Graffiti Alley. Bhumsoo Kim, June 3, 2020. Ann Arbor, MI
POST TO A NEW WEEBLY PAGE TITLED- SOCIAL JUSTICE
UPDATED 6.7.20
Your last IMAGE SET for this Project will be one in which you express something that you believe to be an injustice that you would like to see changed. You will need to take pictures in which you feel it expresses this change. You may not use images others took (plagiarism).
The IMAGES will need to include TEXT either in the picture or you will need to add text with Photoshop or Photopea.com.
LET ME BE CLEAR- This Project requires more than one image.
For CREDIT:
2 to 3 Final unique images that has both text and an image.
Correct Incorrect
For this Project you might have to add text if it is not there, or add an image if the text is there, and sometimes you need to date it or add more text or more images.
The "correct" image above uses 2 images and added text. The 2 images are put together using a blending mode. Please watch the video below to see how to do this.
The intent of Project 17 is to give everyone one a voice through the lens of Social Justice. The guidelines to this Project is as follows:
No intentional exclusion (focus on the group you are promoting)
No harm
No violence
Show respectful for all
For Credit this Project must have the following (pick 2):
Take a picture of text and use a portrait image to put a personal touch to it.
Take a portrait and add text to it.
Take 2 pictures and use the Blend Mode to create a new image and add text.
Please contact me with any concerns or your process if you get stuck.
Her work uses PostModern Principles- Recontextualization, Text & Image and Appropriation (the photos are not hers).
Recontextualization
Positioning familiar imagery in relation to pictures, symbols, or texts that it is not usually associate with. A process that extracts text, signs or meaning from its original context in order to introduce it into another context. Since the meaning of texts and signs depend on their context, recontexturaliation implies a change in the communicative purpose to.
Positioning familiar imagery in relation to pictures, symbols, or texts that it is not usually associate with. A process that extracts text, signs or meaning from its original context in order to introduce it into another context. Since the meaning of texts and signs depend on their context, recontexturaliation implies a change in the communicative purpose to.
Text and Image
Creating meaning through the combined interplay of text and imagery. Artists working in this style often combine images and text that don't obviously go together. This results in a piece of work that build meaning that is beyond the text and image alone. Combined they create a stronger meaning.
Creating meaning through the combined interplay of text and imagery. Artists working in this style often combine images and text that don't obviously go together. This results in a piece of work that build meaning that is beyond the text and image alone. Combined they create a stronger meaning.
Appropriation
To appropriate is to borrow. Borrowing imagery from historical and mass media sources, such as found photos and advertising. Through the act of borrowing, the artist manipulates, adds to. Appropriation is the practice of creating a new work by taking a pre-existing image from another context—art history, advertising, the media—and combining that appropriated image with new ones. Or, a well-known artwork by someone else may be represented as the appropriator’s own. Such borrowings can be regarded as the two-dimensional equivalent of the found object. But instead of, say, incorporating that “found” image into a new collage, the postmodern appropriator redraws, repaints, or rephotographs it. This provocative act of taking possession flouts the modernist reverence for originality.
To appropriate is to borrow. Borrowing imagery from historical and mass media sources, such as found photos and advertising. Through the act of borrowing, the artist manipulates, adds to. Appropriation is the practice of creating a new work by taking a pre-existing image from another context—art history, advertising, the media—and combining that appropriated image with new ones. Or, a well-known artwork by someone else may be represented as the appropriator’s own. Such borrowings can be regarded as the two-dimensional equivalent of the found object. But instead of, say, incorporating that “found” image into a new collage, the postmodern appropriator redraws, repaints, or rephotographs it. This provocative act of taking possession flouts the modernist reverence for originality.
