Abstract
The distinction between drawing, painting, and photography to render a scene or portrait typically emphasizes a particular relationship between photography and its subject. However, what happens when photographic images are manipulated, either in camera, or once they have been produced? The following paper will consider how photography functions through the technique of collage. Emerging in the nineteenth century, photography was taken up by collage artists at the time. Artists of the early twentieth century contributed ground breaking works through the reconfiguration of photographic images. These techniques blended and developed further with cinema, using the repetition of photographic images to not only present realism, but also motion. With the introduction of digital photography in the late twentieth century, the notion of photographic collage may have disappeared altogether, with the ability to eliminate seams between images, and stitch larger images together from many single smaller ones. The paper traces the historical use of collage in photography to consider whether its distinction from drawing and painting still holds true, or if its relationship to its subject has also become a matter of interpretation.
Presenters
Alisdair Lochlin MacRaeInstructor, School of Industrial Design, Carleton University, Ontario, Canada
Details
Presentation Type
Paper Presentation in a Themed Session
Theme
KEYWORDS
Collage, Photography, Cubism, Photomontage, David Hockney, Andreas Gursky, CGI
