1260:. Historian Elizabeth Manchester describes Bond's text as, "a page entirely filled with text apparently taken from a travel brochure or guide. It describes a fashionable and star-encrusted area in the south of France starting from the peninsula Cap Martin and including the Monte Carlo beach and the Riviera. Names of famous people, places and events, as well as geographical features, are capitalised for emphasis. The amenities provided by hotels, night clubs, casinos, museums and beaches, as well as a fish farm out at sea (producing the luxury fish, sea bass), are all named and occasionally described for the wealthy visitor."
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791:, in 2000, journalist Jennifer Purvis said, "Bond elicits a film noir quality from a city that prides itself on the worst side of its nature. It is contemporary London in all its banality and beauty, portrayed in heavy, highly contrasted black-and-white photographs that evoke nostalgia more keenly than an old movie ... the images all speak of the life, London life, captured by a peering, voyeuristic Londoner."
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1377:, Nicolas Bourriaud said, "video, for example, is nowadays becoming a predominant medium. But if Peter Land, Gillian Wearing and Henry Bond, to name just three artists, have a preference for video recording, they are still not 'video artists'. This medium merely turns out to be the one best suited to the formalisation of certain activities and projects."
545:, Ben Seymour said, "Bond carries on producing images of a homogenised, outside-less culture in a perpetual present of consumption which may be just ahead of, or self-consciously behind – but always deliberately in between – the conventions of advertising, fashion, surveillance or family photographs." Bond has also considered his work in relation to the
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798:, the critic Benedict Seymour said, "Bond jumbles up his subjects—street scenes, shop windows, night-clubs, posh parties, backstage fashion shows, intimate portraits and sex club sybaritics—as well as the composition, with the apparent intention of throwing our will to categorise, and so comprehend the image, into disarray."
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said: "Bond's art is fundamentally negotiated. No apparently given element of his subject at hand is allowed to proceed while maintaining any sense of an essentialist value. While on the surface his production may appear to re-present lucidly some chosen images of the world around us, it does so with
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The photographs included in the book appear to explicitly and deliberately invade the privacy of the subjects, who are captured—unaware of the presence of a photographer—at leisure, in their private dwellings. Writing in an essay accompanying the photographs, Bond said, "for me voyeuristic 'fixation'
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Bond's book considers the effects of photography on the spectator, the photographer and the photographic subject. He refers to a wide range of contextual material including "J.G. Ballard, William
Burroughs, Friedrich Nietzsche, Jean-Paul Sartre and Slavoj Žižek ... and the films of Alfred Hitchcock,
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and its engagement with mass culture and the media. It takes as its subject not just the conventions of the street but youth and their modes of display in shops, clubs, parties, restaurants and even private homes ... they don't do much, Bond's people; they shop, of course, persistently, and present
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Describing his research, in a 2007 interview, Bond said, "the press reporter's access to a crime scene is restricted, it is literally blocked by the ubiquitous black and yellow tape emblazoned with the exhortation: CRIME SCENE DO NOT CROSS. The photographs that I have worked with are documents made
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direct publishing format; the book consists of one hundred "concise observations and statements on photography." In the book, Bond "activates, reconfigures, qualifies, and occasionally contradicts assertions made a diverse range of thinkers and practitioners including Rankin, Stieg
Larsson,
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and the 'photographic act' have become inseparable. It is the sense of 'the illicit' that these photographs are leveraging. I must not be caught taking them, and in a way, the viewer of the photograph is included in my anti-social activity, they too are looking when they should not be."
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assertion that, "photography, with its devices of slow motion and enlargement, reveals the secret. It is through photography that we first discover the existence of the optical unconscious, just as we discover the instinctual unconscious through psychoanalysis."
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1421:—a survey of international contemporary art. The short—which was looped and shown on a multi-screen system—showed grainy black-and-white footage documenting a flâneur's-eye-view of the day-to-day coming and going aboard the plethora of crowded
607:, London. The 274 photographs included in the book depict daily life in London in the mid-1990s. Many of the photographs included in the book were originally taken by Bond whilst shooting commissioned features for the style and culture monthly
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ultimately presents a complex dynamic between both psychoanalysis and medium of the camera, the way that photography permits the viewer to delve into both the murder's mind and the victim's corpse, the psychological as well as the corporeal."
2673:, Summer 1991. pp. 106–110. In particular, Christov-Bakargiev states, "The pictures were not taken by Bond himself, and were instead collected by him at photo labs from among those rejected or never picked up by the shops' clients." (p. 106).
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had been poorly attended and barely reviewed, these shows together became a symbol of a new artist-led entrepreneurship, a combination of calculated anarchy and an astute reading of the changing relationship of the artist to the market.
477:, Margaret Kinsman said "Bond's exploration ... reminds us of just how used to order we are and how shocking and easy its dissolution is ... his approach evokes a kind of aesthetic pleasure, which unsettles even as it satisfies."
568:, in a 1998 interview, Bond said: " is parallel to the psychoanalytic session, in that anything can be mentioned." Bond began his street photography in the late-1990s and continued for approximately ten years concluding with his
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is a brilliant, ground-breaking work that will appeal to cultural practitioners and theorists, and to everybody interested in the dialogue between psychoanalysis and visual studies." Writing in the peer-reviewed academic journal
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or including the subject's shoes in full-length photographs instead of cropping them. Bond sets out to document these fleeting social codes while also attempting to ride roughshod over the accepted conventions of photography."
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Saatchi
Gallery, 10 July 2007. To wit: "These relationships are discussed in detail in the text of my PhD thesis. They don't really function as brief anecdotes. If your interest is aroused, then please refer to the complete
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enjoys a lucid and precise execution. The early chapters help to bring together the theoretical, discursive, and political elements that make these later chapters capable of pursuing such a rigorous and insightful project."
1296:—a list of potentially newsworthy events in London. Bond worked as if a typical photojournalist, joining the other press photographers present; whilst Gillick operated as the journalist, first collecting the ubiquitous
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Printed examples from the book were exhibited in both commercial and museum gallery exhibitions, including a survey—selected and organised by curator Eric Troncy—which was on display at the contemporary arts centre
1834:, London: Hayward Gallery, 2006, p. 50, i.e., "Then later still there is the generation of Damien Hirst, Sarah Lucas, Angela Bulloch, Henry Bond and Liam Gillick, the earliest of the yBas (young British artists)."
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said, "over the past few months ... in terms of ambition, attention to display and sheer bravado there has been little to match such shows in the country's established contemporary art institutions."
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Between 1993 and 1994, "Bond made eight hours of video footage documenting his walks along the river Thames, resulting in a 26-minute film shown at the Design Museum, reformatted as inserts on
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Benjamin Weil, "Emergency." In
Achille Bonito Oliva and Helena Kontova (eds.) XLV Biennale di Venezia: Aperto '93, Emergency/Emergenza (Milan: Giancarlo Politi Editore, 1993),
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1248:("I have gathered a garland of other men's flowers and nothing is mine but the cord that binds them."). For his part, Bond supplied a text which describes a series of views in
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showcasing emerging
British photographers—"The New New" issue, October–November 1990; the selection they made included the first published examples of photo-based artworks by
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crystallises a turning in the art world away from the egotistical celebrity mode towards impersonality ... its premises are anonymous, fluent, vertiginous, wary of values."
1047:. Bond's collaboration with the magazine continued as an ongoing series of artists' pages that ran as "openers"—appearing on the inside front cover and contents page. One
1429:, in Venice; Bond's deliberately down-to-earth perspective depicting humdrum daily life in the city was intended to oppose the iconic glamorised images of gondolas, etc.
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In 2008, examples of Bond's fashion photographs from this period were included in an international survey exhibition of contemporary photography selected by Urs Stahel,
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755:, was published by German fine arts publisher Hatje Cantz Verlag, in 2000; many of the images included imitate forms of photography that are derided or taboo, such as
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See artists' pages, pp. 2–3; 16–45; and images accompanying scholarly essay, Andrew Renton, "Disfiguring: Certain New
Photographers and Uncertain Images," pp. 16–21.
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anticipated a spate of do-it-yourself group shows staged in cheap, sprawling, ex-industrial spaces in recession-hit East London. Bond and Sarah Lucas's
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themselves to each other and the camera, dance sometimes, but the book is composed above all of an intricate fabric of exchanged glances and gazes."
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998:—a show on the theme of evidence and the scene-of-the-crime. One of the works on view was a slide-installation, shown in a darkened room, by artist
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by Lee
Swillingham and Stuart Spalding, 1995–1999. The book includes a foreword essay, "A Response to the Photographs," by psychoanalyst and author
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See, for example, the Bond spread in i-D, June 2006 ("The Horror Issue") captioned, "Armani modelled by contemporary art collector Helen Thorpe."
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Many of the photographs reproduced in the book are sexually explicit—they depict murder victims who were raped or tortured before the killing.
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Liam
Gillick, "Keeping the River in Mind." In Henry Bond/Angela Bulloch, Documentary Notes (London: Public Art Development Trust, 1996), p. 6.
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Thierry
Raspail (ed.) 3e Biennale de Lyon: installation, cinéma, vidéo, informatique (Paris: Seuil, 1995) p. 1950. Snippet view available on
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1289:. To make the work the duo posed as a news reporting team—i.e., a photographer and a journalist—often attending events scheduled in the
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was positive including reviewers commending the book as 'insightful', 'ground-breaking', 'audacious' and 'enthralling' – writing in the
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714:, critic David Barrett said, " values and meanings are constantly on the slide, be they the meaning of wearing brown instead of black,
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Parul Sehgal said: "While Bond's interpretations occasionally strain credulity, his sensibility enthralls. His goal isn't police work
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described the book as, "a rich social document of the way we dress—rather than the way fashion designers like to imagine we dress".
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Also see the comments on that issue made by David
Brittain in his Obituary of fellow Creative Camera editor, i.e., David Brittain,
1002:, which presented the viewer with a rapid-fire sequence of stills of Jodie Foster dancing as she appeared in the "rape scene", in
496:, but to reveal how humble objects at the margins of crime scenes become powerfully allusive and lend themselves to a narrative."
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Michael Powell, Michelangelo Antonioni, David Lynch and Christopher Nolan, among many others." The book contains a foreword essay
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images—the photographer is either an intrusive, prying, nuisance, or else reduced to an automaton-like spectator on daily life.
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in a manner typical of the derided and recently criminalised (e.g., in the United States and Australia) voyeuristic "Uppie" or
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Antonioni, Charles Baudelaire, J.G. Ballard, Raymond Chandler, Walter Benjamin, Jacques Lacan, Georg Hegel and Slavoj Žižek."
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All Business "The Cooper Union Appoints Saskia Bos Museum Director and Noted Curator to Head School of Art," 15 July 2005
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can be considered in terms of Jacques Lacan's tripartite psychological model, thus any murder can be classified as either
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Andrew Graham-Dixon, "The Midas Touch?: Graduates of Goldsmiths' School of Art dominate the current British art scene,"
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1902:(Cambridge, Mass. : The MIT Press, 2009), p. 200, footnote 31; p.220. footnote 20. A snippet view is available on
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Margaret Kinsman, "The lure of the crime scene," Philosophy of Photography, London, Volume 1. Number 1, 2010., p. 116.
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Jane Rendell, Art and Architecture: a place between (London: I.B. Tauris, 2006), p. 64. Snippet view available on
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Author Keith Patrick said, " many of the same artists showed again two years later in four artist-led exhibitions
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2660:. The project was also presented at Moderna galerija, Ljubljana—Slovenia's national museum of modern art—in 1994.
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From July through September 1994, Bond's video works were showcased in an eponymous four-person exhibition at
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tendency, which took place at musée d'art contemporain de Bordeaux, France, through February and March 1996.
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In the early-1990s, Bond's work was included in two international survey exhibitions of contemporary art at
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In 2007, Bond completed his doctoral research; in 2009, he was appointed Senior Lecturer in Photography at
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Bond and Liam Gillick (Bond (b. 1966), Gillick (b. 1964))&searchParameter2=487 Arts Council Collection
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1479:(1994)—which was selected and organised by curator and theorist Saskia Bos (Dean of The School of Art at
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said, "for the vast majority of the discussions in the more applied third, fourth, and fifth chapters,
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1757:"Montage My Fine Care: Five Themes with Examples." In Henry Bond & Andrea Schlieker (ed.),
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2938:(Dijon, France: les Presses du réel, 1998), p. 46. A pdf of relevant extract is available at
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study which is simultaneously an application of the theories of Jacques Lacan in relation to
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In 1993 through 1995, Bond organised a series of screenings of experimental film and video,
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2329:(London: Verso, 1999), p.133. The complete section in Stallabrass is on Google Books here
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Ian Jeffrey, "Exhibit A and the Everyday." In Henry Bond and Andrea Schlieker (ed.)
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a sceptical relationship to the way meaning is encoded and interpreted by us every day."
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in 2005. Monograph books of Bond's street photography include two published in Germany –
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film preview theatres—including De Lane Lea (Dean Street) and The Soho Screening Rooms (
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In 1990, Bond and fashion photographer Richard Burbridge guest edited a double issue of
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in 2012, Bond questioned the use of psychoanalysis with autistic children in France.
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One fashion photograph made by Bond, originally published in the March 2000 issue of
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http://www.allbusiness.com/finance-insurance-real-estate/real-estate/4410847-1.html
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which had taken place at the ICA in January 1984, and during which the group used
877:, Bond organised the "seminal" Docklands warehouse exhibition of contemporary art
118:(born 13 June 1966) is an English writer, photographer, and visual artist. In his
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In the late-1990s and early-2000s, Bond contributed fashion editorial stories to
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Henry Bond, 'Hard Evidence' in Lacan at the Scene (Cambridge: MIT, 2009) p. 23
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619:. It has been suggested that the title of the book is a reference to the 1926
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In July 2011, Bond's second book on the theory and philosophy of photography,
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Henry Bond, Introduction to Lacan at the Scene (Cambridge: MIT, 2009) p. 1.
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Bond's videos are documents of action and events. Writing in his 1998 book
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Between 1990 and 1994, Bond collaborated with artist Liam Gillick on their
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On: Henry Bond, Angela Bulloch, Liam Gillick, Graham Gussin, Markus Hansen
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issues 309/310/311/312. A comprehensive database of the magazine contents
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Patrick, Keith (2000). "Foreword" in Sarah Bennett and John Butler (ed.),
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to photograph the commercial advertising campaign for a brand relaunch of
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Stuart Morgan, "Stuart Morgan visits the Institute of Cultural Anxiety,"
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from 1950s and 1960s England. The thesis put forward in the book is that
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2842:(London and Plymouth: Interim Art/Plymouth Arts Centre, 1992); also see
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Henry Bond in Conversation with Museum Director Stephan Schmidt-Wulffen.
1556:, a leather goods company—for which he used actors and celebrity couple
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992:; a curatorial project that became the 7 May – 7 June 1992, exhibition
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2008:
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2264:(London: Barbican Art Gallery/Thames and Hudson, 2002). Overview on
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MIT Published Author Switches to Kindle Direct Publishing-Platform
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Forensic investigation technique is the subject of Bond's book on
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photography, in the Faculty of Art, Design & Architecture, at
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The Physical Impossibility of Death in the Mind of Someone Living
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This article is about the writer and artist. For other uses, see
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1244:. The title of the portfolio drew on a quote by the philosopher
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from the vaults concerning the events at an experimental gig by
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Writing in Volume II of the exhibition catalogue, art historian
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141:, which was influential in the formation and development of the
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3107:"Purple Archive (Issue#2 Cover story was photographed by Bond)"
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in a place that the press photographer or reporter cannot go."
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Henry Bond "Comments on this Series," in Christoph Ruys (ed.)
2434:"Hatje Cantz Verlag Prämierte Büche, retrieved, 28 March 2010"
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Photonews: Zeitung fĂĽr Fotografie, Hamburg, Germany, May 2000.
1743:"The Hysterical Hystery of Photography." In Urs Stahel (ed.),
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a group of eighty-three fine art works which appropriated the
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which was influential in the formation and development of the
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held in the British Artists' Film and Video Study Collection.
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scholar Bernard Burgoyne. Bond was a research student at the
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Kingston University: Photography MA: Who teaches this course
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In the mid-1990s, examples of Bond's work were included in
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and an inquiry into the nature and essence of photography.
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Emma Dexter, "London 1990–2001." In, Iwona Blazwick (ed.)
2742:, Issue 21, March 1995, p. 35. Also see: Alexander Hacke,
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Andrea Schlieker, "Preface." In Bond and Schlieker (ed.),
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Darkside I: Photographic Desire and Sexuality Photographed
1577:—the Swiss national museum and collection of photography.
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During the 1990s, Bond made numerous artworks which used
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of familiar types of photograph, for example, writing in
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Darkside: Photographic Desire and Sexuality Photographed
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In 1995, Bond was included in a group exhibition at the
2865:(London: Tate, 2001), p. 84. Snippet view available on
2342:"David Barrett, "Henry Bond at Emily Tsingou Gallery,"
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is a work of non-fiction by Bond, published in 2009 by
3021:"De Appel exhibition archive, retrieved 25 March 2010"
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Century City: Art and Culture in the Modern Metropolis
2227:; Siân Pattenden, "Fitter, happier, more productive?"
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The screenings were presented in bookable-by-the-hour
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In 2002, a group of large-scale printed examples from
2570:, Vol. II, (London: Serpentine Gallery, 1992), p. 17.
2053:"Henry Bond in Conversation with Ana Finel Honigman,"
1917:"Henry Bond in Conversation with Ana Finel Honigman,"
1858:"Henry Bond in Conversation with Ana Finel Honigman,"
763:
photojournalism; other images are grainy and suggest
2493:
Bush, Kate. "Young British art: the YBA sensation",
2172:
2170:
1750:"Comments on this Series." In Christoph Ruys (ed.),
1308:
The series was first shown commercially in 1991, at
903:—a concurrent Goldsmiths-oriented warehouse show—in
603:, was published in 1998 by "posh West End gallery,"
4480:
4424:
4368:
4287:
4216:
4180:
4134:
4025:
3974:
3928:
3732:
3661:
3609:
3576:
3535:
3421:
3144:"Next Style/Fashion: We're Infatuated with it...,"
2954:. Venicebiennale.britishcouncil.org. Archived from
2489:
2487:
2212:See, for example: Tony Naylor, "Thieves Like Us,"
2123:
Metapsychology Online Reviews, posted 2 March 2010.
1081:, and the Slovenians Aina Smid and Marina Grzinic.
437:by the Slovenian philosopher and critical theorist
180:, made with Liam Gillick. In the 1990s, Bond was a
95:
79:
71:
61:
49:
30:
2808:
2806:
2669:Carolyn Christov-Bakargiev, "Someone Everywhere,"
2291:
2289:
2110:Time Out New York, Issue 738, 19–25 November 2009.
1139:Writing on Bond's art practice, artist and critic
1073:); the project included presentations of works by
684:Writing in his commentary on the influence of the
168:; he has exhibited work made collaboratively with
3248:
3246:
2621:Facsimiles of the pages on Bond's archive, i.e.,
2184:London: Emily Tsingou Gallery, 1998, unpaginated.
1832:How To Improve the World: 60 Years of British Art
1486:In 1995, Bond's video works were included in the
3254:"What autism can teach us about psychoanalysis,"
2952:"The British Council's Venice Biennale Timeline"
1540:, depicted the model Kirsten Owen revealing her
1118:Bond also exhibited a collaboration with artist
710:Writing in the British contemporary art journal
680:are depicted in several of Bond's street photos.
647:The London Look: Fashion from Street to Catwalk.
3023:. Deappel.nl. 10 September 1994. Archived from
2812:Henry Bond & Liam Gillick, "Press Kitsch,"
2384:"Capturing private moments of a gritty London,"
2278:The London Look: Fashion from Street to Catwalk
2131:
2129:
1548:. In 2001, Bond was chosen by company director
1326:The duo's series was subsequently exhibited at
1228:printing press for a portfolio commissioned by
1099:visual material; in particular a series titled
869:warehouse exhibition in Surrey Docks, June 1990
16:English writer, photographer, and visual artist
3227:. E-flux.com. 5 September 2008. Archived from
2262:Rapture: Art's Seduction by Fashion Since 1970
1256:. In 2010, the portfolio was exhibited at the
932:as well as Carl Freedman and Billee Sellman's
639:Rapture: Art's Seduction by Fashion Since 1970
3710:
3397:
3010:(London: Public Art Development Trust, 1994).
1687:(Farnham, Surrey: James Hockey Gallery, 1990)
1681:(London: APAC/Karsten Schubert Limited, 1991)
1634:, series ed., Short Circuits; Cambridge, MA:
1300:before preparing his audio recording device.
656:Reviewing the book for the British newspaper
8:
3326:in the Swiss national photography collection
3298:Interview on Saatchi Blog with Anna Honigman
2643:(Issue 312, October–November 1991, pp. 2–3).
2231:, 3/1998, p. 170–74. Facsimile available of
2216:, 9/1997, p. 124–28. Facsimile available of
2042:Time Out New York, Issue 738, 19–25 Nov 2009
1847:(London: Emily Tsingou Gallery, 1998) Unpag.
1830:Archer, Michael, "Overlapping Figures. " In
1706:(London: Public Art Development Trust, 1994)
641:and these were shown again, in 2004, at the
211:(Cantz, 2000), explored the photo-genres of
4549:Alumni of the University of Gloucestershire
3601:Touch: Relational Art from the 1990s to Now
3372:Lacan at the Scene/MIT Press catalogue page
157:, the two were "the earliest of the YBAs."
4539:Alumni of Goldsmiths, University of London
3717:
3703:
3695:
3404:
3390:
3382:
779:in Dijon, France, March through May 1999.
375:. The book consists of interpretations of
38:
27:
4062:Everyone I Have Ever Slept With 1963–1995
2544:(London, Serpentine Gallery, 1992), p. 7.
2297:"Tamsin Blanchard, "Everyday people." In
2280:(Newhaven: Yale University Press, 2004);
1878:"Middlesex University: MA Psychoanalysis"
1585:Bond has stated that he is a person with
1345:One example from the series, held in the
924:art critic and curator Kate Bush said, "
611:—during the period that the magazine was
172:artists including a photograph made with
3262:, 16 April 2012, accessed 17 April 2012.
2829:(London: Karsten Schbert Limited, 1991.)
2654:Artist's Film and Video Study Collection
2529:Locality, Regeneration & Diversities
2276:Chris Breward & Edwina Ehrman (ed.)
2071:Viola Brisolin, "Lacan at the Scene" in
1395:
1379:
533:A characteristic of Bond's style is his
294:—each of whom was to participate in the
184:working for British fashion, music, and
4629:Fellows of the Higher Education Academy
2816:Issue 165, July/August 1992, pp. 65–66.
2656:which includes printed examples of the
2348:. Royaljellyfactory.com. Archived from
2029:Vue Weekly, Issue 745, 28 January 2010.
1798:
1232:. The portfolio also included works by
549:– literally: "drifting" – theorised by
399:. Bond's approach is closely linked to
3160:"Tamsin Blanchard, "Brand New Brand,"
3092:See, for example: "The Obsessions" in
2827:Henry Bond and Liam Gillick: Documents
2632:(Issue 309, April–May 1991, pp. 2–3);
2531:, Bristol: Intellect Books, 2000, p. 9
2097:Bomb Magazine/Bomblog, 5 February 2010
1700:(Lyon, France: Biennale de Lyon, 1995)
1115:photo-processing labs, across London.
835:was published in Belgium, in 2005, by
702:is telling of many characteristics of
2744:"How to destroy the ICA with drills,"
2652:See the material held on Bond at the
2195:Keith Coventry: Emily Tsingou Gallery
1985:from MIT. Retrieved, 13 January 2012.
1675:(London: Emily Tsingou Gallery, 1998)
1601:for this condition. In an article in
1285:of a news gathering team, to produce
361:Example of the crime scene photos in
329:between 2004 and 2007; he received a
7:
3158:Tamsin Blanchard (28 October 2001).
3131:See, for example: "Sloane Square,"
1754:(Antwerp, Belgium: Fotomuseum, 2005)
1747:, (Göttingen, Germany: Steidl, 2008)
1524:A/W 2001, Bond's photograph depicts
743:confronts the photographer with the
266:in East London in 1966. He attended
137:, Bond organised the art exhibition
3047:partial Filmography/Biographical CV
2499:, June 2004, p. 91. Retrieved from
2182:Henry Bond: The Cult of the Street.
1964:Jacques Lacan: Detective and Cyborg
1950:Kingston University Staff Directory
1436:, and finally as a book of stills,
1400:Gallery view of Bond's photographs.
801:In Germany, the book was awarded a
122:(2009), Bond made contributions to
3225:"Exhibition information on e-flux"
2458:(Antwerp: Fotomuseum, 2005), p. 6.
2108:"Book review: Lacan at the Scene,"
2075:, Volume 16, Issue 5, August 2011.
2040:"Book Review: Lacan at the Scene,"
1772:Legality of recording by civilians
1761:(London: Serpentine Gallery, 1992)
1733:(London: Serpentine Gallery, 1992)
1224:In 1994, Bond made a work using a
751:Bond's book of street photography
14:
4639:British artists with disabilities
4634:English writers with disabilities
2775:Exhibitionism: The Art of Display
2658:original flyers to the screenings
2121:"Henry Bond: Lacan at the Scene,"
1729:Henry Bond and Andrea Schlieker,
1726:(London: East Country Yard, 1990)
1712:(Nice, France: Villa Arson, 1993)
1447:an art centre in Amsterdam—i.e.,
1409:In 1993, Bond's short video work
1388:(1994) depicting London's iconic
564:Characterizing his conception of
4594:English male non-fiction writers
4534:Academics of Kingston University
2923:FRAC Poitou-Charentes Collection
1210:, an exhibition introducing the
988:to select an exhibition for the
895:In July 1990, reflecting on the
66:Goldsmiths, University of London
4564:Photographers with disabilities
3303:Walker Art Center press release
3096:, Spring/Summer 2003, p. 62-79.
873:In 1990, working together with
520:, was self-published using the
4544:Alumni of Middlesex University
2027:Hop Scotch: CSI: Photography,"
1867:Saatchi Gallery, 10 July 2007.
1657:(London: Art Data/Lavie, 2002)
1:
4614:People with Asperger syndrome
3307:Facsimile invitation card to
2784:. Accessed, 27 November 2010.
2764:. Accessed, 27 November 2010.
1655:What gets you through the day
1177:Institute of Cultural Anxiety
984:In 1991, Bond was invited by
803:Kodak Deutscher Fotobuchpreis
595:photographed in 1990s London.
501:Metapsychology Online Reviews
499:Daniel Hourigan, writing for
323:University of Gloucestershire
4589:English contemporary artists
2800:, Accessed, 13 November 2011
2714:. Retrieved, 24 January 2012
2456:Henry Bond: Interiors Series
2139:," Artdaily, 19 August 2011.
2062:Saatchi Online, 10 July 2007
1940:, accessed, 31 October 2010.
1752:Henry Bond: Interiors Series
1722:Henry Bond and Sarah Lucas,
1692:Documentation of video works
1595:Cognitive Behavioral Therapy
1206:, Minneapolis, in 1995, and
865:View across second floor of
480:Emily Nonko's review said, "
4599:English non-fiction writers
3507:Dominique Gonzalez-Foerster
3367:Link to Zizek foreword .pdf
3286:Artist's personal website:
3109:. Purple.fr. Archived from
2773:Courtauld Institute Press:
2751:, Friday, 16 February 2007.
1651:(Antwerp: Fotomuseum, 2005)
1624:(Seattle: Amazon KDP, 2011)
1132:—a few hours before he was
1058:'Man Abandoned by Colour.'
645:, in an exhibition titled,
160:Bond's visual art tends to
53:1966 (age 57–58)
21:Henry Bond (disambiguation)
4655:
4574:British conceptual artists
4360:Poju and Anita Zabludowicz
1270:
1088:
980:Exhibit A (art exhibition)
977:
940:, all in 1990, were, with
854:
553:and the city walks of the
456:The critical reception of
435:The Camera's Posthuman Eye
124:theoretical psychoanalysis
18:
4604:Photographers from London
2925:Accessed 21 November 2011
2913:Accessed 21 November 2011
2880:"Century City Exhibition"
2780:21 September 2010 at the
2612:(athens signin required).
2590:"Peter Turner 1947–2005,"
2176:Stephan Schmidt-Wulffen,
2058:27 September 2013 at the
1922:27 September 2013 at the
1863:27 September 2013 at the
1663:(Ostfildern: Cantz, 2000)
1580:
1334:held in 2001, and at the
1304:Exhibition and collection
1191:to drill into the stage.
475:Philosophy of Photography
468:, Viola Brisolin said, ''
317:, where he was taught by
37:
4244:Karsten Schubert Gallery
3352:, 9 May to 30 June 2000.
3318:, 13 May – 27 June 1998.
3293:Tamsin Blanchard article
3190:Bond's Mulberry campaign
2814:Flash Art International,
2712:Bond Villa Arson Archive
2553:Kate Bush, "Exhibit A,"
2481:. Retrieved 14 March 10.
2414:, Issue 54, October 2000
2405:22 November 2008 at the
2282:Overview on Google books
2251:Stallabrass (1999)p.134.
2164:, Issue 54, October 2000
2155:22 November 2008 at the
1880:. Mdx.ac.uk. 19 May 2009
1340:How to Improve the World
1310:Karsten Schubert Limited
1179:, in which he presented
1103:which presented typical
625:The Cult of Distraction.
576:(Ostfildern: Cantz) and
239:Early life and education
145:movement; together with
4300:Janet Wolfson de Botton
4224:Anthony d'Offay Gallery
3377:Review by Adam Atkinson
2849:11 October 2007 at the
2557:, June 1992, pp. 15–16.
2095:"the Exquisite Corpse?"
1952:, retrieved 09 04 2011.
1782:Photography and the law
1347:Arts Council Collection
1217:
1025:Selector and screenings
488:Reviewing the book for
262:Henry Bond was born in
250:, Millard Building, in
4579:British psychoanalysts
4150:East Country Yard Show
3920:Jane and Louise Wilson
3765:Jake and Dinos Chapman
3479:Henrik Plenge Jakobsen
3324:The Cult of the Street
3310:The Cult of the Street
2825:Karsten Schubert (ed)
2793:Elizabeth Manchester "
2687:East Country Yard Show
2518:, 31 July 1990, p. 13.
1845:The Cult of the Street
1807:"Henry Bond born 1966"
1738:Essays in edited books
1724:East Country Yard Show
1673:The Cult of the Street
1643:Photography monographs
1533:
1401:
1393:
1312:and then, in 1992, at
1185:EinstĂĽrzende Neubauten
1166:Le Principe de réalité
957:East Country Yard Show
930:East Country Yard Show
897:East Country Yard Show
880:East Country Yard Show
870:
867:East Country Yard Show
857:East Country Yard Show
850:East Country Yard Show
824:
794:Reviewing the book in
748:
700:The Cult of the Street
681:
631:The Cult of the Street
601:The Cult of the Street
596:
584:The Cult of the Street
429:
365:
259:
205:The Cult of the Street
139:East Country Yard Show
4624:Young British Artists
4274:Victoria Miro Gallery
3726:Young British Artists
3502:Felix Gonzalez-Torres
3350:Emily Tsingou Gallery
3316:Emily Tsingou Gallery
3195:13 March 2012 at the
2936:Relational Aesthetics
2473:7 August 2011 at the
2307:. London. 16 May 1998
2260:Chris Townsend (ed.)
2010:The Exquisite Corpse?
1574:Fotomuseum Winterthur
1520:
1399:
1383:
1375:Relational Aesthetics
1355:Governor of Hong Kong
1212:Relational Aesthetics
864:
818:
734:
686:Young British Artists
670:
633:were included in the
605:Emily Tsingou Gallery
591:
424:
360:
246:
143:Young British Artists
104:Relational Aesthetics
100:Young British Artists
4569:British art curators
4269:South London Gallery
3997:Gilbert & George
3946:Michael Craig-Martin
3281:National Art Library
3148:, March 2000. p.156.
2844:Interim Art timeline
2838:Maureen Paley (ed.)
2639:11 July 2011 at the
2628:11 July 2011 at the
2400:"Review: Henry Bond"
2325:Julian Stallabrass,
2238:5 March 2012 at the
2223:5 March 2012 at the
2203:, 26 September 2000.
2150:"Review: Henry Bond"
2051:Ana Finel Honigman,
1936:Kingston University
1669:(Essen: 20/21, 1999)
1622:The Gaze of the Lens
1581:Asperger's diagnosis
1510:and the now defunct
1338:, in the exhibition
1175:, in London, titled
1077:, the German artist
844:Exhibition organiser
827:Bond's follow up to
694:, the art historian
518:The Gaze of the Lens
512:The Gaze of the Lens
377:forensic photographs
303:Middlesex University
272:University of London
254:, where many of the
4584:English art critics
4559:Writers with autism
4554:Artists with autism
4411:Sir Nicholas Serota
4391:Andrew Graham-Dixon
4069:For the Love of God
3596:Theanyspacewhatever
3563:Martin Kippenberger
3342:invitation card to
3277:books by Henry Bond
2934:Nicolas Bourriaud,
2909:14 May 2012 at the
2797:Other Men's Flowers
2479:The British Council
2372:Exhibitions archive
2073:The European Legacy
1915:Ana Finel Honigman
1856:Ana Finel Honigman
1591:Asperger's Syndrome
1494:Fashion photography
1490:survey exhibition.
1291:Press Association's
1258:Courtauld Institute
1219:Other Men's Flowers
1085:Visual art practice
912:Andrew Graham-Dixon
837:Fotomuseum Antwerp.
599:Bond's large book,
466:The European Legacy
363:Lacan at the Scene.
342:Kingston University
228:Kingston University
207:was published. His
4462:Julian Stallabrass
3982:Art & Language
3900:Sam Taylor-Johnson
3640:Julia Peyton-Jones
3635:Hans-Ulrich Obrist
3543:Art & Language
3522:Rirkrit Tiravanija
3359:Lacan at the Scene
3164:, 28 October 2001"
2729:, 3 February 1995.
2610:on hwwilsonweb.com
2398:Benedict Seymour,
2389:, 11 November 2000
2346:, June 1998, p.33"
2016:, 5 February 2010.
1900:Lacan at the Scene
1667:La vie quotidienne
1628:Lacan at the Scene
1593:. He has had both
1534:
1402:
1394:
1384:Still from Bond's
990:Serpentine Gallery
986:Julia Peyton-Jones
891:Critical reception
871:
825:
749:
696:Julian Stallabrass
682:
621:Siegfried Kracauer
597:
578:La vie quotidienne
566:street photography
529:Street photography
505:Lacan at the Scene
482:Lacan at the Scene
470:Lacan at the Scene
458:Lacan at the Scene
452:Critical reception
430:
416:offender profiling
408:Lacan at the Scene
369:Lacan at the Scene
366:
353:Lacan at the Scene
260:
248:Goldsmiths College
120:Lacan at the Scene
4516:
4515:
4229:Curtain Road Arts
3966:Richard Wentworth
3860:Richard Patterson
3750:Christine Borland
3692:
3691:
3622:Nicolas Bourriaud
3449:Maurizio Cattelan
3203:official website.
3113:on 5 October 2009
2760:Tate collection:
2382:Jennifer Purvis,
1473:The Softly Softly
1438:Deep, Dark Water.
1363:Tory Reform Group
1361:, addressing the
1267:with Liam Gillick
1204:Walker Art Center
1181:archival material
783:Critical response
660:, fashion writer
652:Critical response
490:Time Out New York
412:interdisciplinary
401:Walter Benjamin's
223:photojournalism.
109:
108:
4646:
4472:Charles Thomson
4442:James Heartfield
4416:Matthew Slotover
4406:Norman Rosenthal
4381:Matthew Collings
4340:François Pinault
4325:Pauline Karpidas
4239:Gagosian Gallery
4203:Norman Rosenthal
4055:Documents Series
3915:Rachel Whiteread
3719:
3712:
3705:
3696:
3489:Philippe Parreno
3434:Vanessa Beecroft
3415:
3406:
3399:
3392:
3383:
3263:
3250:
3241:
3240:
3238:
3236:
3231:on 17 April 2010
3221:
3215:
3210:
3204:
3186:
3180:
3179:
3177:
3175:
3155:
3149:
3142:
3136:
3129:
3123:
3122:
3120:
3118:
3103:
3097:
3090:
3084:
3081:
3075:
3068:
3062:
3056:
3050:
3043:
3037:
3036:
3034:
3032:
3017:
3011:
3008:Deep, Dark Water
3004:
2998:
2991:
2985:
2974:
2968:
2967:
2965:
2963:
2958:on 13 April 2010
2948:
2942:
2932:
2926:
2920:
2914:
2901:
2895:
2894:
2892:
2890:
2876:
2870:
2859:
2853:
2836:
2830:
2823:
2817:
2810:
2801:
2791:
2785:
2771:
2765:
2758:
2752:
2736:
2730:
2721:
2715:
2709:
2703:
2700:
2694:
2680:
2674:
2667:
2661:
2650:
2644:
2619:
2613:
2602:
2596:
2595:, Sept–Oct 2005.
2586:
2580:
2577:
2571:
2564:
2558:
2551:
2545:
2538:
2532:
2525:
2519:
2510:
2504:
2503:, 14 March 2010.
2501:findarticles.com
2491:
2482:
2468:"Anya Gallaccio"
2465:
2459:
2452:
2446:
2445:
2443:
2441:
2430:
2424:
2421:
2415:
2396:
2390:
2380:
2374:
2368:
2362:
2361:
2359:
2357:
2338:
2332:
2323:
2317:
2316:
2314:
2312:
2293:
2284:
2274:
2268:
2258:
2252:
2249:
2243:
2210:
2204:
2193:Jonathan Jones,
2191:
2185:
2174:
2165:
2146:
2140:
2133:
2124:
2119:Daniel Hourigan
2117:
2111:
2104:
2098:
2091:
2085:
2082:
2076:
2069:
2063:
2049:
2043:
2036:
2030:
2023:
2017:
2005:
1999:
1992:
1986:
1979:
1973:
1959:
1953:
1947:
1941:
1934:
1928:
1913:
1907:
1896:
1890:
1889:
1887:
1885:
1874:
1868:
1854:
1848:
1841:
1835:
1828:
1822:
1821:
1819:
1817:
1803:
1710:HĂ´tel Occidental
1704:Deep, Dark Water
1649:Interiors Series
1506:, Self Service,
1488:Biennale de Lyon
1483:, in New York).
1481:The Cooper Union
1461:HĂ´tel Occidental
1449:Deep, Dark Water
1413:was included in
1386:Deep, Dark Water
1351:14 February 1992
1279:Documents Series
1273:Documents Series
1265:Documents Series
1202:art held at the
1075:Merlin Carpenter
833:Interiors Series
821:Interiors Series
819:An example from
810:Interiors Series
662:Tamsin Blanchard
643:Museum of London
580:(Essen: 20/21).
559:psychogeographer
427:Lacanian theory.
379:from twenty-one
348:Critical writing
309:studying for an
178:Documents Series
86:Documents Series
82:
42:
28:
4654:
4653:
4649:
4648:
4647:
4645:
4644:
4643:
4519:
4518:
4517:
4512:
4493:Frieze Art Fair
4476:
4420:
4364:
4350:Charles Saatchi
4315:Steven A. Cohen
4295:Bernard Arnault
4283:
4259:Saatchi Gallery
4212:
4188:Joshua Compston
4176:
4164:Modern Medicine
4130:
4104:26 October 1993
4097:No Woman No Cry
4021:
4017:Lawrence Weiner
3970:
3924:
3910:Gillian Wearing
3885:Alessandro Raho
3865:Simon Patterson
3795:Angus Fairhurst
3728:
3723:
3693:
3688:
3679:Frieze Art Fair
3657:
3617:Daniel Birnbaum
3605:
3572:
3536:Related artists
3531:
3527:Gillian Wearing
3417:
3413:
3410:
3344:Point and Shoot
3272:
3267:
3266:
3251:
3244:
3234:
3232:
3223:
3222:
3218:
3211:
3207:
3197:Wayback Machine
3187:
3183:
3173:
3171:
3157:
3156:
3152:
3143:
3139:
3130:
3126:
3116:
3114:
3105:
3104:
3100:
3091:
3087:
3082:
3078:
3069:
3065:
3057:
3053:
3044:
3040:
3030:
3028:
3027:on 18 July 2011
3019:
3018:
3014:
3005:
3001:
2992:
2988:
2975:
2971:
2961:
2959:
2950:
2949:
2945:
2933:
2929:
2921:
2917:
2911:Wayback Machine
2902:
2898:
2888:
2886:
2878:
2877:
2873:
2860:
2856:
2851:Wayback Machine
2837:
2833:
2824:
2820:
2811:
2804:
2792:
2788:
2782:Wayback Machine
2772:
2768:
2759:
2755:
2737:
2733:
2727:The Independent
2724:"Arts for All,"
2722:
2718:
2710:
2706:
2701:
2697:
2681:
2677:
2668:
2664:
2651:
2647:
2641:Wayback Machine
2630:Wayback Machine
2620:
2616:
2606:Creative Camera
2603:
2599:
2587:
2583:
2578:
2574:
2565:
2561:
2552:
2548:
2539:
2535:
2526:
2522:
2515:The Independent
2511:
2507:
2492:
2485:
2475:Wayback Machine
2466:
2462:
2453:
2449:
2439:
2437:
2436:. Hatjecantz.de
2432:
2431:
2427:
2422:
2418:
2407:Wayback Machine
2397:
2393:
2387:The Japan Times
2381:
2377:
2369:
2365:
2355:
2353:
2352:on 15 July 2011
2340:
2339:
2335:
2324:
2320:
2310:
2308:
2305:The Independent
2301:, May 16, 1998"
2299:The Independent
2295:
2294:
2287:
2275:
2271:
2259:
2255:
2250:
2246:
2240:Wayback Machine
2225:Wayback Machine
2211:
2207:
2192:
2188:
2175:
2168:
2157:Wayback Machine
2147:
2143:
2135:Unattributed, "
2134:
2127:
2118:
2114:
2105:
2101:
2092:
2088:
2083:
2079:
2070:
2066:
2060:Wayback Machine
2050:
2046:
2037:
2033:
2024:
2020:
2006:
2002:
1993:
1989:
1980:
1976:
1972:, 19 June 2009.
1960:
1956:
1948:
1944:
1935:
1931:
1924:Wayback Machine
1914:
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1855:
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1829:
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1815:
1813:
1805:
1804:
1800:
1795:
1768:
1685:100 Photographs
1661:Point and Shoot
1613:
1611:Published works
1589:– specifically
1583:
1496:
1419:Venice Biennale
1407:
1371:
1336:Hayward Gallery
1314:Maureen Paley's
1306:
1275:
1269:
1238:Sam Taylor-Wood
1230:Joshua Compston
1222:
1150:
1130:Annie Leibovitz
1125:26 October 1993
1120:Sam Taylor-Wood
1107:collected from
1093:
1091:26 October 1993
1087:
1071:D'Arblay Street
1045:Angus Fairhurst
1032:Creative Camera
1027:
1004:Jonathan Kaplan
982:
976:
949:Modern Medicine
934:Modern Medicine
906:The Independent
893:
859:
853:
846:
829:Point and Shoot
813:
789:The Japan Times
785:
753:Point and Shoot
741:Robbie Williams
737:Point and Shoot
729:
727:Point and Shoot
658:The Independent
654:
635:Barbican Centre
586:
574:Point and Shoot
531:
514:
454:
355:
350:
241:
236:
234:Life and career
209:Point and Shoot
201:street fashions
182:photojournalist
174:Sam Taylor-Wood
102:
90:26 October 1993
88:
80:
57:
56:London, England
54:
45:
33:
24:
17:
12:
11:
5:
4652:
4650:
4642:
4641:
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4631:
4626:
4621:
4619:Street fashion
4616:
4611:
4606:
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4596:
4591:
4586:
4581:
4576:
4571:
4566:
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4556:
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4536:
4531:
4521:
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4514:
4513:
4511:
4510:
4505:
4500:
4495:
4490:
4488:Conceptual art
4484:
4482:
4478:
4477:
4475:
4474:
4469:
4464:
4459:
4454:
4449:
4444:
4439:
4437:Billy Childish
4434:
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4408:
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4398:
4393:
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4370:
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4357:
4352:
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4332:
4330:George Michael
4327:
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4307:
4302:
4297:
4291:
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4285:
4284:
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4266:
4264:Sadie Coles HQ
4261:
4256:
4251:
4249:Lisson Gallery
4246:
4241:
4236:
4231:
4226:
4220:
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4205:
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4111:The Upper Room
4107:
4100:
4093:
4086:
4079:
4072:
4065:
4058:
4051:
4044:
4037:
4034:24 Hour Psycho
4029:
4027:
4023:
4022:
4020:
4019:
4014:
4009:
4004:
3999:
3994:
3992:Conceptual art
3989:
3984:
3978:
3976:
3972:
3971:
3969:
3968:
3963:
3961:Mark Wallinger
3958:
3953:
3948:
3943:
3941:Helen Chadwick
3938:
3932:
3930:
3926:
3925:
3923:
3922:
3917:
3912:
3907:
3902:
3897:
3895:Georgina Starr
3892:
3887:
3882:
3877:
3872:
3867:
3862:
3857:
3852:
3847:
3842:
3837:
3832:
3827:
3822:
3817:
3815:Douglas Gordon
3812:
3807:
3805:Anya Gallaccio
3802:
3797:
3792:
3787:
3782:
3777:
3772:
3767:
3762:
3760:Angela Bulloch
3757:
3752:
3747:
3742:
3736:
3734:
3730:
3729:
3724:
3722:
3721:
3714:
3707:
3699:
3690:
3689:
3687:
3686:
3681:
3676:
3674:Gilles Deleuze
3671:
3669:Conceptual art
3665:
3663:
3659:
3658:
3656:
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3642:
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3537:
3533:
3532:
3530:
3529:
3524:
3519:
3514:
3509:
3504:
3499:
3497:Gabriel Orozco
3494:
3491:
3486:
3484:Miltos Manetas
3481:
3476:
3471:
3469:Carsten Höller
3466:
3461:
3459:Douglas Gordon
3456:
3451:
3446:
3444:Angela Bulloch
3441:
3436:
3431:
3425:
3423:
3419:
3418:
3414:Relational art
3411:
3409:
3408:
3401:
3394:
3386:
3380:
3379:
3374:
3369:
3363:
3362:
3354:
3353:
3338:
3333:
3319:
3305:
3300:
3295:
3290:
3284:
3271:
3270:External links
3268:
3265:
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2597:
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2572:
2568:Exhibit A
2559:
2546:
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2460:
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2370:Le consortium
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2141:
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2112:
2106:Parul Sehgal,
2099:
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2018:
2000:
1987:
1974:
1969:The New Yorker
1961:Andrea Walker
1954:
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1640:
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1609:
1599:psychoanalysis
1582:
1579:
1495:
1492:
1406:
1403:
1370:
1367:
1330:, in the show
1323:art movement.
1305:
1302:
1287:relational art
1283:modus operandi
1271:Main article:
1268:
1262:
1221:
1216:
1149:
1146:
1101:One Hour Photo
1089:Main article:
1086:
1083:
1026:
1023:
1019:Exhibit A
1006:'s 1988 movie
995:Exhibit A
978:Main article:
975:
970:
892:
889:
887:art movement.
855:Main article:
852:
847:
845:
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593:Street fashion
585:
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453:
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354:
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327:Cheltenham Spa
315:Psychoanalysis
301:Bond attended
284:Anya Gallaccio
276:Angela Bulloch
240:
237:
235:
232:
151:Angela Bulloch
133:In 1990, with
107:
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83:
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72:Known for
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4609:Living people
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4458:
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4450:
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4447:Matthew Higgs
4445:
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4433:
4430:
4429:
4427:
4423:
4417:
4414:
4412:
4409:
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4404:
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4401:Stuart Morgan
4399:
4397:
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4389:
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4379:
4377:
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4348:
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4345:Miuccia Prada
4343:
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4323:
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4320:Dakis Joannou
4318:
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4308:
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4280:
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4260:
4257:
4255:
4254:Maureen Paley
4252:
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4237:
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4232:
4230:
4227:
4225:
4222:
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4209:
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4193:Carl Freedman
4191:
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4038:
4036:
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4031:
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4024:
4018:
4015:
4013:
4010:
4008:
4007:John Stezaker
4005:
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3936:Basil Beattie
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3890:Jenny Saville
3888:
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3870:Steven Pippin
3868:
3866:
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3861:
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3846:
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3835:Michael Landy
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3828:
3826:
3823:
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3820:Marcus Harvey
3818:
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3808:
3806:
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3796:
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3780:Ian Davenport
3778:
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3775:Mat Collishaw
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3654:
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3649:
3648:Nancy Spector
3646:
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3641:
3638:
3636:
3633:
3630:
3628:
3627:Charles Esche
3625:
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3599:
3597:
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3568:Michael Asher
3566:
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3546:
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3517:Jason Rhoades
3515:
3513:
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3500:
3498:
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3474:Pierre Huyghe
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3345:
3340:Facsimile of
3339:
3337:
3336:Frieze review
3334:
3332:, Winterthur.
3331:
3327:
3325:
3322:Example from
3320:
3317:
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3311:
3306:
3304:
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3299:
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2327:High Art Lite
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2148:Ben Seymour,
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2035:
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2025:Josej Braun,
2022:
2019:
2015:
2012:
2011:
2004:
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1997:
1996:pdf available
1991:
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1983:pdf available
1978:
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1788:
1787:Public domain
1785:
1783:
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1778:
1777:Model release
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1565:
1563:
1559:
1558:David Thewlis
1555:
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1543:
1539:
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1530:David Thewlis
1527:
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1197:
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1190:
1186:
1182:
1178:
1174:
1169:
1167:
1164:in 1991, and
1163:
1162:No Man's Time
1159:
1155:
1147:
1145:
1142:
1137:
1135:
1131:
1127:
1126:
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1098:
1092:
1084:
1082:
1080:
1079:Lothar Hempel
1076:
1072:
1068:
1064:
1059:
1057:
1056:self-portrait
1054:
1050:
1046:
1042:
1038:
1034:
1033:
1024:
1022:
1020:
1016:
1012:
1010:
1005:
1001:
1000:Mat Collishaw
997:
996:
991:
987:
981:
974:
971:
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966:
963:... although
962:
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834:
830:
822:
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811:
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806:
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799:
797:
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790:
782:
780:
778:
777:Le Consortium
772:
770:
766:
762:
758:
754:
746:
742:
738:
733:
726:
724:
721:
717:
713:
708:
705:
704:High Art Lite
701:
697:
693:
692:
691:High Art Lite
687:
679:
677:
673:
669:
665:
663:
659:
651:
649:
648:
644:
640:
636:
632:
627:
626:
622:
618:
617:Darian Leader
614:
610:
606:
602:
594:
590:
583:
581:
579:
575:
571:
567:
562:
560:
556:
552:
548:
544:
540:
539:appropriation
536:
528:
526:
523:
519:
511:
509:
506:
502:
497:
495:
491:
486:
483:
478:
476:
471:
467:
463:
462:peer-reviewed
459:
451:
449:
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442:
440:
436:
428:
423:
419:
417:
413:
409:
405:
402:
398:
394:
390:
386:
382:
378:
374:
370:
364:
359:
352:
347:
345:
343:
339:
336:Bond teaches
334:
332:
328:
324:
320:
316:
312:
308:
304:
299:
297:
293:
292:Michael Landy
289:
285:
281:
280:Ian Davenport
277:
273:
269:
265:
257:
253:
249:
245:
238:
233:
231:
229:
224:
222:
218:
214:
210:
206:
202:
198:
195:In 1998, his
194:
192:
187:
186:youth culture
183:
179:
175:
171:
167:
163:
162:appropriation
158:
156:
152:
148:
144:
140:
136:
131:
129:
125:
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105:
101:
98:
94:
91:
87:
84:
78:
74:
70:
67:
64:
60:
52:
48:
41:
36:
29:
26:
22:
4508:Turner Prize
4457:Brian Sewell
4386:Richard Cork
4355:Jack Wendler
4335:Jose Mugrabi
4208:Jon Thompson
4169:
4162:
4155:
4148:
4141:
4123:
4116:
4109:
4102:
4095:
4088:
4081:
4074:
4067:
4060:
4053:
4046:
4039:
4032:
3987:Art in Ruins
3956:Jon Thompson
3855:Stephen Park
3840:Abigail Lane
3825:Damien Hirst
3810:Liam Gillick
3770:Adam Chodzko
3744:
3740:Fiona Banner
3684:Turner Prize
3600:
3595:
3588:
3583:
3558:Martin Creed
3464:Jens Haaning
3454:Liam Gillick
3438:
3358:
3357:
3343:
3329:
3323:
3309:
3279:held at the
3259:The Guardian
3257:
3233:. Retrieved
3229:the original
3219:
3208:
3188:Photos from
3184:
3172:. Retrieved
3168:The Guardian
3167:
3162:The Observer
3161:
3153:
3140:
3132:
3127:
3115:. Retrieved
3111:the original
3101:
3094:Self Service
3093:
3088:
3079:
3072:Google Books
3066:
3054:
3041:
3029:. Retrieved
3025:the original
3015:
3007:
3006:Henry Bond,
3002:
2995:Google Books
2989:
2972:
2960:. Retrieved
2956:the original
2946:
2935:
2930:
2918:
2899:
2887:. Retrieved
2883:
2874:
2867:Google books
2862:
2857:
2839:
2834:
2826:
2821:
2813:
2796:
2789:
2769:
2756:
2748:The Guardian
2746:
2734:
2719:
2707:
2698:
2690:
2678:
2665:
2648:
2617:
2600:
2592:
2584:
2575:
2567:
2562:
2549:
2541:
2536:
2528:
2523:
2513:
2508:
2494:
2463:
2455:
2450:
2438:. Retrieved
2428:
2419:
2409:
2394:
2386:
2378:
2366:
2354:. Retrieved
2350:the original
2343:
2336:
2326:
2321:
2309:. Retrieved
2304:
2298:
2277:
2272:
2266:Google books
2261:
2256:
2247:
2228:
2213:
2208:
2200:The Guardian
2198:
2189:
2181:
2177:
2159:
2144:
2115:
2102:
2093:Emily Nonko
2089:
2080:
2072:
2067:
2047:
2034:
2021:
2013:
2009:
2007:Emily Nonko
2003:
1990:
1977:
1967:
1963:
1957:
1945:
1932:
1911:
1904:Google books
1899:
1898:Henry Bond,
1894:
1882:. Retrieved
1872:
1852:
1844:
1839:
1831:
1826:
1814:. Retrieved
1810:
1801:
1758:
1751:
1744:
1737:
1736:
1730:
1723:
1717:Edited books
1716:
1715:
1709:
1703:
1697:
1691:
1690:
1684:
1678:
1672:
1666:
1660:
1654:
1648:
1642:
1641:
1632:Slavoj Žižek
1627:
1621:
1615:
1614:
1604:The Guardian
1602:
1584:
1572:
1568:
1566:
1535:
1497:
1487:
1485:
1476:
1472:
1469:The Burglars
1468:
1464:
1460:
1457:On the Buses
1456:
1452:
1448:
1444:
1442:
1437:
1433:
1431:
1410:
1408:
1390:Tower Bridge
1385:
1372:
1359:Chris Patten
1350:
1344:
1339:
1332:Century City
1331:
1325:
1307:
1282:
1276:
1264:
1223:
1218:
1198:a survey of
1193:
1184:
1176:
1170:
1165:
1161:
1151:
1141:Liam Gillick
1138:
1134:assassinated
1123:
1117:
1100:
1097:appropriated
1094:
1062:
1060:
1041:Damien Hirst
1030:
1028:
1018:
1007:
993:
983:
972:
964:
960:
956:
952:
948:
946:
941:
937:
933:
929:
925:
918:
916:
904:
900:
896:
894:
878:
872:
849:
836:
832:
828:
826:
820:
809:
800:
793:
788:
786:
776:
773:
765:surveillance
752:
750:
736:
735:From Bond's
719:
715:
709:
703:
699:
689:
683:
674:
655:
646:
638:
630:
628:
624:
613:art directed
600:
598:
577:
573:
569:
563:
532:
517:
515:
504:
500:
498:
493:
487:
481:
479:
474:
469:
465:
457:
455:
446:
443:
439:Slavoj Žižek
434:
431:
407:
406:
381:crime scenes
368:
367:
362:
338:postgraduate
335:
300:
261:
225:
213:surveillance
208:
204:
189:
159:
155:Liam Gillick
147:Damien Hirst
132:
119:
111:
110:
81:Notable work
44:Bond in 2010
25:
4529:1966 births
4376:Louisa Buck
4310:Frank Cohen
4234:City Racing
4198:Gregor Muir
4048:Bullet Hole
4012:Andy Warhol
3951:Ian Jeffrey
3850:Sarah Lucas
3845:Chris Ofili
3790:Tracey Emin
3785:Tacita Dean
3755:Glenn Brown
3653:Eric Troncy
3644:JĂ©rĂ´me Sans
3512:Jorge Pardo
3429:Abel Azcona
3252:Henry Bond
3213:Vogue.co.uk
3135:, Sept 2000
2884:Tate.org.uk
2691:Performance
2555:Art Monthly
2344:Art Monthly
1843:Henry Bond
1698:Safe Surfer
1616:Non-fiction
1434:Channel One
1369:Video works
1342:, in 2006.
1328:Tate Modern
1317:Interim Art
1226:letterpress
1189:jackhammers
1154:Villa Arson
1113:High Street
1053:Fairhurst's
1037:Sarah Lucas
1015:Ian Jeffrey
1009:The Accused
917:Writing in
910:art critic
875:Sarah Lucas
787:Writing in
718:instead of
712:Art Monthly
298:art scene.
264:Forest Gate
135:Sarah Lucas
75:Photography
4523:Categories
4396:Sarah Kent
4288:Collectors
4279:White Cube
4143:Brilliant!
4041:Break Down
4002:Jeff Koons
3975:Influences
3905:Gavin Turk
3875:Marc Quinn
3800:Nick Fudge
3745:Henry Bond
3631:Maria Lind
3553:Franz West
3548:Dan Graham
3493:Honoré d'O
3439:Henry Bond
3346:exhibition
3330:Fotomuseum
3312:exhibition
3288:Henry Bond
3283:, England.
3201:Anna Friel
2762:Henry Bond
2683:Tony White
2593:Afterimage
1793:References
1571:, held at
1562:Anna Friel
1550:Roger Saul
1526:Anna Friel
1471:(1992/4),
1427:waterbuses
1415:Aperto '93
1405:Exhibition
1242:Gavin Turk
1196:Brilliant!
1160:, France,
1148:Exhibition
551:Guy Debord
268:Goldsmiths
252:Camberwell
203:in London
112:Henry Bond
32:Henry Bond
4503:Post-YBAs
4467:Stuckists
4452:David Lee
4425:Opponents
4369:Advocates
4305:Eli Broad
4217:Galleries
4171:Sensation
3880:Fiona Rae
3830:Gary Hume
3584:Backstage
2671:Flash Art
2634:Fairhurst
2542:Exhibit A
2233:p. 170–71
2218:p. 124–25
1998:from MIT.
1759:Exhibit A
1731:Exhibit A
1679:Documents
1636:MIT Press
1546:Upskirter
1465:Big Shout
1423:Vaporetto
1392:at night.
1349:, titled
1298:Press kit
1246:Montaigne
1234:Gary Hume
1168:in 1993.
1122:, titled
1109:wastebins
1105:snapshots
1063:Omron TV.
973:Exhibit A
805:in 2000.
761:paparazzi
757:voyeurism
739:in which
570:Interiors
393:psychotic
373:MIT Press
333:in 2007.
331:doctorate
288:Gary Hume
221:paparazzi
217:voyeurism
197:photobook
188:magazine
128:forensics
62:Education
4481:See also
4181:Curators
4026:Artworks
3929:Teachers
3662:See also
3610:Curators
3275:List of
3235:12 April
3193:Archived
3174:12 April
3170:. London
3146:The Face
3117:12 April
3045:See the
3031:12 April
2962:12 April
2940:Hints.hu
2907:Archived
2889:12 April
2847:Archived
2778:Archived
2637:Archived
2626:Archived
2496:Artforum
2471:Archived
2440:12 April
2403:Archived
2356:12 April
2311:12 April
2236:Archived
2229:The Face
2221:Archived
2214:The Face
2153:Archived
2056:Archived
1920:Archived
1884:12 April
1861:Archived
1816:25 April
1766:See also
1554:Mulberry
1538:The Face
1522:Mulberry
1500:The Face
1475:(1994),
1467:(1993),
1463:(1993),
1459:(1993),
1455:(1993),
1451:(1994),
1445:De Appel
920:Artforum
609:The Face
535:pastiche
464:journal
397:perverse
389:neurotic
385:homicide
191:The Face
176:and the
166:pastiche
96:Movement
3733:Artists
3590:Traffic
3422:Artists
2014:Bomblog
1638:, 2009)
1542:panties
1417:at the
1294:Gazette
1208:Traffic
1017:said, "
953:Gambler
938:Gambler
901:Gambler
716:Airwalk
698:said, "
676:Air Max
637:survey
555:flâneur
270:at the
4498:Momart
4157:Freeze
4083:My Bed
2980:
2795:Tate:
2740:Frieze
2411:Frieze
2161:Frieze
1927:text."
1587:autism
1508:Purple
1477:Walked
1425:, the
1250:Monaco
1240:, and
1049:spread
965:Freeze
961:Market
955:, the
942:Freeze
926:Freeze
823:, 2005
796:Frieze
745:V sign
720:Airmax
672:Nike's
623:essay
547:dérive
543:Frieze
522:Kindle
494:per se
410:is an
307:Hendon
290:, and
153:, and
4135:Shows
4118:Tense
4076:House
3577:Shows
2623:Hirst
2604:See:
1453:Torch
1156:, in
395:, or
319:Lacan
4432:BANK
4090:Myra
3237:2010
3176:2010
3133:Nova
3119:2010
3033:2010
2978:ISBN
2964:2010
2891:2010
2442:2010
2358:2010
2313:2010
2180:In,
1886:2010
1818:2023
1811:Tate
1597:and
1560:and
1528:and
1512:Nova
1254:Tate
1158:Nice
1067:Soho
1043:and
959:and
936:and
899:and
769:CCTV
759:and
537:and
258:met.
256:YBAs
219:and
164:and
126:and
116:FHEA
50:Born
3348:at
3328:at
3314:at
3199:on
2689:,"
2685:, "
1504:i-D
1411:OTB
1321:YBA
1200:YBA
1173:ICA
1111:of
885:YBA
767:or
557:or
325:in
313:in
305:in
296:YBA
199:of
170:YBA
4525::
3256:,
3245:^
3166:.
2882:.
2805:^
2486:^
2477:,
2303:.
2288:^
2197:,
2169:^
2128:^
1809:.
1514:.
1502:,
1440:"
1365:.
1357:,
1236:,
1136:.
1039:,
951:,
831:,
688:,
678:MX
561:.
441:.
391:,
311:MA
286:,
282:,
278:,
230:.
215:,
149:,
130:.
114:,
3718:e
3711:t
3704:v
3405:e
3398:t
3391:v
3239:.
3178:.
3121:.
3074:.
3035:.
2997:.
2984:.
2966:.
2893:.
2869:.
2444:.
2360:.
2315:.
2242:.
1906:.
1888:.
1820:.
1630:(
1011:.
922:,
908:,
747:.
193:.
23:.
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