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Henry Bond

Born 1966
Upton Park
Occupation writer
photographer
Nationality  United Kingdom
Official website

Henry Bond is a writer and a photographer.[1] In his Lacan at the Scene (MIT Press, 2009), "the author takes crime-scene photographs from the nineteen-fifties and uses Lacanian theory to attempt to solve the mysteries they present."[2]

Contents

Career

Henry Bond was born in Upton Park, in East London in 1966.[3] He graduated from Goldsmiths, Department of Art, in 1988.[4] He attended Middlesex University as a postgraduate, obtaining an MA in Psychoanalysis. He was awarded a doctorate from the University of Gloucestershire in 2007.[5] He is currently a Senior Lecturer in Photography at Kingston University.

Henry Bond was a contemporary art curator in the early-1990s, with exhibitions such as East Country Yard Show and Exhibit "A".[6] During this period Bond also exhibited several fine art works including a collaboration with artist Sam Taylor-Wood, "26 October 1993", in which he pastiched the role of John Lennon as he had appeared in a well-known portrait with Yoko Ono made by photographer Annie Leibovitz in 1970. Examples of his work were included in several survey exhibitions including Brilliant!, held at the Walker Art Center, Minneapolis, in 1995, and Traffic, at CAPC Bordeaux, in 1996.

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. The series was subsequently exhibited at Tate Modern, London (Century City, 2000), and the Hayward Gallery, London (How to Improve the World, 2006).[7]

Street photography

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 so-called psychogeographer.[8] 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.[9]

Monograph books of Bond's photographic work include The Cult of the Street (Emily Tsingou Gallery, 1998), Point and Shoot (Cantz, 2000), and Interiors Series (Fotomuseum Antwerp, 2005). Bond's Point and Shoot won a Deutscher Fotobuchpreis, in 2000.[10] The many photographs it contains often utilize photo-techniques associated with voyeurism, surveillance, and paparazzi photojournalism. Printed examples from these books have been exhibited in both commercial and museum gallery exhibitions including Walker Art Center, Fotomuseum Winterthur and Le Consortium, Dijon.

Lacan at the Scene

Lacan at the Scene  
Lacan at the scene cover.jpg
Lacan at the Scene Hardcover 1st
Author Henry Bond
Country USA
Subject(s) Photography, Philosophy Forensics
Publisher MIT Press
Publication date 2009
Media type Print (Hardcover)
ISBN 978-0-262-01342-0

Lacan at the Scene is a work of non fiction by Bond published in 2009 by MIT Press. The book consists of annotations of police photographs from twenty-one murder scenes from the nineteen fifties, in England.[11]

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.[12] 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 Zizek.

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.[13]

Bibliography

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Books

Photography Books

  • Interiors Series (Antwerp, Belgium: FotoMuseum, 2005)
  • What Gets You Through The Day (London: LaVie Publishers, 2002)
  • Point and Shoot (Ostfildern, Germany: Cantz, 2000)
  • La vie quotidienne (Essen, Germany: 20/21, 1999)
  • The Cult of the Street (London: Emily Tsingou Gallery, 1998)
  • Safe Surfer (Lyon, France: Biennale de Lyon, 1996)
  • Deep Dark Water (London: Public Art Development Trust, 1995)
  • Hôtel Occidental (Nice, France: Villa Arson, 1993)
  • Documents Series (London: OOP/APAC, 1991)
  • 100 Photographs (Farnham, Surrey: James Hockey Gallery, 1990)

Essays

  • "The Hysterical Hystery of Photography." In Thomas Seelig (ed.) Darkside (Göttingen, Germany: Steidl, 2008).
  • "Montage My Fine Care." In Henry Bond and Andrea Schlieker (ed.) Exhibit "A" (London: Serpentine Gallery, 1992).

References

  1. ^ Richard Flood, Brilliant! New Art From London. Minneapolis: Walker Art Center, 1995.
  2. ^ http://www.newyorker.com/online/blogs/books/2009/06/jacques-lacan-detective-and-cyborg.html
  3. ^ Iwona Blazwick, ed. Century City: Art and Culture in the Modern Metropolis. London: Tate Gallery, 2002. p. 26.
  4. ^ Nicolas Bourriaud, ed. Traffic. Bordeaux: CAPC Musée d’Art Contemporain, 1996. pp. 65.
  5. ^ http://www.saatchi-gallery.co.uk/blogon/2007/07/henry_bond_in_coversation_with.php
  6. ^ Benjamin Weil, Emergency XLV Venice Biennale, Milan: Politi Editore
  7. ^ http://www.tate.org.uk/modern/exhibitions/centurycity/cclondon.htm
  8. ^ 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.
  9. ^ 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.
  10. ^ Photonews: Zeitung für Fotografie, Hamburg, Germany, May, 2000.
  11. ^ Andrea Walker Jacques Lacan: Detective and Cyborg The New Yorker, June 19, 2009.
  12. ^ Emily Nonko The Exquisite Corpse? Bomblog, Feb 5, 2010.
  13. ^ Henry Bond in Conversation with Ana Finel Honigman, Saatchi Online, 10 July, 2007

External links

Lacan at the Scene

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