Constructed relationships

This post is prompted by my tutor’s suggestions in A2 feedback for further research.

Jealousy, 1927 – Laszlo Moholy-Nagy – WikiArt.org (s.d.) At: https://www.wikiart.org/en/laszlo-moholy-nagy/jealousy-1927 (Accessed on 9 April 2019)

John Stezaker: Lost World | City Gallery Wellington (s.d.) At: https://citygallery.org.nz/exhibitions/john-stezaker-lost-world/ (Accessed on 9 April 2019)

Unique Works — JOHN BALDESSARI (s.d.) At: http://www.baldessari.org/unique (Accessed on 9 April 2019)

Clarke, G. (1997) The Photograph: A Visual and Cultural History (Oxford History of Art). (First Edition) (s.l.): OUP Oxford.

My A2 submission tries to illustrate the idea of a long-term relationship as a journey. In this post I look at artists who have also used relationships as subject matter but have illustrated the idea using constructed images.

Graham Clarke says of  Laszlo Moholy-Nagy’s “Jealousy” that is “insists on its difference from an ‘everyday’ world and the expected conventions of photographic representation” (Clarke,1997:193). This is true but at the same time this is a remarkably clear illustration of the idea (even without the title). This clarity may be obvious from a 21st century viewpoint, and may even be a bit obvious now, but it is useful to me in giving me ideas of ways to further rework my A2 submission.

John Stezaker uses montage in various ways but I am most interested here in those in the “Betrayal” and “Marriage” sequences. Both adopt the same idea, fabricating a single person from two separate photographs matched together. The join is never a complete match but are close enough to support the concept. These are all very skilfully done; the distinction between those in either category perhaps being mainly down to how the eyes juxtapose. However much as I admire these they are so distinctive that I don’t think (for now anyway) that I will follow this approach in my rework.

There is a lot of playfulness in John Baldessari’s work that is an area I would anticipate exploring further. In several of his works he accompanies photographs and paintings with extracts from constructed film scripts. These sometimes are associated with the corresponding image, or sometimes the image is referred to directly in the script. They provide an alternate context to anything that might get suggested by the image alone. In other works he has created new works using cut pieces from other found images. The results are highly reminiscent of “Jealousy” in the way it creates new meanings. As with Moholy-Nagy I intend to explore both these approaches in my A2 rework

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