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Exercise 5.1 -

Part One - The Constructed Image
Ideas: Here there and everywhere
We all encounter photographs on a daily basis. For a few decades now, commentators have talked about a ‘flood’ or a constant ‘bombardment’ of images, permeating ever deeper
into our lives. Depending of course on where you live, the intensity of this will vary a great deal. To try to get a sense of this, dip your toe into the floodwater and re-photograph every photographic image that you encounter on a single day.

The Origins of Photomontage
Exercise 1.1
Using the list of artists given as inspiration, create a series of six to eight images using layering techniques. To accompany your final images, also produce a 500-word blog post on the work of one contemporary artist-photographer who uses layering techniques.







Read about Idris Kahn’s work at Link 1: (Blogpost 500 word essay link at the bottom of page.)
Welsh artist Helen Sear uses manipulation, layering and colour to create highly aesthetic
images where the interplay of subject and ground is constantly in play. Both Kahn and Sear use
the digital layer as a fundamental part of their creative process.
Read Jesse Alexander’s blog post on Helen Sear’s work at Link 2.

Image Credit Idris Khan - An Instrument to an End Beyond Itself 2019

Image Credit Helen Sear - Beyond the View No 7
Idris Khan
Idris Khan was born in Birmingham, England, in 1978, and he completed his MA at the Royal College of Art in 2004. Khan's subject matter includes literature, personal and political history, music, and religion, specifically Islam, due to his familial ties is a contemporary British artist.
Working through various media, including photography, video, and sculpture, Khan's work is connected through his intricate process of layering multiple images. He often blankets surfaces with sequential images—either captured through staccato photography or video frames—until his work is a blurred composite, condensing time into a single point that fluctuates between representation and abstraction. "Many people in the art world hate to use the word 'Photoshop,' like it's cheating or easy," he once explained his process.
"I say bollocks to that—for me, it's my tool, my paintbrush if you like, and it lets me create my visual language." His works are included in collections from prominent institutions, such as the Guggenheim Museum in New York and the Tel Aviv Museum of Art in Israel.
Helen Sear
Helen Sear is a contemporary visual artist known for her innovative photography, video, and installation artwork. She was born in 1955 in England and currently lives and works in Wales. Sear's artistic practice often explores themes related to identity, memory, perception, and the natural world. She is notably recognized for using digital techniques to create layered and complex imagery.
Sear's work often involves merging photographs with other media, such as embroidery, drawing, or found objects, to create visually striking compositions. She is interested in the interaction between digital and handmade media and blurs the two to create thought-provoking pieces.
She has exhibited widely in galleries and museums worldwide, including the Venice Biennale, the Victoria and Albert Museum in London, and the Centre Pompidou in Paris. Her work has received critical acclaim for its innovative photography approach and exploration of human perception and the natural world.
Jessie Alexander
In an interview by Jessie Alexander with Helen Sear, she was referencing her book 'Inside the View'. Sear discusses her approach to photography and her exploration of the relationship between the natural world and human perception. Alexander describes Sear's work as "unpredictable yet exhibiting unwavering intellectual engagement with diverse subjects." It also discusses using digital manipulation to create surreal and dreamlike images and the boundaries between reality and fiction.
Alexander's book review concentrates on her works Inside (2004-8) and Beyond the View (2009-10). Alexander references the similarities with Casper David Friedrich's romantic Wanderer painting; however, although I understand Alexander's comparison, I don't necessarily agree with it. Sears's multilayer techniques mirror Friedrich's image, but Sears's approach is more aesthetically intricate, purely because of the method used to make the image.
Sear also delves into her interest in "seeing" and how photography can reveal and conceal aspects of the world. She discusses using multiple exposures and layering techniques to create complex compositions.
Overall, the interview provides:
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Insights into Sear's creative process.
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Her fascination with the intersection of nature and technology.
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Her experimentation with photographic techniques evokes emotions and challenges viewers' perceptions.
References:
Conversations | Idris Khan, n.d. . Fraenkel Gallery. URL https://fraenkelgallery.com/tag/idris-khan (accessed 3.16.24).
Helen Sear | CAS [WWW Document], n.d. URL https://contemporaryartsociety.org/artists/helen-sear (accessed 3.16.24).
Idris Khan | every... page of Susan Sontag’s Book “On Photography” (2004) | Artsy [WWW Document], n.d. URL https://www.artsy.net/artwork/idris-khan-every-dot-dot-dot-page-of-susan-sontags-book-on-photography (accessed 2.27.24).

Watch American artist Daniel Gordon discuss his work and his digital montage methods at
Link 3.

Daniel Gordon is an American artist known for his innovative approach to photography and collage. He was born in Boston, Massachusetts, in 1980. Gordon earned his Bachelor of Arts degree from Bard College in 2003 and later received his Master of Fine Arts degree from the Yale School of Art in 2006.
Gordon's work often blends the lines between photography and sculpture. He creates three-dimensional collages using images from the Internet, magazines, and his photographs. He meticulously constructs these collages by cutting, layering, and arranging various elements to form surreal and visually captivating compositions.
One of Gordon's notable series is "Flowers and Shadows," he explores themes of nature, deception, and perception through vibrant and textured collages of flowers and human figures. His work has been exhibited internationally in galleries and museums, earning him recognition as a leading contemporary artist at the intersection of photography and mixed media.
The OCS link takes us to 'New York Close Up' | Art21," a video from the Art21 series "New York Close Up" featuring the artist Daniel Gordon. In this video, Gordon discusses his artistic process and the inspiration behind his work. He creates vibrant and dynamic collages by photographing various objects and combining them digitally to form imaginative compositions.
The video provides viewers with a behind-the-scenes look at Gordon's studio and his creative methods. It explores how he explores the boundaries between photography, sculpture, and digital manipulation to produce visually striking artworks. Gordon's work often reflects themes of consumer culture, materialism, and the digital age.
Opening with a shot of his studio, which looks in total disarray with rubbish all over it, Gordon explains his first insight into photography, quoting (1:48), "It's a fiction and a truth at the same time."
His inspiration came from creating images that had no life online and giving them a body. In his terms, he comments about the criticism of appropriation as (4:28) "an optimist version of appropriation."
His methods differed significantly from those of other artists I've researched, such as Mischka Henner.
The video offers an insightful glimpse into Daniel Gordon's artistic practice, illuminating his innovative techniques for creating his unique artworks.
References:
Rubinstein, D., Sluis, K., 2013. The Digital Image in Photographic Culture; Algorithmic Photography and the Crisis of Representation. pp. 22–40.
An Interview with Joachim Schmid - The Open College of the Arts [WWW Document], n.d. URL https://www.oca.ac.uk/weareoca/photography/an-interview-with-joachim-schmid/ (accessed 3.16.24).
Exercise 1.2
Discuss a photograph that takes an existing work of art as its starting point. Write a 500- word reflection on your chosen piece in your learning log.
Next, re-make an existing work of art using photography. This can be a simple re-staging – using photography – of an existing painting, drawing or print.

David Hockney: Sunrise (Copyright © David Hockney, 2021)
Image Credit - David Hockney
David Hockney: Digital Sunrise


Wangkatjungka Western Australia May 2023
Image Credits - Ian Meechan
Essay: David Hockney
While researching Yorkshire artists' paintings during the 1940s, I came across Harry Epworth Allen (1894-1958). He was born in Sheffield and lived there all his life apart from War service. Recognised as one of the Yorkshire Artists group, and his style is often considered surreal. When I looked further at some of his paintings, they reminded me of David Hockney's paintings – not in terms of colour but the use of curves and perspectives.
David Hockney was born in Bradford in 1937. He studied at Bradford School of Art from 1953-57, followed by National Service (as a hospital orderly due to being a conscientious objector) and then looked at the Royal College of Art in 1959. A rich and varied artistic career, Hockney embraces new forms of creative technology with enthusiasm and energy, providing a model for others.
Hockney has often used photography as a medium. In the late 1960s, he realised that polaroid shots of a living room, glued together, created a narrative. He began to work more with photography and stopped painting for a time but returned to it when he became frustrated with the limitations of photography and its "one-eyed" approach. In the early 1980s, he produced photo collages, calling them 'joiners', arranging a patchwork to make a composite image, using polaroid prints, and then 35mm processed colour prints. Since 2009, he has painted many portraits, still lifes and landscapes using an iPhone app and, since 2010, the iPad, and he now carries his iPad around like a sketchbook.
I referred earlier to his comment on the "one-eyed" approach of photography, and such comments are not new. On drawing grasses "…I started seeing them. Whereas if you'd just photographed them, you wouldn't be looking as intently as you do when you are drawing, so it wouldn't affect you that much" ( M. Gayford 2011: 32.) On ways of depicting that world that escapes the 'trap' of naturalism. "Most people feel that the world looks like the photograph. I've always assumed that the photograph is nearly right, but that little bit by which it misses makes it miss by a mile. This is what I grope at" (ibid 2011:47)
In 1995, Hockney painted Sunflowers for Jonathan as a get-well painting for his friend and patron Jonathan Silver, who had been diagnosed with cancer and just had an operation. This then became a photograph that appeared in an Exhibition of post-modern Photography I saw at the V&A in 2011, titled Photography is Dead. Long Live Painting. This is a photograph of a 'real' vase of sunflowers, probably referencing Van Gogh, seated next to a painted version positioned to appear in the correct perspective for the camera. It is an inkjet print from a colour transparency printed on watercolour paper. The title is ironic as it decries photography but relies on the camera for its execution.
When I saw the photograph, I thought it was delightful. It made me smile, and I thought what a wonderful get-well card it made – playful yet clever and making a visual comment about photography. I decided to create something in response to the exercise, which then developed into my Assignment 1.
References:
Gayford, M, A Bigger Message: Conversations with David Hockney, Thames & Hudson Ltd, London
http://www.artinconnu.com/2009/04/derbyshire-of-harry-epworth-allen-1894.html
http://artuk.org/discover/artists/allen-harry-epworth-18941958#/1http://www.artnet.com/artists/david-hockney/sunflowers-for-jonathan-a-CHALYLyBdxCabnZ58lyMDg2
http://collections.vam.ac.uk/item/O131404/photography-is-dead-long-live-photograph-hockney-david/
http://hockneypictures.com/illust_chronology/illust_chrono_01.php
Exercise 1.3

Listen to Peter Kennard talking about Photo Op, a piece made in collaboration with Cat Picton-Phillipps, at Link 7
If you can, look also at British artist Lisa Barnard’s recent book Chateau Despair. Barnard used found archival news images of ex-Prime Minister Margaret Thatcher alongside shots of the then Conservative HQ to construct her narrative See Link 8
Peter Kennard

Image Credit - Peter Kennard
Peter Kennard's "Photo Op," a collaborative piece with Cat Picton-Phillipps, explores the intricate dynamics between media manipulation, political imagery, and public perception. Kennard, renowned for his politically charged art, brings a critical lens to the table, dissecting how staged photographs shape our understanding of political narratives.
"Photo Op" dives deep into the mechanisms of image construction, revealing the deliberate staging and manipulation that often underpins political photography. Kennard's use of cutouts and juxtapositions is a stark reminder of the constructed nature of reality in the media, prompting viewers to question the authenticity and underlying agendas of the images they encounter.
Collaborating with Cat Picton-Phillipps likely adds complexity and perspective to the piece. Picton-Phillipps, known for her explorations of visual storytelling and social commentary, brings a unique artistic sensibility and depth to the collaboration. Together, Kennard and Picton-Phillipps amplify the impact of "Photo Op," creating a visually compelling and intellectually stimulating work that invites viewers to deconstruct and challenge dominant narratives in media and politics.
"Photo Op" stands as a poignant testament to the power of art in exposing hidden truths, sparking critical dialogue, and prompting societal introspection.
Lisa Barnard


Image Credits - Lisa Barnard 'Chateau Despair' 2017
"Chateau Despair" by Lisa Barnard is a compelling exploration of the Chateau Rothschild, a historical site with a complex past that intersects with power, wealth, and history themes. In her book, Barnard looks into the layers of meaning embedded in this iconic structure, weaving together photography, archival materials, and critical commentary to create a thought-provoking narrative.
One of the central themes in "Chateau Despair" is the notion of luxury and excess. Through her photographs, Barnard captures the lavish interiors, ornate details, and extravagant lifestyle associated with the chateau, inviting viewers to contemplate the allure and symbolism of wealth. However, beneath this surface veneer of luxury lies a darker history marked by privilege, exploitation, and inequality.
When we discover the premises at 32 Smith Square, the building used for Margaret Thatcher's Conservative Party central office, her images of the deserted derelict rooms serve as a juxtaposition of times past for the Conservatives, who at a point were in their prime but after losing the election were left to ruin. Similar to the condition of the building after this time left for over ten years.
Barnard also explores the concept of legacy and inheritance, particularly in the context of inherited wealth and aristocratic lineage. The Chateau Rothschild serves as a tangible symbol of generational wealth and the enduring power dynamics that accompany it. By juxtaposing historical photographs and documents with her contemporary images, Barnard prompts viewers to reflect on the legacy of colonialism, capitalism, and class disparities embedded within such institutions.
Moreover, "Chateau Despair" delves into the politics of representation and perception, raising questions about how different audiences construct and perceive spaces like the Chateau Rothschild. Barnard's photographs challenge conventional narratives and stereotypes associated with wealth and privilege, offering a nuanced portrayal that invites critical engagement and interpretation.
Lisa Barnard's "Chateau Despair" is a captivating exploration of wealth, power, and history. It offers viewers a multi-layered narrative that encourages reflection on societal values, inequality, and the legacies of the past. Through her meticulous photography and insightful commentary, Barnard invites us to reconsider our assumptions about luxury and privilege, inviting a deeper understanding of the complex forces that shape our world.
To complete this exercise, use readily available images to make a short narrative series of four to six collages based on a recent or contemporary news event.
Title: A Comparative Analysis of Elon Musk and Mark Zuckerberg:




Introduction
In the ever-evolving world of social media and technology, two prominent innovators, Elon Musk and Mark Zuckerberg, have ventured into the development of social media apps. Musk acquired Twitter, renamed 'X', while Zuckerberg has launched 'Threads' for news consumption.
This comparative essay delves into these two applications' features, objectives, and potential impact on online content. My collages reflect the battle between both figures' attempts to become the number one app in the genre.
Elon Musk's Twitter App aims to revolutionise how people interact with the popular microblogging platform. With a strong focus on personalisation, the app employs advanced AI algorithms to curate users' Twitter feeds based on their interests and engagement history. Musk envisions creating a more user-centric experience, where content that matters most to an individual takes centre stage. Additionally, the app expects to incorporate features like real-time translation and content moderation, which could enhance the quality of discussions on the platform.
On the other hand, Mark Zuckerberg's Threads App takes a different approach by targeting news content consumption, addressing the growing concern of information overload and spreading misinformation on social media. Threads curates news articles and stories from various sources, employing AI-driven algorithms to filter out unreliable or biased information. Users can customise their news feeds, and the app provides in-depth analysis and fact-checking tools to promote informed discourse.
Comparative Analysis
Objectives:
Musk's Twitter App aims to improve the user experience on Twitter itself, focusing on content curation and real-time features. In contrast, Zuckerberg's 'Threads' seeks to address the challenges associated with news consumption on social media, emphasising information accuracy and integrity.
Personalisation:
Musk's Twitter App prioritises personalisation by tailoring users' feeds to their preferences. This approach fosters user engagement and satisfaction. Threads, while allowing some customisation, primarily focuses on curating news content based on reliability and relevance to prevent the spread of misinformation.
Impact:
Musk's app may enhance the Twitter experience, making it more engaging and appealing. He intends to follow the same business model as WeChat has in China. However, Threads have the potential to contribute to the broader goal of combating misinformation and promoting responsible news consumption on social media.
Challenges:
Both apps face privacy concerns, algorithm bias, and ensuring that content moderation doesn't stifle free expression. Musk's Twitter App may also encounter resistance from Twitter as it seeks to modify the user experience on the platform.
Conclusion:
Elon Musk's Twitter App and Mark Zuckerberg's Threads App represent two distinct approaches to improving the social media experience and addressing the challenges associated with content consumption. The ultimate success of these applications will depend on their ability to navigate the complexities of privacy, algorithmic bias, and the evolving landscape of social media.
References:
[200+] Twitter Pictures, n.d. . Wallpapers.com. URL https://wallpapers.com/twitter-pictures (accessed 1.19.25).
BBC World Service - BBC News Summary, 29/07/2023 05:30 GMT [WWW Document], 2023. . BBC. URL https://www.bbc.co.uk/programmes/w172z2rr7nbwysh (accessed 1.19.25).
Chateau Despair by Lisa Barnard on Vimeo [WWW Document], n.d. URL https://vimeo.com/57283237 (accessed 9.3.23).
Contemporary Art and War [WWW Document], n.d. . Imperial War Museums. URL https://www.iwm.org.uk/learning/resources/contemporary-art-and-war (accessed 9.3.23).
Elon Musk [WWW Document], n.d. . Forbes. URL https://www.forbes.com/profile/elon-musk/ (accessed 1.19.25).
Introducing Threads: A New Way to Share With Text, 2023a. . Meta. URL https://about.fb.com/news/2023/07/introducing-threads-new-app-text-sharing/ (accessed 9.3.23).
Introducing Threads: A New Way to Share With Text, 2023b. . Meta. URL https://about.fb.com/news/2023/07/introducing-threads-new-app-text-sharing/ (accessed 1.19.25).
Schiller, J., n.d. Ego-Wrangling the World’s Most Powerful Leaders for a Portrait. Wired.
X. It’s what’s happening [WWW Document], n.d. . X (formerly Twitter). URL https://twitter.com/ (accessed 9.3.23).

Reading task:
Nina Lager Vestberg’s essay ‘The Photographic Image in Digital Archives’, Chapter 7
Nina Lager Vestberg's essay, "The Photographic Image in Digital Archives" (Chapter 7 of a larger text, possibly related to photography or digital culture), examines the complexities that arise when photographic images become part of digital archives. Vestberg's central focus is the transformation of photography as a material artefact into digital data and the implications this shift has on the way we understand, use, and interpret photographic images.
The Nature of the Photographic Archive
Vestberg begins by discussing the historical importance of photographic archives as repositories of memory and documentation. In their physical form, photographs were tangible objects stored in collections, museums, or personal albums. They were stable, analogue artefacts with intrinsic value based on their materiality and singularity. Archiving photographs involved cataloguing and preserving them in their original physical state, with attention paid to their fragility, decay over time, and unique aesthetic qualities.
However, as Vestberg points out, digitising photographic archives has radically changed this relationship. Digital archives easily separate the image from its original form, turning it into data, copying, modifying, and disseminating it globally. This dematerialisation opens up new opportunities for access and distribution but also raises questions about authenticity, preservation, and interpretation. The digitised image is no longer tied to a single object but is one of many potential versions or iterations.
The Digital Image as Data
Vestberg's essay delves into the implications of understanding a photograph not just as a picture but as data. Once digitised, photographs are reduced to binary code and their value shifts from material qualities to the accompanying metadata. Metadata—information such as the photographer's name, date of creation, location, and even file size—becomes crucial for organising, accessing, and interpreting digital images. In this sense, Vestberg argues that metadata plays a central role in shaping how we perceive and interact with photographic images in digital archives.
This shift from material to data also impacts the practices of curation and archiving. Digital archives must be maintained differently from physical ones: they require constant updates, technological infrastructure, and strategies for long-term digital preservation. The essay highlights how archivists must now contend with the risk of obsolescence as file formats, hardware, and software evolve rapidly. In this way, digital archives may seem more permanent and secure.
Accessibility and Democratisation
One of Vestberg's key arguments is that digital archives offer unprecedented access to photographic collections. Digitisation allows vast numbers of people to view and interact with images previously limited to physical institutions like museums or libraries. This democratisation of access is a significant benefit, enabling research, education, and creative projects on a global scale. It also fosters new ways of engaging with photographs, as digital tools allow users to search, annotate, remix, and share images easily.
However, Vestberg cautions that this newfound accessibility is not without its drawbacks. The digital divide—unequal access to technology and internet connectivity—means that not everyone can benefit from the same level of access to these archives. Furthermore, while digital archives are more open, they are more susceptible to commercialisation, with private companies and platforms potentially controlling access to vast amounts of visual culture. This brings up ownership, copyright, and control over digital photographs.
Recontextualisation and Loss of Meaning
Another critical point Vestberg makes is that digitisation can lead to a loss of context. In a physical archive, photographs are accompanied by contextual information such as captions, dates, and physical placement within an album or collection. When these images are digitised and viewed outside their original context, this information may be lost or overlooked. Vestberg argues that this recontextualisation can alter the photograph's meaning, as digital images are often viewed in isolation, stripped of the context that was once essential to understanding them.
The sheer volume of images in digital archives exacerbates this loss of meaning. With millions of photographs accessible at the click of a button, it becomes easy for individual photos to lose significance or misinterpretation. Vestberg suggests that while digital archives have the potential to preserve and disseminate photographic history, they also pose challenges to the way we interpret and assign value to images.
Conclusion
Nina Lager Vestberg's essay highlights the complex dynamics at play in the digitisation of photographic archives. While digital archives offer greater accessibility and the potential for widespread dissemination, they also introduce authenticity, preservation, and interpretation challenges.
By focusing on the transformation of the photograph from material objects to digital data, Vestberg underscores the shifting nature of photographic meaning in the digital age. Her essay is a valuable contribution to understanding how technology continues to reshape how we interact with visual culture.

John Stezaker – Too Much, Too Little | David Campany.


"Too Much, Too Little" is an essay by David Campany that delves into the work of British artist John Stezaker, known for his innovative and thought-provoking collage artworks. Campany's essay comprehensively explores Stezaker's artistic practice, shedding light on his work's themes, techniques, and significance in contemporary art.
One central theme in Campany's essay is the concept of excess and deficiency in Stezaker's collages. The company discusses how Stezaker's meticulous selection and juxtaposition of images create tension between abundance and scarcity, leading viewers to question the boundaries of representation and meaning. Stezaker often combines disparate images from vintage photographs, film stills, and postcards, challenging conventional notions of visual coherence and narrative logic.
The company also delves into Stezaker's fascination with the human face and its role in constructing identity. Stezaker disrupts and reconfigures facial features through innovative collage techniques, blurring the distinction between individual identity and collective imagery. This thematic exploration is particularly relevant in today's digital age, where images of faces are ubiquitous yet often detached from their original context and meaning.
Furthermore, Campany discusses Stezaker's engagement with the history of photography and film, noting how he appropriates and reinterprets iconic images from these mediums to create new layers of meaning and commentary. Stezaker invites viewers to reconsider familiar visual tropes and narratives by recontextualising found images, prompting reflections on memory, nostalgia, and cultural representation.
Campany's essay also touches on the concept of "found objects" in Stezaker's practice, highlighting how he transforms ordinary materials into compelling works of art through his innovative collage and assemblage. This approach aligns with broader trends in contemporary art that emphasise the repurposing and revaluation of everyday objects and images.
David Campany's "Too Much, Too Little" provides a nuanced and insightful analysis of John Stezaker's artistic oeuvre. It invites readers to explore the complexities of his collages and their broader implications for understanding the nature of images, identity, and representation in contemporary visual culture.


‘Why do we call it Love when we mean Sex?’ in the collection Pandora’s Camera.
"Why Do We Call It Love When We Mean Sex?" is a significant essay by Susan Sontag, a part of the influential Pandora's Camera collection. In this essay, Sontag delves into the complexities and nuances of human relationships, particularly the intertwining of love and sexuality in modern society.
Sontag initiates her exploration by questioning the language and terminology used to describe intimate connections. She underscores the profound influence of societal norms, cultural representations, and personal experiences on our understanding of love and sex, revealing the intricate and often blurred lines in contemporary discourse.
Throughout the essay, Sontag challenges conventional wisdom and stereotypes surrounding love and sex, encouraging readers to critically examine their assumptions and beliefs about relationships. She discusses the impact of media, literature, and art on shaping our perceptions of love and sex, emphasizing the need for a more nuanced and inclusive approach to these topics.
Overall, "Why Do We Call It Love When We Mean Sex?" offers a thought-provoking exploration of human emotions and desires, inviting readers to reconsider the language and meanings attached to intimacy and connection in the modern world.
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