The Delights of Seeing: Photorealism and the Relationship Between Photography and Painting
Photography and painting: a symbiotic relationship. Imagine being a portrait painter in the s and watching with some concern, the growth. This month we'll be exploring the long and rich relationship photography and painting have enjoyed and how both media inform and inspire. Photorealism and the Relationship Between Photography and Painting. Chuck Close 'Big Self-Portrait' ( x cm)., Look at this image above.
For a more detailed history of Photomontage, Dada and Rodchenko click here. Like Duchamp before him Rodchenko turned his back on the tradition of painting and explored Photography and Photomontage.
Photography and painting were at the same time going in their own directions but also being combined together. Many artists at the time jumped between media - painting, photography, film, sculpture - the lines were blurring.
Jack Pollock painting with his canvas on the floor watch here It is years after the announcement of photography. We have shifted our gaze from Europe to America. This is because the focus of the art world has moved to America due to Europeans fleeing Europe because of World War 2. Lots have happened since Picasso, Duchamp and Rodchenko.
One of the key Movements was Surrealism and its fascination with the unconscious. Jackson Pollock has placed his canvas on the floor of his studio and he is dripping paint from above and allowing the drips to build up to create the purely abstract image. If it is an image of anything it is the traces of Pollock's movements and gestures - the act of painting itself. To create all art is a performance of some kind an the actual art object is the record of that performance. This way of thinking could only come from questioning what art is - this questioning was escalated years ago with the announcement of photography.
You could see Pollack moving around his painting as a type of performance art. The drips and spills reflect the actions of the artist as he moves around the canvas. This expressive approach was stopped with the rise of Hitler in the 's - this saw many important artists emigrating to America. Often photography is seen as an objective art and many great photographers have created 'pure' images based on this philosophy. Rothko Mark Rothko ' White Center' Mark Rothko was another abstract expressionist who created large scale abstract images.
Two rich, warm red rectangles float and hum underneath a hovering earthy white rectangle.
His earlier work is much more colourful - the colours affect you on a visceral level. The paintings have formal eelements such as depth, composition, colour and balance.
When you stand in front of one of these works their size and colour engulf you. 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. There is no reference to the outside world, mid twentieth century American painting has become something else - abstract, large-scale and authoritative.
This art could be described as timeless - there is no clue, in the image, of what was going on in society. At this point in time abstraction was the dominate style in painting.
A jpeg -of a photograph -of a slide taken of a Mark Rothko painting used as evidence in court All this would change. At this stage it may seem that painting was triumphant but if you looked around in 's America you were not surrounded by cool abstract images. There were films flickering at drive in movie theaters and cinemas, giant advertising billboards, colour technolour magazines and cheap kodak cameras for amateurs to make their own snap shots.
The dominant way of making images was, and would continue to be, photography. But by permeating culture so thoroughly it almost relinquished its claim to the critical distance of art' Artist reflect the world around them - and that is what happened next. This creates a visual Jump - creating movement in a static image. 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. The pure abstraction of the abstract expressionist has gone. Instead Warhol celebrates all that is common, everyday, vulgar and mechanical. Coke bottles, soup cans, movie stars, adverts, newspapers - they were all up for grabs for Warhol.
This is Pop Art - Pop because it is popular or Pop because you get it in a instant - like an advert. 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.
But painting no longer was painting the dominant media - it had to battle with Film, VideoPhotography, Performance and Conceptual art. And figuration came back. Not just any figuration but a kind of figuration influenced by the now dominant means of making images - Photography.
Richard Hamilton 'My Marilyn' Screenprint Richard Hamilton 'Swinging London 67' Acrylic collage on aluminum on canvas many different ways in which the act of painting a photograph transforms its meaning and the information we can get from it.
Gerhard Richter 'Woman with Umbrella' This is a painting based on a photograph - not on life itself - but a reproduced image. We experience so much of the world through photographs, second hand experience.
Where once artists portrayed the world before them, then reacted against the announcement of photography, they now just copied from mass produced images. However, if most of experience comes to us second hand then it make sense for artists to work from it.
Photographyit was said, would kill painting, or at least take over various aspects of painting's role as a record of the modern world. Painting has instead found itself in a fruitful, if frequently problematic, relationship both with photographs and with film. Photographs have become much more than a sketchbook for painters.
The world as it is mediated through photography, film and video, and the ways we relate to it, have become a subject for the painter. The exhibition claims to be the first "museum" survey to explore the use and translation of photographic imagery in painting of the past half-century.Light Painting Photography is MAGICAL !
The Hayward is not a museum, but the exhibition attempts a substantial, authoritative overview, beginning with Andy Warhol's s Car Crashes, Race Riots and Electric Chair, and ending in the show's last section with San Francisco photorealist Robert Bechtle's uninflected, often mesmerising images of himself and his family beside their Pontiacs and Chryslers in their sunlit s suburban driveways.
In between, there are more car crashes: InVija Celmins painted a view of the freeway, from a photo taken through her windscreen as she drove, the camera balanced on the steering wheel. This is a tremendous painting, in which the eye travels and is stilled at the same time. And then there is Richard Hamilton's Swingeing London, a paparazzo's flash-bulb view into the back of the limo where gallerist Robert Fraser and Mick Jagger are being driven away after a drugs bust, the light flaring on their handcuffs, which has become more redolent of its period than the photograph that inspired it.
If slavish transcription and enlargement of the photograph, however interesting the image itself, were all that painters were to concern themselves with, we needn't give them a second look.
A few works here fall into this category. The best artists home in on the image and turn it into something else, however faithfully they appear to copy the photograph. One almost can't find the trace of the source photograph in the whorls of Richard Artschwager's renderings of dormitories, factories, offices and demolition sites, which are rendered on an insistently mechanically textured material.
They seem to belong to a hinterland of images, somewhere between the drawn, the painted, the photographic and the printed, and are as grainy as imperfect memories. Some of the more recent painters here appear to be making a glamorous kind of decor, fetishised with paint. Judith Eisler's glossy, out-of-focus paintings, based on photographs of the TV screen while she watches Marianne Faithfull in leather gear in Girl On a Motorcycle or Ciao Manhattan, have a melted, hard quality, and appear to be all about surface, glare and a kind of repulsion.
Photography and painting, a long standing relationship – Library News
Johannes Kahrs's repainted screen grabs from Martin Scorsese's Taxi Driver, and of Jagger singing Sympathy for the Devil, have got all the right blurring and layering and juddery suffocating claustrophobia, but they end up somehow chic and self-regarding paintings, over-encumbered by technique. In response to photography, modern artists made painting flatter and less mimetic, more self-referential, and increasingly focused on its own history.
Although it has taken many different forms over the course of its long existence since the nineteenth century, modernism in painting generally emphasizes either the subjectivity of the author and spectator or the materiality and phenomenal presence of the work. Sometimes, it does both at the same time.
It was created and appreciated, in other words, as revolutionary way of seeing, a more truthful optical experience discovered beneath the stereotypes and conventions that distorted everyday modes of perception. In other more recent forms, particularly after the breakthrough to complete abstraction aroundmodernist painting has focused on its own forms, materials, and techniques to the exclusion of the world, a self-reflexivity that can be seen in the works of numerous artists on both sides of the Atlantic.
As Dawson expressed in his journal at the time, such non-objective works were not intended to represent the external world, but the internal reality of the painting itself: As a mode of advanced art, modernist painting was first successfully challenged by photography in the s, when abstraction began to be criticized for its disconnection from everyday life.
The academic hierarchy of the fine arts, which placed painting and sculpture at the pinnacle, was disrupted, as avant-garde artists like the Dadaists, Constructivists, and Surrealists sought to make contact not just with elite beholders but also with a modern mass audience. Many artists in the Dada, Constructivist, and the Surrealists movements liked to double or superimpose images as a way of making them allegorical or uncanny, thus challenging the status quo; and reproductive media like photography and film were particularly well suited for this practice of replication.
The figures evoke preexisting source material taken from the mass media, perhaps fashion magazines or art books, as well as printed money. Although advanced painting lost a certain priority in the s and s, it did not fade away; rather, it retained a powerful attraction for both critics and the popular audience.
The truth of the painting here is a unique mixture of objective phenomenal presence and subjective composition and color choice. Then, in the s, abstraction in painting was partially challenged by the rise of photographically-engaged Pop art on both sides of the Atlantic; and, in the diverse and pluralistic s, both representational and abstract avenues were pursued.
Playing between painting, sculpture, and cinema because of its sequential imageryit mixes multiple stylistic sources as a way of criticizing the human condition in the modern world. What did change since the s is not the fact that painting and photography are engaged with one another, but rather the density and plurality of their interconnections.
Likewise, and despite what critics say to the contrary, no medium has ever been fully dominant again since the mid-century. The Hallmark Art Collection is particularly rich when it comes to documenting the evolving conversation between painting and photography in contemporary art. With the popularity of postmodern photography in the United States in the s and s, photography seemed to eclipse painting as the preeminent art form.
A photographic silkscreen on vinyl that has been blown up to the size of a painting and surrounded by a red border, it presents a close-up, black-and-white image of a film editor, making a cut with his scissors, while holding the celluloid motion picture strip up to his eyes. He is caught in the act of making a cut, an action that reminds the viewer that photographic representations are shaped, abstracted, and potentially misleading.
Finally, the title, in conjunction with the visual elements, is self-reflexive.