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, 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 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