(An essay)

In the early 1980’s, English painter David Hockney began creating intricate photo collages that he called “joiners”. His earlier collages consisted of grid-like compositions made up of polaroid photographs. He then switched to photo lab processed 35mm photographs and created collages that took on a shape of their own, creating abstract representations of the scenes he had photographed. The varied exposures of the individual photographs that make up each collage give each work a fluidity and movement that otherwise might not be found.

The great misinterpretation of twentieth-century art is the claim advanced that many people, especially critics, that cubism of necessity led to abstraction. But on the contrary, cubism was about the real world. It was an attempt to reclaim a territory for figuration, for depiction. Faced with the claim that photography had made figurative painting obsolete, the cubists performed an exquisite critique of photography; they showed that there were certain aspects of looking—basically the human reality of perception—that photography couldn't convey, and that you still needed the painter's hand and eye to convey them.

Via Tokyo Cowboy, Hiroshi Nagai: Japan's Sun-drenched Americana:

Inspired heavily by the concepts behind American pop art and the styles of British pop artists such as David Hockney, Nagai focused on imaginations of a 1950s Americana landscape. Adapting the deep blue skies, relaxed ocean side settings and sleepy nighttime cityscapes from previous pop artists, Nagai developed his own style throughout the late 1970s. His work finally began to gain traction in Japan around the turn of the 1980’s and this coincided fortuitously with the rise of City Pop.