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Jenny Saville working from graphic/medical photographs.

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Jenny Saville working from graphic/medical photographs.

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Jenny Saville has always been known for her extremely graphic, bold and expressive paintings.  I've loved her work since year 12, and the way she incorporates her own style from a photo, to reflect how it affects her viewing, which seems to be beauty to her, it makes you go through a journey of her bold, big brush strokes and her unique artistic attempt to recreate what she sees into beauty, whereas people would find disturbing and grim. Her work takes you to the raw animality of existence.

Her 2003 show in New York, visitors to her studio in past years have noted the graphic pictures she has collected, hose of burn victims and photographs from Abu Ghraib.)

“I paint flesh because I’m human,” says Saville, as though surprised anyone would consider painting anything else. “If you work in oil, as I do, it comes naturally. Flesh is just the most beautiful thing to paint.”

Yet the bodies she paints are rarely conventionally beautiful.

“I like the down and dirty side of things,” she says. “I don’t like things to be too polished. We’ve got fashion magazines for that.”

- Sabrina Robson

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Hyperrealism is one of the most interesting developments in the visual arts. It resembles high-resolution photographs. Omar Ortiz' work is characterized as being minimalistic hyprerrealism, where the human body is the main focus of his pieces. Omar describes his work by saying, “Since I started painting I have always tried to represent things as real as I can. Sometimes I succeed and some others I don’t but it’s a fact that it is very difficult for me to do otherwise. I enjoy the challenge of reproducing skin tones and it’s nuances under natural light, particularly in bright conditions. I like simplicity in my pieces since I believe that excesses make us more poor rather than rich."

- Dominique

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“In late 1993, I happened upon a wonderful painting by Lucien Freud. It was of a heavyset man, seated on the floor, pictured from behind. I had a strong and immediate connection to its simplicity of line and quality of light. The image began to haunt me. It seemed to cross the line between painting and photography. I began to re-examine my approach to figurative portraiture. A friend at Polaroid had given me an SX-70 camera some years earlier. Having seen Freud’s painting, I re-considered its possibilities." - Barbara Cole.

At first I thought this was a painting, I began researching the artists work to later realise that her pieces are all in fact, photographs. I find this photographers work fascinating as in one sense mirroring paintings that look like photographs by making the photographs look extremely like paintings.

- Paige Ostler.

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Wilhelm Sasnal approaches painting as a ‘formal exercise’. Often borrowing subjects from art history, 20th century propaganda, and photojournalism. Sasnal treats painting as a reductive process: information is lost in translation from photography to painting.

Painted from a famous propaganda image, Wilhelm Sasnal’s Factory “swaps the celebratory ideal of the Socialist Worker for the impersonal hardness of mechanised production.” Using the original photo’s black-and-white tones, details are eradicated through heightened contrast, the image simplified through ‘overexposure’ and the intervention of the artist’s hand. Wilhelm Sasnal’s replicated images are removed from their once powerful meanings.
Lewis :)

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Aether, Acrylic on canvas, by Jason De Graaf

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Aether, Acrylic on canvas, by Jason De Graaf

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'Hyperrealism is a genre of painting and sculpture resembling a high-resolution photograph.'

Although not equine related at a point in my personal practice I started to look at Hyperrealism as a possible route for my work. When I was doing my research I came across this artist and his work has really stuck with me. Rebecca

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Exhibition at the MOMA.
Francis Picabia's exhibition showed various periods of the artists work. One room was titled; Photo based paintings. Picabia painted from photographic sources taken from late 1930's soft core pornography magazines. There is a noticeable difference in these paintings compared to the rest of the exhibition in their composition and imagery. I think the use of the photographic source in the painting gives a static, captured in time quality. It is very factual. As with a photograph.This is a quote from the written information in the room;
"Picabia often preserved those photograph's artificial studio lighting, their soft focus, and the optical distortions created by the camera lens, leaving the photographic trace formally visible in the paintings."
Helen.

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Seen at the Whitney Gallery in New York and spoken about by Craig in a previous lecture, Leon Golub uses photography within his practice to create large scale pieces. "White Squad I is the first of seven large-scale paintings that Leon Golub made in the early 1980s in response to the activities of Central and South America death squads, which received significant media attention at the time. The five male figures are drawn from Golub's photographic archive of scenes of terror - a collection he amassed over forty years" Golub shows that without photography it is often difficult to picture history and then express this in a art form. By recreating a moment in time on canvas Golub is able to bring back memories from his past into the future.  - Lucy Blinco

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This pic was uploaded in relation to my article about Jean Baudrillard, Venice, California, 1989 but could not be seen until you clicked on it. Better luck this time! Sally

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Painting photographically in an abstract way

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Painting photographically in an abstract way

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When visiting the Whitney Art Gallery in Chelsea, New York, I came across this Chuck Close piece. Relating to other works (such as those mentioned in the video) this piece uses a grinding system to ensure accuracy. From a distance this painting is a portrait, that has used the grid system to take the image from a photograph, but if you take a small section and blow it up in size, you'll see that each block in the grid is made from block colours in circular forms. So although this artwork is portraying a photo, it is doing so in an abstract way. It is fragmented. I wouldn't say it is photo realism, but it is amazing how a portrait can be created by means other than realism.

"I wanted to translate from one flat surface to another. In fact, my learning disabilities controlled a lot of things. I don't recognise faces, so I'm sure it's what drove me to portraits in the first place." With this being said, I can appreciate how instead of copying photographs detail by detail, Close has translated the image in a way that is his own. It's not a perfect copy like some photo realists try to achieve. I believe that Close wanted to show the world how he sees faces, as if he cannot recognise the. Zooming in doesn't show a face but stepping back does. Majority of us are lucky to be able to see the face and the abstract work behind the piece.

Jess

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Art that blurs the line between paint and photograph. Alexa Meade

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Art that blurs the line between paint and photograph. Alexa Meade

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This artist merges painting and photography together to create her art work.
She paints the subject matter onto the subject matter, for example she's quoted saying:

“If I want to paint your portrait, I’m painting it on you — physically on you. That also means you’re probably going to end up with an ear full of paint because I need to paint your ear on your ear,” says Meade in this extremely fun talk, given at TEDGlobal 2013. “The mask of paint mimics what is directly below it. In this way, I am able to take a three-dimensional scene and make it look like a two-dimensional painting.”

Laura

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Capturing Moments and Nostalgia Photographically

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Capturing Moments and Nostalgia Photographically

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Whilst at the Witney museum walking around the human interest exhibition, I was taken by two pieces of work, the first was Philip-Lorca diCorcia who photographs complete strangers whilst walking in the dark using a special infra-red light, invisible to the naked eye. The effect is stunning, capturing a moment in time when the subject is unaware and alone with their thoughts, as a viewer it
creates an emotional response because there is recognition, it is a  moment we can all identify with. Then just a few feet away artist Robert Bechtle takes inspiration from his own personal photographs of friends and family capturing them in oil paint in a photorealist style which again stimulates nostalgic emotions in the viewer. The atmosphere of these paintings seems enhanced because they are paintings and not photographs. Debbie

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PUTTING PAINTING IN THE PICTURE (PHOTOGRAPHICALLY)

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PUTTING PAINTING IN THE PICTURE (PHOTOGRAPHICALLY)

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"It seems to be the case that when photography and painting become entangled, one becoming both a copy and a commentary upon the other, then a series of complex discursive issues get put into play. The photograph always seems to be in excess of the painting, engaging with it performatively, whilst painting is posed in these forms of contemporary practice, not as a single point of reference, to be mimicked or copied, but as a discursive presence troubling the security of the photographic image, producing a differentiated space of representation that opens up a more complex articulation of the way in which photography intersects with the field of the visible." Chloe C

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Images Performing History: Photography and Representations of the Past in European Art After 1989

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Images Performing History: Photography and Representations of the Past in European Art After 1989

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The difference between using photographs as a exact reference and as a rough guide effects how much of an emotional connection he audience can interact with. Maybe can be compared with the differences between abstract expressionism and pop art in relation to mark making and process and how this creates emotive language. Abbie

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Images Performing History: Photography and Representations of the Past in European Art After 1989

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Images Performing History: Photography and Representations of the Past in European Art After 1989

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"The difference between a careful, narrative composition and a fragmentary, 'automatic' picture is a difference between two ways of representing history. In the painterly practice of Luc Tuymans and Dierk Schmidt, painting appears as a self-reflective medium, by means of which the impact of the photographic apparatus on the idea of history becomes visible." Images Performing History: Photography and Representations of the Past in European Art After 1989 (Lieven Gevaert Series) by Katarzyna Ruchel-Stockmans. Pg. 202 (Abbie)

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Jean Baudrillard, Venice, California, 1989

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Jean Baudrillard, Venice, California, 1989

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An interesting and slightly unnerving image, Sally

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Jean Baudrillard, Venice, California, 1989 'By aligning the edges and colours of some objects with the overlap and disjunction of others, Baudrillard's photographs throughout the 1980's and early 1990's proposed the visual world as a kind of two dimensional continuum, as if constituted as a montage against the pull of it's three dimensionality'The Art of Today, Brandon Taylor, 1995 p. 82 

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Jean Baudrillard, Venice, California, 1989 'By aligning the edges and colours of some objects with the overlap and disjunction of others, Baudrillard's photographs throughout the 1980's and early 1990's proposed the visual world as a kind of two dimensional continuum, as if constituted as a montage against the pull of it's three dimensionality'The Art of Today, Brandon Taylor, 1995 p. 82 

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"The various exchanges between painting and photography have been one of the most striking phenomena of the past few decades in the realm of the visual arts. Rainer Rochlitz, "Where We Have Got To," Photography and Painting in the Work of Gerhard Richter, B. H.D. Buchloh et al, Barcelona: LLibres de Recerca, 2000, p. 103