Power Point presentation on collage and Photomontage for Australian VCE Art and Design curriculum

1. COLLAGE AND
PHOTOMONTAGE

2. COLLAGE COMES FROM THE FRENCH WORD TO
GLUE 'COLLER'. COLLAGE ART IS CREATED BY
GLUING OBJECTS TO THE SURFACE. IT FIRST
BECAME A RECOGNISED ART FORM DURING THE
SYNTHETIC CUBIST PERIOD, WHEN PICASSO
GLUED OILCLOTH, AND THEN A ROPE AROUND
HIS OVAL CANVAS 'STILL LIFE WITH CHAIR
CANING,' 1912. A FEW MONTHS LATER BRAQUE
GLUED IMITATION WOOD-GRAINED WALL PAPER
TO HIS 'FRUIT DISH AND GLASS,’ 1912. THE SOLE
USE OF PHOTOGRAPHS IN AN ARTWORK IS
CALLED A 'PHOTOMONTAGE'. COLLAGE WAS A
METHOD OF BEING ABLE TO INTEGRATE 'HIGH'
AND 'LOW' ART.(ABOUT EDUCATION, 2015)

4. DURING THE DADA MOVEMENT GERMAN ARTIST,
HANNAH HOCH (1889-1978) GLUED PORTIONS OF
ADVERTISING MATERIAL AND MAGAZINES ONTO
HER WORK. SHE STUDIED GLASS DESIGN AND
GRAPHIC ARTS IN BERLIN . SHE BECAME A
MEMBER OF THE THE BERLIN CLUB DADA, SHE
WAS THE ONLY FEMALE MEMBER. SHE WAS AN
ADVOCATE FOR WOMEN'S RIGHTS AND HER
WORK OFTEN COMMENTED ON THE PORTRAYAL
OF WOMEN IN MEDIA AND CULTURE. SHE OFTEN
PRODUCED LARGE IMAGES AND USED PHOTOS,
MAGAZINES, PIECES OF MACHINES AND A RANGE
OF OBJECTS TO CREATE HER WORK.(THE ARTS COUNCIL, 2015)

9. MAX ERNST (1891-1976) ALSO GERMAN, WAS
AN INNOVATIVE ARTIST WHO LOOKED INWARDS
TO HIS OWN UNCONSCIOUSNESS FOR THE
SOURCE OF HIS DREAMLIKE IMAGERY. HE WAS
AFFILIATED WITH BOTH THE DADA AND
SURREALISTS. HE WAS INTERESTED IN FREUD'S
DREAM THEORIES, PSYCHOLOGY AND THE ART
OF THE MENTALLY ILL. HE OFTEN USED
COMMERCIALLY PRINTED ETCHINGS AND
ENGRAVINGS IN HIS WORK. WORKING FROM
HIS SUB-CONSCIOUS FORMED THE BASIS OF HIS
WORKS AND HIS IDEALS LATER INFLUENCED
THE ABSTRACT EXPRESSIONISTS. (THE ART STORY.ORG, 2015)

14. KURT SCHWITTERS (1887-1948) WAS ANOTHER
GERMAN ARTIST. A PAINTER, SCULPTOR,
TYPOGRAPHER AND WRITER. HE WAS INFLUENCED
BY EXPRESSIONISM AND CUBISM. HE CREATED HIS
OWN FORM OF DADA CALLED 'MERZ'-WHICH
STANDS FOR 'FREEDOM FROM ALL FETTERS, FOR
THE SAKE OF ARTISTIC CREATION'. HIS WORK WAS
VERY PERSONAL AND HE USED MATERIALS SUCH
AS LABELS, ENVELOPES FROM THE LETTER'S OF
FRIENDS, LAUNDRY RECEIPTS, NEWSPAPER
CLIPPINGS, BUS TICKETS AND WOOD. HE WAS A
CONCEPTUAL ARTIST AND HIS ART INTENDED TO
CHALLENGE DISCIPLINARY BOUNDARIES.(DADAART.COM
2015, GALENSON, , 2013)

19. DAVID HOCKNEY IS AN ENGLISH ARTIST. HE IS A
PAINTER, A RENOWNED PRINTMAKER AND A
PHOTOGRAPHER. HE IS ASSOCIATED WITH THE BRITISH
POP MOVEMENT. HE EXPERIMENTED WITH DIFFERENT
ART FORMS INCLUDING ABSTRACT EXPRESSIONISM. HE
ADMIRED PICASSO, MATISSE, BACON AND FRAGONARD
AMONGST OTHERS. IN THE 70'S HOWEVER, HE BEGAN
TO FOCUS MORE ON PHOTOGRAPHY AFTER TAKING A
SERIES OF PHOTOS AS A REFERENCE FOR A PAINTING
WHEN HE REALISED THE PHOTO COLLAGE WAS AN
ARTWORK IN ITSELF. HE CALLED THESE
PHOTOMONTAGES 'JOINERS'. BY THE 80'S, ALTHOUGH
HE STILL PAINTED, HE WAS WORKING LARGELY WITH
PHOTOGRAPHIC IMAGERY.(DAVIDHOCKNEY.COM 2015)

24. RICHARD HAMILTON (1922-2011) WAS AN
ENGLISH PAINTER AND PRINTER. HE WAS
INFLUENCED BY JAMES JOYCE AND MARCEL
DUCHAMP. HIS WORK EMBODIED MANY POP
ART CHARACTERISTICS. HE SPENT A PERIOD
WORKING IN THE COMMERCIAL ART FIELD
WHICH PROBABLY FUELLED HIS INTEREST IN
POPULAR CULTURE, ADVERTISING AND THE
MEDIA. HE EXPLORED THE LINE BETWEEN
'HIGH' AND 'LOW' ART. HE OFTEN BUILT UP
ARTWORKS UPON 'READYMADES'-PHOTOS HE
RETOUCHED BY HAND.(MOMA, MUSEUM OF
MODERN ART,2015)

29. 1) PICK AN ARTIST FROM THE PRESENTATION AND ANSWER THE
FOLLOWING ABOUT ONE OF THEIR ARTWORKS.
(DESCRIBE, ANALYSE, INTERPRET, JUDGE)
DESCRIBE THE ARTWORK….WHAT DO YOU SEE??
A) WHAT FORM OF ARTWORK IS IT? (I.E.; A PAINTING, A SCULPTURE ETC)
B) WHAT MEDIUM(S) AND TECHNIQUES ARE USED ( PAINTING, DRAWING,
COLLAGE ETC)
C) IS THE WORK BIG OR SMALL? IDENTIFY THE OBJECTS IN THE WORK
.D) WHAT TYPE OF ELEMENTS AND/OR SHAPES ARE USED?.
E) IS THE AXIS OF THE WORK VERTICAL, HORIZONTAL OR VERTICAL FOR
EXAMPLE?
F. DESCRIBE THE USE OF LINE, IS IT SOFT, HEAVY, JAGGED, ETC.

30. G. DESCRIBE HOW LINE DEFINES SHAPE AND SPACE (VOLUME) AND HOW
LINEWORK DISTINGUISHES BETWEEN LINES OF OBJECTS AND LINES OF
COMPOSITION, E.G., THICK, THIN, VARIABLE, IRREGULAR, INTERMITTENT,
INDISTINCT, ETC
.H. WHAT IS THE RELATIONSHIP BETWEEN SHAPES, E.G., LARGE AND SMALL,
OVERLAPPING, ETC
.I. DESCRIBE THE COLOUR AND COLOUR SCHEME (PALETTE-IS IT A MUTED
PALETTE? ,COMPLEMENTARY? ARE STRONG COLOURS USED ETC)
J. TEXTURE OF SURFACE OR OTHER COMMENTS ABOUT EXECUTION OF WORK
K. WHEN AND WHERE WAS THE WORK MADE?( CONTEXT OF OBJECT):
ORIGINAL LOCATION AND DATE
2. ANALYSIS = DETERMINING WHAT THE FEATURES SUGGEST
AND DECIDING WHY THE ARTIST USED SUCH FEATURES TO
CONVEY SPECIFIC IDEAS. "

31. IT ANSWERS THE QUESTION, "HOW DID THE ARTIST DO IT?
A. DESCRIBE THE SUBJECT MATTER BY LOOKING AT THE
ICONOGRAPHIC ELEMENTS, E.G, IS IT A HISTORICAL EVENT,
ALLEGORY, MYTHOLOGY, A SOCIAL OR POLITICAL ISSUE?
B. SELECT THE MOST DISTINCTIVE FEATURES OR CHARACTERISTICS
OF THE WORK-WHETHER IT BE LINE, SHAPE, COLOR, TEXTURE, ETC.
C. ANALYSIS OF THE PRINCIPLES OF DESIGN OR COMPOSITION,
E.G., IS IT STABLE. REPETITIOUS, RHYTHMIC, UNIFIED,
SYMMETRICAL, HARMONIOUS, GEOMETRIC, VARIED, CHAOTIC,
HORIZONTAL OR VERTICALLY ORIENTED, ETC.
D. DISCUSS HOW ELEMENTS OR STRUCTURAL SYSTEM
CONTRIBUTE TO APPEARANCE OF IMAGE OR FUNCTION

32. E. ANALYSIS OF USE OF LIGHT AND ROLE OF COLOR, E.G.,
CONTRASTY, SHADOW, ILLOGICAL, WARM, COMPLEMENTARY,
COOL, SYMBOLIC,ETC.
F. DISCUSS HOW ELEMENTS OR STRUCTURAL SYSTEM
CONTRIBUTE TO APPEARANCE OF THE IMAGE.
G. ANALYSIS OF USE OF LIGHT AND ROLE OF COLOR, E.G.,
CONTRASTY, SHADOW, ILLOGICAL, WARM, COMPLEMENTARY,
COOL, SYMBOLIC,ETC.
H. DESCRIBE THE TREATMENT OF SPACE, FOR EXAMPLE THE USE
OF PERSPECTIVE, IS IT COMPACT, DEEP, SHALLOW, NATURALISTIC,
RANDOM OR FLAT?
I. IS MOVEMENT A FEATURE OF THE WORK? HOW IT IS ACHIEVED?
H.DESCRIBE THE EFFECT OF PARTICULAR MEDIUM(S) USED

33. K. WHAT ARE YOUR PERCEPTIONS OF BALANCE, PROPORTION AND SCALE
OF THE WORK (RELATIONSHIPS OF EACH PART OF THE COMPOSITION TO
THE WHOLE AND TO EACH OTHER PART
L. WHAT IS YOUR REACTION TO THE WORK?
3. INTERPRETATION = ESTABLISHING THE BROADER CONTEXT FOR
THIS TYPE OF ART.
IT ANSWERS THE QUESTION, "WHY DID THE ARTIST CREATE IT AND
WHAT DOES IT MEAN?
THE VARIOUS ELEMENTS THAT CONSTITUTE INTERPRETATION
INCLUDE:
A .WHAT IS THE MAIN IDEA, THE OVERALL MEANING OF THE WORK?
B. INTERPRETIVE STATEMENT: EXPRESS WHAT YOU THINK THE ARTWORK
IS ABOUT IN ONE SENTENCE
C. EVIDENCE: WHAT EVIDENCE INSIDE OR OUTSIDE THE ARTWORK
SUPPORTS YOUR INTERPRETATION (LOOK AT THE WORK AND READ WHAT

34. 4. JUDGMENT: JUDGING A PIECE OF WORK MEANS
GIVING IT RANK IN RELATION TO OTHER WORKS AND OF
COURSE CONSIDERING A VERY IMPORTANT ASPECT OF
THE VISUAL ARTS; ITS ORIGINALITY.
·A. IN YOUR OPINION IS IT A GOOD ARTWORK?
B.CRITERIA: WHAT CRITERIA DO YOU THINK ARE THE MOST
APPROPRIATE FOR JUDGING THE ARTWORK?
C. EVIDENCE: WHAT EVIDENCE INSIDE OR OUTSIDE THE ARTWORK
RELATES TO EACH CRITERION?
D. JUDGMENT: BASED ON THE CRITERIA AND EVIDENCE, WHAT IS
MY JUDGMENT ABOUT THE QUALITY OF THE ARTWORK?

35. VIEW THE PREZI ‘ELEMENTS AND
PRINCIPLES OF DESIGN’ BEFORE
ATTEMPTING TO COMPLETE THIS
TASK. ALSO CHECK OUT ‘HOW TO
CRITIQUE ARTWORK’ UNDER
‘INTERESTING LINKS’-THIS
SUMARISES THE WRITTEN
POINTS, FEATURED HERE, IN
THE ‘ART CRITICISM AND FORMAL
ANALYSIS OUTLINE’ IN POINT
AND SLIDE FORM