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Which clippings match 'Falsehood Of Images' keyword pg.1 of 1
04 DECEMBER 2011

Guardian rehires 'Skinhead' agency

"BMP [Boase Massimi Pollitt] was the Guardian's advertising agency in the mid–80s, when it created one of the most famous British adverts of all time for the newspaper.

The 1986 commercial featured a skinhead who appeared to be wrestling a man's briefcase from his hands. But the camera then cuts and viewers see that he is in fact trying to rescue the man from falling bricks.

'We had some inspirational pitches over the last few weeks but BMP's work really stood out,' said Marc Sands, Guardian Newspapers marketing director.

'Their intuitive understanding of our brands and the demands placed upon them was impressive. We look forward to some fantastic work springing from a genuine partnership.'

BMP will create advertising for the Guardian Unlimited websites as well as for the Guardian newspaper."

(Claire Cozens, 21 December 2000)



1980s1986advertisingadvertising agency • BMP (advertising agency) • Boase Massimi Pollitt • briefcase • Britishcamera anglefalsehood of images • Guardian Newspapers • Guardian Unlimitedperspectivepoint of viewskinheadThe GuardianThe Whole Picturetruth of perceptiontv adwhole is greater than the sum of the parts


Simon Perkins
31 OCTOBER 2009

Felice Varini at Osaka Securities Exchange Building

"If we approach the painting of Felice Varini with the aim of describing it, in its fundamental components, the most productive concepts – in particular those of 'vantage point', 'focus' and 'framing' – all closely related to the vocabulary of photography. If we begin with the device Varini employs in each of his artworks, the differences between painting and photography are, effectively, reduced to a minimum. The artist's work, concentrating on the problem of falsehood of images in relation to the truth of perception, makes use of photography, going so far as to equate it with painting in the strategies of constitution and unmasking of iconic status. The roots of photography – the 'machine à dessiner' and the camera obscura – closely connect it to the tools of the painter. Photography demonstrates the functioning of perspective as a construct based on the fixed gaze and monocular vision, thus radicalizing the theme of painting as illusion: 'in the window and in the photograph the framed world seems to inscribe and represent itself in an immediate manner' (1)."

(Roberta Mazzola)

1). Johannes Meinhardt, La realtà dell'illusione estetica. Le 'trappole visive' di Felice Varini, Lugano, Edizioni Studio Dabbeni, 1999, p. 29. The definition machine à dessiner dates back to France in the 17th century. On the forerunners of the camera, see: Heinrich Schwarz, Arte e fotografia, Torino, Bollati Boringhieri, 1991.



anamorphicanamorphosisartistartwork • camera obscura • falsehood of images • Felice Varini • focusframegazeillusionillusionistic spaceJapanop artoptical art • Osaka • paintingpainting as illusionperspectiveperspective viewphotographyplacePOV • Securities Exchange Building • truth of perceptionvantage point


Simon Perkins

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