Joe Rudko, San Juans, 2018, found photographs on paper, 38 x 50".

Joe Rudko


Joe Rudko, San Juans, 2018, found photographs on paper, 38 x 50".

The technique of photomontage entered the vernacular of modern art in 1916, at the hands of the German Dadaists George Grosz and John Heartfield. Over the years, artists in every era and region, from Hannah Höch to Aleksandr Rodchenko to Wangechi Mutu, have adopted the practice of splicing old images into new meanings. Among the most recent of these is Joe Rudko, a young Seattle-based artist who brings elegant, trippy nuances to the twentieth-century form.

In Two Point Perspective, 2018, Rudko used fragments of vintage photographs, ripped into small strips or blocks, to create a simple architectural drawing of a house. Aligning the fragments into straight lines, he describes walls and a roof receding toward a horizon, framed by a thin shape that resembles a hand mirror. The fragments are mostly too small to decipher, but a few details come through, including distant foliage, water,

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