Dissenting Practices: Photography as provocation and document

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by Fergus Heron

Transcript of Dissenting Practices: Photography as provocation and document

  • Dissen&ng Prac&ces: Photography as provoca&on and document

    Fergus Heron

  • Alexander Rodchenko, Adver6sing Poster Knigi (books) for the Leningrad Department of the State Publishing House, 1925

  • less than at any 6me does a simple reproduc6on of reality tell us anything about reality. Reality proper has slipped in to the func6onal. The reica6on of human rela6onships, the factory lets say, no longer reveals those rela6onships. Therefore, something has actually to be constructed, something ar6cial, something set up.

    Bertolt Brecht, cited by Walter Benjamin, A Short History of Photography, 1931

  • John HearTield, Goering the Execu
  • John HearTield, Millions Stand Behind Me, 1934

  • John HearTield, Adolf the Superman Swallows Gold and Spouts Junk, 1932

  • Barbara Kruger, You Are Not Yourself, 1983

  • Richard Prince Un6tled (Cowboy) 1980-84

  • Sherrie Levine, AEer Edward Weston No.3, 1980

  • Peter Kennard, Defended to Death, 1983

  • Peter Kennard, AEer Constable, 1983

  • Peter Kennard, from Domesday Book, 1999

  • Peter Kennard, from Decora
  • Peter Kennard and Cat Picton Phillipps, Photo Op, 2007

  • Kennard Phillips, Bankers, Bonus, Peoples, Loss, 2009

  • Kennard Phillips, Lib Con, 2010

  • Kennard Phillips, Thuggish and Disgraceful, 2010

  • Immo Klink, Yves Saint Laurent from Mayday at Mayfair

  • hcp://immoklink.com/site/projects/security/g20-opera6onglencoe/

  • Emma Charles AEer the Bell Emma Charles, s6ll from AEer the Bell, 2009

  • Thomson and Craighead, October, 2012

  • Karen Knorr, from Gentlemen, 1981 - 83

  • Eva Stenram, Buckingham Palace from European Palaces, 2001