Hockney deliberately dismantled photography’s static instant-framing

Evidence

Hockney’s subjects were recognizable but discontinuous. In that sense, Hockney was trying to use a camera to undo the very essence of how we traditionally understand photography, which is a static framing of certain elements in an instant of time. More specifically, Hockney was after the phenomenology of seeing: From that first day, I was exhilarated… — Jenny Odell, How to Do Nothing, 355

Categorization

• XREF: connects to: A photograph flattens lived time into a single paralyzed instant — Jenny Odell, How to Do Nothing: Resisting the…, 353; Hockney’s photo-collage grids break photography’s single-instant frame — Jenny Odell, How to Do Nothing: Resisting the…, 354; Hockney’s photo joiners constitute drawing rather than photography — Jenny Odell, How to Do Nothing: Resisting the…, 358 (+2 more)
• yield-rescued: below the book’s yield-target cutoff, included anyway for connecting to: A photograph flattens lived time into a single paralyzed instant — Jenny Odell, How to Do Nothing: Resisting the…, 353; Hockney’s photo-collage grids break photography’s single-instant frame — Jenny Odell, How to Do Nothing: Resisting the…, 354; Hockney’s photo joiners constitute drawing rather than photography — Jenny Odell, How to Do Nothing: Resisting the…, 358 (+2 more)

Broader Connections

• Hockney’s photo joiners constitute drawing rather than photography #expands (0.92) — Jenny Odell, How to Do Nothing, 358
• Early photography physically immobilized subjects whose ordeal prefigures postmodern art’s effects #complicates (0.74) — Fredric Jameson, Postmodernism, or, The Cultural Logic…, 216
• Self-portraiture foregrounds its technical means while the selfie erases them #complicates (0.72) — Grant Bollmer, Katherine Guinness, The Influencer Factory, 67