Abstract
Research Article| March 01 2020 Multiplying Figures: Oscar Rejlander and David Hockney Judith B. Herman Judith B. Herman Judith B. Herman is an artist and writer based in Los Angeles County who has written on art for the Los Angeles Times, Slate, and other publications. Her website is www.judyherman.com. Search for other works by this author on: This Site PubMed Google Scholar Afterimage (2020) 47 (1): 13–18. https://doi.org/10.1525/aft.2020.471004 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Judith B. Herman; Multiplying Figures: Oscar Rejlander and David Hockney. Afterimage 1 March 2020; 47 (1): 13–18. doi: https://doi.org/10.1525/aft.2020.471004 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentAfterimage Search Is it art or technology? The question has bedeviled photography since Day One. Is a photograph the expression of a creative human mind or the soulless output of a machine? Two artists, one working at the infancy of photography and one working today, illustrate the absurdity of the dichotomy. Both found photographic technology not just another tool in the artist's kit, but a spur to creativity. Coincidentally, two Los Angeles art spaces recently presented concurrent solo shows of these painters who discovered a multiplicity of possibilities in photography. Each artist combined dozens of separately photographed human subjects into a single print. Both pushed the limits of photographic technology of their time. Oscar Rejlander did his pioneering work in the 1850s, at the dawn of photography. David Hockney, decades after his experiments with multiple-perspective Polaroids, remains on the cutting-edge of photography as it has advanced in the digital age. The Getty... You do not currently have access to this content.
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