The essay referenced in the course text was interesting. The first artistic movement it referred to was one that I was not familiar with - Dada[]. Looking at these proto-surrealistic works reminded me of the cut-out animations of Terry Gilliam for Monty Python I found this really interesting instructional video where Gilliam explains his process - there were some really interesting insights as to how he selected his subject matter. A lot of it has relevance for collage too.
I was intrigued by the essay's insight into Theo van Doesburg:
"Theo van Doesburg, the founder of the Dutch Constructivist group, De Stijl, could also be sympathetic to Dada, even devising a pseudonym - I. K. Bonset - under which he produced Dada-inspired phonetic and typographic poetry."
I am interested in the way that the artist used a pseudonym to explore a different side of their art, similar to how Jean Giraud used his "Mœbius" persona to create science fiction and fantasy artwork separated from his gritty western comics. It's an idea I have been toying with myself as a way of giving myself permission to explore aspects of my working process more freely.
The essay seems to concern itself more with the evolution of typography first from form to function, but then later how that also allowed its function to be explored from the perspective of form and spatial relationship. Finally, the essay also covers the subsequent development of "a movement away from the analysis of subject matter or author, and onto the study of the system in which the work functioned." This phrase also seems to have a lot of connection to the focus on processes for Part Two and is not limited to just aspects of collage work.
The evolution and emergence of these artworks seem to have a strong relationship with technology. I was interested to see the role of emerging media as a driving force in change and divergence. I am not sure it fully supplanted the traditional media as the text asserts, instead I feel that the new media allowed traditional art to become something else, and to diverge itself into 'fine' and 'applied' arts.
Ironically, the mechanical typography itself evolved in unexpected ways: The ability to create text easily and repetitively led to a paradox where text was easier to produce and understand but that ease also allowed time and capability to explore text as its own creative endeavour, circling back around to be influenced by, and incorporate, the artistic movements of the time. I wonder how emerging media of computer games and VR/AR will evolve the relationship between text and visuals further.
Looking at the list of artists supplied in the course text, I reviewed their artworks and decided to try and categorise them where I saw familiar elements. Using these categories, I then tried to answer the questions posed in the course text:
Where do they find the images that become part of their collages from?
Which images do you find the most striking?
Do their images relate to the politics or social issues of their time? If not, what are they concerned with?
Are they related to psychology, or dreams, or are they purely visual experiments?
Discuss their relevance to the period they were made in.
Do the concerns of the images have a new relevance in today’s world, and if so, how?
Abstract
Jean Arp, Linden Eller, Eduardo Paolozzi, John Stezaker
Arp is very shape-focused, with much of their imagery coming from cut shapes, or similar. John Stezaker is different in that he uses photographic portraits. Paolozzi and Eller seem to blend both shape, colour and photographs.
I really enjoy the muted palettes of Eller over photographic backgrounds, but I wouldn't call them striking. Paolozzi's collage works use extremely bold colours and have a bombastic feeling to them.
I did not get a sense that their work was orientated towards political or social issues. They seemed more concerned with the relationships between images.
I am sure there is always an element of psychology in all artwork. It's hard to say if they are channelling or expressing any specific elements of their dreams.
I think each of these artists tries to push boundaries conceptually. They are trying to convey ideas or feelings in very abstract ways. The common thing I note between all of them is the way they all create tension in their work.
I think their work is timeless in a way, in that they seem to be dealing with concepts that are perpetual and perennial.
Surreal
Enrico Baj, Max Ernst, Hannah Hoch, Eugenia Loli, Linder Sterling, Isabel Reitemeyer
There was a lot of variation with these artists. Baj seemed to use a combination of paint and found objects, whereas the others seem to source their images from contemporary printed media.
I really enjoyed the silliness of Baj's work. Combines with bold colour and texture they are the most visually striking of this set of artists.
I think there is an element of social commentary in the work of each of these artists. Some are more subtle, and others like Baj veer on the side of parody.
Again, psychology must play a part in all the works. Loli's work is the most fantastical, and one could infer that they are inspired (at least in part) by dreams.
By using contemporary found media and objects, the artworks also act as a kind of time capsule. The media provided historical constraints (as to what images were available) but in the same way, acting as commentary as to the kinds of images that were available at the time.
I think that their works still have relevance today, their commentary and symbolism could quite easily be used editorially for topics we discuss today.
Geometric
Julie Cockburn, Annegret Soltau
Cockburn seems to use vintage photographic portraits for their work using colourful geometric shapes, and Soltau also uses photographic portraits but of a more contemporary nature.
I find some of the less geometric, more 'stitched' work of Soltau very powerful.
I get the sense that Soltau's work is very charged with social and personal commentary.
Cockburn's work seems to be focussed on social commentary, whereas Soltau's work seemed to be more influenced by aspects of psychology.
I am not sure if their work is particularly relevant to their specific time period. There were some pieces of Soltau's that used modern elements like SIM cards which make them more directly related to the time when they were created.
I don't think they are new relevances, I think they would still have been relevant if they were created over 50 years ago.
Satirical
John Heartfield, Peter Kennard, Jamie Reid, Martha Rosler
All of the artists use photographic elements in their work. Most seem to come from photos sourced from other media. Kennard's photos seem to be intentionally taken and then manipulated.
I have a lived cultural knowledge of Reid's work through the album covers of the Sex Pistols. Knowing the impact that Punk had in the UK, they feel the most string to me.
These artists' work deals almost exclusively with social and political commentary. Sometimes they are playful, and sometimes they aim to be critical, almost hurtful in their execution.
I think the work of these artists conveys a strong evocation of disgust, outrage and anger which is channelled through the collages.
Given their subject matter, they are all tied to their contextual periods, not just in the materials used but in the subject matter itself.
With the rise of populist governments, neo-liberal extremism and an ever-expanding disparity of wealth, I think these images are more relevant than ever.
(All images copyright their respective holders, and used under the educational fair-use policy)
References
Blind Shutter, 2017. Terry Gilliam - Monty Python Animations. [image] Available at: https://www.youtube.com/watch?v=gybj59jFfHI [Accessed 21 February 2022].
Tate. n.d. Dada – Art Term | Tate. [online] Available at: https://www.tate.org.uk/art/art-terms/d/dada [Accessed 21 February 2022].
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