"Giving credence to the theory that our entire country is run by children, Parkinson has taken some of the brattiest members of Australia’s 45th Parliament, including dibber dobber George Brandis, nap-time enthusiast Derryn Hinch and that weird kid named Cory who just wants someone to pay attention to him, and seamlessly inserted them into Arnold Schwarzenegger’s criminally underrated 1990 comedy Kindergarten Cop."
(Tom Clift, 11/9/2016)
"The 'bob–haired muse', the 'holy shears' and 'Dada's good girl' are a few of the epitaphs that prevail in the comfortable little niche art history has carved out for Hannah Höch. These sound bites are seriously challenged by this travelling retrospective organised by the Walker Art Center. 'The Photomontages of Hannah Höch' momentously reconstructs her marginalised role in early 20th–century art and perhaps even ordains her as the single most influential female artist of the century. The exhibition surveying Höch's 55 years of photomontage not only rescues her from the anti–art antics of the legendary Berlin Dada circle but inclusively chronicles her private and aesthetic journey through the social and cultural constructs that have emerged in the 20th century. While she may have been remembered by her bombastic Dada colleagues for her 'sandwiches, beer and coffee', her lifetime of artistic practice reveals a vital and critical woman who could magically collide disparate reproductions of needlepoint patterns, political figures, film stars, animal life and non–Western artefacts into explorations of androgyny, Aryan activity, gender roles, imperialism, race and lesbianism."
(Michelle Grabner, Issue 33 March–April 1997, Frieze Magazine)
Fig.1 Hannah Höch "Entwurf für das Denkmal eines bedeutenden Spitzenhemdes", 1922, Entwurf, Tafelmalerei, Collage, 27,4 x 17 cm, Hamburg, Hamburger Kunsthalle, Ikonographie (Iconclass)
"Peter Kennard has spent most of his life in London, and has been considerably more involved than most in the capital's political gatherings during the last 25 years.
His two major subjects quickly emerged: armaments and poverty. This was the early eighties with 3 million unemployed, Thatcher in her first term girding her loins for the Falklands War, and the CND at the height of its popularity. Kennard had an audience.
'The point of my work is to use easily accessible iconic images, but to render them unacceptable. To break down the image of the all–powerful missile....after breaking them, to show new possibilities emerging in the cracks and splintered fragments of the old reality.'
His belief at this time was that photomontage had the power to show the causes rather than the results. In recent times however, he seems to have had his doubts: 'There is a problem with montage in that you see it everywhere now because of digital technology. There is so much transformed imagery around that people accept constructed images without questioning their meaning. I think my work was losing impact because of that.'"
Fig.1 "State of the Union... Not Good – by Edo Wilkins (2002)", Uploaded by 'politicalremix' on 26 Mar 2011
Fig.2 "Bush: 2004 State of the Union Remix", Uploaded by 'WalrusHat' on 19 Jan 2011
[Insightful parodies of George W. Bush delivering his various State of the Union Addresses]