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  reifica6on  of  human  rela6onships,  the  factory  let’s  say,  no  longer  reveals  those  rela6onships.  Therefore,  something  has  actually  to  be  constructed,  something  ar6ficial,  something  set  up.”  

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

John  HearTield,  Goering  the  Execu<oner,  1933    

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<on,  2006    

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