#Mishka Henner

[thephotoregistry]

Staphorst Ammunition Depot, Overijssel, 2011

Mishka Henner

[pissanddie]

Mishka Henner, The Fertile Image, 2020. Parent Set #7, Archival pigment prints on Baryta paper, 30.5x38.1 cm

[ubu507]

Cedar Point Oil Field, Harris County, Texas Mishka Henner (b.1976) University of Salford

[reasoningdaily]

How Google Street View Became An Art Form

https://www.fastcompany.com/40424079/how-google-street-view-spawned-an-accidental-art-form

On May 25, Google Street View celebrates its 10th birthday. A feature of Google Maps, it lets users explore cities and towns around the world—and even peer inside businesses and government institutions (including the White House). Games have sprouted out of Street View—like Geoguessr, in which players guess where in the world they’ve been randomly placed—while some users have documented funny images captured by the roving cameras of Google’s cars.

What, exactly, is it about Google Street View that makes it so appealing to creative types? Perhaps it allows us to experience the fantasy of what scholar Donna Haraway called “the God’s trick”—the impossible desire to see everything.

Never before have people had such easy, on-demand visual access to public spaces all over the globe, and over the past decade artists have wielded this immense power to comment on issues ranging from surveillance to sex work.

Curating From Google’s Vast Archive

The sheer magnitude of Google Street View’s all-seeing power is a subject for some artists. Michael Wolf’s project “A Series of Unfortunate Events” curates arresting images from Google Street View, ranging from bike accidents to fires. Taken as a whole, Wolf’s collection from Google’s vast archive gestures toward the vastness of the world itself. Taken individually, his images are both haunting and familiar.

Sometimes Google Street View appeals to artists for more political reasons. There can be a real discomfort with the technology, given that it amounts to one of the most comprehensive surveillance mechanisms in human history.

Jon Rafman’s ongoing project “The Nine Eyes of Google Street View” reflects the unsettling relationship between humans and surveillance. (The “nine eyes” in the title refers to the number of cameras on the pole attached to the top of a Google Street View car, although the number has since increased to 15.)

In 2008, one year after the launch of Street View, Google incorporated face-blurring technology to protect the identities of passersby captured by its cameras. But the technology isn’t without glitches. Rafman’s image of a man in a bunny costume with a blurred face next to a “real” person’s face draws an unsettling juxtaposition; it’s a reminder that Google Street View is incapable of telling the difference between this masked person and you. In so doing, Rafman’s image exploits the most basic fear of mass surveillance regimes: that you’ll be just another faceless entity.

Posing For The Camera

Then there are the people who try to act out scenes in front of the passing cameras. While they may not identify as artists, they respond with an artist’s impromptu, creative ingenuity. Everyday folks see the Google car approaching and think up a scene—a staged birth in Berlin or a staged death in Scotland—and quickly react. In our research, we call these performance-events tableaux vivants (“living pictures”) in a nod to the evanescent vitality of scenes that come to life only to dissolve as quickly as they’ve been formed.

Street View art has its detractors. Mishka Henner, for his show “No Man’s Land,” cruised Street View for known “John” sites in Italy and Spain and culled images of women who may be sex workers. Although the show was shortlisted for the Deutsche Börse Photography Prize, it was also subject to mixed reviews. Some thought it was sexist to assume that the women depicted were, in fact, prostitutes, though they praised the way the images communicated the everyday vulnerability (and boredom) involved with sex work.

Perhaps most of all, the show inspired questions about the authorship of photographers who merely curate images taken by Google’s cameras. Nonetheless, as one critic pointed out, Google Street View has forced us to reconsider what street photography as a genre now means in light of Google’s roving cameras.

What’s next for this strange intersection of a mapping tool and art? We hesitate to make firm predictions, but we wouldn’t be surprised to see more collaborations between Google and artists, like Arcade Fire’s experimental music video that populates Google Street View images of the viewer’s childhood neighborhood in a nostalgic montage. We would also like to see more involvement by women, as most of the artists who work with Google Street View have tended to represent a male perspective.

After a decade, Google Street View is no longer new. But that doesn’t mean its potential for artistic action and intervention will subside. As the platform collects more and more images of the Earth’s public spaces—and as mixed, augmented, and virtual reality technologies become more pervasive—we expect that people will find new and inventive ways to make art out of a platform that has, from the start, been a surprising muse.

[rahelzoller]

ABC OFFICE at DZIALDOV, Berlin 16.9.2022-22.10.22 PV: 17:00 - 22:00 ABC OFFICE is an anonymous work environment; will present specially made artists multiples exploring the office, bureaucracy, co-working and print culture in what is sometimes referred to as the "aesthetics of administration'!. With works by: Claudia de la Torre, David Schulz, Duncan Wooldridge, George Gibson, John MacLean, Jonathan Lewis, Louis Porter, Mishka Henner, Monika Orpik, Oliver Griffin, Jonathan Schmidt-Ott, Rahel Zoller

[maralmarr]

Mishka Henner, Influenzer, 2022. Multimedia installation.

[jlmrtn]

La persistance du livre photographique à l’ère d’Internet

Journée d'étude Design graphique livre et photographie à la BnF le 19 janvier 2024

Plusieurs artistes qui prennent en compte l’existence d’Internet dans leur processus de documentation du monde restent fidèles au livre de photographie. Ils trouvent dans celui-ci une expérience que l’écran reste incapable de fournir. L’adoption du livre par certains artistes documentaristes engage des pratiques d’appropriation d’un projet documentaire ancien. War Primer 2 de Broomberg & Chanarin et Less Américains de Mishka Henner reproduisent des livres préexistants, respectivement L’Abc de la guerre de Bertolt Brecht et The Americans de Robert Frank. Le regain d’intérêt des artistes et des photographes pour le livre peut s’expliquer par une logique de comparaison entre les deux médias : l’émergence du web, avec ses formats et ses spécificités, permet de mieux apprécier, par analogie et par distinction, ce qui caractérise le livre et le web, et ce qui fait leurs langages respectifs. Cependant, plutôt que de penser les modes de publication comme des alternatives, certains artistes, Mishka Henner par exemple, fusionnent leur logique en recourant à des plateformes d’auto-édition en ligne qui permettent l’autoproduction et l’autodiffusion de livres.

[slack-wise]

Mishka Henner. Evaporation Ponds

[almavio]

Mishka Henner, Less Américains, 2012

[bgrand]

[zangtumb]

Dutch Landscapes (2011) - Mishka Henner

[hellohaters]

Mishka Henner

[intheuncannyvalley]

Mishka Henner, Photography is an advert, 2010. More about the project

[muybridgeshorse]

Mishka Henner

[johnnyuniquecreations]

Artist talks- Mishka Henner

We had a Photographer/bookmaker who creates work by using screenshots and from webcams and makes people question the value of the composition and is fascinated with the idea of the internet. 

He thinks about the scale and the volume of the piece and creates fine art pieces from his research. His work is quite visual but lacks emotion which he tries to break that mould of having to always create emotion work. 

What I got from the talk is that he just screenshot work of things which already excites and claims it as his own, I just don't agree with his work. I get a screenshot can be considered as a modern way of photography but it just doesn't scream anything to me. As an illustrator student, who create emotional work and puts effort into it, while someone just takes a screenshot of something from google maps and makes money from it, I just don't get it. 

https://mishkahenner.com