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Mishka Henner (born 1976 in Brussels, Belgium) is an artist living and working in Manchester, England. His work has featured in several surveys of contemporary artists working with photography in the internet age. He has been described by some as a modern-day Duchamp for his appropriation of image-rich technologies including Google Earth, Google Street View, and YouTube, and for his adoption of print-on-demand as a means to bypass traditional publishing models. ==Career== Henner studied Sociology at Loughborough University (1994–1997) and at Goldsmiths College (1997–1998). On leaving Goldsmiths, he remained in London for a number of years and in 2003 visited "Cruel and Tender" at Tate Modern, a survey of documentary photography, which he described as life-changing. Between 2004 and 2010, he worked with long-time collaborator Liz Lock, a photographer from Toronto, Canada, on documentary projects in and around London and the North West of England and on portrait and feature commissions for a number of British broadsheets including ''The Independent'' and ''Financial Times''.〔 In 2008, Lock and Henner joined Panos Pictures (part of the Panos Institute) becoming Profile photographers for the agency in 2010. They left the agency in the summer of 2012. In January 2010, Henner self-published his first print-on-demand book ''Winning Mentality'' and with it joined the ABC Artists' Books Cooperative. At the London Art Book Fair at the Whitechapel Gallery in November that year, the Tate acquired a copy of ''Winning Mentality'' for their Library of Artists' Books.〔(【引用サイトリンク】title=Winning Mentality (catalogue entry) )〕 This was the first of six major print-on-demand works Henner produced in little over a year and was followed by ''Photography Is'', ''Collected Portraits'', ''Fifty-One US Military Outposts'', ''Dutch Landscapes'', and ''No Man's Land''. For these six book works, Henner was awarded the Kleine Hans award in July 2011 at a ceremony at Les Rencontres d'Arles. In the jury report, Hans Aarsman, Hans Eijkelboom, Hans van de Meer, Hans Wolf and Hans Samson described Henner's work in the following manner: :''A new approach to photography is seeing the light - photographers without cameras. The need to press the shutter is replaced by a direct interest in images - not necessarily in making images. These photographers make books with photographs they find and sometimes they mix them with photographs they take. In this rising flock Mishka Henner is the trailblazer.'' Of these six books, all but ''Winning Mentality'' would appear at the ''From Here On'' group show at Les Rencontres d'Arles in 2011 and FoMu, Antwerp in 2012 curated by Martin Parr, Joachim Schmid, Joan Fontcuberta, Erik Kessels, and Clément Chéroux. The exhibition, representing a new age of photography characterized by artists sourcing materials from the internet, included three installations by Henner: "Bliss," "Dutch Landscapes," and "Photography Is." In 2011, ''No Man's Land'' featured in Photo-Eye's books of the year list, along with ''Astronomical'', Henner's scale model of the solar system. ''No Man's Land'' also received an honorable mention in the Photography Book Now awards. In 2012, Henner published ''No Man's Land II'', a second volume. Henner created controversy in early 2012 with the publication of ''Less Américains''. In this self-published work, the artist erased much of the content of 83 photographs from Robert Frank's celebrated photobook, ''The Americans'', leaving only occasional remnants of the historic images. In an interview with the ''New York Times'', he describes the erasure of Frank's photobook as an homage to Robert Rauschenberg who similarly created controversy in 1953 with his work ''Erased de Kooning Drawing''. Henner discusses the work in terms of blurring the boundaries of authorship and ownership: :''I don’t know if anyone has examined Frank’s images as much as I did ... one of the things that really struck me was playing with shape and texture almost in a way that a painter works. I’m making very active choices about what kind of shape and textures I want to have ... I started to place my images next to Frank’s and sure enough there were things that you simply wouldn’t have notice before. It suddenly takes on a whole new significance.'' ''The Americans'' is one of documentary photography's most revered works and Henner's book resulted in mixed reviews. ''The Guardian's'' Sean O'Hagan described it as "either inspired or provocative-to-the-point-of-insulting to the original" whilst Colin Pantall, writing in the ''British Journal of Photography'', described it as "a Churchillian proclamation that far from being over, photography has barely begun." A review by Jeffrey Ladd in ''Time''〔Jeffrey Ladd, "(Retouching a classic: 'Less Américains' )", ''Time'', 22 March 2012.〕 ended by evaluating the work in relation to Jack Kerouac's own words written in the 1958 introduction which accompanied the first US edition of Frank's book: :''What poem this is, what poems can be written about this book of pictures some day by some young new writer high by candlelight bending over them describing every grey mysterious detail.'' 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Mishka Henner」の詳細全文を読む スポンサード リンク
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