Dispatches from an Unofficial War Artist, 2000
Foreword by Ken Livingstone MP, Mayor of London
Introduction by Amanda Hopkinson
‘In its form and power, Peter Kennard’s art ranks among the most important of the late twentieth century. It is important because it breaks the consensual silence surrounding the most urgent issues of the day. His pictures brilliantly evoke the faces that cry out from the silent war.’
John Pilger. The Guardian
‘Peter Kennard’s work is haunting. Eschewing words, it insists upon not being forgotten. His images are impossible to convey with words because of their unmistakable visual texture, suggesting a strange amalgam of X-ray, satellite image and slag. The future – which for so long was a mine of gory rhetoric for those holding power – today depends upon those who insist upon looking beyond their lifetime. And to do this we have to scrutinise, like Peter Kennard, our nightmares and suppressed hopes. His art cannot be ignored.’
John Berger, The Guardian
go for books > Dispatches from an Unofficial War Artist (webpage)
and Galleries > Dispatches Image Gallery
Photo-op Tony Blair Gulf war
It shows Tony Blair, in shirt and tie, grinning hard, as he takes his own photo. But behind him the scene is entirely filled with the smoke and fire of a massive explosion, blowing the desert apart. Its detonation seems to be simultaneous with Blair’s snap. The figure of a self-snapping Blair was extracted from a news photo (originally, what he had behind him was a group of children and naval cadets).
The picture is a great coup. It catches Blair at his most Blairite – the casually contemporary guy, the publicity narcissist, in full grimace. And the whole scene is very nearly believable.
It delivers a brilliant insult, in the way that it manages to condense a lot of suspicions about Blair’s character and priorities. And it plays a neat pictorial practical joke (which even a viewer who didn’t share those suspicions might enjoy). In all ‘Photo-Op’ has to be the best and most adept critique of a prime minister and conflict, all rolled into one, that we have come across in the post 9/11 years.
Text quoted from: http://www.artrepublic.com/articles/214-peter-kennard-photo-op.html
with another impressive video.
Welcome to the G8
G8 Protest Posters, more posters see the link below
Culture hijack project: http://culturalhijack.org/
Haywain with Cruise Missiles, 1980
In this subversive photomontage, three nuclear warheads are inserted into the idyllic East Anglian countryside depicted in John Constable’s famous painting The Hay Wain (1821). The impetus for this work was the proposal to hone US nuclear cruise missiles in rural East Anglia. It was also a response to a Ministry of Defence leaflet that portrayed the missiles in delicate watercolours.
An interview to Peter kennard: http://www.thecommentfactory.com/peter-kennard-mumbles-at-leah-borromeo-4945/
A documentary from British journal of photography: http://www.bjp-online.com/british-journal-of-photography/review/2072381/pictures-words
relevant incident: “The Revolution Will Be Televised”
Video link: http://youtu.be/ZmX23ZtsyAE
Peter kennard’s twitter: https://twitter.com/at_earth/status/243732298363707393
Lonfon Evening Standard news: http://www.standard.co.uk/news/londoners-diary/bbcs-hanging-offence-upsets-national-gallery-7706829.html