Peter Kennard is a London-born and based photomontage artist best known for the Campaign for Nuclear Disarmament (CND) in the 1970s–80s including a détournement of John Constable's The Hay Wain called "Haywain with Cruise Missiles". He turned from painting to photomontage looking to reflect his involvement in the anti-Vietnam War movement and to better address his political views.
Because many of the left-wing organisations and publications he used to work with have disappeared, Kennard has turned to using exhibitions, books and the internet for his work.
I began to research Kennard because of this image.
Kennnard / Phillips, Photo Op, 2003, photomontage
Photo Op, as their photomontage is called, has become the definitive work of art about the war that started with the invasion of Iraq in 2003. Ten years on from that war's beginning, this manic digital collage states succinctly what a large number people feel and believe about Blair's responsibility for the chaos that ensued. It says in a nutshell what protesters claimed at the time and what has become a generally accepted version of history – that Tony Blair was a monster charging into Iraq without scruples. Even taking a selfie in front of his handiwork. This image is not on Kennards website.
Brick Wall, 1984, photomontage, gelatin silver prints and gouache on card. https://www.peterkennard.com/photomontage#/uk-politics-1/
When I started researching Kennard I did recognise this image above. I'm guessing it is saying how business men (or politicians...any men in suits) put up a brick wall to their city?
As he is known for 'visual dissent' it was relevant for my current project, but also photomontage generally. This one below works better as an image yet what is what he is culture jamming, selling? Sure, you can't eat money, but it is unclear what it is he is criticising.
Values, 1973, Photomontage, Gelatin silver print with ink on card.
Mona Major, 1992, Photomontage, Gelatin silver prints with ink on card
Except for the image that drew me to Kennard, I find his work is quite dated and just not as 'punchy' as Martha Rosler's. Plus a lot of his work is culturally, politically and historically specific. I only get some of the work and even then, the visual joke or contradiction is too subtle. I'm aiming for nailing it a bit better. The conversation is lost to engage with.
Liberty 2, 1981, photomontage, gelatin silver and photolithograph prints, gouache and ink on card.
They are not very GOOD visual jokes. You can't save images off his site, which is fine...and his right. And a lot of the images on google are protected somehow. I find this contradictory that apparently he has turned to the internet as a platform for his work and also that makes his work appropriating images for his professional use.
I guess Ive still got an invisible person, or one with no identity, we assume is a man and a transvestite to go, researching culture jamming, but even then, WITH the awesome Michael Cook, it seems white heteronormative males don't really get it, this culture jamming / deconstructive montage / guerilla communications thing. Except for aerosol artists I know. Posthuman research is also 100% female, with one more to go.
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