271:"C'est probablement Mishka Henner qui a mieux mis en évidence le caractÚre pléthorique des réponses suscitées par la question <<Qu'est-ce que la photographie?>> En 2010, cet artiste, né en 1976, et qui, depuis prÚs d'une décennie, explore les potentialites créatives de l'Internet, entrait le segment de phrase <<Photography is>> dans un moteur de rechereche afin de recueillir ses multiples occurances sur la toile. Le résultat est un livre d'artiste de 192 pages réunissant plus de trois mille réponses a la question ontologique - sur les trois millions et quelque générées par l'interface Le présent projet s'inspire, a sa maniÚre, du livre de Henner."
343:, Paul Wombell wrote, "Mishka Henner has used freely available aerial imagery from satellite systems such as Google Earth for many of his projects. For 51 US Military Outposts, he used information available from official US military and veteransâ websites and forums, domestic and foreign news articles, and official and leaked government documents and reports to picture US military bases around the world. These bases are part of the semi-secret locations that mark the present power of the US military. Henner's intention was to depict this world from a military perspective, a world of pure strategy and logistics that controls space from above and below."
432:âIâd argue that Hennerâs photographs articulate a very subtle but persuasive challenge to the manner in which we all become âresourcesâ to capital in the contemporary world, what the philosopher Martin Heidegger called a âstanding reserveâ: how, ultimately, we are all merely data to be processed and presented and somehow used. The prostitute, then, is simply presented as an instance of an âideal subjectâ, as indeed she has been throughout the history of modern capitalism: simultaneously a small entrepreneur who is also her own product, and necessarily a consumer too.
588:"In an era of âag-gagâ laws, in which industrial-scale meat producers have persuaded several compliant state legislatures to make the act of documenting animal facilities with defamatory intent a crime, Earthâs manmade constellation of satellites may yet provide the only documentation of the landscapes that agri-business would rather keep hidden. Redefining the act of photography is not just a philosophical conceit in this instance; it is a necessary progression to continue the photographerâs work of helping us see the world."
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355:âs reading of the politics of verticality in relation to the Israel occupation of Palestine. For Weizman, power is structured around a vertical axis by asserting sovereignty over the land (through archeology) and surveillance (by controlling the elevated spaces and skyline). Hennerâs images of military sites dramatise this verticality by inviting the spectator to look down at things shot from above."
235:, presenting âmore than 3,000 phrases that define one of the most democratic and ubiquitous of all art forms. Mirroring the ambiguous and untrustworthy nature of photographs themselves, each phrase in this book has been torn from the context in which it originally appeared. The result is contradictory and chaotic, frustrating and insightful. In short, it is photography, without photographs.â.
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would be a convincingly clever interpretation of lucid geography, technocracy (albeit with lightweight theoretical drive) if I had not seen very similar modes of dissemination before. Not only is it derivative but the project completes a vicious circle of unpleasant attitudes of human currency and a
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is a long way from the spirit of documentary photography On Hennerâs virtual tour, we cruise, at 50mph. We donât stop, we donât get out the car and we donât get too close. We might as well be in another country ⊠which of course we are Hennerâs work allows us to keep a safe distance. He even saves
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and described it in the following manner: "Overt and covert military outposts used by the United States in fifty-one different countries across the world. Sites located and gathered from information available in the public domain, official US military and veterans' websites and forums, domestic and
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A new approach to photography is seeing the light - photographers without cameras. The need to press the shutter is replaced by a direct interest in images - not necessarily in making images. These photographers make books with photographs they find and sometimes they mix them with photographs they
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Between 2010 and 2015, Henner's work was characterized by an engagement with the nature of photography in the post-Internet age. Many of his works resulted in print-on-demand books, films and installations that featured in large-scale museum surveys in France, Canada, and the US. In the jury report
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wrote: "Henner takes these satellite images and then transforms them by altering and artistically-enhancing the colours, lending them an unexpected, lyrical beauty; without ever altering the specific physical details of images. He explains that projects such as these exploit 'loopholes in the vast
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I donât know if anyone has examined Frankâs images as much as I did ... one of the things that really struck me was playing with shape and texture almost in a way that a painter works. Iâm making very active choices about what kind of shape and textures I want to have ... I started to place my
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at the
Carroll/Fletcher Gallery in London, George Vasey wrote, "We hover over the image, inverting the surveillance-like gaze â the watched become observers. The project shifts the public documentarism articulated by Frank and Lange towards the unseen spaces of private finance and security The
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and its methods for maximizing yield in the minimum amount of time for the highest profit The meat industry is a subject loaded with a moral and ethical charge. But when I think of these pictures, I don't just see gigantic farms, I see an attitude toward life and death that exists throughout
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The surplus of responses elicited by the question "What is photography?" is probably best expressed by Mishka Henner. In 2010, the artist born in 1976 who has spent close to a decade exploring the creative potential of the internet, entered the phrase "Photography is" into a search engine and
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reflected that the series âuniquely addresses the uncomfortable collision of public and private space and experience that now characterizes much of our collective lived experience, and wades, too, into the grim realities of the commerce and commodity of physical bodies in the 21st century.â
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wrote, "He is one of a growing number of artists making savvy use of the surveillance capabilities of satellite imaging and Google Street View in work that reflects the way the
Internet age has altered our visual experience." In the same article, the Museum of Modern Art's Chief Curator of
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wrote, âThe sheer volume and diversity of quotes are a great reflection of photography itself: sometimes intelligent, sometimes stupid, sometimes simple, sometimes complicated, serious, funny, poetic, romantic â as diverse, different and contradictory as the people who utter them.".
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Between 2004 and 2010, he worked with long-time collaborator Liz Lock, a photographer from
Toronto, Canada, on documentary projects in and around London and the North West of England and on portrait and feature commissions for a number of British broadsheets including
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293:. Spanning nearly 70 feet, text from the book was placed across the construction shed during the building of the ICP's new museum space on the Bowery until its opening in June 2015. Passers-by were invited to participate in an interactive experience via a live
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archives of data, connecting the dots to reveal things that surround us but which we rarely see.' It is a role reversal, citizens rather than governments doing it, that exposes the ease with which any sort of information can be obtained."
1078:. Includes Anjum Asharia and Marisa Jahn, BFFA3AE, Claudia Sola, David Horvitz, Hans Aarsman, Jon Rafman, Kristina Lee Podesva, Marysia Lewandowska, Michael Mandiberg, Mishka Henner, Natalie HĂ€usler and Vlatka Horvat.
560:"I first came across these feedlots on Google Earth and had no idea what I was seeing. The mass and density of the black and white dots seemed almost microbial. To understand what they were I had to learn about the
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according to a pretty narrow set of criteria,â wrote Henner. âSo narrow theyâre avoiding one of the elephants in the room, which is what role is left for the street photographer in the age of Google Street View?â
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collected all responses. The result is an artist's book of 192 pages containing more than 3,000 phrases responding to the ontological question In a way, the present project is inspired by Henner's book."
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is quoted as saying, "His work is at the crossroads of many different genres or practices part of a strategy of neo-appropriation that you find in contemporary photography today with the
Internet.â
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In April 2012, Pete Brook published email correspondence between himself and Henner, in which the artist mounted a defence of his work. âThereâs a section of the photo community judging
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What poem this is, what poems can be written about this book of pictures some day by some young new writer high by candlelight bending over them describing every grey mysterious detail.
369:, a collection of photographs apparently showing sex workers around Spain and Italy, as captured by Google's Street View cameras and published as a print-on-demand book.
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added, âHenner essentially is producing visual statistics, with the women in question being reduced to ciphers, to small, often blurred, shapes that come with a label."
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124:, England. His work has featured in several surveys of contemporary artists working with photography in the internet age. He has been described by some as a modern-day
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group exhibition, Look 11, Liverpool and
International Festival of Journalism, Perugia, 2011. Curated by Paul Lowe and Harry Hardie. Included photographs from
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was shortlisted for the prestigious
Deutsche Börse Photography Prize in 2013 and several writers offered more positive insights. Reviewing volume I of
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images next to Frankâs and sure enough there were things that you simply wouldnât have notice before. It suddenly takes on a whole new significance.
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us the trouble of finding these scenes on our own computer screens; weâre detached one step beyond. We are cheap consumers." In a separate post,
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ability to navigate and edit data provides new conditions of political accountability in an era of information as capital. Hennerâs work recalls
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436:, seen through this lens, is a layer on the map of technological capitalism, a cartography of its reach and its complex interconnections.â
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In 2012, Henner began researching oil fields and feedlots in the US, culminating in a cover-feature for the worldwide edition of
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described the work as haunting âsnapshots of the unseen, and yes, the unheardâ whilst
Pulitzer Prize nominated photojournalist
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The work quickly gained notoriety online and featured on numerous blogs and news websites. American journalist and author
160:(1997â1998). On leaving Goldsmiths, he remained in London for a number of years and in 2003 visited "Cruel and Tender" at
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517:, described it as "a Churchillian proclamation that far from being over, photography has barely begun." A review by
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as "a surprisingly poetic and thought-provoking meditation on how the subject is discussed throughout our culture."
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201:, Hans Eijkelboom, Hans van de Meer, Hans Wolf and Hans Samson described Henner's work in the following manner:
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contemporary culture. These images reflect a blueprint and a horror that lie at the heart of the way we live."
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1593:"The History of Photo Sharing Explored in New Library Exhibition Highlighting the Social Side of Photography"
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In 2014 pictures from Henner's
Feedlots and Oil Fields series were shortlisted for the 2014 Prix Pictet.
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Photography Is, Fifty-One US Military
Outposts, Dutch Landscapes, Less Américains, Astronomical, Feedlots
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531:'s own words written in the 1958 introduction which accompanied the first US edition of Frank's book:
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188:) becoming Profile photographers for the agency in 2010. They left the agency in the summer of 2012.
2982:"WATCHED! Surveillance Art and Photography in Europe After Nine-Eleven, Hasselblad Center, Göteborg"
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is one of documentary photography's most revered works and Henner's book resulted in mixed reviews.
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feed, contributing their own definitions and opinions on what photography is. The museum described
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2014:
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WATCHED! Surveillance Art and
Photography in Europe After Nine-Eleven, Hasselblad Center, Göteborg
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described it as "either inspired or provocative-to-the-point-of-insulting to the original" whilst
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3117:"Une histoire, art, architecture et design, des années 80 à aujourd'hui, Centre Pompidou, Paris"
1802:"Photographing the Prostitutes of Italy's Backroads: Google Street View vs. Boots on the Ground"
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Remote Possibilities Sune Jonsson Center for Documentary Photography, VÀsterbottens Museum, UmeÄ
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Une histoire, art, architecture et design, des années 80 à aujourd'hui, Centre Pompidou, Paris
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484:. Henner discusses the work in terms of blurring the boundaries of authorship and ownership:
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foreign news articles, and official and leaked government documents and reports." Writing in
2997:"Touch the Sky: Art and Astronomy, Frances Lehman Loeb Art Center, Vassar College, New York"
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campaign to use drones to photograph US factory farms from the air, bypassing controversial
460:. In this self-published work, the artist erased much of the content of 83 photographs from
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featured in the Qu'est-ce que la photographie (What is photography?) exhibition curated by
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Follow-Ed (after Hokusai), P74 Gallery, Ljubljana, Slovenia & Arnolfini, Bristol, 2011
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Touch the Sky: Art and Astronomy, Frances Lehman Loeb Art Center, Vassar College, New York
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411:. Writing about the shortlist for 1000 Words Photography Magazine, Brad Feuerhelm wrote, â
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Writing in Prison Photography in August 2011, Pete Brook wrote, "for traditionalists,
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2145:"Journalist to Film Factory Farms from Above Using Drones to Get Around Ag Gag Laws"
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laws in place to prevent, amongst other things, the photographing of factory farms.
470:, leaving only occasional remnants of the historic images. In an interview with the
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In Context: The Portrait in Contemporary Photographic Practice Wellin Museum of Art
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In a lengthy article published in the online journal Circulation Exchange in 2015,
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Writing in a New York Times feature on the artist in 2015, the author and critic
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Now You See It: Photography and Concealment Metropolitan Museum of Art, New York
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Potential Worlds: Planetary Memories, Migros Museum fĂŒr Gegenwartskunst, Zurich
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Work, Festival Internazionale di Roma, Museum of Contemporary Art, Rome, Italy
1001:(Mis)Understanding Photography: Works & Manifestos, Museum Folkwang, Essen
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1750:"New Book 'No Man's Land' is Google Street View Images of Rural Sex Workers"
164:, a survey of documentary photography, which he described as life-changing.
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Britain in Focus: A Photographic History, National Media Museum, Bradford
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Your Only Chance to Survive is to Leave With Us, Galleria Bianconi, Milan
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Henner created further controversy in early 2012 with the publication of
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2967:"Ed Ruscha Books & Co Gagosian Gallery, Beverly Hills, California"
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2485:"Remote Possibilities Sune Jonsson Center for Documentary Photography"
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1727:"Book Of 'Roadside Prostitutes' Made Entirely With Google Street View"
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2695:"Civilization, National Museum of Modern and Contemporary Art, Seoul"
2575:"On Earth: Imaging, Technology and the Natural World, Foam Amsterdam"
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Mishka Henner and Liz Lock are photographers based in Manchester, UK.
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3042:"Infosphere ZKM, Zentrum fĂŒr Kunst und Medientechnologie, Karlsruhe"
2845:"Les Nouveaux Encyclopédistes Chiostri di San Pietro, Reggio Emilia"
2530:"Your Only Chance to Survive is to Leave With Us, Galleria Bianconi"
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Ed Ruscha Books & Co Gagosian Gallery, Beverly Hills, California
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described Henner as âa conceptual photographer-artist masturbator.â
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1989:"Public Life and the Private Screen: Mishka Henner's No Man's Land"
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Consumption: Prix Pictet 2014, Victoria & Albert Museum, London
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Infosphere ZKM | Zentrum fĂŒr Kunst und Medientechnologie, Karlsruhe
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Civilization, National Museum of Modern and Contemporary Art, Seoul
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On Earth: Imaging, Technology and the Natural World, Foam Amsterdam
2830:"The Cult of the Book Musée des Beaux Arts, Le Locle, Switzerland"
2680:"Civilization, Ullens Center for Contemporary Art, Beijing, China"
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Political Absurd, Art & Culture Laboratory, Krk, Croatia, 2011
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Les Nouveaux Encyclopédistes Chiostri di San Pietro, Reggio Emilia
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Discussing the series for Edible Geography, Nicola Twilley wrote:
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new attempt to denigrate women to that of commerce even further.â
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Reviewing the work in Fotokritik in March 2010, the German artist
3102:"A History of Photography: Series and Sequences, V&A, London"
2875:"Britain in Focus: A Photographic History, National Media museum"
2299:"Deutsche Börse 2013 â a shortlist that's short of photographers"
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Dutch Landscapes, Journées photographiques de Bienne, Switzerland
266:, the curators wrote that Henner's work inspired the exhibition:
3132:"No Man Nature Fotografia Europea, Palazzo Mosto, Reggio Emilia"
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The Cult of the Book Musée des Beaux Arts, Le Locle, Switzerland
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Civilization, Ullens Center for Contemporary Art, Beijing, China
474:, he describes the erasure of Frank's photobook as an homage to
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Appropriation: Questioning the Image, Fotogalerie Wien, Austria
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A History of Photography: Series and Sequences, V&A, London
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in New York announced a site-specific installation of Henner's
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2934:"Yo querĂa ser fotĂłgrafo, FundaciĂł Foto Colectania, Barcelona"
2055:"Less is More: Mishka Henner's take on Robert Frank's classic"
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ABC Artistsâ Books Cooperative, Printed Matter, New York, 2011
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No Man Nature Fotografia Europea, Palazzo Mosto, Reggio Emilia
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David Horvitz y Juliana Mundim â A room for two and many more
2560:"Potential Worlds, Migros Museum fĂŒr Gegenwartskunst, Zurich"
1021:
Drone: The Automated Image, Darling Foundry, Montreal, Canada
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In 2012, Henner published a second print-on-demand volume of
120:(born 8 June 1976) is a Belgian artist living and working in
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2815:"Green and Pleasant Land Towner Art Gallery, Eastbourne, UK"
1510:"ICP AND MISHKA HENNER CREATE "PHOTOGRAPHY IS" INSTALLATION"
1488:"ICP AND MISHKA HENNER CREATE "PHOTOGRAPHY IS" INSTALLATION"
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Yo querĂa ser fotĂłgrafo, FundaciĂł Foto Colectania, Barcelona
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described the series as the inspiration behind a successful
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Op-Ed, Henner described how he began working on the series:
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take. In this rising flock Mishka Henner is the trailblazer.
3365:"Mishka Henner, Collection du Musée national d'art moderne"
1910:"Deutsche Börse Photography Prize 2013 Shortlist announced"
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Henner's work is held in the following public collections:
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for his appropriation of image-rich technologies including
3165:"Modern History vol. 1, Grundy Art Gallery, Blackpool, UK"
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Let Us Keep Our Own Noon, Galerie West, Hague, Netherlands
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Green and Pleasant Land Towner Art Gallery, Eastbourne, UK
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in 2013 and was included in the Library's 2014 exhibition
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Seven Seas and a River, Fotografia Europea, Reggio Emilia
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in Paris. In the accompanying catalogue published by the
3225:"Watching You Watching Me, Open Society Foundation, NYC"
2949:"Aerial Imagery in Print, 1860 to Today, MoMA, New York"
2665:"Capitalist Realism, Thessaloniki Museum of Photography"
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Modern History vol. 1, Grundy Art Gallery, Blackpool, UK
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who similarly created controversy in 1953 with his work
3421:"Mishka Henner, Portland Art Museum Online Collections"
3057:"Ocean of Images: New Photography 2015, MoMA, New York"
2545:"I'm Not the Only One, Fraenkel Gallery, San Francisco"
2365:"Precious Commodities, Open-Eye Gallery, Liverpool, UK"
1993:
Circulation Exchange: Moving Images in Contemporary Art
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No Man's Land, Oregon Center for Photographic Arts, USA
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Watching You Watching Me, Museum fĂŒr Fotografie, Berlin
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Kleine Hans Award 2011, ICP Infinity Award for Art 2013
2904:"The Edge of the Earth, Ryerson Image Center, Toronto"
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Consumption, Fondazione Sandretto Re Rebaudengo, Turin
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Watching You Watching Me, Open Society Foundation, NYC
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Aerial Imagery in Print, 1860 to Today, MoMA, New York
820:
Capitalist Realism, Thessaloniki Museum of Photography
3270:"The Hierarchy of Images, Galleria Foto Forum, Italy"
2395:"Semi-Automatic, Bruce Silverstein Gallery, New York"
1459:(First ed.). Edition Xavier Barral. p. 19.
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Ocean of Images: New Photography 2015, MoMA, New York
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I'm Not the Only One, Fraenkel Gallery, San Francisco
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Precious Commodities, Open-Eye Gallery, Liverpool, UK
2425:"Field, Musée des Beaux Arts, Le Locle, Switzerland"
995:
Consumption, Bernheimer Fine Art Photography, Munich
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The Edge of the Earth, Ryerson Image Center, Toronto
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as a means to bypass traditional publishing models.
3195:"Digital Conditions, Kunstverein Hannover, Germany"
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Photographers, Berwick Film and Media Arts Festival
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Plotting from Above, McCord Museum, Montreal Canada
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The Hierarchy of Images, Galleria Foto Forum, Italy
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Semi-Automatic, Bruce Silverstein Gallery, New York
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3240:"Consumption, Museo Nacional de Arte, Mexico City"
985:MANIFESTOS! Eine Andere Geschichte der Fotografie
742:Field, Musée des Beaux Arts, Le Locle, Switzerland
2860:"Watching You Watching Me, Museum fĂŒr Fotografie"
2100:"Vice Magazine Hopelessness Issue December 2012'"
946:Digital Conditions, Kunstverein Hannover, Germany
3180:"This Is War! Palazzo del Monte di PietĂ , Italy"
2725:"Animals & Us, Turner Contemporary, Margate"
2710:"The World to Come, Harn Museum of Art, Florida"
2057:. Archived from the original on 11 October 2012.
1776:"Worth a Look: "No Man's Land" by Mishka Henner"
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955:Consumption, Museo Nacional de Arte, Mexico City
753:Search History, Airspace Gallery, Stoke-on-Trent
3285:a bouquet for spring? or a bouquet from spring?
3255:"Eighteen Pumpjacks, The Armory Show, New York"
2635:"Another West, Fraenkel Gallery, San Francisco"
2590:"The World to Come, DePaul Art Museum, Chicago"
2037:"Mishka Henner's erased images: art or insult?"
1059:The Big Picture, Ars Electronica, Linz, Austria
3072:"Public Eye: 175 Years of Sharing Photography"
3027:"Cornucopia, Shepparton Art Museum, Australia"
3012:"Safe and Sound, MUDAC, Lausanne, Switzerland"
2919:"Was ist fotografie heute? Pinakothek, Munich"
1034:Views From Above, Centre Pompidou-Metz, France
943:This Is War! Palazzo del Monte di PietĂ , Italy
837:Animals & Us, Turner Contemporary, Margate
834:The World to Come, Harn Museum of Art, Florida
328:A portfolio of the series was acquired by the
3393:"Astronomical, Glasgow School of Art Library"
3210:"Ed Ruscha: Books & Co., Gagosian, Paris"
2755:"At Altitude, Towner Art Gallery, Eastbourne"
1111:Dark Matter, Mews Project Space, London, 2011
958:Eighteen Pumpjacks, The Armory Show, New York
814:Another West, Fraenkel Gallery, San Francisco
800:The World to Come, DePaul Art Museum, Chicago
552:'s Hopelessness issue in December 2012. In a
8:
2770:"Earth & Sky Société, Brussels, Belgium"
1101:No Man's Land, HotShoe Gallery, London, 2011
925:Public Eye New York Public Library, New York
904:Safe and Sound, MUDAC, Lausanne, Switzerland
886:Was ist fotografie heute? Pinakothek, Munich
527:ended by evaluating the work in relation to
427:for Source magazine, Daniel Jewsbury wrote:
334:Public Eye: 175 Years of Sharing Photography
2500:"Seven Seas and a River Fotografia Europea"
2410:"Less Américains, Silverstein/20, New York"
949:Ed Ruscha: Books & Co., Gagosian, Paris
846:Earth & Sky, Société, Brussels, Belgium
843:At Altitude, Towner Art Gallery, Eastbourne
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2785:"Watching You Watching Me Bozar, Brussels"
1074:, Mexico City, Mexico, 2012. Organised by
969:ABCEUM, University of Brighton Gallery, UK
707:No Man's Land, Hotshoe Gallery, London, UK
254:and Karolina Ziebinska-Lewandowska at the
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2380:"Black Diamond, Carroll/Fletcher, London"
1376:"Mishka Henner Uses Google Earth as Muse"
1090:From Here On, FotoMuseum Antwerp, Belgium
739:Less Américains, Silverstein/20, New York
2740:"Coder le Monde, Centre Pompidou, Paris"
2605:"CĂĄmara y Ciudad, Caixaforum, Barcelona"
2440:"Counter-Intelligence, Ărebro Konsthall"
2171:"Drone on the Farm Kickstarter Campaign"
1271:"Mishka Henner: a Duchamp for our times"
849:Watching You Watching Me Bozar, Brussels
407:and was shortlisted for the prestigious
2326:Mishka Henner is our 2013 Art recipient
2083:Retouching a classic: 'Less Américains'
1936:"Deutsche Börse Photography Prize 2013"
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1044:Deutsche Börse Photography Prize 2013,
770:Flat Earth Theory, Tosetti Value, Turin
723:Black Diamond, Carroll/Fletcher, London
3407:"Astronomical, Vassar College Library"
2119:"How the meat industry marks the land"
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1004:They Used to Call it the Moon, Baltic
840:Coder le Monde, Centre Pompidou, Paris
808:CĂĄmara y Ciudad, Caixaforum, Barcelona
750:Counter-Intelligence, Ărebro Konsthall
3343:"Winning Mentality (catalogue entry)"
7:
3313:Centro Cultural Border (Mexico City)
1355:"Kleine Hans 2011 Award Jury Report"
2890:"Watched! Kunsthal Aarhus, Denmark"
2117:Henner, Mishka (27 December 2015).
1854:"A Conversation with Mishka Henner"
1828:"Google Street View and Authorship"
1514:International Center of Photography
1154:Adam Broomberg and Olivier Chanarin
1039:International Center of Photography
761:Free Fall, Galleria Bianconi, Milan
680:International Center of Photography
287:International Center of Photography
3147:"Beyond Evidence, QUAD, Derby, UK"
2800:"Surveillance Index Le Bal, Paris"
2650:"On Earth, Les Rencontres d'Arles"
2515:"Flat Earth Theory, Tosetti Value"
2455:"Search History, Airspace Gallery"
2013:Baker, Stacey (28 February 2012).
1188:Baltic Centre for Contemporary Art
998:Object Recognition, Sale Waterside
231:In February 2010, Henner released
197:of the Kleine Hans award of 2012,
180:. In 2008, Lock and Henner joined
14:
2620:"ContrĂŽle+Z, GwinZegal, Guingamp"
1568:"The Artists Reclaiming Our Data"
1374:Gefter, Philip (28 August 2015).
880:Watched! Kunsthal Aarhus, Denmark
2275:Deutsche Börse Photography Prize
1537:"Fifty-One US Military Outposts"
937:Beyond Evidence, QUAD, Derby, UK
852:Surveillance Index Le Bal, Paris
817:On Earth, Les Rencontres dâArles
673:Deutsche Börse Photography Prize
419:Despite these negative reviews,
409:Deutsche Börse Photography Prize
339:Reflecting on the series in the
811:ContrĂŽle+Z, GwinZegal, Guingamp
16:Belgian artist and photographer
3451:ABC Artists' Books Cooperative
3379:"Astronomical, Baltic Archive"
2470:"Free Fall, Galleria Bianconi"
1800:Brook, Pete (19 August 2011).
1701:"mishka henner: no man's land"
1649:"Black Diamond: Mishka Henner"
1626:British Journal of Photography
1456:Qu'est-ce-que la photographie?
614:Fifty-One US Military Outposts
514:British Journal of Photography
348:Fifty-One US Military Outposts
341:British Journal of Photography
313:Fifty-One US Military Outposts
306:Fifty-One US Military Outposts
1:
3481:Photographers from Manchester
3330:University of the Arts London
1852:Brook, Pete (23 April 2012).
1748:Blue, Violet (27 July 2011).
1725:Carmon, Irin (30 July 2011).
1617:Wombell, Paul (August 2014).
1322:"Panos Profile photographers"
1204:Glasgow School of Art Library
346:Reviewing an installation of
3332:. Accessed 21 December 2014.
3315:. Accessed 1 September 2014.
3298:. Accessed 1 September 2014.
2328:. Accessed 23 September 2016
1699:Kim, Erika (6 August 2011).
1566:Yeung, Peter (23 May 2014).
1429:"Photography Is Book Review"
1228:Museum of Fine Arts, Houston
1081:Live Stream, MediaCityUK, UK
992:Consumption, Westbau, Zurich
246:In 2015, an installation of
152:Henner studied sociology at
3476:Photographers from Brussels
3274:Accessed 23 September 2016.
3259:Accessed 23 September 2016.
3244:Accessed 23 September 2016.
3229:Accessed 23 September 2016.
3214:Accessed 23 September 2016.
3199:Accessed 23 September 2016.
3184:Accessed 23 September 2016.
3169:Accessed 23 September 2016.
3154:Accessed 23 September 2016.
3136:Accessed 23 September 2016.
3121:Accessed 23 September 2016.
3106:Accessed 23 September 2016.
3076:The New York Public Library
3061:Accessed 23 September 2016.
3046:Accessed 23 September 2016.
3031:Accessed 23 September 2016.
3016:Accessed 23 September 2016.
3001:Accessed 23 September 2016.
2986:Accessed 23 September 2016.
2971:Accessed 23 September 2016.
2956:Accessed 23 September 2016.
2938:Accessed 23 September 2016.
2923:Accessed 23 September 2016.
2908:Accessed 23 September 2016.
2399:Accessed 23 September 2016.
2384:Accessed 23 September 2016.
2369:Accessed 23 September 2016.
1962:"No Man's Land Book Review"
1675:"MISHKA HENNER, MANCHESTER"
1653:Photographers' Gallery Blog
1296:"Letting the JPEGs Degrade"
1037:A Different Kind of Order,
3497:
2429:Accessed 23 September 2016
2414:Accessed 23 September 2016
1198:Victoria and Albert Museum
1046:The Photographers' Gallery
783:Selected group exhibitions
311:In 2010, Henner published
148:Education and early career
140:, and for his adoption of
2879:Accessed 8 February 2021.
2864:Accessed 8 February 2021.
2849:Accessed 8 February 2021.
2834:Accessed 8 February 2021.
2819:Accessed 8 February 2021.
2804:Accessed 8 February 2021.
2789:Accessed 8 February 2021.
2774:Accessed 8 February 2021.
2759:Accessed 8 February 2021.
2744:Accessed 8 February 2021.
2729:Accessed 8 February 2021.
2714:Accessed 8 February 2021.
2699:Accessed 8 February 2021.
2684:Accessed 8 February 2021.
2669:Accessed 8 February 2021.
2654:Accessed 8 February 2021.
2639:Accessed 8 February 2021.
2624:Accessed 8 February 2021.
2609:Accessed 8 February 2021.
2594:Accessed 8 February 2021.
2579:Accessed 8 February 2021.
2564:Accessed 8 February 2021.
2549:Accessed 8 February 2021.
2284:. Accessed 15 March 2013
2067:: CS1 maint: unfit URL (
2015:"Erasing 'The Americans'"
1453:Chéroux, Clément (2015).
982:Images Vevey, Switzerland
569:Investigative journalist
481:Erased de Kooning Drawing
464:'s celebrated photobook,
365:In 2011, Henner released
30:
2534:Accessed 8 February 2021
2519:Accessed 8 February 2021
2504:Accessed 8 February 2021
2489:Accessed 8 February 2021
2474:Accessed 8 February 2021
2459:Accessed 8 February 2021
2444:Accessed 8 February 2021
1069:David Horvitz's Bouquet,
378:Alan Chin (photographer)
1597:New York Public Library
1216:Cleveland Museum of Art
1182:Centre Georges Pompidou
668:2011: Kleine Hans Award
330:New York Public Library
260:Centre Georges Pompidou
256:Centre Georges Pompidou
154:Loughborough University
88:documentary photography
1940:1000 Words Photography
1210:Vassar College Library
1027:Precious Commodities,
685:2014: Shortlisted for
678:2013: Infinity Award,
671:2013: Shortlisted for
285:In February 2016, the
264:Ăditions Xavier Barral
1124:as well as images by
987:Fotomuseum Winterthur
909:Shepparton Art Museum
3082:on 24 September 2016
2297:(26 November 2012).
2248:"2012 Mishka Henner"
1247:Clary, Christopher.
1194:National Art Library
358:
1572:The Huffington Post
1222:Portland Art Museum
476:Robert Rauschenberg
318:The Huffington Post
156:(1994â1997) and at
3290:2014-10-22 at the
3242:. 29 October 2014.
2343:www.prixpictet.com
2280:2013-06-13 at the
2019:The New York Times
1960:Jewsbury, Daniel.
1880:"No Man's Land II"
1858:Prison Photography
1806:Prison Photography
1619:"Camera As Weapon"
1332:on 17 October 2015
1167:Public collections
1106:Rencontres d'Arles
974:Galerie Ron Mandos
158:Goldsmiths College
134:Google Street View
3326:Collateral Damage
2802:. 5 January 2018.
2382:. 26 August 2020.
2345:. 6 November 2013
2228:. 6 November 2013
2195:Twilley, Nicola.
1968:. Source Magazine
1934:Feuerhelm, Brad.
1427:Schmid, Joachim.
1146:Ashley Gilbertson
1118:Collateral Damage
602:Winning Mentality
554:Los Angeles Times
511:, writing in the
115:
114:
84:appropriation art
3488:
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3442:
3441:
3439:Official website
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3212:. 12 April 2018.
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3078:. Archived from
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2517:. 16 April 2018.
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2226:Prix Pictet 2014
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2201:Edible Geography
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2106:. December 2012.
2096:
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2089:, 22 March 2012.
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1886:. Archived from
1878:Henner, Mishka.
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1552:
1543:. Archived from
1541:mishkahenner.com
1535:Henner, Mishka.
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1404:. Archived from
1402:"Photography Is"
1400:Henner, Mishka.
1397:
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1328:. Archived from
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1298:. Archived from
1291:
1282:
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1279:
1277:
1266:
1260:
1259:
1257:
1255:
1244:
1218:, Cleveland, OH.
1178:Gallery, London.
1134:Tim Hetherington
1029:Open Eye Gallery
699:Solo exhibitions
638:No Man's Land II
620:Dutch Landscapes
100:
56:
52:
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3292:Wayback Machine
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2339:"Mishka Henner"
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2282:Wayback Machine
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2081:Jeffrey Ladd, "
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1302:on 12 July 2012
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1249:"Mishka Henner"
1246:
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1224:, Portland, OR.
1169:
1031:, Liverpool, UK
785:
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665:
656:Less Américains
598:
546:
458:Less Américains
454:
451:Less Américains
363:
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252:Clément Chéroux
229:
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186:Panos Institute
177:Financial Times
171:The Independent
150:
142:print-on-demand
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3431:External links
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3345:. Tate Library
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2169:Potter, Will.
2161:
2143:Payne, Colin.
2135:
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1987:Albers, Kate.
1979:
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1914:Deutsche Börse
1901:
1890:on 10 May 2017
1870:
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1774:Lutton, Matt.
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1547:on 10 May 2017
1527:
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1466:978-2365110693
1465:
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1419:
1408:on 10 May 2017
1392:
1380:New York Times
1363:
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1326:Panos Pictures
1313:
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1269:Davies, Lucy.
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1104:From Here On,
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322:Peter Yeung
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