Title: The Photomontage Past, Present, Future
1The PhotomontagePast, Present, Future
2Shawn M. McKinneyUT-AustinSchool of
JournalismAEJMC San Antonio 2005
3Part 1A History of The Photomontage
4- Make picture of kaleidoscope.
- William H. Fox Talbot(note dated February 18,
1839) - Susan Sontag. On Photography (Anchor Books, 1977)
5Early 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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7Untitled(direct contact print)William Henry Fox
Talbot1835
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10(postcards)designer unknown1902, 1914
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12The Two Ways of Life(composite photograph)Oscar
Rejlander1857
13- Made up of more than 30 separate negatives.
- Aligned with classical academic painting
- epic in scope
- elaborate composition
- allegorical aspirations
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15Nor Easter (composite photograph)H.P.
Robinson1890
16- 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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19Photomontage
- Little agreement over definition among either
artists or historians.
20- The process (and result) of making a composite
picture by cutting and joining a number of
photographs. - Wikepedia.com (Web site)
21- 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)
22- 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)
23- 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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25Da-Dandy(photomontage)Hannah Höch1919- used
as the cover of Photomontage,by Dawn Ades (World
of Art, 1986)
26- 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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28- The term photomontage was invented right after
WWI, by the Berlin Dada group. - Hannah Höch
- Raoul Hausmann
- John Heartfield
- George Grosz
29Dada
- Born in protest against WWI
- Originally Swiss literary movement
- Dada means a childs hobbyhorse
(French/German dictionary)
30- Berlin Dadaists
- revolutionary political beliefs
- raise public awareness
- effect social change
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32Cut with the Cake-Knife(photomontage)Hannah
Höch1919
33- 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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35The Art Critic(photomontage)Raoul Hausmann1919
36- 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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38Tatlin at Home(photomontage)Raoul Hausmann1920
39- 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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41Typocollage(collage)John Heartfield1917
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43German Natural History Metamorphosis(photomontag
e)John Heartfield1934
44- 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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46Cubism Futurism
- Earlier examples of the use of photographs in art
are to be found in certain Cubist and Futurist
collages.
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48Glass and Bottle of Suze(collage)Pablo
Picasso1912
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50Breakfast(collage)Juan Gris1914
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52Bicycle Wheel(sculpture)Marcel Duchamp1913
53Ready-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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55The Spirit of Our Time(sculpture)Raoul
Hausmann1919
56- 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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58Health through Sport(photomontage)Max Ernst1920
59Surrealism
- 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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61Untitled (or) The Murderous Aeroplane(collage)Ma
x Ernst1920
62- Frequently Ernst intensified the poetic power of
collages with his choice of inscriptions or
titles.
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64Gun with Alphabet Squares(photogram or
rayogram)Man Ray1924
65- 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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67Metropolis(photomontage)Paul Citroën1923
68Futurism 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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70Untitled(photomontage)Aleksandr
Rodchenko1923- from a series of photomontages
created to accompany Mayakovskys poem, About
This (1923)
71- 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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73- 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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75The 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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77Kino Eye(film poster, with photomontage)Aleksand
r Rodchenko1924
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79The Constructor(photomontage)El Lissitzky1924
80- 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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82Foreign Beauty(photomontage)Hannah Höch1929
83The 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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85Untitled(photomontage)Raoul Hausmann1947
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87Adolph the Superman Swallows Gold and Spouts
Junk(photomontage)John Heartfield1932
88John Heartfield
- German artist whose politically charged
photomontages were banned in his home country
during the Nazi regime.
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90A Pan-German(photomontage)John Heartfield1933
91- 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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93- 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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95- 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
96- 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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98Millions Stand Behind Me(photomontage)John
Heartfield1932
99- 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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101Five Fingers Has the Hand(photomontage)John
Heartfield1928
102- 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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104Control(poster)Red Dragon Print Collective1975
105- 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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107I am a Cabbage(photomontage)John Heartfield1930
108(No Transcript)
109Cover(photo-illustration, magazine)Adbusters
magazineMike Simons (cover image and
handwriting) and Kalle Lasn (art direction)2002
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111Defended to Death(poster)Peter Kennard1982
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113Untitled (I am your slice of life)(photographic
silkscreen on vinyl)Barbara Krugerc. 1981
114- 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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116Untitled (You invest in the divinity)(photographi
c silkscreen on vinyl)Barbara Krugerc. 1982
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118Untitled (Your body is a battleground)(photograph
ic silkscreen on vinyl)Barbara Krugerc. 1989
119(No Transcript)
120Just what is it that makes todays homes so
different, so appealing?(collage)Richard
Hamilton1956
121Pop 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
122Part IISurrealism and Beyond
123Surrealism 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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125Untitled(photomontage)Jerry Uelsmann1984
126- The camera is a fluid way of encountering that
other reality. - Jerry Uelsmann
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128Le Blanc Seing(painting)Rene Magritte1965
129- The mind loves the unknown. It loves images
whose meaning is unknown, since the meaning of
the mind itself is unknown. - Rene Magritte
130(No Transcript)
131The Temptation of the Angel(photomontage)Pedro
Meyer1991
132- 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
133(No Transcript)
134Peachblossom 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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137Untitled / Dresshook(photomontage)Shelly J.
Smith1992
138- 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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140Portrait of Wouter Kardol(photomontage)Nanette
Hoogslag (artist)1992
141- 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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146(No Transcript)
147New Artists Breaking Out(photomontage)Andrzej
Klimowski1987
148- 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
149(No Transcript)
150The Love Series(photomontage)Emma Parker1990
151- 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
152Part IIIMusic The Avant-Garde
153- 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)
154 155New Order Republic(album cover)Peter Saville
(art direction and design)London Records1993
156 157The Beatles Revolver(album cover)Klaus Voorman
(art direction and design)c. 1966
158 159Jet Get Born(album cover)Greg Gigendad Burke
(art direction and design)Phil Knot
(photography) June Kim (illustration)c. 2003
160(No Transcript)
161The 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)
163(No Transcript)
164Frank 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)
166(No Transcript)
167The 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)
169(No Transcript)
170U2 Achtung Baby(album cover)Steve Averill,
Shaughn McGrath (design)Anton Corbijn
(photography)1991
171(No Transcript)
172Pearl Jam No Code(album cover)Barry Ament,
Chris McGann, Jerome Turner(art direction and
design)Jeff Ament, Lance Mercer
(photography)1996
173(No Transcript)
174(No Transcript)
175Led 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
176(No Transcript)
177(No Transcript)
178Led Zeppelin Presence(album cover, cd
booklet)Hipgnosis and Hardie (art direction and
design)1976
179(No Transcript)
180The Rolling Stones Metamorphosis(album
cover)Al Steckler, Richard Roth (art direction
and design)1975 (recorded 1964-69)
181(No Transcript)
182Joni Mitchell Hejira(album cover)Joni Mitchell
(art direction and design)Norman Seeff, Joel
Bernstein (photography)1976
183- 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)
184(No Transcript)
185Richard Ashcroft Human Condition(album
cover)Richard Ashcroft (art direction and
design)Nadav Kander, Max Dodson, Marc Marot
(photos)2002
186(No Transcript)
187Thelonious Monk Brilliant Corners(album
cover)Paul Bacon (art direction and design)1956
188(No Transcript)
189Charlie Parker Birds Best Bop(album
cover)Patricia Lie (art direction and
design)Herman Leonard (cover photo)1995
190(No Transcript)
191Joe Lovano Trio Fascination(album cover)P.R.
Brown (art direction and design) Jimmy Katz
(photography)MacDavid Henderson
(illustration)1998
192(No Transcript)
193J.J. Johnson Heroes(album cover)GuilioTurturro
(art direction and design) William Claxton,
Jimmy Katz (photography)MacDavid Henderson
(illustration)1998
194(No Transcript)
195Jason Moran Facing Left(album cover)P.R. Brown
(art direction and design)Michael Wong
(photography)2000
196(No Transcript)
197Jason Moran Black Stars(album cover)P.R. Brown
(photography, art direction and design)2001
198(No Transcript)
199Scolohofo (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
200(No Transcript)
201Brad Mehldau Largo(album cover)Lawrence
Azerrad (art direction and design)Tina Tyrell
(photography)2002
202(No Transcript)
203Brad Mehldau Anything Goes(album
cover)Lawrence Azerrad (art direction and
design)Warren Darius Aftahi (photography)2004
204(No Transcript)
205Matthew Shipp Nu Bop(album cover)Cynthia Fetty
(art direction and design)2002
206(No Transcript)
207William Parker Scrapbook(album cover)Cynthia
Fetty (art direction and design) Lisa
Christiansen, Cynthia Fetty (photography)2003
208(No Transcript)
209John Elliot Gardner, Orchestre Révolutionnaire
Beethoven Symphonies No. 3 and 5(album
cover)Tina Lauffer (art direction and
design)1994
210(No Transcript)
211Vladimir Ashkenazy Shostakovich Piano
Works(album cover)Mark Millington (art
direction and design)2004
212(No Transcript)
213Libor Pesck, Czech Philharmonic Orchestra
Dvorák Symphony No. 2(album cover)Nick Bell
(art direction and design)Michael Wildsmith
(photography)1995
214(No Transcript)
215Gil 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
216(No Transcript)
217Modest Mouse The Moon Antarctica(album
cover)Mary Maurer (art direction)Simon
Labalestier (cover photography)2000
218(No Transcript)
219(No Transcript)
220Radiohead OK Computer(album cover cd booklet
spread)Stanley Donwood (art direction and
design)1997
221(No Transcript)
222(No Transcript)
223Radiohead Amnesiac(album cover, cd
booklet)Stanley Donwood (art direction and
design)2001
224(No Transcript)
225(No Transcript)
226Radiohead Hail to the Thief(album cover cd
booklet spread)Stanley Donwood (art direction
and design)2003
227(No Transcript)
228(No Transcript)
229Beck Odelay(album cover cd booklet
spread)Beck Hansen, Robert Fisher (art direction
and design) Ludwig (cover photo)1996
230(No Transcript)
231Prefuse 73 One Word Extinguisher(album
cover)GHavisualagency (art direction and
design)2003
232(No Transcript)
233Björk Vespertine(album cover)Inez van
Lamsweerde, Vinoodh Matadin, M/M ltParisgt (art
direction and design)2001
234(No Transcript)
235(No Transcript)
236Leona Naess Comatized(album cover disc
label)Shop/NYC/ (art direction and design)
Chris Floyd, Jack Pierson (photography)2000
237(No Transcript)
238(No Transcript)
239Bill Evans The Best of Bill Evans on
Verve(album cover disc label)Patricia Lie (art
direction and design)Chuck Stewart (cover
photograph)1995
240(No Transcript)
241(No Transcript)
242Beck 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(No Transcript)
244The Pixies Doolittle(album cover)Vaughan
Oliver (art direction and design)Simon
Larbalestier (cover photograph)1989
245(No Transcript)
246De La Soul Art Official Intelligence Mosaic
Thump(album cover)Kevin Wolahan (art direction
and design)Mo Daoud (photography)2000
247(No Transcript)
248Pink Floyd Pulse(album cover and
slipcase)Storm Thorgerson (art direction and
design)1995
249(No Transcript)
250RJD2 Since We Last Spoke(album
cover)kiku_at_babyalpaca.org (design) 2004
251(No Transcript)
252Four Tet Everything Ecstatic(album
cover)Matthew Cooper (art direction and
design)Jason Evans, Simon Foxion
(photography)2005
253Part IVAdvertising Editorial
254- 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)
255(No Transcript)
256The New York Times Book Review(newspaper
supplement, cover)Steven Heller (art direction
and design) Ed Lam (illustration)1999
257(No Transcript)
258Untitled(magazine advertisement)Tanqueray
Gindesigner unknown1992
259(No Transcript)
260Reading Fiction(magazine illustration)Rolling
StoneStephen Kroninger1996
261(No Transcript)
262Untitled(magazine advertisement)Tazo
Teadesigner unknown2004
263(No Transcript)
264Chris Rock(newspaper illustration)Show World /
Austin American-Statesmandesigner unknown2004
265(No Transcript)
266Tom Craddick and Rick Perry(magazine
illustration)Texas Monthlydesigner unknown2004
267(No Transcript)
268Untitled(magazine advertisement)Targetdesigner
unknown2005
269(No Transcript)
270Untitled(magazine cover)EyeNick Bell (art
direction and design) 1998
271(No Transcript)
272Untitled(magazine cover)EyeNick Bell (art
direction and design) 2000
273(No Transcript)
274Untitled(magazine cover)EyeNick Bell (art
direction and design) 2003
275(No Transcript)
276Masochism (Guilles Deleuze Coldness and Cruelty
Leopold von Sacher-Masoch Venus in Furs)(book
cover)Bruce Mau (art direction and design)1989
277(No Transcript)
278Henri Focillon The Life of Forms in Art(book
cover)Bruce Mau (art direction and design)1992
279(No Transcript)
280Lorraine Daston, ed. Things That Talk(book
cover)Bruce Mau (art direction and design)2004
281(No Transcript)
282Neil Postman Technopoly(book cover)Statoff
Cohen (art direction and design)Mark Hill
(black-and-white photography)1992
283(No Transcript)
284James Elkins The Object Stares Back(book
cover)Vaughn Andrews (art direction and
design)1996
285(No Transcript)
286Francis Fukuyama Our Posthuman Future(book
cover)Lauren Panepinto (art direction and
design)Peter Sherrard / Getty Images (cover
photograph)1992
287(No Transcript)
288Jean 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)
290Volker Schlöndorff The Tin Drum (1979)(dvd
cover)Christine Ditrio, Neil Kellerhouse (art
direction)Neil Kellerhouse (menu and package
design)2004
291(No Transcript)
292David Cronenberg Naked Lunch (1991)(dvd
cover)Christine Ditrio, Neil Kellerhouse (art
direction)Neil Kellerhouse (menu and package
design)2003
293(No Transcript)
294George Lucas, Unmasked(magazine
cover)WiredMichael Elins (cover
photography)Frederico Gutiérrez-Schott (design
direction)2005
295(No Transcript)
296What Color Is Black?(magazine cover)NewsweekAnt
hony Barboza (photography) Kandy Littrell (art
direction)1995
297(No Transcript)
298The Strange New World of the Internet(magazine
cover)TimeJames Porto (design) Linda L.
Freeman (art direction)1994
299(No Transcript)
3006ft 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)
303Never been there? (newspaper illustration)Austin
American-Statesmandesigner unknown2005
304(No Transcript)
305Jeopardy!(newspaper illustration)Austin
American-StatesmanJason Whaley2005
306(No Transcript)
307Willie Nelson(newspaper illustration)Austin
American-StatesmanDon Tate2003
308(No Transcript)
309Behold the Brain(newspaper illustration)Austin
American-StatesmanJoe Stafford2003
310(No Transcript)
311Anti-Hero(newspaper illustration)Austin
American-StatesmanJoe Stafford2003
312(No Transcript)
313War of the Worlds(newspaper illustration)Austin
American-StatesmanDale Roe2005
314(No Transcript)
315Consumer Alert(newspaper illustration)Wall St.
JournalRalph Kelliher2005
316(No Transcript)
317Upswing(newspaper illustration)Austin
American-Statesmandesigner unknownHa Lam
(photos)2005
318(No Transcript)
31910 Years of SXSW Film(newspaper
illustration)Austin Chronicledesigner
unknown2003
320(No Transcript)
321Punch?(newspaper illustration)Show World /
Austin American-StatesmanDale Roe2005
322(No Transcript)
323Surfing 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