Deconstructing Montage & Virtual Reality
With this assignment we explored two different styles of manipulating photography, Deconstructing Montage and Virtual Reality, as they seem very different styles they share on common thing the artists “IDEA.”
In the Deconstructing Montage we explore the symbolism and meaning of what the artist is trying to communicate to us. The great example of communicating messages through symbolism is in the work of Peter Kennard, very political and in your face montages, he puts it in a very simple explanation “I believe that the image of objects that we oppose should be broken up, shattered by opposing imagery. We must find key images enabling us to prise open and reveal the hidden mechanisms of oppressive regimes.” (Kennard, 2000). From 20th century Deconstructing Montages started expending and having more meaning and stronger messages as Druckery concludes “What is immediately evident is that montage is reemerging as a significant expression of the extraordinary complexity of techoculture, and that it is capable of confronting a range of issues long considered exhausted.” (Druckery, 1994, p. 7) The Virtual Reality explores the artist imagination, dreams something that is not real in this world. Artist can express their deepest desires and dreams that once wore not possible to express through art, as real as in this day and age with digital photography and its tools. On the other hand there was one of the greatest Surrealists painters Salvador Dalí, who through painting expressed his dreams and imagination, “One might think that through ecstasy we would have access to a world as far from reality as that of the dream. – The repugnant can become desirable, affection cruelty, the ugly beautiful, faults qualities, qualities black miseries.” (Millet (translated by Selous), 1933, p. 133).
In my experience undertaking this assignment I discovered that is not that easy to find and try to communicate the message...
References: Druckery, 1994. ‘From Dada to digital montage in the twentieth century’, Metamorphoses photography
in the electronic age. New York: Aperture Foundation.
Kennard, P., 2000. Dispatches from an Unofficial War Artist. USA: Lund Humphries.
Millet (translated by Selous), 1933. Le phénomene de l’extase’, in ‘Minotaure’as quoted in “Dali and
Me”. Zurich Switzerland,: Scheidegger & Spiess AG.
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