1271:. 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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802:, 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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1388:, 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."
556:, 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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809:, 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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1432:—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
618:, 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."
2684:, 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.
488:, 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."
579:, 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."
1307:—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
1845:, 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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1062:, created by Hirst, depicted the mutilated corpse of a young man with wounds to the eyes, and was captioned 'Damien Hirst: Fig. 60 Self-inflicted injuries...'; another introduced
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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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1259:("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."
1058:. 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
1440:, 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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766:, 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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1009:—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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1300:. 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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725:, 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,
1013:, which presented the viewer with a rapid-fire sequence of stills of Jodie Foster dancing as she appeared in the "rape scene", in
507:, 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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1364:, documents an auction of the contents of Robert Maxwell's London home at Sotheby's. A further example records the former
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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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1913:(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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2671:. 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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1490:(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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2704:, September 1990, p. 60; White states, "...snap-shots from the dustbins of 24-hour processing labs."
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1768:"Montage My Fine Care: Five Themes with Examples." In Henry Bond & Andrea Schlieker (ed.),
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2949:(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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2340:(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
888:, Bond organised the "seminal" Docklands warehouse exhibition of contemporary art
129:(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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630:. 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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2853:(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.
1567:, a leather goods company—for which he used actors and celebrity couple
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1003:; a curatorial project that became the 7 May – 7 June 1992, exhibition
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355:; he is a Senior Lecturer in Photography, in the School of Fine Art.
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2275:(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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1255:. 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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152:, which was influential in the formation and development of the
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3118:"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.)
2445:"Hatje Cantz Verlag Prämierte Büche, retrieved, 28 March 2010"
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Photonews: Zeitung fĂĽr Fotografie, Hamburg, Germany, May 2000.
1754:"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.)
2753:, 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
1588:—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
2876:(London: Tate, 2001), p. 84. Snippet view available on
2353:"David Barrett, "Henry Bond at Emily Tsingou Gallery,"
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is a work of non-fiction by Bond, published in 2009 by
3032:"De Appel exhibition archive, retrieved 25 March 2010"
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Century City: Art and Culture in the Modern Metropolis
2238:; 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
2581:, Vol. II, (London: Serpentine Gallery, 1992), p. 17.
2064:"Henry Bond in Conversation with Ana Finel Honigman,"
1928:"Henry Bond in Conversation with Ana Finel Honigman,"
1869:"Henry Bond in Conversation with Ana Finel Honigman,"
774:
photojournalism; other images are grainy and suggest
2504:
Bush, Kate. "Young British art: the YBA sensation",
2183:
2181:
1761:"Comments on this Series." In Christoph Ruys (ed.),
1319:
The series was first shown commercially in 1991, at
914:—a concurrent Goldsmiths-oriented warehouse show—in
614:, was published in 1998 by "posh West End gallery,"
4491:
4435:
4379:
4298:
4227:
4191:
4145:
4036:
3985:
3939:
3743:
3672:
3620:
3587:
3546:
3432:
3155:"Next Style/Fashion: We're Infatuated with it...,"
2965:. Venicebiennale.britishcouncil.org. Archived from
2500:
2498:
2223:See, for example: Tony Naylor, "Thieves Like Us,"
2134:
Metapsychology Online Reviews, posted 2 March 2010.
1092:, and the Slovenians Aina Smid and Marina Grzinic.
448:by the Slovenian philosopher and critical theorist
191:, made with Liam Gillick. In the 1990s, Bond was a
106:
90:
82:
72:
60:
41:
2819:
2817:
2680:Carolyn Christov-Bakargiev, "Someone Everywhere,"
2302:
2300:
2121:Time Out New York, Issue 738, 19–25 November 2009.
1150:Writing on Bond's art practice, artist and critic
1084:); the project included presentations of works by
695:Writing in his commentary on the influence of the
179:; he has exhibited work made collaboratively with
3259:
3257:
2632:Facsimiles of the pages on Bond's archive, i.e.,
2195:London: Emily Tsingou Gallery, 1998, unpaginated.
1843:How To Improve the World: 60 Years of British Art
1497:In 1995, Bond's video works were included in the
3265:"What autism can teach us about psychoanalysis,"
2963:"The British Council's Venice Biennale Timeline"
1551:, depicted the model Kirsten Owen revealing her
1129:Bond also exhibited a collaboration with artist
721:Writing in the British contemporary art journal
691:are depicted in several of Bond's street photos.
658:The London Look: Fashion from Street to Catwalk.
3034:. Deappel.nl. 10 September 1994. Archived from
2823:Henry Bond & Liam Gillick, "Press Kitsch,"
2395:"Capturing private moments of a gritty London,"
2289:The London Look: Fashion from Street to Catwalk
2142:
2140:
1559:. In 2001, Bond was chosen by company director
1337:The duo's series was subsequently exhibited at
1239:printing press for a portfolio commissioned by
1110:visual material; in particular a series titled
880:warehouse exhibition in Surrey Docks, June 1990
27:English writer, photographer, and visual artist
3238:. E-flux.com. 5 September 2008. Archived from
2273:Rapture: Art's Seduction by Fashion Since 1970
1267:. In 2010, the portfolio was exhibited at the
943:as well as Carl Freedman and Billee Sellman's
650:Rapture: Art's Seduction by Fashion Since 1970
3721:
3408:
3021:(London: Public Art Development Trust, 1994).
1698:(Farnham, Surrey: James Hockey Gallery, 1990)
1692:(London: APAC/Karsten Schubert Limited, 1991)
1645:, series ed., Short Circuits; Cambridge, MA:
1311:before preparing his audio recording device.
667:Reviewing the book for the British newspaper
8:
3337:in the Swiss national photography collection
3309:Interview on Saatchi Blog with Anna Honigman
2654:(Issue 312, October–November 1991, pp. 2–3).
2242:, 3/1998, p. 170–74. Facsimile available of
2227:, 9/1997, p. 124–28. Facsimile available of
2053:Time Out New York, Issue 738, 19–25 Nov 2009
1858:(London: Emily Tsingou Gallery, 1998) Unpag.
1841:Archer, Michael, "Overlapping Figures. " In
1717:(London: Public Art Development Trust, 1994)
652:and these were shown again, in 2004, at the
222:(Cantz, 2000), explored the photo-genres of
4560:Alumni of the University of Gloucestershire
3612:Touch: Relational Art from the 1990s to Now
3383:Lacan at the Scene/MIT Press catalogue page
168:, the two were "the earliest of the YBAs."
4550:Alumni of Goldsmiths, University of London
3728:
3714:
3706:
3415:
3401:
3393:
790:in Dijon, France, March through May 1999.
386:. The book consists of interpretations of
49:
38:
4073:Everyone I Have Ever Slept With 1963–1995
2555:(London, Serpentine Gallery, 1992), p. 7.
2308:"Tamsin Blanchard, "Everyday people." In
2291:(Newhaven: Yale University Press, 2004);
1889:"Middlesex University: MA Psychoanalysis"
1596:Bond has stated that he is a person with
1356:One example from the series, held in the
935:art critic and curator Kate Bush said, "
622:—during the period that the magazine was
183:artists including a photograph made with
3273:, 16 April 2012, accessed 17 April 2012.
2840:(London: Karsten Schbert Limited, 1991.)
2665:Artist's Film and Video Study Collection
2540:Locality, Regeneration & Diversities
2287:Chris Breward & Edwina Ehrman (ed.)
2082:Viola Brisolin, "Lacan at the Scene" in
1406:
1390:
544:A characteristic of Bond's style is his
305:—each of whom was to participate in the
195:working for British fashion, music, and
4640:Fellows of the Higher Education Academy
2827:Issue 165, July/August 1992, pp. 65–66.
2667:which includes printed examples of the
2359:. Royaljellyfactory.com. Archived from
2040:Vue Weekly, Issue 745, 28 January 2010.
1809:
1243:. The portfolio also included works by
560:– literally: "drifting" – theorised by
410:. Bond's approach is closely linked to
3171:"Tamsin Blanchard, "Brand New Brand,"
3103:See, for example: "The Obsessions" in
2838:Henry Bond and Liam Gillick: Documents
2643:(Issue 309, April–May 1991, pp. 2–3);
2542:, Bristol: Intellect Books, 2000, p. 9
2108:Bomb Magazine/Bomblog, 5 February 2010
1711:(Lyon, France: Biennale de Lyon, 1995)
1126:photo-processing labs, across London.
846:was published in Belgium, in 2005, by
713:is telling of many characteristics of
2755:"How to destroy the ICA with drills,"
2663:See the material held on Bond at the
2206:Keith Coventry: Emily Tsingou Gallery
1996:from MIT. Retrieved, 13 January 2012.
1686:(London: Emily Tsingou Gallery, 1998)
1612:for this condition. In an article in
1296:of a news gathering team, to produce
372:Example of the crime scene photos in
340:between 2004 and 2007; he received a
7:
3169:Tamsin Blanchard (28 October 2001).
3142:See, for example: "Sloane Square,"
1765:(Antwerp, Belgium: Fotomuseum, 2005)
1758:, (Göttingen, Germany: Steidl, 2008)
1535:A/W 2001, Bond's photograph depicts
754:confronts the photographer with the
277:in East London in 1966. He attended
148:, Bond organised the art exhibition
3058:partial Filmography/Biographical CV
2510:, June 2004, p. 91. Retrieved from
2193:Henry Bond: The Cult of the Street.
1975:Jacques Lacan: Detective and Cyborg
1961:Kingston University Staff Directory
1447:, and finally as a book of stills,
1411:Gallery view of Bond's photographs.
812:In Germany, the book was awarded a
133:(2009), Bond made contributions to
3236:"Exhibition information on e-flux"
2469:(Antwerp: Fotomuseum, 2005), p. 6.
2119:"Book review: Lacan at the Scene,"
2086:, Volume 16, Issue 5, August 2011.
2051:"Book Review: Lacan at the Scene,"
1783:Legality of recording by civilians
1772:(London: Serpentine Gallery, 1992)
1744:(London: Serpentine Gallery, 1992)
1235:In 1994, Bond made a work using a
762:Bond's book of street photography
25:
4650:British artists with disabilities
4645:English writers with disabilities
2786:Exhibitionism: The Art of Display
2669:original flyers to the screenings
2132:"Henry Bond: Lacan at the Scene,"
1740:Henry Bond and Andrea Schlieker,
1737:(London: East Country Yard, 1990)
1723:(Nice, France: Villa Arson, 1993)
1458:an art centre in Amsterdam—i.e.,
1420:In 1993, Bond's short video work
1399:(1994) depicting London's iconic
575:Characterizing his conception of
4605:English male non-fiction writers
4545:Academics of Kingston University
2934:FRAC Poitou-Charentes Collection
1221:, an exhibition introducing the
999:to select an exhibition for the
906:In July 1990, reflecting on the
77:Goldsmiths, University of London
4575:Photographers with disabilities
3314:Walker Art Center press release
3107:, Spring/Summer 2003, p. 62-79.
884:In 1990, working together with
531:, was self-published using the
4555:Alumni of Middlesex University
2038:Hop Scotch: CSI: Photography,"
1878:Saatchi Gallery, 10 July 2007.
1668:(London: Art Data/Lavie, 2002)
1:
4625:People with Asperger syndrome
3318:Facsimile invitation card to
2795:. Accessed, 27 November 2010.
2775:. Accessed, 27 November 2010.
1666:What gets you through the day
1188:Institute of Cultural Anxiety
995:In 1991, Bond was invited by
814:Kodak Deutscher Fotobuchpreis
606:photographed in 1990s London.
512:Metapsychology Online Reviews
510:Daniel Hourigan, writing for
334:University of Gloucestershire
4600:English contemporary artists
2811:, Accessed, 13 November 2011
2725:. Retrieved, 24 January 2012
2467:Henry Bond: Interiors Series
2150:," Artdaily, 19 August 2011.
2073:Saatchi Online, 10 July 2007
1951:, accessed, 31 October 2010.
1763:Henry Bond: Interiors Series
1733:Henry Bond and Sarah Lucas,
1703:Documentation of video works
1606:Cognitive Behavioral Therapy
1217:, Minneapolis, in 1995, and
876:View across second floor of
491:Emily Nonko's review said, "
4610:English non-fiction writers
3518:Dominique Gonzalez-Foerster
3378:Link to Zizek foreword .pdf
3297:Artist's personal website:
3120:. Purple.fr. Archived from
2784:Courtauld Institute Press:
2762:, Friday, 16 February 2007.
1662:(Antwerp: Fotomuseum, 2005)
1635:(Seattle: Amazon KDP, 2011)
1143:—a few hours before he was
1069:'Man Abandoned by Colour.'
656:, in an exhibition titled,
171:Bond's visual art tends to
64:1966 (age 57–58)
32:Henry Bond (disambiguation)
4666:
4585:British conceptual artists
4371:Poju and Anita Zabludowicz
1281:
1099:
991:Exhibit A (art exhibition)
988:
951:, all in 1990, were, with
865:
564:and the city walks of the
467:The critical reception of
446:The Camera's Posthuman Eye
135:theoretical psychoanalysis
29:
4615:Photographers from London
2936:Accessed 21 November 2011
2924:Accessed 21 November 2011
2891:"Century City Exhibition"
2791:21 September 2010 at the
2623:(athens signin required).
2601:"Peter Turner 1947–2005,"
2187:Stephan Schmidt-Wulffen,
2069:27 September 2013 at the
1933:27 September 2013 at the
1874:27 September 2013 at the
1674:(Ostfildern: Cantz, 2000)
1591:
1345:held in 2001, and at the
1315:Exhibition and collection
1202:to drill into the stage.
486:Philosophy of Photography
479:, Viola Brisolin said, ''
328:, where he was taught by
48:
4255:Karsten Schubert Gallery
3363:, 9 May to 30 June 2000.
3329:, 13 May – 27 June 1998.
3304:Tamsin Blanchard article
3201:Bond's Mulberry campaign
2825:Flash Art International,
2723:Bond Villa Arson Archive
2564:Kate Bush, "Exhibit A,"
2492:. Retrieved 14 March 10.
2425:, Issue 54, October 2000
2416:22 November 2008 at the
2293:Overview on Google books
2262:Stallabrass (1999)p.134.
2175:, Issue 54, October 2000
2166:22 November 2008 at the
1891:. Mdx.ac.uk. 19 May 2009
1351:How to Improve the World
1321:Karsten Schubert Limited
1190:, in which he presented
1114:which presented typical
636:The Cult of Distraction.
587:(Ostfildern: Cantz) and
250:Early life and education
156:movement; together with
4311:Janet Wolfson de Botton
4235:Anthony d'Offay Gallery
3388:Review by Adam Atkinson
2860:11 October 2007 at the
2568:, June 1992, pp. 15–16.
2106:"the Exquisite Corpse?"
1963:, retrieved 09 04 2011.
1793:Photography and the law
1358:Arts Council Collection
1228:
1036:Selector and screenings
499:Reviewing the book for
273:Henry Bond was born in
261:, Millard Building, in
4590:British psychoanalysts
4161:East Country Yard Show
3931:Jane and Louise Wilson
3776:Jake and Dinos Chapman
3490:Henrik Plenge Jakobsen
3335:The Cult of the Street
3321:The Cult of the Street
2836:Karsten Schubert (ed)
2804:Elizabeth Manchester "
2698:East Country Yard Show
2529:, 31 July 1990, p. 13.
1856:The Cult of the Street
1818:"Henry Bond born 1966"
1749:Essays in edited books
1735:East Country Yard Show
1684:The Cult of the Street
1654:Photography monographs
1544:
1412:
1404:
1323:and then, in 1992, at
1196:EinstĂĽrzende Neubauten
1177:Le Principe de réalité
968:East Country Yard Show
941:East Country Yard Show
908:East Country Yard Show
891:East Country Yard Show
881:
878:East Country Yard Show
868:East Country Yard Show
861:East Country Yard Show
835:
805:Reviewing the book in
759:
711:The Cult of the Street
692:
642:The Cult of the Street
612:The Cult of the Street
607:
595:The Cult of the Street
440:
376:
270:
216:The Cult of the Street
150:East Country Yard Show
4635:Young British Artists
4285:Victoria Miro Gallery
3737:Young British Artists
3513:Felix Gonzalez-Torres
3361:Emily Tsingou Gallery
3327:Emily Tsingou Gallery
3206:13 March 2012 at the
2947:Relational Aesthetics
2484:7 August 2011 at the
2318:. London. 16 May 1998
2271:Chris Townsend (ed.)
2021:The Exquisite Corpse?
1585:Fotomuseum Winterthur
1531:
1410:
1394:
1386:Relational Aesthetics
1366:Governor of Hong Kong
1223:Relational Aesthetics
875:
829:
745:
697:Young British Artists
681:
644:were included in the
616:Emily Tsingou Gallery
602:
435:
371:
257:
154:Young British Artists
115:Relational Aesthetics
111:Young British Artists
4580:British art curators
4280:South London Gallery
4008:Gilbert & George
3957:Michael Craig-Martin
3292:National Art Library
3159:, March 2000. p.156.
2855:Interim Art timeline
2849:Maureen Paley (ed.)
2650:11 July 2011 at the
2639:11 July 2011 at the
2411:"Review: Henry Bond"
2336:Julian Stallabrass,
2249:5 March 2012 at the
2234:5 March 2012 at the
2214:, 26 September 2000.
2161:"Review: Henry Bond"
2062:Ana Finel Honigman,
1947:Kingston University
1680:(Essen: 20/21, 1999)
1633:The Gaze of the Lens
1592:Asperger's diagnosis
1521:and the now defunct
1349:, in the exhibition
1186:, in London, titled
1088:, the German artist
855:Exhibition organiser
838:Bond's follow up to
705:, the art historian
529:The Gaze of the Lens
523:The Gaze of the Lens
388:forensic photographs
314:Middlesex University
283:University of London
265:, where many of the
4595:English art critics
4570:Writers with autism
4565:Artists with autism
4422:Sir Nicholas Serota
4402:Andrew Graham-Dixon
4080:For the Love of God
3607:Theanyspacewhatever
3574:Martin Kippenberger
3353:invitation card to
3288:books by Henry Bond
2945:Nicolas Bourriaud,
2920:14 May 2012 at the
2808:Other Men's Flowers
2490:The British Council
2383:Exhibitions archive
2084:The European Legacy
1926:Ana Finel Honigman
1867:Ana Finel Honigman
1602:Asperger's Syndrome
1505:Fashion photography
1501:survey exhibition.
1302:Press Association's
1269:Courtauld Institute
1230:Other Men's Flowers
1096:Visual art practice
923:Andrew Graham-Dixon
848:Fotomuseum Antwerp.
610:Bond's large book,
477:The European Legacy
374:Lacan at the Scene.
353:Kingston University
239:Kingston University
218:was published. His
4473:Julian Stallabrass
3993:Art & Language
3911:Sam Taylor-Johnson
3651:Julia Peyton-Jones
3646:Hans-Ulrich Obrist
3554:Art & Language
3533:Rirkrit Tiravanija
3370:Lacan at the Scene
3175:, 28 October 2001"
2740:, 3 February 1995.
2621:on hwwilsonweb.com
2409:Benedict Seymour,
2400:, 11 November 2000
2357:, June 1998, p.33"
2027:, 5 February 2010.
1911:Lacan at the Scene
1678:La vie quotidienne
1639:Lacan at the Scene
1604:. He has had both
1545:
1413:
1405:
1395:Still from Bond's
1001:Serpentine Gallery
997:Julia Peyton-Jones
902:Critical reception
882:
836:
760:
707:Julian Stallabrass
693:
632:Siegfried Kracauer
608:
589:La vie quotidienne
577:street photography
540:Street photography
516:Lacan at the Scene
493:Lacan at the Scene
481:Lacan at the Scene
469:Lacan at the Scene
463:Critical reception
441:
427:offender profiling
419:Lacan at the Scene
380:Lacan at the Scene
377:
364:Lacan at the Scene
271:
259:Goldsmiths College
131:Lacan at the Scene
18:Lacan at the Scene
4527:
4526:
4240:Curtain Road Arts
3977:Richard Wentworth
3871:Richard Patterson
3761:Christine Borland
3703:
3702:
3633:Nicolas Bourriaud
3460:Maurizio Cattelan
3214:official website.
3124:on 5 October 2009
2771:Tate collection:
2393:Jennifer Purvis,
1484:The Softly Softly
1449:Deep, Dark Water.
1374:Tory Reform Group
1372:, addressing the
1278:with Liam Gillick
1215:Walker Art Center
1192:archival material
794:Critical response
671:, fashion writer
663:Critical response
501:Time Out New York
423:interdisciplinary
412:Walter Benjamin's
234:photojournalism.
120:
119:
16:(Redirected from
4657:
4483:Charles Thomson
4453:James Heartfield
4427:Matthew Slotover
4417:Norman Rosenthal
4392:Matthew Collings
4351:François Pinault
4336:Pauline Karpidas
4250:Gagosian Gallery
4214:Norman Rosenthal
4066:Documents Series
3926:Rachel Whiteread
3730:
3723:
3716:
3707:
3500:Philippe Parreno
3445:Vanessa Beecroft
3426:
3417:
3410:
3403:
3394:
3274:
3261:
3252:
3251:
3249:
3247:
3242:on 17 April 2010
3232:
3226:
3221:
3215:
3197:
3191:
3190:
3188:
3186:
3166:
3160:
3153:
3147:
3140:
3134:
3133:
3131:
3129:
3114:
3108:
3101:
3095:
3092:
3086:
3079:
3073:
3067:
3061:
3054:
3048:
3047:
3045:
3043:
3028:
3022:
3019:Deep, Dark Water
3015:
3009:
3002:
2996:
2985:
2979:
2978:
2976:
2974:
2969:on 13 April 2010
2959:
2953:
2943:
2937:
2931:
2925:
2912:
2906:
2905:
2903:
2901:
2887:
2881:
2870:
2864:
2847:
2841:
2834:
2828:
2821:
2812:
2802:
2796:
2782:
2776:
2769:
2763:
2747:
2741:
2732:
2726:
2720:
2714:
2711:
2705:
2691:
2685:
2678:
2672:
2661:
2655:
2630:
2624:
2613:
2607:
2606:, Sept–Oct 2005.
2597:
2591:
2588:
2582:
2575:
2569:
2562:
2556:
2549:
2543:
2536:
2530:
2521:
2515:
2514:, 14 March 2010.
2512:findarticles.com
2502:
2493:
2479:"Anya Gallaccio"
2476:
2470:
2463:
2457:
2456:
2454:
2452:
2441:
2435:
2432:
2426:
2407:
2401:
2391:
2385:
2379:
2373:
2372:
2370:
2368:
2349:
2343:
2334:
2328:
2327:
2325:
2323:
2304:
2295:
2285:
2279:
2269:
2263:
2260:
2254:
2221:
2215:
2204:Jonathan Jones,
2202:
2196:
2185:
2176:
2157:
2151:
2144:
2135:
2130:Daniel Hourigan
2128:
2122:
2115:
2109:
2102:
2096:
2093:
2087:
2080:
2074:
2060:
2054:
2047:
2041:
2034:
2028:
2016:
2010:
2003:
1997:
1990:
1984:
1970:
1964:
1958:
1952:
1945:
1939:
1924:
1918:
1907:
1901:
1900:
1898:
1896:
1885:
1879:
1865:
1859:
1852:
1846:
1839:
1833:
1832:
1830:
1828:
1814:
1721:HĂ´tel Occidental
1715:Deep, Dark Water
1660:Interiors Series
1517:, Self Service,
1499:Biennale de Lyon
1494:, in New York).
1492:The Cooper Union
1472:HĂ´tel Occidental
1460:Deep, Dark Water
1424:was included in
1397:Deep, Dark Water
1362:14 February 1992
1290:Documents Series
1284:Documents Series
1276:Documents Series
1213:art held at the
1086:Merlin Carpenter
844:Interiors Series
832:Interiors Series
830:An example from
821:Interiors Series
673:Tamsin Blanchard
654:Museum of London
591:(Essen: 20/21).
570:psychogeographer
438:Lacanian theory.
390:from twenty-one
359:Critical writing
320:studying for an
189:Documents Series
97:Documents Series
93:
53:
39:
21:
4665:
4664:
4660:
4659:
4658:
4656:
4655:
4654:
4530:
4529:
4528:
4523:
4504:Frieze Art Fair
4487:
4431:
4375:
4361:Charles Saatchi
4326:Steven A. Cohen
4306:Bernard Arnault
4294:
4270:Saatchi Gallery
4223:
4199:Joshua Compston
4187:
4175:Modern Medicine
4141:
4115:26 October 1993
4108:No Woman No Cry
4032:
4028:Lawrence Weiner
3981:
3935:
3921:Gillian Wearing
3896:Alessandro Raho
3876:Simon Patterson
3806:Angus Fairhurst
3739:
3734:
3704:
3699:
3690:Frieze Art Fair
3668:
3628:Daniel Birnbaum
3616:
3583:
3547:Related artists
3542:
3538:Gillian Wearing
3428:
3424:
3421:
3355:Point and Shoot
3283:
3278:
3277:
3262:
3255:
3245:
3243:
3234:
3233:
3229:
3222:
3218:
3208:Wayback Machine
3198:
3194:
3184:
3182:
3168:
3167:
3163:
3154:
3150:
3141:
3137:
3127:
3125:
3116:
3115:
3111:
3102:
3098:
3093:
3089:
3080:
3076:
3068:
3064:
3055:
3051:
3041:
3039:
3038:on 18 July 2011
3030:
3029:
3025:
3016:
3012:
3003:
2999:
2986:
2982:
2972:
2970:
2961:
2960:
2956:
2944:
2940:
2932:
2928:
2922:Wayback Machine
2913:
2909:
2899:
2897:
2889:
2888:
2884:
2871:
2867:
2862:Wayback Machine
2848:
2844:
2835:
2831:
2822:
2815:
2803:
2799:
2793:Wayback Machine
2783:
2779:
2770:
2766:
2748:
2744:
2738:The Independent
2735:"Arts for All,"
2733:
2729:
2721:
2717:
2712:
2708:
2692:
2688:
2679:
2675:
2662:
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2652:Wayback Machine
2641:Wayback Machine
2631:
2627:
2617:Creative Camera
2614:
2610:
2598:
2594:
2589:
2585:
2576:
2572:
2563:
2559:
2550:
2546:
2537:
2533:
2526:The Independent
2522:
2518:
2503:
2496:
2486:Wayback Machine
2477:
2473:
2464:
2460:
2450:
2448:
2447:. Hatjecantz.de
2443:
2442:
2438:
2433:
2429:
2418:Wayback Machine
2408:
2404:
2398:The Japan Times
2392:
2388:
2380:
2376:
2366:
2364:
2363:on 15 July 2011
2351:
2350:
2346:
2335:
2331:
2321:
2319:
2316:The Independent
2312:, May 16, 1998"
2310:The Independent
2306:
2305:
2298:
2286:
2282:
2270:
2266:
2261:
2257:
2251:Wayback Machine
2236:Wayback Machine
2222:
2218:
2203:
2199:
2186:
2179:
2168:Wayback Machine
2158:
2154:
2146:Unattributed, "
2145:
2138:
2129:
2125:
2116:
2112:
2103:
2099:
2094:
2090:
2081:
2077:
2071:Wayback Machine
2061:
2057:
2048:
2044:
2035:
2031:
2017:
2013:
2004:
2000:
1991:
1987:
1983:, 19 June 2009.
1971:
1967:
1959:
1955:
1946:
1942:
1935:Wayback Machine
1925:
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1894:
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1816:
1815:
1811:
1806:
1779:
1696:100 Photographs
1672:Point and Shoot
1624:
1622:Published works
1600:– specifically
1594:
1507:
1430:Venice Biennale
1418:
1382:
1347:Hayward Gallery
1325:Maureen Paley's
1317:
1286:
1280:
1249:Sam Taylor-Wood
1241:Joshua Compston
1233:
1161:
1141:Annie Leibovitz
1136:26 October 1993
1131:Sam Taylor-Wood
1118:collected from
1104:
1102:26 October 1993
1098:
1082:D'Arblay Street
1056:Angus Fairhurst
1043:Creative Camera
1038:
1015:Jonathan Kaplan
993:
987:
960:Modern Medicine
945:Modern Medicine
917:The Independent
904:
870:
864:
857:
840:Point and Shoot
824:
800:The Japan Times
796:
764:Point and Shoot
752:Robbie Williams
748:Point and Shoot
740:
738:Point and Shoot
669:The Independent
665:
646:Barbican Centre
597:
585:Point and Shoot
542:
525:
465:
366:
361:
252:
247:
245:Life and career
220:Point and Shoot
212:street fashions
193:photojournalist
185:Sam Taylor-Wood
113:
101:26 October 1993
99:
91:
68:
67:London, England
65:
56:
44:
35:
28:
23:
22:
15:
12:
11:
5:
4663:
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4637:
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4630:Street fashion
4627:
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4602:
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4567:
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4525:
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4516:
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4506:
4501:
4499:Conceptual art
4495:
4493:
4489:
4488:
4486:
4485:
4480:
4475:
4470:
4465:
4460:
4455:
4450:
4448:Billy Childish
4445:
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4409:
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4341:George Michael
4338:
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4318:
4313:
4308:
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4300:
4296:
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4277:
4275:Sadie Coles HQ
4272:
4267:
4262:
4260:Lisson Gallery
4257:
4252:
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4122:The Upper Room
4118:
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4097:
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4083:
4076:
4069:
4062:
4055:
4048:
4045:24 Hour Psycho
4040:
4038:
4034:
4033:
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4030:
4025:
4020:
4015:
4010:
4005:
4003:Conceptual art
4000:
3995:
3989:
3987:
3983:
3982:
3980:
3979:
3974:
3972:Mark Wallinger
3969:
3964:
3959:
3954:
3952:Helen Chadwick
3949:
3943:
3941:
3937:
3936:
3934:
3933:
3928:
3923:
3918:
3913:
3908:
3906:Georgina Starr
3903:
3898:
3893:
3888:
3883:
3878:
3873:
3868:
3863:
3858:
3853:
3848:
3843:
3838:
3833:
3828:
3826:Douglas Gordon
3823:
3818:
3816:Anya Gallaccio
3813:
3808:
3803:
3798:
3793:
3788:
3783:
3778:
3773:
3771:Angela Bulloch
3768:
3763:
3758:
3753:
3747:
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3740:
3735:
3733:
3732:
3725:
3718:
3710:
3701:
3700:
3698:
3697:
3692:
3687:
3685:Gilles Deleuze
3682:
3680:Conceptual art
3676:
3674:
3670:
3669:
3667:
3666:
3661:
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3556:
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3548:
3544:
3543:
3541:
3540:
3535:
3530:
3525:
3520:
3515:
3510:
3508:Gabriel Orozco
3505:
3502:
3497:
3495:Miltos Manetas
3492:
3487:
3482:
3480:Carsten Höller
3477:
3472:
3470:Douglas Gordon
3467:
3462:
3457:
3455:Angela Bulloch
3452:
3447:
3442:
3436:
3434:
3430:
3429:
3425:Relational art
3422:
3420:
3419:
3412:
3405:
3397:
3391:
3390:
3385:
3380:
3374:
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3365:
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3316:
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3306:
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3295:
3282:
3281:External links
3279:
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2579:Exhibit A
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2381:Le consortium
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2117:Parul Sehgal,
2110:
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2011:
1998:
1985:
1980:The New Yorker
1972:Andrea Walker
1965:
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1610:psychoanalysis
1593:
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1417:
1414:
1381:
1378:
1341:, in the show
1334:art movement.
1316:
1313:
1298:relational art
1294:modus operandi
1282:Main article:
1279:
1273:
1232:
1227:
1160:
1157:
1112:One Hour Photo
1100:Main article:
1097:
1094:
1037:
1034:
1030:Exhibit A
1017:'s 1988 movie
1006:Exhibit A
989:Main article:
986:
981:
903:
900:
898:art movement.
866:Main article:
863:
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604:Street fashion
596:
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464:
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365:
362:
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338:Cheltenham Spa
326:Psychoanalysis
312:Bond attended
295:Anya Gallaccio
287:Angela Bulloch
251:
248:
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162:Angela Bulloch
144:In 1990, with
118:
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4459:
4458:Matthew Higgs
4456:
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4412:Stuart Morgan
4410:
4408:
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4398:
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4356:Miuccia Prada
4354:
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4331:Dakis Joannou
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4265:Maureen Paley
4263:
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4204:Carl Freedman
4202:
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4018:John Stezaker
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3947:Basil Beattie
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3901:Jenny Saville
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3881:Steven Pippin
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3846:Michael Landy
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3831:Marcus Harvey
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3791:Ian Davenport
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3786:Mat Collishaw
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3659:Nancy Spector
3657:
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3639:
3638:Charles Esche
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3579:Michael Asher
3577:
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3557:
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3528:Jason Rhoades
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3351:Facsimile of
3350:
3348:
3347:Frieze review
3345:
3343:, Winterthur.
3342:
3338:
3336:
3333:Example from
3331:
3328:
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3307:
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2338:High Art Lite
2333:
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2159:Ben Seymour,
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2036:Josej Braun,
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2026:
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2015:
2012:
2008:
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1994:pdf available
1989:
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1798:Public domain
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1788:Model release
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1570:
1569:David Thewlis
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1541:David Thewlis
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1201:
1197:
1193:
1189:
1185:
1180:
1178:
1175:in 1991, and
1174:
1173:No Man's Time
1170:
1166:
1158:
1156:
1153:
1148:
1146:
1142:
1138:
1137:
1132:
1127:
1125:
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1117:
1113:
1109:
1103:
1095:
1093:
1091:
1090:Lothar Hempel
1087:
1083:
1079:
1075:
1070:
1068:
1067:self-portrait
1065:
1061:
1057:
1053:
1049:
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1035:
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1031:
1027:
1023:
1021:
1016:
1012:
1011:Mat Collishaw
1008:
1007:
1002:
998:
992:
985:
982:
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977:
974:... although
973:
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833:
828:
822:
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817:
815:
810:
808:
803:
801:
793:
791:
789:
788:Le Consortium
783:
781:
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773:
769:
765:
757:
753:
749:
744:
737:
735:
732:
728:
724:
719:
716:
715:High Art Lite
712:
708:
704:
703:
702:High Art Lite
698:
690:
688:
684:
680:
676:
674:
670:
662:
660:
659:
655:
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647:
643:
638:
637:
633:
629:
628:Darian Leader
625:
621:
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605:
601:
594:
592:
590:
586:
582:
578:
573:
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563:
559:
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551:
550:appropriation
547:
539:
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534:
530:
522:
520:
517:
513:
508:
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502:
497:
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489:
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473:peer-reviewed
470:
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405:
401:
397:
393:
389:
385:
381:
375:
370:
363:
358:
356:
354:
350:
347:Bond teaches
345:
343:
339:
335:
331:
327:
323:
319:
315:
310:
308:
304:
303:Michael Landy
300:
296:
292:
291:Ian Davenport
288:
284:
280:
276:
268:
264:
260:
256:
249:
244:
242:
240:
235:
233:
229:
225:
221:
217:
213:
209:
206:In 1998, his
205:
203:
198:
197:youth culture
194:
190:
186:
182:
178:
174:
173:appropriation
169:
167:
163:
159:
155:
151:
147:
142:
140:
136:
132:
128:
124:
116:
112:
109:
105:
102:
98:
95:
89:
85:
81:
78:
75:
71:
63:
59:
52:
47:
40:
37:
33:
19:
4519:Turner Prize
4468:Brian Sewell
4397:Richard Cork
4366:Jack Wendler
4346:Jose Mugrabi
4219:Jon Thompson
4180:
4173:
4166:
4159:
4152:
4134:
4127:
4120:
4113:
4106:
4099:
4092:
4085:
4078:
4071:
4064:
4057:
4050:
4043:
3998:Art in Ruins
3967:Jon Thompson
3866:Stephen Park
3851:Abigail Lane
3836:Damien Hirst
3821:Liam Gillick
3781:Adam Chodzko
3755:
3751:Fiona Banner
3695:Turner Prize
3611:
3606:
3599:
3594:
3569:Martin Creed
3475:Jens Haaning
3465:Liam Gillick
3449:
3369:
3368:
3354:
3340:
3334:
3320:
3290:held at the
3270:The Guardian
3268:
3244:. Retrieved
3240:the original
3230:
3219:
3199:Photos from
3195:
3183:. Retrieved
3179:The Guardian
3178:
3173:The Observer
3172:
3164:
3151:
3143:
3138:
3126:. Retrieved
3122:the original
3112:
3105:Self Service
3104:
3099:
3090:
3083:Google Books
3077:
3065:
3052:
3040:. Retrieved
3036:the original
3026:
3018:
3017:Henry Bond,
3013:
3006:Google Books
3000:
2983:
2971:. Retrieved
2967:the original
2957:
2946:
2941:
2929:
2910:
2898:. Retrieved
2894:
2885:
2878:Google books
2873:
2868:
2850:
2845:
2837:
2832:
2824:
2807:
2800:
2780:
2767:
2759:The Guardian
2757:
2745:
2730:
2718:
2709:
2701:
2689:
2676:
2659:
2628:
2611:
2603:
2595:
2586:
2578:
2573:
2560:
2552:
2547:
2539:
2534:
2524:
2519:
2505:
2474:
2466:
2461:
2449:. Retrieved
2439:
2430:
2420:
2405:
2397:
2389:
2377:
2365:. Retrieved
2361:the original
2354:
2347:
2337:
2332:
2320:. Retrieved
2315:
2309:
2288:
2283:
2277:Google books
2272:
2267:
2258:
2239:
2224:
2219:
2211:The Guardian
2209:
2200:
2192:
2188:
2170:
2155:
2126:
2113:
2104:Emily Nonko
2100:
2091:
2083:
2078:
2058:
2045:
2032:
2024:
2020:
2018:Emily Nonko
2014:
2001:
1988:
1978:
1974:
1968:
1956:
1943:
1922:
1915:Google books
1910:
1909:Henry Bond,
1905:
1893:. Retrieved
1883:
1863:
1855:
1850:
1842:
1837:
1825:. Retrieved
1821:
1812:
1769:
1762:
1755:
1748:
1747:
1741:
1734:
1728:Edited books
1727:
1726:
1720:
1714:
1708:
1702:
1701:
1695:
1689:
1683:
1677:
1671:
1665:
1659:
1653:
1652:
1643:Slavoj Žižek
1638:
1632:
1626:
1625:
1615:The Guardian
1613:
1595:
1583:
1579:
1577:
1546:
1508:
1498:
1496:
1487:
1483:
1480:The Burglars
1479:
1475:
1471:
1468:On the Buses
1467:
1463:
1459:
1455:
1453:
1448:
1444:
1442:
1421:
1419:
1401:Tower Bridge
1396:
1383:
1370:Chris Patten
1361:
1355:
1350:
1343:Century City
1342:
1336:
1318:
1293:
1287:
1275:
1234:
1229:
1209:a survey of
1204:
1195:
1187:
1181:
1176:
1172:
1162:
1152:Liam Gillick
1149:
1145:assassinated
1134:
1128:
1111:
1108:appropriated
1105:
1073:
1071:
1052:Damien Hirst
1041:
1039:
1029:
1018:
1004:
994:
983:
975:
971:
967:
963:
959:
957:
952:
948:
944:
940:
936:
929:
927:
915:
911:
907:
905:
889:
883:
860:
847:
843:
839:
837:
831:
820:
811:
804:
799:
797:
787:
784:
776:surveillance
763:
761:
747:
746:From Bond's
730:
726:
720:
714:
710:
700:
694:
685:
666:
657:
649:
641:
639:
635:
624:art directed
611:
609:
588:
584:
580:
574:
543:
528:
526:
515:
511:
509:
504:
498:
492:
490:
485:
480:
476:
468:
466:
457:
454:
450:Slavoj Žižek
445:
442:
418:
417:
392:crime scenes
379:
378:
373:
349:postgraduate
346:
311:
272:
236:
224:surveillance
219:
215:
200:
170:
166:Liam Gillick
158:Damien Hirst
143:
130:
122:
121:
92:Notable work
55:Bond in 2010
36:
4540:1966 births
4387:Louisa Buck
4321:Frank Cohen
4245:City Racing
4209:Gregor Muir
4059:Bullet Hole
4023:Andy Warhol
3962:Ian Jeffrey
3861:Sarah Lucas
3856:Chris Ofili
3801:Tracey Emin
3796:Tacita Dean
3766:Glenn Brown
3664:Eric Troncy
3655:JĂ©rĂ´me Sans
3523:Jorge Pardo
3440:Abel Azcona
3263:Henry Bond
3224:Vogue.co.uk
3146:, Sept 2000
2895:Tate.org.uk
2702:Performance
2566:Art Monthly
2355:Art Monthly
1854:Henry Bond
1709:Safe Surfer
1627:Non-fiction
1445:Channel One
1380:Video works
1353:, in 2006.
1339:Tate Modern
1328:Interim Art
1237:letterpress
1200:jackhammers
1165:Villa Arson
1124:High Street
1064:Fairhurst's
1048:Sarah Lucas
1026:Ian Jeffrey
1020:The Accused
928:Writing in
921:art critic
886:Sarah Lucas
798:Writing in
729:instead of
723:Art Monthly
309:art scene.
275:Forest Gate
146:Sarah Lucas
86:Photography
4534:Categories
4407:Sarah Kent
4299:Collectors
4290:White Cube
4154:Brilliant!
4052:Break Down
4013:Jeff Koons
3986:Influences
3916:Gavin Turk
3886:Marc Quinn
3811:Nick Fudge
3756:Henry Bond
3642:Maria Lind
3564:Franz West
3559:Dan Graham
3504:Honoré d'O
3450:Henry Bond
3357:exhibition
3341:Fotomuseum
3323:exhibition
3299:Henry Bond
3294:, England.
3212:Anna Friel
2773:Henry Bond
2694:Tony White
2604:Afterimage
1804:References
1582:, held at
1573:Anna Friel
1561:Roger Saul
1537:Anna Friel
1482:(1992/4),
1438:waterbuses
1426:Aperto '93
1416:Exhibition
1253:Gavin Turk
1207:Brilliant!
1171:, France,
1159:Exhibition
562:Guy Debord
279:Goldsmiths
263:Camberwell
214:in London
123:Henry Bond
43:Henry Bond
4514:Post-YBAs
4478:Stuckists
4463:David Lee
4436:Opponents
4380:Advocates
4316:Eli Broad
4228:Galleries
4182:Sensation
3891:Fiona Rae
3841:Gary Hume
3595:Backstage
2682:Flash Art
2645:Fairhurst
2553:Exhibit A
2244:p. 170–71
2229:p. 124–25
2009:from MIT.
1770:Exhibit A
1742:Exhibit A
1690:Documents
1647:MIT Press
1557:Upskirter
1476:Big Shout
1434:Vaporetto
1403:at night.
1360:, titled
1309:Press kit
1257:Montaigne
1245:Gary Hume
1179:in 1993.
1133:, titled
1120:wastebins
1116:snapshots
1074:Omron TV.
984:Exhibit A
816:in 2000.
772:paparazzi
768:voyeurism
750:in which
581:Interiors
404:psychotic
384:MIT Press
344:in 2007.
342:doctorate
299:Gary Hume
232:paparazzi
228:voyeurism
208:photobook
199:magazine
139:forensics
73:Education
4492:See also
4192:Curators
4037:Artworks
3940:Teachers
3673:See also
3621:Curators
3286:List of
3246:12 April
3204:Archived
3185:12 April
3181:. London
3157:The Face
3128:12 April
3056:See the
3042:12 April
2973:12 April
2951:Hints.hu
2918:Archived
2900:12 April
2858:Archived
2789:Archived
2648:Archived
2637:Archived
2507:Artforum
2482:Archived
2451:12 April
2414:Archived
2367:12 April
2322:12 April
2247:Archived
2240:The Face
2232:Archived
2225:The Face
2164:Archived
2067:Archived
1931:Archived
1895:12 April
1872:Archived
1827:25 April
1777:See also
1565:Mulberry
1549:The Face
1533:Mulberry
1511:The Face
1486:(1994),
1478:(1993),
1474:(1993),
1470:(1993),
1466:(1993),
1462:(1994),
1456:De Appel
931:Artforum
620:The Face
546:pastiche
475:journal
408:perverse
400:neurotic
396:homicide
202:The Face
187:and the
177:pastiche
107:Movement
3744:Artists
3601:Traffic
3433:Artists
2025:Bomblog
1649:, 2009)
1553:panties
1428:at the
1305:Gazette
1219:Traffic
1028:said, "
964:Gambler
949:Gambler
912:Gambler
727:Airwalk
709:said, "
687:Air Max
648:survey
566:flâneur
281:at the
4509:Momart
4168:Freeze
4094:My Bed
2991:
2806:Tate:
2751:Frieze
2422:Frieze
2172:Frieze
1938:text."
1598:autism
1519:Purple
1488:Walked
1436:, the
1261:Monaco
1251:, and
1060:spread
976:Freeze
972:Market
966:, the
953:Freeze
937:Freeze
834:, 2005
807:Frieze
756:V sign
731:Airmax
683:Nike's
634:essay
558:dérive
554:Frieze
533:Kindle
505:per se
421:is an
318:Hendon
301:, and
164:, and
4146:Shows
4129:Tense
4087:House
3588:Shows
2634:Hirst
2615:See:
1464:Torch
1167:, in
406:, or
330:Lacan
4443:BANK
4101:Myra
3248:2010
3187:2010
3144:Nova
3130:2010
3044:2010
2989:ISBN
2975:2010
2902:2010
2453:2010
2369:2010
2324:2010
2191:In,
1897:2010
1829:2023
1822:Tate
1608:and
1571:and
1539:and
1523:Nova
1265:Tate
1169:Nice
1078:Soho
1054:and
970:and
947:and
910:and
780:CCTV
770:and
548:and
269:met.
267:YBAs
230:and
175:and
137:and
127:FHEA
61:Born
3359:at
3339:at
3325:at
3210:on
2700:,"
2696:, "
1515:i-D
1422:OTB
1332:YBA
1211:YBA
1184:ICA
1122:of
896:YBA
778:or
568:or
336:in
324:in
316:in
307:YBA
210:of
181:YBA
4536::
3267:,
3256:^
3177:.
2893:.
2816:^
2497:^
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2314:.
2299:^
2208:,
2180:^
2139:^
1820:.
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1513:,
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1376:.
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962:,
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689:MX
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226:,
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3715:v
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3402:v
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3189:.
3132:.
3085:.
3046:.
3008:.
2995:.
2977:.
2904:.
2880:.
2455:.
2371:.
2326:.
2253:.
1917:.
1899:.
1831:.
1641:(
1022:.
933:,
919:,
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204:.
34:.
20:)
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