The Photomontage Past, Present, Future

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The PhotomontagePast, Present, Future
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Shawn M. McKinneyUT-AustinSchool of
JournalismAEJMC San Antonio 2005
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Part 1A History of The Photomontage
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• Make picture of kaleidoscope.
• William H. Fox Talbot(note dated February 18,
  1839)
• Susan Sontag. On Photography (Anchor Books, 1977)

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Early Days

• The manipulation of the photograph is as old as
  photography.
• Combining photographs or negatives is found in
  both low and high art contexts.
• The practice of cutting and reassembling
  photographic images is found in old comic
  postcards, photograph albums, screens, etc.

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Untitled(direct contact print)William Henry Fox
Talbot1835
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(postcards)designer unknown1902, 1914
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The Two Ways of Life(composite photograph)Oscar
Rejlander1857
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• Made up of more than 30 separate negatives.
• Aligned with classical academic painting
• epic in scope
• elaborate composition
• allegorical aspirations

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Nor Easter (composite photograph)H.P.
Robinson1890
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• Common practice in 19th C. to use combination
  printing, add figures to a landscape photo, print
  in a different sky.
• In early photography, it was almost impossible to
  obtain, in one exposure, both sharp foreground
  detail and a desirable sky.

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Photomontage

• Little agreement over definition among either
  artists or historians.

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• The process (and result) of making a composite
  picture by cutting and joining a number of
  photographs.
• Wikepedia.com (Web site)

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• The technique of making a picture by assembling
  pieces of photographs, often with other graphic
  material.
• A composite picture produced by this technique.
• The American Heritage Dictionary, Fourth Edition.
  (Dell Publishing, 2001)

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• Technique of combining or superimposing
  photographic images from different sources in
  order to produce a new and surprising
  relationship between the original components.
• Graphic Design and Designers. Alan and Isabella
  Livingston (World of Art, 1992)

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• Photomontage cut-and-paste combination of image
  fragments to produce new compositions. This
  creole of photography and graphic design was
  popular among European artists of the 1920s and
  1930s.
• The Reconfigured Eye. William J. Mitchell (MIT
  Press, 1992)

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Da-Dandy(photomontage)Hannah Höch1919- used
as the cover of Photomontage,by Dawn Ades (World
of Art, 1986)
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• In Da-Dandy, photographic fragments representing
  woman in the context of fashion are recombined
  to form a mans head creating the sort of
  subversive ambiguity which is the central
  strategy of this art.
• Ades, Photomontage, pp. 159

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• The term photomontage was invented right after
  WWI, by the Berlin Dada group.
• Hannah Höch
• Raoul Hausmann
• John Heartfield
• George Grosz

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Dada

• Born in protest against WWI
• Originally Swiss literary movement
• Dada means a childs hobbyhorse
  (French/German dictionary)

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• Berlin Dadaists
• revolutionary political beliefs
• raise public awareness
• effect social change

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Cut with the Cake-Knife(photomontage)Hannah
Höch1919
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• Dada photomontage invented within context of
  though in opposition to collage.
• The name photomontage was chosen, clearly, to
  distance the two activities.

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The Art Critic(photomontage)Raoul Hausmann1919
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• Raoul Hausmann This term photomontage
  translates our aversion at playing the artist
  rather, we think of ourselves as engineers
  meant to construct, to assemble our works.
• Ades, Photomontage, pp. 12

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Tatlin at Home(photomontage)Raoul Hausmann1920
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• As early as 1917, John Heartfield began to form a
  new style of montage, out of experiments with
  collage and typography.
• Ades, Photomontage, pp. 22

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Typocollage(collage)John Heartfield1917
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German Natural History Metamorphosis(photomontag
e)John Heartfield1934
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• On one cover for AIZ (no. 16, 1934), Heartfield
  implied that the Weimar caterpillar Ebert finally
  hatched into the Deaths Head Moth, Hitler.
• Heartfield continues to inspire and influence new
  generations of designers and activists.

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Cubism Futurism

• Earlier examples of the use of photographs in art
  are to be found in certain Cubist and Futurist
  collages.

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Glass and Bottle of Suze(collage)Pablo
Picasso1912
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Breakfast(collage)Juan Gris1914
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Bicycle Wheel(sculpture)Marcel Duchamp1913
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Ready-Mades

• To Marcel Duchamp, Dadas most articulate
  spokesman, art and life were both processes of
  random chance and willful choice.
• Philip Meggs. A History of Graphic Design (Van
  Nostrand Reinhold, 1983)

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The Spirit of Our Time(sculpture)Raoul
Hausmann1919
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• Clear parallels can be detected between
  photomontages and constructed art objects such as
  ready-mades which became a prominent feature
  of Dada, and (later) Surrealism.

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Health through Sport(photomontage)Max Ernst1920
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Surrealism

• Max Ernst one of first artists to explore
  disorienting power of combined photographic
  images, and possibilities of transformations of
  objects, bodies, landscapes.
• For Ernst, collage was the conquest of the
  irrational.
• Ades, Photomontage, pp. 111

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Untitled (or) The Murderous Aeroplane(collage)Ma
x Ernst1920
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• Frequently Ernst intensified the poetic power of
  collages with his choice of inscriptions or
  titles.

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Gun with Alphabet Squares(photogram or
rayogram)Man Ray1924
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• Man Rays photograms (or rayograms) were
  another influence on the photomontage.
• Photograms require neither film nor a camera.
  Instead, they rely on a light source and
  emulsion-coated paper to capture ghostly, 3-D
  images of physical objects.

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Metropolis(photomontage)Paul Citroën1923
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Futurism Constructivism

• The violent changes of scale and simultaneous
  perceptions of different things implicit in the
  vision of the Futurist city were ideal matter for
  photomontage.
• Ades, Photomontage, pp. 99

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Untitled(photomontage)Aleksandr
Rodchenko1923- from a series of photomontages
created to accompany Mayakovskys poem, About
This (1923)
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• Rodchenkos photomontages were among the first
  imaginative works in this medium in Russia.
• The core of Mayakovskys poem is a demand for
  individual expression within a revolutionary
  society.

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• The richness of the poem is difficult to
  encompass in a single picture, but with
  counterpoint and juxtaposition Rodchenko creates
  marvelous equivalents.
• Ades, Photomontage, pp. 82

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The Cinematic Eye

• Early development of Soviet cinema has close
  parallels with photomontage.
• Use in film of intercutting to disrupt time and
  space, as well as alternating close-ups and long
  shots, overlapping motifs, using double exposures
  and/or split-screen projections all have
  equivalents in photomontage.
• Hausmann described photomontage as static film.
• Ades, Photomontage, pp. 87

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Kino Eye(film poster, with photomontage)Aleksand
r Rodchenko1924
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The Constructor(photomontage)El Lissitzky1924
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• The Constructor was made by a combination of
  superimposed negatives and direct exposure.
• Literally integrated artists eye and hand
• Circle and rectangles on graph paper represent
  abstract basis of Constructivist art.

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Foreign Beauty(photomontage)Hannah Höch1929
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The Body

• Early Surrealist objects might function
  analogically, or invoke fetishism whereas
  photomontage could work more directly on the
  human body.
• Dada photomontages disrupt, truncate or replace
  parts of the body, rendering the familiar strange.

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Untitled(photomontage)Raoul Hausmann1947
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Adolph the Superman Swallows Gold and Spouts
Junk(photomontage)John Heartfield1932
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John Heartfield

• German artist whose politically charged
  photomontages were banned in his home country
  during the Nazi regime.

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A Pan-German(photomontage)John Heartfield1933
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• In A Pan-German, a photograph of the Pan-German
  leader of the brownshirts, Julius Streicher
  (editor of Stürmer, an anti-Semitic newspaper),
  is placed over a photograph from the Stuttgart
  police archives.
• Streicher stands heedless of the blood under his
  feet, symbol of repressive authority, born of and
  nourished by violence.

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• Heartfield created a different version of this
  work, to which he added a third character, an
  Italian officer holding a bloody knife.
  Accordingly, Heartfield changed the name of the
  photomontage, to Like Brother, Like Murderer,
  helping expand its meaning and significance.

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• Heartfields Like Brother, Like Murderer
  achieves its barbed clarity by fitting the three
  characters into an easily understood
  stereotypical pattern of standing victors and
  fallen, bloodied victim one that is found both
  in Greek vase paintings and in boxing pictures on
  the sports pages of newspapers.
• Mitchell. The Reconfigured Eye, pp. 217

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• Born (1891) as Helmut Herzfeld.
• Changed name to protest WWI feigned madness to
  avoid returning to service.
• Used photomontage as a political medium, used
  images from political journals.
• Organized 1st International DADA Fair, Berlin,
  1920.

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Millions Stand Behind Me(photomontage)John
Heartfield1932
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• Heartfield renders Hitlers salute ambiguous
  from Nazi salute, intended to thrill and terrify
  millions, it becomes a deceitfully open, grasping
  hand. An opposition is set up between the
  apparent and the real significance of the salute,
  which is de-mystified and deprived of its
  rhetorical power.
• Ades, Photomontage, pp. 49-50

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Five Fingers Has the Hand(photomontage)John
Heartfield1928
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• Sergei Tretyakov A photomontage need not
  necessarily be a montage of photos. it can be
  photo and text, photo and color, photo and
  drawing.
• John Heartfield A photograph can, by the
  addition of an unimportant spot of color, become
  a photomontage, a work of art of a special kind.

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Control(poster)Red Dragon Print Collective1975
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• From a set of three posters created to protest
  the setting up of control units in British
  prisons.
• Lower right-hand picture is reminiscent of
  Heartfields I am a Cabbage (in which a head is
  wrapped in newspaper).

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I am a Cabbage(photomontage)John Heartfield1930
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Cover(photo-illustration, magazine)Adbusters
magazineMike Simons (cover image and
handwriting) and Kalle Lasn (art direction)2002
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Defended to Death(poster)Peter Kennard1982
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Untitled (I am your slice of life)(photographic
silkscreen on vinyl)Barbara Krugerc. 1981
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• She doesnt typically employ photomontage
  techniques directly nevertheless, one can
  clearly see a strategic connection between the
  work of contemporary artist Barbara Kruger and
  that of John Heartfield.

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Untitled (You invest in the divinity)(photographi
c silkscreen on vinyl)Barbara Krugerc. 1982
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Untitled (Your body is a battleground)(photograph
ic silkscreen on vinyl)Barbara Krugerc. 1989
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Just what is it that makes todays homes so
different, so appealing?(collage)Richard
Hamilton1956
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Pop Art

• The collage and montage of photographs (not on
  the whole in the darkroom) are among the staples
  of the post-war Pop artists.
• Ades, Photomontage, pp. 140

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Part IISurrealism and Beyond
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Surrealism and Beyond

• The practice of photomontage continued during and
  after the war with a new generation of Surrealist
  artists, and also with artists who did not
  necessarily owe any particular allegiance to the
  movement. The most interesting include Jerry
  Uelsmann.
• Ades, Photomontage, pp. 140

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Untitled(photomontage)Jerry Uelsmann1984
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• The camera is a fluid way of encountering that
  other reality.
• Jerry Uelsmann

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Le Blanc Seing(painting)Rene Magritte1965
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• The mind loves the unknown. It loves images
  whose meaning is unknown, since the meaning of
  the mind itself is unknown.
• Rene Magritte

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The Temptation of the Angel(photomontage)Pedro
Meyer1991
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• In contrast to images that announce their
  synthetic nature such as Jerry Uelsmanns
  surreal combination prints Meyers images
  seduce us with real evidence, pictorial facts,
  visual puns, ironic juxtapositions, and political
  narratives.
• Jonathan Green. Aperture, no. 136, pp. 33

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Peachblossom Highway, 11-18 April 1986
2(photocollage)David Hockney1986
135

• Television is becoming a collage there are so
  many channels that you move through them making a
  collage yourself. In that sense, everyone sees
  something a bit different.
• David Hockney

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Untitled / Dresshook(photomontage)Shelly J.
Smith1992
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• I use family archives, historical and personal
  imagery, as well as found objects that I
  digitally transform. The result is a composite
  image with one distinctive voice.
• Shelly J. Smith. Aperture, no. 136, pp. 20

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Portrait of Wouter Kardol(photomontage)Nanette
Hoogslag (artist)1992
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• The artist chose to create an atmospherical
  portrait based on his character rather than a
  more conventional head and shoulders
  photograph. The sitter brought an artichoke with
  him as a prop this later became an integral part
  of the final image.
• Simon Larbalestier. The Art and Craft of Collage
  (Chronicle Books, 1995)

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New Artists Breaking Out(photomontage)Andrzej
Klimowski1987
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• New Artists Breaking Out was created from
  black and white photocopies. The artist
  repeatedly enlarged and photocopied these until
  the background started to break up and take on
  the appearance of brushmarks.
• Larbalestier. Collage, pp. 73

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The Love Series(photomontage)Emma Parker1990
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• An old engraving and an assortment of objects
  are the subject for this still-life photomontage.
  The artist printed the image onto watercolor
  paper using the photographic emulsion, Liquid
  Light.
• Larbalestier. Collage, pp. 97

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Part IIIMusic The Avant-Garde
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• suddenly a narrative had entered our project.
  Its LA, its a riot, its Nero fiddling while
  Rome burns, and the juxtaposition of two images
  fire and water becomes the Los Angeles
  experience.
• Peter Seville
• Rick Poynor. Interview Peter Seville. Eye
  magazine (no. 17, vol. 5, Summer 1995)

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New Order Republic(album cover)Peter Saville
(art direction and design)London Records1993
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The Beatles Revolver(album cover)Klaus Voorman
(art direction and design)c. 1966
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Jet Get Born(album cover)Greg Gigendad Burke
(art direction and design)Phil Knot
(photography) June Kim (illustration)c. 2003
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The Beatles Sgt. Peppers Lonely Hearts Club
Band(album cover)Peter Blake (art direction and
design)Michael Cooper (photography)1967
162

• All living people depicted on the cover were
  asked permission. Mae West refused. The
  statuesque blonde near the front on the cover is
  Diana Dors, a Mae West look-alike from the '50s.
• SongFacts.com (Web site)
• Several people who were intended to be included
  on the cover never made it, including Elvis,
  Hitler and Jesus.
• BeatlesTracks.com (Web site)

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Frank Zappa and The Mothers of InventionWere
Only In It For The Money(album cover)Carl
Schenkel (art direction and design) Jerrold
Schatzberg (photography)1968
165

• The very distinctive Sgt. Peppers cover has
  been copied several times.
• BeatlesTracks.com (Web site)

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The Simpsons The Yellow Album(album
cover)designer unknown1968
168

• The cover shot, assorted pictures of circus
  freaks, is not a collage but a photo Robert
  Frank took in 1950 of the wall of a tattoo parlor
  The comparison to the notorious Stones
  jet-setting tax exiles, cocaine-fueled satyrs and
  perpetual outsiders is clear. An identical
  layout on the back cover features Frank's photos
  of the Stones themselves, shot on L.A.s seedy
  Main Street. The layout perfectly complements
  the sound of Exile.
• SuperSeventies.com (Web site)

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U2 Achtung Baby(album cover)Steve Averill,
Shaughn McGrath (design)Anton Corbijn
(photography)1991
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Pearl Jam No Code(album cover)Barry Ament,
Chris McGann, Jerome Turner(art direction and
design)Jeff Ament, Lance Mercer
(photography)1996
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Led Zeppelin Physical Graffiti(album cover,
with optional inserts)Mike Doud, Peter Corriston
(art direction and design) Elliot Erwitt, B.P.
Fallen, Roy Harper (photography) Dave Heffernan
(illustration)1975
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Led Zeppelin Presence(album cover, cd
booklet)Hipgnosis and Hardie (art direction and
design)1976
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The Rolling Stones Metamorphosis(album
cover)Al Steckler, Richard Roth (art direction
and design)1975 (recorded 1964-69)
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Joni Mitchell Hejira(album cover)Joni Mitchell
(art direction and design)Norman Seeff, Joel
Bernstein (photography)1976
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• I was a painter first, says Joni Mitchell.
  So when I began to record albums, I thought
  album art was a great way to keep both careers
  alive. The Hejira cover represented the work
  pretty well. The front art was stripped
  together from a number of different photos, which
  resulted in what Mitchell calls an incredibly
  difficult printing job. A studio portrait by
  Norman Seeff was combined with shots by Joel
  Bernstein taken on a frozen lake a classic
  Hans Brinker, as Mitchell puts it.
• SuperSeventies.com (Web site)

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Richard Ashcroft Human Condition(album
cover)Richard Ashcroft (art direction and
design)Nadav Kander, Max Dodson, Marc Marot
(photos)2002
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Thelonious Monk Brilliant Corners(album
cover)Paul Bacon (art direction and design)1956
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Charlie Parker Birds Best Bop(album
cover)Patricia Lie (art direction and
design)Herman Leonard (cover photo)1995
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Joe Lovano Trio Fascination(album cover)P.R.
Brown (art direction and design) Jimmy Katz
(photography)MacDavid Henderson
(illustration)1998
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J.J. Johnson Heroes(album cover)GuilioTurturro
(art direction and design) William Claxton,
Jimmy Katz (photography)MacDavid Henderson
(illustration)1998
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Jason Moran Facing Left(album cover)P.R. Brown
(art direction and design)Michael Wong
(photography)2000
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Jason Moran Black Stars(album cover)P.R. Brown
(photography, art direction and design)2001
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Scolohofo (John Scofield, Joe Lovano, Dave
Holland, Al Foster) Oh!(album cover)Eli Wolf
(art direction) Gordon H. Jee (creative
direction) Jimmy Katz (photography) Burton
Yount (package design)2002
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Brad Mehldau Largo(album cover)Lawrence
Azerrad (art direction and design)Tina Tyrell
(photography)2002
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Brad Mehldau Anything Goes(album
cover)Lawrence Azerrad (art direction and
design)Warren Darius Aftahi (photography)2004
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Matthew Shipp Nu Bop(album cover)Cynthia Fetty
(art direction and design)2002
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William Parker Scrapbook(album cover)Cynthia
Fetty (art direction and design) Lisa
Christiansen, Cynthia Fetty (photography)2003
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John Elliot Gardner, Orchestre Révolutionnaire
Beethoven Symphonies No. 3 and 5(album
cover)Tina Lauffer (art direction and
design)1994
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Vladimir Ashkenazy Shostakovich Piano
Works(album cover)Mark Millington (art
direction and design)2004
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Libor Pesck, Czech Philharmonic Orchestra
Dvorák Symphony No. 2(album cover)Nick Bell
(art direction and design)Michael Wildsmith
(photography)1995
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Gil Shaham, Paul Meyer, Jian Wang, Myung-Whun
Chung Messiaen Quartet for the End of
Time(album cover)Hartmut Pfeiffer (art
direction and design)John Ritter
(photography)2000
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Modest Mouse The Moon Antarctica(album
cover)Mary Maurer (art direction)Simon
Labalestier (cover photography)2000
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Radiohead OK Computer(album cover cd booklet
spread)Stanley Donwood (art direction and
design)1997
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Radiohead Amnesiac(album cover, cd
booklet)Stanley Donwood (art direction and
design)2001
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Radiohead Hail to the Thief(album cover cd
booklet spread)Stanley Donwood (art direction
and design)2003
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Beck Odelay(album cover cd booklet
spread)Beck Hansen, Robert Fisher (art direction
and design) Ludwig (cover photo)1996
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Prefuse 73 One Word Extinguisher(album
cover)GHavisualagency (art direction and
design)2003
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Björk Vespertine(album cover)Inez van
Lamsweerde, Vinoodh Matadin, M/M ltParisgt (art
direction and design)2001
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Leona Naess Comatized(album cover disc
label)Shop/NYC/ (art direction and design)
Chris Floyd, Jack Pierson (photography)2000
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Bill Evans The Best of Bill Evans on
Verve(album cover disc label)Patricia Lie (art
direction and design)Chuck Stewart (cover
photograph)1995
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Beck Sea Change(album cover cd booklet
spread)Kevin Reagan, Beck Hansen (art direction
and design) Jeremy Blake (art work) Autumn De
Wilde (cover photo)2002
243
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The Pixies Doolittle(album cover)Vaughan
Oliver (art direction and design)Simon
Larbalestier (cover photograph)1989
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De La Soul Art Official Intelligence Mosaic
Thump(album cover)Kevin Wolahan (art direction
and design)Mo Daoud (photography)2000
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Pink Floyd Pulse(album cover and
slipcase)Storm Thorgerson (art direction and
design)1995
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RJD2 Since We Last Spoke(album
cover)kiku_at_babyalpaca.org (design) 2004
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Four Tet Everything Ecstatic(album
cover)Matthew Cooper (art direction and
design)Jason Evans, Simon Foxion
(photography)2005
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Part IVAdvertising Editorial
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• The dissolution of trust in the photographic
  image could even cause us to abandon photography.
  What would happen if we stopped taking
  photographs?
• Ben Tibbs
• This Is Not A Plane Crash. Eye magazine (no.
  17, vol. 5, Summer 1995)

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The New York Times Book Review(newspaper
supplement, cover)Steven Heller (art direction
and design) Ed Lam (illustration)1999
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Untitled(magazine advertisement)Tanqueray
Gindesigner unknown1992
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Reading Fiction(magazine illustration)Rolling
StoneStephen Kroninger1996
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Untitled(magazine advertisement)Tazo
Teadesigner unknown2004
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Chris Rock(newspaper illustration)Show World /
Austin American-Statesmandesigner unknown2004
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Tom Craddick and Rick Perry(magazine
illustration)Texas Monthlydesigner unknown2004
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Untitled(magazine advertisement)Targetdesigner
unknown2005
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Untitled(magazine cover)EyeNick Bell (art
direction and design) 1998
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Untitled(magazine cover)EyeNick Bell (art
direction and design) 2000
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Untitled(magazine cover)EyeNick Bell (art
direction and design) 2003
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Masochism (Guilles Deleuze Coldness and Cruelty
Leopold von Sacher-Masoch Venus in Furs)(book
cover)Bruce Mau (art direction and design)1989
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Henri Focillon The Life of Forms in Art(book
cover)Bruce Mau (art direction and design)1992
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280
Lorraine Daston, ed. Things That Talk(book
cover)Bruce Mau (art direction and design)2004
281
(No Transcript)
282
Neil Postman Technopoly(book cover)Statoff
Cohen (art direction and design)Mark Hill
(black-and-white photography)1992
283
(No Transcript)
284
James Elkins The Object Stares Back(book
cover)Vaughn Andrews (art direction and
design)1996
285
(No Transcript)
286
Francis Fukuyama Our Posthuman Future(book
cover)Lauren Panepinto (art direction and
design)Peter Sherrard / Getty Images (cover
photograph)1992
287
(No Transcript)
288
Jean Renoir The Rules of the Game (1939)(dvd
cover)Christine Ditrio (art direction)Lucien
S.Y. Yang (menu and package design)2004
289
(No Transcript)
290
Volker Schlöndorff The Tin Drum (1979)(dvd
cover)Christine Ditrio, Neil Kellerhouse (art
direction)Neil Kellerhouse (menu and package
design)2004
291
(No Transcript)
292
David Cronenberg Naked Lunch (1991)(dvd
cover)Christine Ditrio, Neil Kellerhouse (art
direction)Neil Kellerhouse (menu and package
design)2003
293
(No Transcript)
294
George Lucas, Unmasked(magazine
cover)WiredMichael Elins (cover
photography)Frederico Gutiérrez-Schott (design
direction)2005
295
(No Transcript)
296
What Color Is Black?(magazine cover)NewsweekAnt
hony Barboza (photography) Kandy Littrell (art
direction)1995
297
(No Transcript)
298
The Strange New World of the Internet(magazine
cover)TimeJames Porto (design) Linda L.
Freeman (art direction)1994
299
(No Transcript)
300
6ft from a Massacre(tabloid cover)Todaydesigner
unknown1994
301

• A front-page news story about a crashing plane
  which narrowly missed a Coventry housing estate
  digitally montages a cruising jet and a damaged
  roof. The news picture ceases to be reportage
  in the objective sense and becomes a form of
  illustration.
• Ben Tibbs.This Is Not A Plane Crash. Eye
  magazine, no. 17, vol. 5, Summer 1995, pp. 72

302
(No Transcript)
303
Never been there? (newspaper illustration)Austin
American-Statesmandesigner unknown2005
304
(No Transcript)
305
Jeopardy!(newspaper illustration)Austin
American-StatesmanJason Whaley2005
306
(No Transcript)
307
Willie Nelson(newspaper illustration)Austin
American-StatesmanDon Tate2003
308
(No Transcript)
309
Behold the Brain(newspaper illustration)Austin
American-StatesmanJoe Stafford2003
310
(No Transcript)
311
Anti-Hero(newspaper illustration)Austin
American-StatesmanJoe Stafford2003
312
(No Transcript)
313
War of the Worlds(newspaper illustration)Austin
American-StatesmanDale Roe2005
314
(No Transcript)
315
Consumer Alert(newspaper illustration)Wall St.
JournalRalph Kelliher2005
316
(No Transcript)
317
Upswing(newspaper illustration)Austin
American-Statesmandesigner unknownHa Lam
(photos)2005
318
(No Transcript)
319
10 Years of SXSW Film(newspaper
illustration)Austin Chronicledesigner
unknown2003
320
(No Transcript)
321
Punch?(newspaper illustration)Show World /
Austin American-StatesmanDale Roe2005
322
(No Transcript)
323
Surfing the Future(newspaper illustration)Austin
American-StatesmanJoe Stafford2003
324

• Protagonists of the institutions of journalism,
  with their interest in being trusted may well
  fight hard to maintain the hegemony of the
  standard photographic image but others will see
  the emergence of digital imaging as a welcome
  opportunity to expose photographys
  construction of the visual world, to deconstruct
  the very ideas of photographic objectivity and
  closure
• William J. Mitchell. The Reconfigured Eye, pp. 8

325

• The camera is my tool. Through it I give a
  reason to everything around me.
• André Kertész
• Sontag. On Photography, pp. 208

326

• An interlude of false innocence has passed. We
  have indeed learned to fix shadows, but not to
  secure their meanings or to stabilize their truth
  values they still flicker on the walls of
  Platos cave.
• Mitchell. Reconfigured, pp. 225