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Stereolab are an alternative music band formed in 1990 in London, England. The band originally comprised songwriting team Tim Gane (guitar/keyboards) and Lætitia Sadier (vocals/keyboards/guitar), both of whom remained at the helm across many lineup changes. Other long-time members include Mary Hansen (backing vocals/keyboards/guitar), who joined the group in 1992, ten years before her accidental death, and Andy Ramsay (drums), who joined in 1993, and who is still in the official line-up. As of April 2009, the band is on hiatus.

Called "one of the most fiercely independent and original groups of the Nineties",[1] Stereolab were one of the first bands to be termed "post-rock". Their primary musical influence was 1970s krautrock, which they combined with lounge, 1960s pop, and experimental pop music. They were noted for their heavy use of vintage electronic keyboards, and their sound often overlays a repetitive "motorik" beat with female vocals sung in English or French. Stereolab often incorporated socio-political themes into their lyrics. Some critics say the group's lyrics carry a strong Marxist message, and Gane and Sadier admit to being influenced by the Surrealist and Situationist cultural and political movements. However, Gane is sceptical of labels such as "Marxist pop", and defends the band against accusations of "sloganeering".

Although many of the band's albums have been underground hits, they never found larger commercial success. The band were released from their recording contract with Warner Bros. Records when Warner's imprint Elektra Records folded. The release was reportedly due to poor record sales, and since then Stereolab's self-owned label, Duophonic Records, has signed a distribution deal with Too Pure. Duophonic holds the copyrights to the band's recordings, and on the label the band have released many limited-edition records.

On 2 April 2009 Stereolab manager Martin Pike posted a message on the band's website, announcing that after 19 years the band would go into hiatus as "there are no plans to record new tracks".

History[edit]

1990–1993[edit]

In 1985, Tim Gane formed McCarthy, a band from Essex, England known for their left-wing politics.[2] Gane met the French-born Lætitia Sadier[3] at a McCarthy concert in Paris, and the two quickly fell in love. The musically inclined Sadier was disillusioned with the rock scene in France, and soon moved to London to be with Gane and to pursue her career.[4] After three albums, McCarthy broke up in 1990 and Gane immediately formed Stereolab with Sadier (who had also contributed vocals to McCarthy's final album) and ex-Chills bassist Martin Kean.[5] The group's name was taken from a division of Vanguard Records demonstrating hi-fi effects.[1]

Gane and Sadier, along with future Stereolab manager Martin Pike, created a record label called Duophonic Super 45s—which, along with later offshoot Duophonic Ultra High Frequency Disks, would be commonly known as "Duophonic".[6] The 10 inch vinyl EP Super 45 was the group's and the label's first release, and was sold through mail order and the Rough Trade Shop in London. Super 45's band-designed album art and packaging was the first of many customized and limited-edition Duophonic records. In a 1996 interview in The Wire Gane calls the "do-it-yourself" aesthetic behind Duophonic "empowering", and says that by releasing one's own music "you learn; it creates more music, more ideas".[7] Other independent bands such as Tortoise, Broadcast, and Labradford would also release material on Duophonic.

Stereolab followed up with another EP, Super-Electric, and a single, "Stunning Debut Album" (not actually their debut). The band's early material was rock and guitar-oriented; of Super-Electric, Jason Ankeny wrote in Allmusic that "Droning guitars, skeletal rhythms, and pop hooks—not vintage synths and pointillist melodies—were their calling cards ..."[8] In 1992 Stereolab's first full-length album, Peng!, and first compilation, Switched On, were released on independent label Too Pure. Around this time, the lineup coalesced around Gane and Sadier plus vocalist Mary Hansen, drummer Andy Ramsay, bassist Duncan Brown, keyboardist Katharine Gifford, and guitarist Sean O'Hagan of the 1980s famed Microdisney duo. Hansen, an Australian, had been in touch with Gane since his McCarthy days. After joining, she and Sadier developed a style of vocal counterpoint that distinguished Stereolab's sound until Hansen's death ten years later in 2002. O'Hagan would later leave to form The High Llamas, but would frequently return to contribute to Stereolab's records.[9]

The Sun is pretty big,[10] but the Moon is not so big.[11] The Sun is also quite hot.[12]


END TEST SECTION


Henry Bond is a writer and a photographer.[13] In his Lacan at the Scene, published by The MIT Press in 2009, "the author takes crime-scene photographs from the nineteen-fifties and uses Lacanian theory to attempt to solve the mysteries they present."[14] Together with Damien Hirst, Sarah Lucas, Angela Bulloch and Liam Gillick he was, "the earliest of the YBAs"[15]—the Young British Artists who dominated British art during the 1990s.

OK

Henry Bond was born in Upton Park, in East London in 1966. [16] He attended Goldsmiths at the University of London, graduating in 1988, from the Department of Art[17], with fellow alumni Angela Bulloch, Ian Davenport, Anya Gallaccio, Gary Hume and Michael Landy—each of whom was to participate in the YBA art scene. Bond attended Middlesex University in Hendon [18] studying for an MA in Psychoanalysis, where he was taught by Lacan scholar Bernard Burgoyne.[19]Bond was a research student at the University of Gloucestershire in Cheltenham Spa, England between 2004-07; he received a doctorate in 2007.[20]


Selector and organizer[edit]

[[:Image:East Country Yard Show small.png|thumb|180px| View of East Country Yard Show with Anya Gallaccio's installation in foreground, 1990.]] Bond was a contemporary art curator in the early 1990s. In 1990, working together with Sarah Lucas, Henry Bond organized the "seminal"[21] Docklands warehouse exhibition of contemporary art East Country Yard Show which was influential in the formation and development of the YBA art movement.[22] Also in 1990, Henry Bond and fashion photographer Richard Burbridge were invited as guest editors of a double issue of Creative Camera 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 Sarah Lucas, Damien Hirst and Angus Fairhurst.[23][24] 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.[25] In 1991, Bond was invited to select an exhibition for the Serpentine Gallery by Julia Peyton Jones, a curatorial project that became the group exhibition Exhibit A which was on display in the galleries, May 7—June 7, 1992. Writing in Volume II of the exhibition catalogue, Ian Jeffrey said that, "Exhibit A crystallises a turning in the art world away from the egotistical celebrity mode towards impersonality ... its premises are anonymous, fluent, vertiginous, wary of values."[26] In 1993 through 1995, Bond organized a series of screenings of experimental film and video, Omron TV. The screenings were presented in bookable-by-the-hour Soho film preview theatres—including De Lane Lea (Dean Street) and The Soho Screening Rooms (D'Arblay Street); the project included presentations of works by Merlin Carpenter, the German artist Lothar Hempel, and the Slovenians Aina Smid and Marina Grzinic.[27]

Visual art practice[edit]

Appropriation and pastiche[edit]

[[:Image:Wood bond.jpg|thumb|130px|left|26 October 1993 by Henry Bond and Sam Taylor-Wood (1993)]] During the 1990s Bond made numerous artworks which used appropriated visual material; in particular a series titled One Hour Photo which presented typical snapshots collected from the bins of High Street photo-processing labs, across London.[28][29] Bond also exhibited a collaboration with artist Sam Taylor-Wood, titled 26 October 1993, in which he pastiched the role of John Lennon as he had appeared naked, in a photo-portrait with Yoko Ono—shot by photographer Annie Leibovitz—a few hours before he was assassinated. In 1995, Bond was included in a group exhibition at the ICA, in London, titled Institute of Cultural Anxiety[30], in which he presented all the archival material from the vaults concerning the events at an experimental gig by Einstürzende Neubauten which took place at the ICA in January 1984, and during which the group used jackhammers to drill into the stage.[31] Examples of Bond's work were included in several museum exhibitions, such as Brilliant! a survey of YBA art held at the Walker Art Center, Minneapolis, in 1995, and Traffic, an exhibition introducing the Relational Aesthetics tendency, which took place at musée d'art contemporain de Bordeaux, France, through February and March, 1996.

Video works[edit]

In 1993, Bond's short video work OTB was included in that year's "Aperto" section of the Venice Biennale—a survey of international contemporary art.[32] 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 "Vaporetti" or water buses, in Venice; Bond's deliberately down-to-earth perspective depicting humdrum daily life in the city was intended to oppose the iconic glamorized images of gondolas, etc.[33] Bond's video works were included in the 1995 Biennale de Lyon survey exhibition.[34] 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 Channel One, and finally as a book of stills, Deep, Dark Water."[35][36]

From July through September 1994, Bond's video works were showcased in an eponymous four-person exhibition at De Appel an art centre in Amsterdam—i.e., Deep, Dark Water (1994), Torch (1993), On the Buses (1993), Hôtel Occidental (1993), Big Shout (1993), The Burglars (1992/4), The Softly Softly (1994), Walked (1994)[37][38]—which was selected and organised by curator Saskia Bos (now Dean of The School of Art at The Cooper Union, in New York).[39] However, writing in his 1998 book Relational Aesthetics, 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."[40] thumb|130px|right| Panther Panties, a fashion photograph by Henry Bond from 2001. Shown at Fotomuseum Winterthur in 2008.

Fashion photography[edit]

In the late-1990s and early-2000s, Bond contributed fashion editorial stories to The Face[41], i-D[42], Self Service[43], Purple[44] and the now defunct Nova.[45] In 2001, Bond was chosen by company director Roger Saul to photograph the commercial advertising campaign for a brand relaunch of Mulberry, a leather goods company—for which he used actors and celebrity couple David Thewlis and Anna Friel, as models.[46][47] 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, Darkside: Photographic Desire and Sexuality Photographed, held at Fotomuseum Winterthur—the Swiss national museum and collection of photography.[48][[:Image:BondVenusTh.jpg|thumb| 190px|left| The Cult of the Street
Henry Bond
Emily Tsingou Gallery
]]

The Cult of the Street[edit]

Bond's large book, The Cult of the Street, was published in 1998 by "posh West End gallery,"[49] Emily Tsingou Gallery, London. The 216 photographs included in the book depict daily life in London, the British capital, in the mid-1990s. The fashion writer and commentator, Tamsin Blanchard, described the book as, "a rich social document of the way we dress—rather than the way fashion designers like to imagine we dress".[50] Many of the photographs included in the book were originally taken by Bond whilst shooting commissioned features for the now defunct fashion, style and culture monthly The Face—during the period it was under the creative direction of Lee Swillingham and Stuart Spalding, 1995—1999.[51] The book includes a foreword essay, "A Response to the Photographs," by psychoanalyst and author Darian Leader. It has been suggested that the title of the book is a reference to the 1926 Siegfried Kracauer essay The Cult of Distraction.[52] Writing in his commentrary on the influence of the YBAs or Britart artists, High Art Lite, the art historian Julian Stallabrass said, "The Cult of the Street is telling of many characteristics of high art lite 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 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."[53] Writing in Art Monthly, critic David Barrett said, "values and meanings are constantly on the slide, be they the meaning of wearing brown instead of black, Airwalk instead of Airmax 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."[54] Several years later, in 2002, a group of large-scale printed examples from The Cult of the Street were included in the Barbican Centre survey Rapture: Art's Seduction by Fashion Since 1970[55] and these were shown again, in 2004, at the Museum of London, in an exhibition titled, The London Look: Fashion from Street to Catwalk.[56]

[[:Image:Bond_gillick_documents.jpg|thumb|150px|left| An example of the Documents Series by Henry Bond and Liam Gillick.

February 11, 1992, Trafalgar Square, London.]]

Documents Series with Liam Gillick[edit]

Between 1990 and 1994, Bond collaborated with artist Liam Gillick on their Documents Series a group of eighty-three fine art works which appropriated the modus operandi of a news gathering team, in order to produce relational art.[57] In order 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 Press Association's Gazette—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 Press kit before preparing his audio recording device.[58] The series was first shown commercially in 1991, at Karsten Schubert Limited[59] and then, in 1992, at Maureen Paley's Interim Art [60] —two of the galleries that were pioneers in the development of the YBA art movement. The series was subsequently exhibited at Tate Modern, in the show Century City held in 2001[61], and at the Hayward Gallery, in the exhibition How to Improve the World, in 2006.[62]

Street photography[edit]

Beginning in the late-1990s, and continuing for approximately ten years, Bond's chief activity was street photography—which has been discussed in relation to the dérive (literally: "drifting"), as theorized by Guy Debord and the city walks of the flâneur or psychogeographer.[63] Monograph books of Bond's street photography include Point and Shoot (Ostfildern: Cantz, 2000), La vie quotidienne (Essen, Germany: 20/21, 1999) and Interiors Series (Antwerp: Fotomuseum, 2005). Characterizing his conception of street photography, in a 1998 interview, Bond said: "it is parallel to the psychoanalytic session, in that anything can be mentioned, anything can come up and indeed what seems too minor or too stupid is precisely the key to something significant. Like the urban flow of pedestrians and traffic, it really doesn't matter what passes through, because what is important is how you are perceiving the events. And that is often divergent from any initial aim or strategy."[64]

Point and Shoot[edit]

Bond's book of street photography Point and Shoot, was published by Hatje Cantz, a German publisher, in 2000. It won Bond a Kodak Deutscher Fotobuchpreis in the same year.[65][66] The many images reproduced in the book rely on photo-techniques associated with genres of photography that are often derided or taboo, such as voyeurism, surveillance, and paparazzi photojournalism—hence the book emphasizes the photographer as intrusive, vulgar, prying, a nuisance.

Writing in The Japan Times, 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."[67] Reviewing the book in Frieze, 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."[68] Printed examples from the book were exhibited in both commercial and museum gallery exhibitions, including a survey—selected and organized by curator Eric Troncy—which was on display at the contemporary arts centre Le Consortium in Dijon, France, March through May, 1999.[69]

Bond's follow up Interiors Series was published in Belgium, in 2005, by Fotomuseum Antwerp. The photographs included in the book 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' 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."[70]

Lacan at the Scene is a work of non fiction by Henry Bond, published in 2009 by The MIT Press. The book consists of annotations of police photographs from twenty-one murder scenes from the nineteen fifties, in England.[71] It is simultaneously an application of the theories of Jacques Lacan in relation to forensic investigation and an inquiry into the nature and essence of photography.[72] The book considers the effects of photography on the spectator, the photographer and the photographic "subject". The book contains a foreword essay The Camera's Posthuman Eye by the Slovenian philosopher and critical theorist Slavoj Žižek. Bond refers to a wide range of contextual material in his "investigatory process," including: "J.G. Ballard, William Burroughs, Friedrich Nietzsche, Jean-Paul Sartre and Slavoj Žižek ... and the films of Alfred Hitchcock, Michael Powell, Michelangelo Antonioni, David Lynch and Christopher Nolan, among many others."[73] Many of the photographs reproduced in the book are sexually explicit—they depict murder victims who were raped or tortured before the killing.[74] 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 in a place that the press photographer or reporter cannot go."[75]

Critical reception[edit]

The critical reception of the book includes Emily Nonko's observation that, "Lacan at the Scene 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."[76] Daniel Hourigan, writing for Metapsychology Online Reviews said, "for the vast majority of the discussions in the more applied third, fourth, and fifth chapters, Lacan at the Scene 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."[77] Writing in Time Out New York, Parul Sehgal said: "While Bond’s interpretations occasionally strain credulity, his sensibility enthralls. His goal isn’t police work per se, but to reveal how humble objects at the margins of crime scenes become powerfully allusive and lend themselves to a narrative."[78] Writing in the peer-reviewed academic journal Philosophy of Photography, 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."[79]

Other activities[edit]

Together with his wife, private art dealer[80] and former art gallery proprietor Emily Tsingou, Bond is a patron of contemporary art, including supporting Whitechapel Art Gallery[81], South London Gallery[82] and Tate.[83]

Notes[edit]

  1. ^ a b Perrone (2002)
  2. ^ Sutton (AMG: McCarthy)
  3. ^ She is sometimes known as "Seaya Sadier"; see Arundel (1991).
  4. ^ Arundel (1991)
  5. ^ Erlewine (AMG: Stereolab); Sutton (AMG: McCarthy)
  6. ^ H2O (Chunklet: Tim Gane)
  7. ^ Shapiro (1996)
  8. ^ Ankeny (AMG: Super Electric)
  9. ^ DeRogatis (1993); Erlewine (AMG: Stereolab); Perrone (2002)
  10. ^ Miller 2005, p. 23.
  11. ^ Brown 2006, p. 46.
  12. ^ Miller 2005, p. 34.
  13. ^ The MIT Press (2009)
  14. ^ Walker (2009)
  15. ^ Archer (2006), p. 50. Snippet view available on Google Books
  16. ^ Bond (1998), unpag.
  17. ^ Honigman (2007)
  18. ^ Middlesex University
  19. ^ Bond (2009), unpag.
  20. ^ Ana Finel Honigman "Henry Bond in Conversation with Ana Finel Honigman," Saatchi Gallery, July 10, 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 text."
  21. ^ "Anya Gallaccio", The British Council, retrieved 14 March 10.
  22. ^ Bush, Kate. "Young British art: the YBA sensation", Artforum, June 2004, p. 91. Retrieved from findarticles.com, 14 March 2010.
  23. ^ See artists' pages, p. 2-3; 12-60; and images accompanying scholarly essay, Andrew Renton, "Disfiguring: Certain New Photographers and Uncertain Images."
  24. ^ Also see the comments on that issue made by David Brittain in his Obituary of fellow Creative Camera editor, i.e., David Brittain, "Peter Turner 1947-2005," Afterimage, Sept-Oct, 2005.
  25. ^ See, Creative Camera issues 311/312/313/314/315. A comprehensive database of the magazine contents [http://vnweb.hwwilsonweb.com/hww/Journals/getIssues.jhtml?sid=HWW:ARTFT&issn=0011-0876 on hwwilsonweb.com (athens signin required).
  26. ^ Ian Jeffrey, "Exhibit A and the Everyday." In Henry Bond and Andrea Schlieker (ed.) Exhibit A, Vol. II, (London: Serpentine Gallery, 1992), p. 17.
  27. ^ See the material held on Bond at the Artist's Film and Video Study Collection which includes printed examples of the original flyers to the screenings. The project was also presented at Moderna galerija, Ljubljana—Slovenia's national museum of modern art—in 1994.
  28. ^ Carolyn Christov-Bakargiev, "Someone Everywhere," Flash Art, Summer 1991. p. 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).
  29. ^ Tony White, "East Country Yard Show," Performance, September 1990, p. 60; White states, "...snap-shots from the dustbins of 24-hour processing labs."
  30. ^ "Arts for All," The Independent, February 3, 1995.
  31. ^ Stuart Morgan, "Stuart Morgan visits the Institute of Cultural Anxiety," Frieze, Issue 21, March 1995, p. 35. Also see: Alexander Hacke, "How to destroy the ICA with drills," The Guardian, Friday, 16 February, 2007.
  32. ^ The British Council's Venice Biennale Timeline
  33. ^ Benjamin Weil, "Emergency." In Achille Bonito Oliva and Helena Kontova (eds.) XLV [45th] Biennale di Venezia: Aperto '93, Emergency/Emergenza (Milan: Giancarlo Politi Editore, 1993), ISBN 8878160539.
  34. ^ Thierry Raspail (ed.) 3e Biennale de Lyon: installation, cinéma, vidéo, informatique (Paris: Seuil, 1995) p. 1950. Snippet view available on Google Books.
  35. ^ Jane Rendell, Art and Architecture: a place between (London: I.B. Tauris, 2006), p. 64. Snippet view available on Google Books.
  36. ^ Henry Bond, Deep, Dark Water (London: Public Art Development Trust, 1994).
  37. ^ De Appel exhibition archive, retrieved 25 March 2010
  38. ^ See the partial Filmography/Biographical CV held in the British Artists' Film and Video Study Collection.
  39. ^ http://www.allbusiness.com/finance-insurance-real-estate/real-estate/4410847-1.html All Business [unattributed] "The Cooper Union Appoints Saskia Bos Museum Director and Noted Curator to Head School of Art," July 15, 2005
  40. ^ Nicolas Bourriaud, Relational Aesthetics (Dijon, France: les Presses du réel, 1998), p. 46. A pdf of relevant extract is available at Hints.hu
  41. ^ Tamsin Blanchard, "Everyday people." In The Independent, May 16, 1998
  42. ^ See, for example, the Bond spread in i-D, June 2006 ("The Horror Issue") captioned, "Armani modelled by contemporary art collector Helen Thorpe."
  43. ^ See, for example: "The Obsessions" in Self Service, Spring/Summer 2003, p. 62-79.
  44. ^ Purple Archive (Issue#2 Cover story was photographed by Bond).
  45. ^ See, for example: "Sloane Square," [Photographer: Henry Bond; Stylist: Nancy Rohde] Nova, Sept 2000
  46. ^ Tamsin Blanchard, "Brand New Brand," The Observer, 28 October, 2001
  47. ^ D&AD Case Studies: Four IV for Mulberry
  48. ^ Exhibition information on e-flux
  49. ^ Jonathan Jones, Keith Coventry: Emily Tsingou Gallery, The Guardian, 26 September 2000.
  50. ^ Tamsin Blanchard, "Everyday people." In The Independent, May 16, 1998
  51. ^ See, for example, Tony Naylor, "Thieves Like Us," [a story on anarchist group Decadent Action] The Face, 8/1997, p. 124-128; Siân Pattenden, "Fitter? Happier?" The Face, 10/1997, p 66-70.
  52. ^ Stallabrass (1999)p.134.
  53. ^ Julian Stallabrass, High Art Lite (London: Verso, 1999), p.133. The complete section in Stallabrass is on Google Books here
  54. ^ David Barrett, "Henry Bond at Emily Tsingou Gallery," Art Monthly, June 1998, p.33
  55. ^ Chris Townsend (ed.) Rapture: Art's Seduction by Fashion Since 1970 (London: Barbican Art Gallery/Thames and Hudson, 2002). Overview on Google books
  56. ^ [Chris Breward & Edwina Ehrman (ed.) The London Look: Fashion from Street to Catwalk Italic text(Newhaven: Yale University Press, 2004); Overview on Google books
  57. ^ Henry Bond & Liam Gillick, "Press Kitsch," Flash Art International, Issue 165, July/August 1992, p. 65-66.
  58. ^ Henry Bond & Liam Gillick, "Press Kitsch," Flash Art International, Issue 165, July/August 1992, p. 65-66.
  59. ^ Karsten Schubert (ed) Henry Bond and Liam Gillick: Documents (London: Karsten Schbert Limited, 1991.)
  60. ^ Maureen Paley (ed.) On: Henry Bond, Angela Bulloch, Liam Gillick, Graham Gussin, Markus Hansen (London and Plymouth: Interim Art/Plymouth Arts Centre, 1992); also see Interim Art timeline
  61. ^ Emma Dexter, "London 1990-2001." In, Iwona Blazwick (ed.) Century City: Art and Culture in the Modern Metropolis (London: Tate, 2001), p. 84. Snippet view available on Google books.
  62. ^ http://www.tate.org.uk/modern/exhibitions/centurycity/cclondon.htm
  63. ^ Stephan Schmidt-Wulffen, Henry Bond in Conversation with Museum Director Stephan Schmidt-Wulffen. In, Henry Bond: The Cult of the Street. London: Emily Tsingou Gallery, 1998, unpaginated.
  64. ^ Stephan Schmidt-Wulffen, Henry Bond in Conversation with Museum Director Stephan Schmidt-Wulffen. In, Henry Bond: The Cult of the Street. London: Emily Tsingou Gallery, 1998, unpaginated.
  65. ^ Photonews: Zeitung für Fotografie, Hamburg, Germany, May, 2000.
  66. ^ Hatje Cantz Verlag Prämierte Büche, retrieved, 28 March, 2010
  67. ^ Jennifer Purvis, "Capturing private moments of a gritty London," The Japan Times, November 11, 2000
  68. ^ Benedict Seymour, "Review: Henry Bond" Frieze, Issue 54, October, 2000
  69. ^ Le consortium Exhibitions archive
  70. ^ Henry Bond "Comments on this Series," in Christoph Ruys (ed.) Henry Bond: Interiors Series (Antwerp: Fotomuseum, 2005), p. 6.
  71. ^ Andrea Walker Jacques Lacan: Detective and Cyborg ''The New Yorker'', June 19, 2009.
  72. ^ Emily Nonko The Exquisite Corpse? Bomblog, Feb 5, 2010.
  73. ^ Josej Braun, Hop Scotch: CSI: Photography," Vue Weekly, Issue 745, January 28, 2010.
  74. ^ Parul Sehgal "Book Review: Lacan at the Scene," Time Out New York, Issue 738, Nov 19–25, 2009
  75. ^ Ana Finel Honigman, "Henry Bond in Conversation with Ana Finel Honigman," Saatchi Online, 10 July, 2007
  76. ^ Emily Nonko "the Exquisite Corpse?" Bomb Magazine/Bomblog, February 5, 2010
  77. ^ Daniel Hourigan "Henry Bond: Lacan at the Scene," Metapsychology Online Reviews, posted March 2, 2010.
  78. ^ Parul Sehgal, "Book review: Lacan at the Scene," Time Out New York, Issue 738, November 19–25, 2009.
  79. ^ Margaret Kinsman, "The lure of the crime scene," Philosophy of Photography, London, Volume 1. Number 1, 2010., p. 116.
  80. ^ Artnet News, "Emily Tsingou Goes Private," January 8, 2008.
  81. ^ See: list of Whitechapel Art Gallery patrons.
  82. ^ See: list of South London Gallery patrons.
  83. ^ See: list of [http://www.tate.org.uk/about/tatereport/2009/tatereport_2009_largeprint.pdf Tate Gallery Patrons.

References[edit]


  • Brown, R (2006). "Size of the Moon", Scientific American, 51(78).
  • Brown, R (2006). "Size of the Moon", Scientific American, 51(78).
  • Miller, E (2005). The Sun, Academic Press.



  • Archer, Michael (2006). "Overlapping Figures", How To Improve the World: 60 Years of British Art, London: Hayward Gallery.
  • Bond, Henry (1998). The Cult of the Street (London: Emily Tsingou Gallery).
  • Brittain, David, "Peter Turner 1947-2005", Afterimage: The Journal of Media Arts and Cultural Criticism, September-October 2005, Visual Studies Workshop, Rochester, NY. The article is also online on BNET



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