</div><div style="text-align: center;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div></div></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz_haXifGfZc9HojAjUqa_aJTeOVFfur-C9mXt_pz2N3G7c3iHpXezr0LEIuKwEW6A6MNZ2sXCw191M11A9pckTL9QnjagssXUa9a3djYL7sTCvKuGmXzPRvshmxHHtQhtDSjuHP3cWh0W/s1600/mask3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz_haXifGfZc9HojAjUqa_aJTeOVFfur-C9mXt_pz2N3G7c3iHpXezr0LEIuKwEW6A6MNZ2sXCw191M11A9pckTL9QnjagssXUa9a3djYL7sTCvKuGmXzPRvshmxHHtQhtDSjuHP3cWh0W/s320/mask3.jpg" style="cursor: move;" width="251px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">Braque and Picasso were influenced by Cezanne's distortion of western perspective. They were also becoming increasingly aware of other alternatives to Western tradition - the art of Africa challenged Western art's ideas of naturalism and beauty.</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilNdFWTbQMbYSAT6vVr29La8VqdARtOHID08Z6OTsy49EvPewcWWOkD2uVYIIIwcAqbrnLNsD5asTfhWPq9htj0-cr_q5YKlOjd2jrvgd-x_haA5pGZUdRrfVM9YuxNgnvxhJme5G1p3st/s1600/Les_Demoiselles_d%2527Avignon.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilNdFWTbQMbYSAT6vVr29La8VqdARtOHID08Z6OTsy49EvPewcWWOkD2uVYIIIwcAqbrnLNsD5asTfhWPq9htj0-cr_q5YKlOjd2jrvgd-x_haA5pGZUdRrfVM9YuxNgnvxhJme5G1p3st/s400/Les_Demoiselles_d%2527Avignon.jpg" style="cursor: move;" width="382px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">Pablo Picasso 'Les Demoiselles d'Avignon' 1907</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">You can see elements of African art in what is considered to be the first Cubist painting - Picasso's 1907's <a href="http://www.guardian.co.uk/culture/2007/jan/09/2">'Les Demoiselles d'Avignon'</a>. Its collapse of perspective and combination of geometric shapes and 'primitive' styles (influenced by Iberian sculpture and African art) were a reinvention of the possibilities of art. Broken, jagged, intersecting lines dominate the picture, making the eye leap from one jutting form to the next. The fusion of figures and background was inspired by <a href="http://www.nationalgallery.org.uk/paintings/paul-cezanne-bathers-les-grandes-baigneuses">Cezanne's 'Bathers'</a> (1894-1905) painting. Picasso looked to the past but influenced the future.</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW7RlFSpgTzPzUy7Bomzvmido2-R1dpmwZBIPITxocB3_F96cZfItZcMIOhF0E-ztahRpRyJlLGXTTnIswUN0lBa9ISk2tGcy4VCSD9xAgAqzMo8Qu1GZD48mKCyObvqc852j2mfQyj6oe/s1600/braque.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW7RlFSpgTzPzUy7Bomzvmido2-R1dpmwZBIPITxocB3_F96cZfItZcMIOhF0E-ztahRpRyJlLGXTTnIswUN0lBa9ISk2tGcy4VCSD9xAgAqzMo8Qu1GZD48mKCyObvqc852j2mfQyj6oe/s400/braque.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="http://www.metmuseum.org/toah/works-of-art/1999.363.11">George Braque</a> 'Pair of Banderillas' 1911</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">Picasso collaborated with George Braque to create Analytical cubism. At this time Braque and Picasso's work was very similar - they worked from the subject but using different viewpoints, overlapping planes, a similar earthy colour palette and creating a shallow pictorial space. Although <a href="http://www.guardian.co.uk/artanddesign/2004/may/22/art">cubism seems abstract it is based on life</a> and tries to capture the truth - in many ways it could be the most realistic way to paint an image.</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj38WT17qsXG_fzq7wnKJ3RMDUpf7FNZrc0IBcw4w4Yh2zyFuz3Cmss-SnvnGI9FU0gUbUf5p1B7-ewwgo8eiQ0R2FbVw0PnhLJ1TeTE7UDyW2oxFMS96iewFY5Cat-RJTwm_34F-G6g0jQ/s1600/Picasso_Vollard.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj38WT17qsXG_fzq7wnKJ3RMDUpf7FNZrc0IBcw4w4Yh2zyFuz3Cmss-SnvnGI9FU0gUbUf5p1B7-ewwgo8eiQ0R2FbVw0PnhLJ1TeTE7UDyW2oxFMS96iewFY5Cat-RJTwm_34F-G6g0jQ/s640/Picasso_Vollard.jpg" style="cursor: move;" width="433px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">Picasso <a href="http://www.guardian.co.uk/culture/2002/nov/30/art">'Portrait of Ambroise Vollard' 1910</a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">This is Picasso's portrait of the art dealer Ambroise Vollard who championed and was painted by Cezanne (<a href="http://arthistory.about.com/od/from_exhibitions/ig/spring07/sp2007exh_01.htm">in 1899</a>). Picasso would claim that this is a more truthful portrait than a traditional approach. The image is fractured and made up of geometric planes - like a piece of broken glass. Vollards bald head explodes and is elongated, his downcast eyes seem closed and his features are merely suggested. The whole image has a similar hue - flesh tones, browns, greens and blues. <a href="http://www.picasso.com/">Picasso would move on from cubism</a> (though a stylised version of it can be seen in his later works) - but ultimately Cubism is his key contribution to art.</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhVvChUXz62d2DkVm0pJNH-vgyCAoDX7Hdsp4Yj3Meh7JdtgZiYsb2z666GOEbytXb5e5sRGgQ2UB3thiNZpAKTZrbR8W-Foq1lpAdpq3RYPFdtwfn4Xju4pX5XORZt0oyEDh7IDD9D_BO/s1600/hockney_mother.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhVvChUXz62d2DkVm0pJNH-vgyCAoDX7Hdsp4Yj3Meh7JdtgZiYsb2z666GOEbytXb5e5sRGgQ2UB3thiNZpAKTZrbR8W-Foq1lpAdpq3RYPFdtwfn4Xju4pX5XORZt0oyEDh7IDD9D_BO/s320/hockney_mother.jpg" style="cursor: move;" width="257px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">David Hockney 'Mother I, Yorkshire Moors, August 1985 No.1' 1985</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">Which brings us back to Hockney. The link between Cezanne's, Picasso's and Braque's fractured multiple viewpoints and Hockney's use of joiners can be seen clearly in this joiner of his mother. Like the portrait of Vollard we can see his mothers face from the front, the left hand side and the right hand side. This is not an abstract approach - this is how we might see Hockney's mothers face if she was in front of us.</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><span class="Apple-style-span" style="font-size: large;">Cezanne influenced Picasso -</span></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><span class="Apple-style-span" style="font-size: large;">Picasso influenced Hockney's Joiners -</span></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><span class="Apple-style-span" style="font-size: large;">and Hockney's Joiners influenced many contemporary artist.</span></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><span class="Apple-style-span" style="font-size: large;"><br />
</span></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfIvRkYnxII7YioQklDKtiWINZL4fd25QHoajw6LAqZ4nx5BGpWxu8HCkj6TjFaOFtl98hHZozOoC_XaC38WPh45iWpialTDDP4wHCtz-3W28QsxUGi28TyEpKj8w5mm7VmyvnLqfrywQ/s1600/selmasongs_dancer_in_the_dark_CD_large.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfIvRkYnxII7YioQklDKtiWINZL4fd25QHoajw6LAqZ4nx5BGpWxu8HCkj6TjFaOFtl98hHZozOoC_XaC38WPh45iWpialTDDP4wHCtz-3W28QsxUGi28TyEpKj8w5mm7VmyvnLqfrywQ/s320/selmasongs_dancer_in_the_dark_CD_large.jpg" style="cursor: move;" width="320px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">Soundtrack Album artwork for the film 'Dancer in the Dark' (2000) dir. Lars von Trier</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyr5l1jFT0ZWtp24_2nj0brZXPOZiJuPErOHeXmNU9QelSkijlI13ivIsqG2kxveHhXkKGZepml7bxBYiFGC36Mr62a_adMQ7lgF0NDutql1aLfirmbTxh73PreikeAwf8Hrsu_dDxqgTm/s1600/source-code-poster-movie-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyr5l1jFT0ZWtp24_2nj0brZXPOZiJuPErOHeXmNU9QelSkijlI13ivIsqG2kxveHhXkKGZepml7bxBYiFGC36Mr62a_adMQ7lgF0NDutql1aLfirmbTxh73PreikeAwf8Hrsu_dDxqgTm/s400/source-code-poster-movie-1.jpg" style="cursor: move;" width="276px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">'Source Code' movie poster</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">The fractured nature of cubism changed art but it is also seen today in common commercial images. In the bottom poster for the film 'Source Code' the figure is broken up into small fractured shards as if he is disintegrating. The films plot involves a fractured storyline where the main character lives through same 8 minutes of time. The main characters confusion and the broken timeline is reflected in this kinetic image.</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWk4zUssm8K4_4C1Nuty7AO3TuRP8bsI-A2pS-tsIGI5YhyzmtT_3QxLCgav0lidZz_lIk1-3DGXswIUx9f-1oba7HIEkTAz0AgC3SaxfhXuzIHFzC4bAbfbJ9DJ66geJIb56UJoBvCAjz/s1600/02-6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWk4zUssm8K4_4C1Nuty7AO3TuRP8bsI-A2pS-tsIGI5YhyzmtT_3QxLCgav0lidZz_lIk1-3DGXswIUx9f-1oba7HIEkTAz0AgC3SaxfhXuzIHFzC4bAbfbJ9DJ66geJIb56UJoBvCAjz/s320/02-6.jpg" style="cursor: move;" width="279px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">Marianne Faithful's version of a portrait by Rankin (from <a href="http://examthemes.blogspot.com/2011/02/people.html">'Destroy Rankin'</a>)</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">In a collaborative project called '<a href="http://www.youthmusic.org.uk/rankin/home">Destroy Rankin' </a>musicians have 'Destroyed or reinterpreted portraits of themselves taken by Rankin. Rankin takes the original photograph but the final image is, ultimately, a self portrait. This image by Marianna Faithful has the same fractured feel as Picasso and Hockney.</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpk6WArrxvcrAr-zlRxyjINcd1s3eFeMJvwkItVpIwvz9YiDz4kejm_-1DMDoQLtBiFRWaxsh9OLIW2Gmv37mb6N-nbhcuDnj5V8dRwGnMGg75ZYyAE7j9yaeCepmVraaTmIW3z5peL9E/s1600/gordan+magnin.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" nda="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpk6WArrxvcrAr-zlRxyjINcd1s3eFeMJvwkItVpIwvz9YiDz4kejm_-1DMDoQLtBiFRWaxsh9OLIW2Gmv37mb6N-nbhcuDnj5V8dRwGnMGg75ZYyAE7j9yaeCepmVraaTmIW3z5peL9E/s400/gordan+magnin.jpg" style="cursor: move;" width="308px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="http://gordonmagnin.com/">Gordon Magnin</a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9DfOYWVHkoGr5ZVjKtD-Q0z3o15Ksw5KzFMGDthZh-SBCeh_alNmSF48xWEQ6yc7ykcdisN3YF36kddnFFxnkRz-GqhVD4xrKBd-8ainldCDJZz6Kf6BKIx4lfahjq1UN45T7wZ8M3_4/s1600/eva+eun+sil+han.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" nda="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9DfOYWVHkoGr5ZVjKtD-Q0z3o15Ksw5KzFMGDthZh-SBCeh_alNmSF48xWEQ6yc7ykcdisN3YF36kddnFFxnkRz-GqhVD4xrKBd-8ainldCDJZz6Kf6BKIx4lfahjq1UN45T7wZ8M3_4/s400/eva+eun+sil+han.jpg" style="cursor: move;" width="291px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="http://evahan.weebly.com/deg11.html">Eva Eun-sil Han</a> - Untitled 2010</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">These contemporary photo montages explore breaking images up into other geometric shapes. Picasso's Analytical Cubist paintings used geometric shapes and not squares to break up the subject. Hockney uses the qualities and characteristics of whatever medium he is using (paint, photocopier, <a href="http://www.telegraph.co.uk/culture/art/art-features/8066839/David-Hockneys-iPad-art.html">Ipad</a>) - and this is why his joiners stick to the square format of the photograph.</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjmA-8sVoQNh_DQf9ZSQvnQnr9Pxdrktomz4Yr95FhIU0p57_5dpwfBLAdaL9QLOmS4MOIsCl6eOT7RSiBlFXzqlKhL4NkZYUFo5Tvzy5Obt3-_bAJhEMenzE-elfvPYUdqu5ixsWYD-xJ/s1600/primal+scream+vanishing+point.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjmA-8sVoQNh_DQf9ZSQvnQnr9Pxdrktomz4Yr95FhIU0p57_5dpwfBLAdaL9QLOmS4MOIsCl6eOT7RSiBlFXzqlKhL4NkZYUFo5Tvzy5Obt3-_bAJhEMenzE-elfvPYUdqu5ixsWYD-xJ/s400/primal+scream+vanishing+point.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">This album cover design for Primal Screams 'Vanishing Point' has a cubist feel mixed with the feel of a Joiner. Colour film has been dissected and stuck back together and the effects created by overlaid negatives and clear tape becomes part of the aesthetic look.</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKqTABiF59tPb2gMjvkHQ8mJX_bgUw1q0m5Pk6l4WtHLVeyDxK28FqD_2ToPYH6ZkSKrrLGH5kAR48o-vU9Z9ITIKFeqITnPkVOrH43UWjI1PJP0-OLylSUvn1NdzBUt8gv9uuucVUiyDo/s1600/daniel_crooks1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKqTABiF59tPb2gMjvkHQ8mJX_bgUw1q0m5Pk6l4WtHLVeyDxK28FqD_2ToPYH6ZkSKrrLGH5kAR48o-vU9Z9ITIKFeqITnPkVOrH43UWjI1PJP0-OLylSUvn1NdzBUt8gv9uuucVUiyDo/s400/daniel_crooks1.jpg" style="cursor: move;" width="368px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">Daniel Crooks</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span class="Apple-style-span" style="font-size: large;"></span></div></div><div class="separator" style="clear: both; font-size: medium; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2GYhjj224MYR0Z0ewNtXCrhrmDQFa-aJbVF1Nj-1R7rFhVVTLl56RaKSwoZshRWgL2WuAgm0mZ0N4mhUK1aFxpKn8Aeau4nz-pr5vl9w6JfGtY7_EZGlB5uZrBVkdKMHkrShlZ2c-S3yu/s1600/crooks.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="318px" r6="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2GYhjj224MYR0Z0ewNtXCrhrmDQFa-aJbVF1Nj-1R7rFhVVTLl56RaKSwoZshRWgL2WuAgm0mZ0N4mhUK1aFxpKn8Aeau4nz-pr5vl9w6JfGtY7_EZGlB5uZrBVkdKMHkrShlZ2c-S3yu/s400/crooks.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; font-size: medium; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="http://danielcrooks.com/">Daniel Crooks</a> - 'Portrait #1 (Self), Portrait #2 (Chris), Portrait #3 (Chris)' 2007</div><div class="separator" style="clear: both; font-size: medium; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEYebPklvr2m4hAa-6sw_3-HsMf79JSnnIQIiMq9DO_u7UK5Q7QaOL5BpYnMcdlVECcxvP2Nwk_tA-kE_acLqRdeiZiww6q5yGpCxFfEIyDr0OHsqTecQetbRjEq3CcZQK64JxOZ8CBzR2/s1600/Picture+5.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="237px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEYebPklvr2m4hAa-6sw_3-HsMf79JSnnIQIiMq9DO_u7UK5Q7QaOL5BpYnMcdlVECcxvP2Nwk_tA-kE_acLqRdeiZiww6q5yGpCxFfEIyDr0OHsqTecQetbRjEq3CcZQK64JxOZ8CBzR2/s400/Picture+5.png" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">Daniel Crooks 'Pan No.8' 2010 (HD video)</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0-5i8wUcpGaF2M0WmueDoGufg0kEPWb_mVlTKKGg6geqA4nYj32R5_UwQe-zd3MvhM8lgBbOFLE6WC3KnUO4e24z1Zxd7rJBpfOUmN5mx9vfkz-ji-Z_Ef0uBFSwV3nNKAs_aKOb0r6us/s1600/daniel-crooks+warp.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="196px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0-5i8wUcpGaF2M0WmueDoGufg0kEPWb_mVlTKKGg6geqA4nYj32R5_UwQe-zd3MvhM8lgBbOFLE6WC3KnUO4e24z1Zxd7rJBpfOUmN5mx9vfkz-ji-Z_Ef0uBFSwV3nNKAs_aKOb0r6us/s640/daniel-crooks+warp.jpg" style="cursor: move;" width="640px" /></a></div><div class="separator" style="clear: both; font-size: medium; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">Daniel Crooks 'Static No.12'(seek stillness in movement) 2009-2010 (<a href="http://www.youtube.com/watch?v=nvUwud5r5Ug&feature=related">video</a>)</div><div class="separator" style="clear: both; font-size: medium; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">The contemporary artist Daniel Crooks' work takes the idea of multiple viewpoints and uses digital media to playfully explore this theme. He uses digitally video to chop up, warp or blends images - creating distorted figures that seem to have been stretched by using a <a href="http://thedelightsofseeing.blogspot.com/search/label/Shutter%20speeds%20-%20SLOW">slow shutter speed</a> or a photocopier. The images feel like they distort time and space and in this respect relate to the work of the <a href="http://www.unknown.nu/futurism/">Futurist's</a> (an early 20th Century movement that in some aspects was influenced by Cubism).</div></div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div></div><div class="separator" style="clear: both; font-size: medium; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheeXoDimiGJd8kLYovtHn1vpjRVjk_Lqs0AJ0Vde4C4dsqgQPyTDcL5yfZThqtdzaaQA1uP1VpSc6y277OuJKHKz2Y0F6ZhYiKtb6H7QhjB4wgMbp8DqwQZ3bP-VKT8ZjzndIJtmUXqDPJ/s1600/sohei+nishino+diorama_london.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="355px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheeXoDimiGJd8kLYovtHn1vpjRVjk_Lqs0AJ0Vde4C4dsqgQPyTDcL5yfZThqtdzaaQA1uP1VpSc6y277OuJKHKz2Y0F6ZhYiKtb6H7QhjB4wgMbp8DqwQZ3bP-VKT8ZjzndIJtmUXqDPJ/s640/sohei+nishino+diorama_london.jpg" style="cursor: move;" width="640px" /></a></div><div class="separator" style="clear: both; font-size: medium; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="http://www.maproomblog.com/2011/03/sohei_nishinos_diorama_maps.php">Sohei Nishino</a> - Diorama Map London 2010</div><div class="separator" style="clear: both; font-size: medium; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; font-size: medium; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">This Photographic joiner of the city of London is a patchwork of around 4,000 Black and White photographs by <a href="http://www.guardian.co.uk/artanddesign/2011/feb/24/sohei-nishino-diorama-maps">Japanese artist Sohei Nishino</a>. Nishino has mapped out ten cities including London, Paris and New York City. Nishino describes the process as "re-imagining" a landscape and it begins with a month long walk through the city. He photographs different sections of a City on Black and White film. He then hand processes the images and assembles them using scissors and glue in his Tokyo Studio. In an age where photographs are consumed on glowing computer screens and not printed out Nishino makes large, physical objects assembled from photographs printed by himself. The images are linked to ancient <a href="http://examthemes.blogspot.com/2011/03/exploration-and-discovery-maps-diagrams.html">maps</a> that abstracted land and our modern world of google earth.</div><div class="separator" style="clear: both; font-size: medium; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsBOffUS9tSFMas09Ox8A4pQumXJS3aPPqFmon9ohqNEcjRet4waeFvJYo0DtqJuY4KPiEtF_sOy5aoTVwTQ8_yyvHbJRksCUkC1ryI-K_vLZ_LEmtUAeGZuiks9bFtU5dzRORwDpl6pko/s1600/sohei+nishino+lodon-detail-01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsBOffUS9tSFMas09Ox8A4pQumXJS3aPPqFmon9ohqNEcjRet4waeFvJYo0DtqJuY4KPiEtF_sOy5aoTVwTQ8_yyvHbJRksCUkC1ryI-K_vLZ_LEmtUAeGZuiks9bFtU5dzRORwDpl6pko/s400/sohei+nishino+lodon-detail-01.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDYaGve5OR8ol__kgCYan7AgNPgNJEMTjgOO-jwiAASl3YsN-lTr372TlqYoDLPs-C-2iBa5BQvifsCgVyN1yLvZgdZ1MMqAf2tZrUbPBIwwUKvgbxH-M3WVdnYwuRcIHRL3U4zDPmBnIl/s1600/sohei+noshinodiorama_london_info_04.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDYaGve5OR8ol__kgCYan7AgNPgNJEMTjgOO-jwiAASl3YsN-lTr372TlqYoDLPs-C-2iBa5BQvifsCgVyN1yLvZgdZ1MMqAf2tZrUbPBIwwUKvgbxH-M3WVdnYwuRcIHRL3U4zDPmBnIl/s400/sohei+noshinodiorama_london_info_04.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">Sohei Nishino - Diorama Map London Detail</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">Vollard or Hockney's mother. Pigeons on roofs are also there - all the aspects of the complex modern city are there waiting to be discovered by the viewer.</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"></div><div class="separator" style="clear: both; font-size: medium; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpogwr-NSztdfxzDoCIS_g5PyKZrgJ1-cuBpW_xC7H9TRJliZKH_Jq40uf-OLevxJsTsH__xT1U2aqEvyoL1knGsEKrJXU-Qn2Ufd5D5lOy23Pz6XmRgiuyleL9NXaQXYYwve_Ej8kOsMr/s1600/sohei_nishino_ny.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpogwr-NSztdfxzDoCIS_g5PyKZrgJ1-cuBpW_xC7H9TRJliZKH_Jq40uf-OLevxJsTsH__xT1U2aqEvyoL1knGsEKrJXU-Qn2Ufd5D5lOy23Pz6XmRgiuyleL9NXaQXYYwve_Ej8kOsMr/s640/sohei_nishino_ny.jpg" style="cursor: move;" width="499px" /></a></div><div style="font-size: medium; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">Sohei Nishino - Diorama Map New York</div></div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div></div><div style="text-align: left;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">You can watch Nishino make one of his Diorama Maps <a href="http://www.telegraph.co.uk/culture/culturevideo/8283828/Sohei-Nishino-How-the-Diorama-Map-was-made.html">here</a>.</div></div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div></div></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKj3Vy4aVGWYmhHUZV3X5gOBER7LXi42W0GfHArt7xhPMnbi9X9lcWzK7jyzzPxh-fOhixHrKrzuIuya6u5eGY-LBygAUHIugSN2Np3vl3RTdUuAdMiLHDNQPVCZBLp3IQwk0vjZt3z5YL/s1600/kellner.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="420px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKj3Vy4aVGWYmhHUZV3X5gOBER7LXi42W0GfHArt7xhPMnbi9X9lcWzK7jyzzPxh-fOhixHrKrzuIuya6u5eGY-LBygAUHIugSN2Np3vl3RTdUuAdMiLHDNQPVCZBLp3IQwk0vjZt3z5YL/s640/kellner.jpg" style="cursor: move;" width="640px" /></a></div><div style="text-align: center;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><a href="http://www.ffotogallery.org/exhibition.php?ex_id=316&p=40">Thomas Kellner</a></div></div></div><div style="text-align: left;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">Thomas Kellner creates his joiners directly on the film. He photographs the subject in a specific order so when he lays the negative strips out they form a joiner. Partly by design and partly by their nature the images are chaotic and a straight forward building becomes an abstract cubist piece of architecture.</div></div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div></div></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU6YglgGeeYf7pJNzjSu3RxxS5KvUbg1Ln7CYM5TuxzRdh15_PKMD8S-Ks1HHiOwPVMWdUkp9szMZiyXOxSbmy6O9rUFg3XJCUxGnPuRcvp07i8uztcve08BcISv-53cItWbPwVlf-xDDK/s1600/frank+o+gehry+walt+disney+concert+hall.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="270px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU6YglgGeeYf7pJNzjSu3RxxS5KvUbg1Ln7CYM5TuxzRdh15_PKMD8S-Ks1HHiOwPVMWdUkp9szMZiyXOxSbmy6O9rUFg3XJCUxGnPuRcvp07i8uztcve08BcISv-53cItWbPwVlf-xDDK/s400/frank+o+gehry+walt+disney+concert+hall.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">Frank O Gehry - <a href="http://www.arcspace.com/architects/gehry/disney2/">Walt Disney Concert Hall</a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhF8Iw5Vv1jWRlIA_1qVO9yPtCy7lACEhZKkDhTw5i584SrJRJQYY5F73PX2lRoHjT5izeA1l5HDGF2YoYTB6T-jr8zBk8k_8IFOAfeSfe1c3psU7cWwfgl0pmYZjty0-kC_d0QHMBZjbjq/s1600/Picture+6.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="282px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhF8Iw5Vv1jWRlIA_1qVO9yPtCy7lACEhZKkDhTw5i584SrJRJQYY5F73PX2lRoHjT5izeA1l5HDGF2YoYTB6T-jr8zBk8k_8IFOAfeSfe1c3psU7cWwfgl0pmYZjty0-kC_d0QHMBZjbjq/s400/Picture+6.png" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">Makoto Sei Watanabe - <a href="http://www.makoto-architect.com/rft/rft1.htm">K Museum</a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEginu-6f6r0oY3W0897dSYbOrqAjjhbKUY2Kvu8jauXklial916zzEivy7N0Bzld02twjA-SUIKkX8bFw2IZXf-Sixx1AEbCKulaQL9IBPhsiOh0HpjsP0iDQLfww-x1TTGKb7IdBkUkyI4/s1600/Kellner-27-09-London-Tate-M.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="258px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEginu-6f6r0oY3W0897dSYbOrqAjjhbKUY2Kvu8jauXklial916zzEivy7N0Bzld02twjA-SUIKkX8bFw2IZXf-Sixx1AEbCKulaQL9IBPhsiOh0HpjsP0iDQLfww-x1TTGKb7IdBkUkyI4/s400/Kellner-27-09-London-Tate-M.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="http://www.tkellner.com/">Thomas Kellner </a>- Tate Modern</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">We consider photographs to tell the truth and show us the world. However, Kellner's images reinvent the original subject. He captures every part of the scene like an eye darting from one area to the next.</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div></div></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4zn2nzVztUXH5fh_vJqaDRQ60medEp5wXffwy_m6xJHferR87quLEFDmy_2fjh8ysc4-tSxc6ZJLPjig_Mg5QeoImgNlJReIL7bm0Ax0rIfr9gCXNmvcUAIF-scsfWrA6dnR94TQqtT-O/s1600/bill-vazan-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4zn2nzVztUXH5fh_vJqaDRQ60medEp5wXffwy_m6xJHferR87quLEFDmy_2fjh8ysc4-tSxc6ZJLPjig_Mg5QeoImgNlJReIL7bm0Ax0rIfr9gCXNmvcUAIF-scsfWrA6dnR94TQqtT-O/s400/bill-vazan-2.jpg" style="cursor: move;" width="393px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3wBu-c_lilXM_7uHUR-WkhtLAhmU7vYBOCR-seDDb5tcMICEGwyJ1HYAXQdJ-nBvz9w_GsZRyL3acD-vlguNmBu8y-W_66JebwFGzf4ezq4Gk7LyX6GKR9KdW0kgZCm3s42hMW5xkqemW/s1600/bill-vazan-3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3wBu-c_lilXM_7uHUR-WkhtLAhmU7vYBOCR-seDDb5tcMICEGwyJ1HYAXQdJ-nBvz9w_GsZRyL3acD-vlguNmBu8y-W_66JebwFGzf4ezq4Gk7LyX6GKR9KdW0kgZCm3s42hMW5xkqemW/s400/bill-vazan-3.jpg" style="cursor: move;" width="335px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZB5jenjQsobGtQ84y8QP7u8LCWdtMfFGoZHEEJHmr-FR3TV7qUSOl7p5At2-tIryvXkV8nl7pYyn_jwNtvsFDwYlhVANDX-oIQ-tuGOiW-SDxHwz8X3HjmxgYdQVVreMFe8Nz43JVhptI/s1600/bill-vazan-4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="352px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZB5jenjQsobGtQ84y8QP7u8LCWdtMfFGoZHEEJHmr-FR3TV7qUSOl7p5At2-tIryvXkV8nl7pYyn_jwNtvsFDwYlhVANDX-oIQ-tuGOiW-SDxHwz8X3HjmxgYdQVVreMFe8Nz43JVhptI/s400/bill-vazan-4.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="http://www.cvltvre.com/pg/cvltvre_events/view/67802">Bill Vazan</a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">Like Kellner Bill Vazan creates grids of photographs that often form globe like shapes. These are achieved by standing in a central position and taking a number of shots (for example 3) at slightly different angles (eg. top, middle and bottom). He then slightly adjusts his position and repeats this. He keeps doing this until he has turned a full circle. Once the images are laid out a dome or globe effect is achieved.</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPQmmnr_huY3RXCJ1RLsxoi0SDvT55Ao0Bl-bwi4xQW1UskHL_GpCkhRKB3YpLq9ZCUNZmmrTvunGyj_sP8T0yVBqLjH2LtleHU_OKX7wmayS7DplKnaeZAIgjlV1ESRNhyphenhyphendILPg3TJnQ/s1600/king-alfred-collage.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPQmmnr_huY3RXCJ1RLsxoi0SDvT55Ao0Bl-bwi4xQW1UskHL_GpCkhRKB3YpLq9ZCUNZmmrTvunGyj_sP8T0yVBqLjH2LtleHU_OKX7wmayS7DplKnaeZAIgjlV1ESRNhyphenhyphendILPg3TJnQ/s640/king-alfred-collage.jpg" style="cursor: move;" width="424px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="http://www.jfkturner.com/page8.htm">King Alfred's Leisure Centre Slides 2006 (Collage from Dark Room Prints)</a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><img border="0" height="320px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAUSZZISkca1m4yWoByEpDwrtA-MvlzvOsdhvbwpJ0fzj4YEjwcs7w6woj25z9T4CzPN9yFpEi2ewIo1FLc-wM9vO2HK4idVR8ySNwwhQQVYymuvgQiqs3JBREoldbg2WPGV4nHRVs_5M/s320/webshoreham-lighthouse.jpg" style="cursor: move;" width="320px" /></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="http://www.blogger.com/goog_789918285"><br />
</a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><img border="0" height="320px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4WgY2lGBHPGwYLhgKxFpc3BCKjcNyQuCPc8X7q4iGQdyTlgumSriL4zLJzuONO_ydLtu2UrWmMnX0ScCSq78QLgwWoW-4KZMH13AooJDdudcLehQxTwV1uZG1AwsaMWBBy85lp6SPHHY/s320/webground-glass-del-la-warr-joiner-cubist.jpg" style="cursor: move;" width="320px" /></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="http://www.blogger.com/goog_789918285"><br />
</a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSEyvZkJhfiVHGggEmm6wdEfeiOoSw67Q-xX2vnm_rIJCV7wfGTXKiYDZfET3VbgCTCxzt7J3aV3U4LV5RptuW98CttvonU_W9Xv6NN_WDf5DNqy_jxOlQB_GVF5P2XPcR5KBhKs6b1v0/s400/web3ground-glass-del-la-warr-joiner-cubist-copy.jpg" style="cursor: move;" width="287px" /></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">The above images were used using th <a href="http://thedelightsofseeing.blogspot.com/search/label/Ground%20Glass">TTV (Through The Viewfinder)</a> technique (see more <a href="http://www.wix.com/jfkturner/projects#%21vstc1=ground-glass">here</a>)</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj62NPWxIXQ1TtfZBXjYU4lNbVLMXjy71wuJgMeNnjgPEIpl73-FFFFhtSXe51p8CSzbPb7GPmDQiy4g_OFK3qDxHeK9p8DLiayELmyCcYU-yBStj4dOdCVPd2cSUQnb_vr7wWmhMaUf_0m/s1600/osang15.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj62NPWxIXQ1TtfZBXjYU4lNbVLMXjy71wuJgMeNnjgPEIpl73-FFFFhtSXe51p8CSzbPb7GPmDQiy4g_OFK3qDxHeK9p8DLiayELmyCcYU-yBStj4dOdCVPd2cSUQnb_vr7wWmhMaUf_0m/s400/osang15.jpg" style="cursor: move;" width="390px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJ28JaEmcMNRGzIVvH5VFduPwigevmU6fcWtYIwr8onlHz3rgE-ERv-JBImm_HE0xgZ6n2joYUrD-VfGtSAalFIk5AtI8LKB4C066OIsTvwuqS6G9MhfMUisVr9DBEkDGecEcGfgq3J6r1/s1600/osang05.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJ28JaEmcMNRGzIVvH5VFduPwigevmU6fcWtYIwr8onlHz3rgE-ERv-JBImm_HE0xgZ6n2joYUrD-VfGtSAalFIk5AtI8LKB4C066OIsTvwuqS6G9MhfMUisVr9DBEkDGecEcGfgq3J6r1/s400/osang05.jpg" style="cursor: move;" width="306px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">Korean <a href="http://osang.net/">Gwon Osang</a> uses hundred of <a href="http://thedelightsofseeing.blogspot.com/search/label/A%20Photograph%20as%20a%203%20Dimensional%20Object">photographs to create his three dimensional joiner sculptures.</a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUZvqqa30BAOD_PfIseUg1wvDeizw_zXullUz6aYITPLcIDI6ckACKfmZIHfvpcBRHcnVhus8vx5SELbkAOSlW2X3OJCKP-sV5BbgJS80VPRrNrZjpdWk2qi2egGiYTmJOmWjsEmp-GEM/s1600/roinski_photo_sculpture03.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="298px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUZvqqa30BAOD_PfIseUg1wvDeizw_zXullUz6aYITPLcIDI6ckACKfmZIHfvpcBRHcnVhus8vx5SELbkAOSlW2X3OJCKP-sV5BbgJS80VPRrNrZjpdWk2qi2egGiYTmJOmWjsEmp-GEM/s400/roinski_photo_sculpture03.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-zZ-p8cq56fUyfBiLI3eVNH6XauPbqtK0hS4RJ_S0YWRyQIpIEZYQP11oz-1ZlMVVtA6YmKXr-NIZvYHM5W008wFhqgwNtUY1Qb-CA5Qp_YiBaS-dlIN2r0qVJK2QI6TIl6aMN5bYmXc/s1600/roinski_photo_sculpture01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-zZ-p8cq56fUyfBiLI3eVNH6XauPbqtK0hS4RJ_S0YWRyQIpIEZYQP11oz-1ZlMVVtA6YmKXr-NIZvYHM5W008wFhqgwNtUY1Qb-CA5Qp_YiBaS-dlIN2r0qVJK2QI6TIl6aMN5bYmXc/s400/roinski_photo_sculpture01.jpg" style="cursor: move;" width="302px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8GteJ6IkshazHkzD1YiU3JlTsVeHd-RlJ2Of1OsNFLahVAo3-wyT53tsBBG1JQHmUj8Yhyphenhyphen_zp9dSz7is5kGZ7LjevG7vDYn9kEEes3Ggb2OF-SAkwS4eeCcT_oU9QGPZsy9oJXunzl9Q/s1600/01_boxes_omiao_kuczynska_szymonroginski.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="227px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8GteJ6IkshazHkzD1YiU3JlTsVeHd-RlJ2Of1OsNFLahVAo3-wyT53tsBBG1JQHmUj8Yhyphenhyphen_zp9dSz7is5kGZ7LjevG7vDYn9kEEes3Ggb2OF-SAkwS4eeCcT_oU9QGPZsy9oJXunzl9Q/s320/01_boxes_omiao_kuczynska_szymonroginski.jpg" style="cursor: move;" width="320px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-KUs1SglemWL-eKuFVIQyZXnc5QUtcMPQUKacQ-9RdiG19nGv7N_P0imJYYfJ3nJspqjismh4vGwq_GJYWgadh3bPE7GQXKFwO0_shm9qH2bEMH2gFasOwPOlY8IXTvernKFVKfOZID4/s1600/roinski_photo_sculpture02.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="237px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-KUs1SglemWL-eKuFVIQyZXnc5QUtcMPQUKacQ-9RdiG19nGv7N_P0imJYYfJ3nJspqjismh4vGwq_GJYWgadh3bPE7GQXKFwO0_shm9qH2bEMH2gFasOwPOlY8IXTvernKFVKfOZID4/s320/roinski_photo_sculpture02.jpg" style="cursor: move;" width="320px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">Szymon Roginski</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">These works are by <a href="http://www.szymonroginski.com/Site/o_mia_o.html">Szymon Roginski</a> who said these works were inspired by <a href="http://thedelightsofseeing.blogspot.com/search/label/Cubism">Cubism</a>. The cubist painters wanted to show the world from multiple view points and here Roginski has tried to achieve this through photography. Roginski produced these works for the fashion designer Ania Kuczynska and began with a series of photo-shoots. The images were then printed, constructed into geometric shapes and assembled back together to create the original image. The photo-sculpture was then re-photographed to create the final piece.</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnFXr7GZ7GHz7_WylI-1zvH1QKybY5WAlir2uR595RxAVJMNxEsJubuKTufzDWHHjzpNOHAnbvrZYbz0HENPr66hbT_xh9WcoqsgDlFYe3NFQM1reJfADw7hjznw8o-dOqLcB92A3vtPDK/s1600/david+hockney.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="363px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnFXr7GZ7GHz7_WylI-1zvH1QKybY5WAlir2uR595RxAVJMNxEsJubuKTufzDWHHjzpNOHAnbvrZYbz0HENPr66hbT_xh9WcoqsgDlFYe3NFQM1reJfADw7hjznw8o-dOqLcB92A3vtPDK/s400/david+hockney.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7V55jec5NVCwqYvVNveRlCrrHPMhARt_e145zdexojF-2Z10zgVrdwzSCOTXN9MDBhgP4JthLcR9FanWjuf7q4pQwn7QGI57NYRs__dYvobvGMOMiok4moiiMiNm0tFaMYeZdTpyAbASi/s1600/davidhockney-gregoryreadinginkyoto-photocollage-1983.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="383px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7V55jec5NVCwqYvVNveRlCrrHPMhARt_e145zdexojF-2Z10zgVrdwzSCOTXN9MDBhgP4JthLcR9FanWjuf7q4pQwn7QGI57NYRs__dYvobvGMOMiok4moiiMiNm0tFaMYeZdTpyAbASi/s400/davidhockney-gregoryreadinginkyoto-photocollage-1983.jpg" style="cursor: move;" width="400px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzcfEykWuFk0ut0nsOVdSO7EQOLjW9PKubnRQBse9W3EiHPW9VuFSTkozWUJNYyxU7A5LaWw5fRmOY1K_CQQLPjzqvQuCF-ZVB795g3PRAxyRcVV3HLx14KUq5rYo0_xjSZvYzABUNowHW/s1600/davidhockney-gregoryandshinro-photocollage-1982.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzcfEykWuFk0ut0nsOVdSO7EQOLjW9PKubnRQBse9W3EiHPW9VuFSTkozWUJNYyxU7A5LaWw5fRmOY1K_CQQLPjzqvQuCF-ZVB795g3PRAxyRcVV3HLx14KUq5rYo0_xjSZvYzABUNowHW/s640/davidhockney-gregoryandshinro-photocollage-1982.jpg" style="cursor: move;" width="504px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrCW6S0j8QEnG912IsmcF2rLkFhOKOj4wuYrFzJ7JnEHL0DbM43rKqitTiCI4blJZPJEp9mqHqSX2QOZV4kgsKJyo7tae9s1_IIacc6pIoEXPpHkLIIHTseiiDy5wOxlvY6m9mev9qkSbh/s1600/page_fo_polaroid_book_05_0705231417_id_7271.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="392px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrCW6S0j8QEnG912IsmcF2rLkFhOKOj4wuYrFzJ7JnEHL0DbM43rKqitTiCI4blJZPJEp9mqHqSX2QOZV4kgsKJyo7tae9s1_IIacc6pIoEXPpHkLIIHTseiiDy5wOxlvY6m9mev9qkSbh/s640/page_fo_polaroid_book_05_0705231417_id_7271.jpg" style="cursor: move;" width="640px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">Creating your own Joiner in the style of David Hockney is simple (to gain inspiration look<a href="http://5magazine.wordpress.com/2010/09/05/david-hockneys-joiners/"> here</a>).</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihiyITLfG3bg0_OTc6Cw2ep_W-DQ83OMbE9PeY61bvCF8YMJcs06vhQaTk7ov1sHBMo9aeym2an8-dTrUBImVqsHw5wy70388MRgvJkJiL7iNvDhpxKucx1pAJWi8L0MrfBzocGV7kesUG/s1600/joiner---how-to-take.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="444px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihiyITLfG3bg0_OTc6Cw2ep_W-DQ83OMbE9PeY61bvCF8YMJcs06vhQaTk7ov1sHBMo9aeym2an8-dTrUBImVqsHw5wy70388MRgvJkJiL7iNvDhpxKucx1pAJWi8L0MrfBzocGV7kesUG/s640/joiner---how-to-take.jpg" style="cursor: move;" width="640px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKU4ZXfg42FRBjI5HVnHccsiJOEK0KIBKnI12scc5nm0Byi7ujajn0C24ZVbdRH6d5x_sBvUOo0818mhdxK6E7E2JD6A-ooyo2ivThi6Dbn6Ey_M-ngdoqBjA5DcOAvGQq3j9FMIiFd-F6/s1600/joiner---how-to-take.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="443px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKU4ZXfg42FRBjI5HVnHccsiJOEK0KIBKnI12scc5nm0Byi7ujajn0C24ZVbdRH6d5x_sBvUOo0818mhdxK6E7E2JD6A-ooyo2ivThi6Dbn6Ey_M-ngdoqBjA5DcOAvGQq3j9FMIiFd-F6/s640/joiner---how-to-take.jpg" style="cursor: move;" width="640px" /></a></div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;"><br />
</div><div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">Above I have included a scan from the 1990 book 'Creative Photography' by Russ Malkin that shows you how to take and piece together a joiner (click on the image to make it bigger). You can also use a program like Adobe Photoshop to create a joiner - (See tutorial <a href="http://joinerphotography.com/How%20to/1JHowTo.html">here</a>).</div><div><br />
</div>jfkturnerhttp://www.blogger.com/profile/04292497470976112213noreply@blogger.com