Henry Bond

{{short description|English writer and photographer}} {{about|the writer and artist}} {{Use British English|date=November 2013}} {{Use dmy dates|date=April 2025}} {{Infobox artist | image = Bond Henry crop.jpg | alt = Henry Bond photographed on Kensington High Street, London, September 2010 | imagesize = | caption = Bond in 2010 | birth_date = {{birth date and age|df=yes|1966|6|13}} | birth_place = London, England | field = Photography | training = [[Goldsmiths, University of London]] | movement = [[Young British Artists]]<br>[[Relational Aesthetics]] | works = [[Documents Series]]<br>[[26 October 1993]] }}

'''Henry Bond''', [[Higher Education Academy|FHEA]] (born 13 June 1966)<ref>{{cite web|access-date=2023-04-25|title=Henry Bond born 1966|url=https://www.tate.org.uk/art/artists/henry-bond-2586|website=Tate}}</ref> is an English writer, photographer, and visual artist. In his ''Lacan at the Scene'' (2009), Bond made contributions to [[psychoanalysis|theoretical psychoanalysis]] and [[forensics]].

In 1990, with [[Sarah Lucas]], Bond organised the art exhibition [[East Country Yard Show]], which was influential in the formation and development of the [[Young British Artists]] movement; together with [[Damien Hirst]], [[Angela Bulloch]], and [[Liam Gillick]], the two were "the earliest of the YBAs."<ref>Archer, Michael, "Overlapping Figures. " In ''How To Improve the World: 60 Years of British Art'', London: Hayward Gallery, 2006, p. 50, i.e., "Then later still there is the generation of Damien Hirst, Sarah Lucas, Angela Bulloch, Henry Bond and Liam Gillick, the earliest of the yBas (young British artists)."</ref>

Bond's visual art tends to [[Appropriation (art)|appropriation]] and [[pastiche]]; he has exhibited work made collaboratively with [[Young British Artists|YBA]] artists including a photograph made with [[Sam Taylor-Wood]] and the [[Documents Series]], made with Liam Gillick. In the 1990s, Bond was a [[photojournalist]] working for British fashion, music, and [[Youth subculture|youth culture]] magazine ''[[The Face (magazine)|The Face]].'' In 1998, his [[photobook]] of [[Street style|street fashions]] in London ''The Cult of the Street'' was published. His ''Point and Shoot'' (Cantz, 2000), explored the photo-genres of [[surveillance]], [[voyeurism]] and [[paparazzi]] photojournalism.

In 2007, Bond completed his doctoral research; in 2009, he was appointed Senior Lecturer in Photography at [[Kingston University]].

==Life and career==

===Early life and education===

[[File:Goldsmiths College Millard Building.jpg|thumb| [[Goldsmiths, University of London|Goldsmiths College]], Millard Building, in [[Camberwell]], where many of the [[Young British Artists|YBA]]s met.]]

Henry Bond was born in [[Forest Gate]] in East London in 1966.<ref>Henry Bond ''The Cult of the Street'' (London: Emily Tsingou Gallery, 1998) Unpag.</ref> He attended [[Goldsmiths, University of London|Goldsmiths]] at the [[University of London]], graduating in 1988, from the Department of Art,<ref>Ana Finel Honigman [http://magazine.saatchionline.com/culture/reports-from/los-angeles-reports-from/henry_bond_in_coversation_with "Henry Bond in Conversation with Ana Finel Honigman,"] {{webarchive|url=https://web.archive.org/web/20130927124942/http://magazine.saatchionline.com/culture/reports-from/los-angeles-reports-from/henry_bond_in_coversation_with |date=27 September 2013 }} Saatchi Gallery, 10 July 2007.</ref> with fellow alumni [[Angela Bulloch]], [[Ian Davenport (artist)|Ian Davenport]], [[Anya Gallaccio]], [[Gary Hume]], and [[Michael Landy]]—each of whom was to participate in the [[Young British Artists|YBA]] art scene.

Bond attended [[Middlesex University]] in [[Hendon]]<ref>{{cite web|url=https://www.mdx.ac.uk/our-research/centres/centre-for-psychoanalysis |title=Middlesex University: MA Psychoanalysis |publisher=Mdx.ac.uk |date=19 May 2009 |access-date=12 April 2010}}</ref> studying for an [[Master of Arts|MA]] in [[Psychoanalysis]], where he was taught by [[Jacques Lacan|Lacan]] scholar Bernard Burgoyne.<ref>Henry Bond, ''Lacan at the Scene'' (Cambridge, Mass. : The MIT Press, 2009), p. 200, footnote 31; p.220. footnote 20. A snippet view is available on [https://books.google.com/books?id=HhjfnloZjpQC&q=Burgoyne+Middlesex Google books].</ref>

==Critical writing==

===Lacan at the Scene===

[[File:Bond-forensic-example.jpg|thumb|Example of the crime scene photos in ''Lacan at the Scene.'']]

''Lacan at the Scene'' is a work of non-fiction by Bond, published in 2009 by [[MIT Press]]. The book consists of interpretations of [[forensic photography|forensic photographs]] from twenty-one [[crime scene]]s from 1950s and 1960s England.<ref>Andrea Walker [http://www.newyorker.com/online/blogs/books/2009/06/jacques-lacan-detective-and-cyborg.html ''Jacques Lacan: Detective and Cyborg''] ''[[The New Yorker]]'', 19 June 2009.</ref> The thesis put forward in the book is that [[homicide]] can be considered in terms of Jacques Lacan's tripartite psychological model, thus any murder can be classified as either [[Neurosis|neurotic]], [[Psychosis|psychotic]], or [[Perversion|perverse]].<ref>Henry Bond, Introduction to Lacan at the Scene (Cambridge: MIT, 2009) p. 1.[http://mitpress.mit.edu/books/chapters/0262013428intro1.pdf pdf available]{{dead link|date=November 2017 |bot=InternetArchiveBot |fix-attempted=yes }} from MIT. Retrieved, 13 January 2012.</ref> Bond's approach is closely linked to [[Walter Benjamin| Walter Benjamin's]] assertion that, "photography, with its devices of slow motion and enlargement, reveals the secret. It is through photography that we first discover the existence of the optical unconscious, just as we discover the instinctual unconscious through psychoanalysis."<ref>Henry Bond, 'Hard Evidence' in Lacan at the Scene (Cambridge: MIT, 2009) p. 23 [http://mitpress.mit.edu/books/chapters/0262013428chap1.pdf pdf available]{{dead link|date=November 2017 |bot=InternetArchiveBot |fix-attempted=yes }} from MIT.</ref>

''Lacan at the Scene'' is an [[interdisciplinarity|interdisciplinary]] study which is simultaneously an application of the theories of Jacques Lacan in relation to [[offender profiling]] and an inquiry into the nature and essence of photography.<ref>Emily Nonko [http://bombsite.powweb.com/?p=7532 ''The Exquisite Corpse?''] ''Bomblog'', 5 February 2010.</ref>

Bond's book considers the effects of photography on the spectator, the photographer and the photographic subject. He refers to a wide range of contextual material including "J.G. Ballard, William Burroughs, Friedrich Nietzsche, Jean-Paul Sartre and Slavoj Žižek ... and the films of Alfred Hitchcock, Michael Powell, Michelangelo Antonioni, David Lynch and Christopher Nolan, among many others."<ref>Josej Braun, {{usurped|1=[https://archive.today/20120915123118/http://www.vueweekly.com/article.php?id=14184 Hop Scotch: CSI: Photography,"]}} Vue Weekly, Issue 745, 28 January 2010.</ref> The book contains a foreword essay ''The Camera's Posthuman Eye'' by the Slovenian philosopher and critical theorist [[Slavoj Žižek]].

Many of the photographs reproduced in the book are sexually explicit—they depict murder victims who were raped or tortured before the killing.<ref>Parul Sehgal [http://newyork.timeout.com/articles/books/80630/henry-bond-lacan-at-the-scene-book-review "Book Review: Lacan at the Scene,"] Time Out New York, Issue 738, 19–25 Nov 2009</ref>

Describing his research, in a 2007 interview, Bond said, "the press reporter's access to a crime scene is restricted, it is literally blocked by the ubiquitous black and yellow tape emblazoned with the exhortation: CRIME SCENE DO NOT CROSS. The photographs that I have worked with are documents made in a place that the press photographer or reporter cannot go."<ref>Ana Finel Honigman, [http://magazine.saatchionline.com/culture/reports-from/los-angeles-reports-from/henry_bond_in_coversation_with "Henry Bond in Conversation with Ana Finel Honigman,"] {{webarchive|url=https://web.archive.org/web/20130927124942/http://magazine.saatchionline.com/culture/reports-from/los-angeles-reports-from/henry_bond_in_coversation_with |date=27 September 2013 }} Saatchi Online, 10 July 2007</ref>

====Critical reception====

The critical reception of ''Lacan at the Scene'' was positive including reviewers commending the book as 'insightful', 'ground-breaking', 'audacious' and 'enthralling' – writing in the [[academic publishing|peer-reviewed]] journal ''The European Legacy'', Viola Brisolin said, ''''Lacan at the Scene'' is a brilliant, ground-breaking work that will appeal to cultural practitioners and theorists, and to everybody interested in the dialogue between psychoanalysis and visual studies."<ref>Viola Brisolin, "Lacan at the Scene" in ''The European Legacy'', Volume 16, Issue 5, August 2011.</ref> Writing in the peer-reviewed academic journal ''Philosophy of Photography'', Margaret Kinsman said "Bond's exploration ... reminds us of just how used to order we are and how shocking and easy its dissolution is ... his approach evokes a kind of aesthetic pleasure, which unsettles even as it satisfies."<ref>Margaret Kinsman, "The lure of the crime scene", Philosophy of Photography, London, Volume 1. Number 1, 2010., p. 116.</ref>

Emily Nonko's review said, "''Lacan at the Scene'' ultimately presents a complex dynamic between both psychoanalysis and medium of the camera, the way that photography permits the viewer to delve into both the murder's mind and the victim's corpse, the psychological as well as the corporeal."<ref>Emily Nonko [http://bombsite.powweb.com/?p=7532 "the Exquisite Corpse?"] Bomb Magazine/Bomblog, 5 February 2010</ref>

Reviewing the book for [[Time Out (company)|Time Out New York]] Parul Sehgal said: "While Bond's interpretations occasionally strain credulity, his sensibility enthralls. His goal isn't police work ''per se'', but to reveal how humble objects at the margins of crime scenes become powerfully allusive and lend themselves to a narrative."<ref>Parul Sehgal, [http://newyork.timeout.com/articles/books/80630/henry-bond-lacan-at-the-scene-book-review "Book review: Lacan at the Scene,"] Time Out New York, Issue 738, 19–25 November 2009.</ref>

Daniel Hourigan, writing for ''Metapsychology Online Reviews'' said, "for the vast majority of the discussions in the more applied third, fourth, and fifth chapters, ''Lacan at the Scene'' enjoys a lucid and precise execution. The early chapters help to bring together the theoretical, discursive, and political elements that make these later chapters capable of pursuing such a rigorous and insightful project."<ref>Daniel Hourigan [http://metapsychology.mentalhelp.net/poc/view_doc.php?type=book&id=5417&cn=166 "Henry Bond: Lacan at the Scene,"] {{Webarchive|url=https://web.archive.org/web/20100309045355/http://metapsychology.mentalhelp.net/poc/view_doc.php?type=book&id=5417&cn=166 |date=9 March 2010 }} Metapsychology Online Reviews, posted 2 March 2010.</ref>

===The Gaze of the Lens=== In July 2011, Bond's second book on the theory and philosophy of photography, ''The Gaze of the Lens'', was self-published using the [[Amazon Kindle|Kindle]] direct publishing format; the book consists of one hundred "concise observations and statements on photography."<ref name="artdaily.com">Unattributed, "[http://www.artdaily.com/index.asp?int_sec=2&int_new=49925 MIT Published Author Switches to Kindle Direct Publishing-Platform]", Artdaily, 19 August 2011.</ref> In the book, Bond "activates, reconfigures, qualifies, and occasionally contradicts assertions made a diverse range of thinkers and practitioners including Rankin, Stieg Larsson, Antonioni, Charles Baudelaire, J.G. Ballard, Raymond Chandler, Walter Benjamin, Jacques Lacan, Georg Hegel and Slavoj Žižek."<ref name="artdaily.com"/>

==Street photography== A characteristic of Bond's style is his [[pastiche]] and [[Appropriation (art)|appropriation]] of familiar types of photograph, for example, writing in [[Frieze (magazine)|Frieze]], Ben Seymour said, "Bond carries on producing images of a homogenised, outside-less culture in a perpetual present of consumption which may be just ahead of, or self-consciously behind – but always deliberately in between – the conventions of advertising, fashion, surveillance or family photographs."<ref>Ben Seymour, [http://www.frieze.com/issue/review/henry_bond "Review: Henry Bond"] {{webarchive|url=https://web.archive.org/web/20081122142113/http://www.frieze.com/issue/review/henry_bond/ |date=22 November 2008 }} ''[[Frieze (magazine)|Frieze]]'', Issue 54, October 2000</ref> Bond has also considered his work in relation to the [[dérive]] – literally: "drifting" – theorised by [[Guy Debord]] and the city walks of the [[flâneur]] or [[psychogeographer]].<ref name="autogenerated1998">Stephan Schmidt-Wulffen, ''Henry Bond in Conversation with Museum Director Stephan Schmidt-Wulffen.'' In, ''Henry Bond: The Cult of the Street.'' London: Emily Tsingou Gallery, 1998, unpaginated.</ref>

Characterizing his conception of [[street photography]], in a 1998 interview, Bond said: "[For me street photography] is parallel to the psychoanalytic session, in that anything can be mentioned."<ref name="autogenerated1998"/> Bond began his street photography in the late-1990s and continued for approximately ten years concluding with his ''Interiors'' in 2005. Monograph books of Bond's street photography include two published in Germany – ''Point and Shoot'' (Ostfildern: Cantz) and ''La vie quotidienne'' (Essen: 20/21).

===The Cult of the Street=== [[File:The cult of the street Henry Bond.jpg|thumb|upright|[[Street style|Street fashion]] photographed in 1990s London.]]

Bond's large book, ''The Cult of the Street'', was published in 1998 by "posh West End gallery",<ref>Jonathan Jones, [https://www.theguardian.com/artanddesign/2000/sep/26/art.artsfeatures Keith Coventry: Emily Tsingou Gallery], ''[[The Guardian]]'', 26 September 2000.</ref> [[Emily Tsingou Gallery]], London. The 274 photographs included in the book depict daily life in London in the mid-1990s. Many of the photographs included in the book were originally taken by Bond whilst shooting commissioned features for the style and culture monthly [[The Face (magazine)|The Face]]—during the period that the magazine was [[art director|art directed]] by Lee Swillingham and Stuart Spalding, 1995–1999.<ref>See, for example: Tony Naylor, "Thieves Like Us", [a story on anarchist group Decadent Action] ''The Face'', 9/1997, p. 124–28. Facsimile available of [http://www.henrybond.com/archive/04_face.jpg p. 124–25] {{Webarchive|url=https://web.archive.org/web/20120305185747/http://www.henrybond.com/archive/04_face.jpg |date=5 March 2012 }}; Siân Pattenden, "Fitter, happier, more productive?" ''The Face'', 3/1998, p. 170–74. Facsimile available of [http://www.henrybond.com/archive/09_face.jpg p. 170–71] {{Webarchive|url=https://web.archive.org/web/20120305185809/http://www.henrybond.com/archive/09_face.jpg |date=5 March 2012 }}.</ref> The book includes a foreword essay, "A Response to the Photographs", by psychoanalyst and author [[Darian Leader]]. It has been suggested that the title of the book is a reference to the 1926 [[Siegfried Kracauer]] essay ''The Cult of Distraction.''<ref>Stallabrass (1999)p.134.</ref>

In 2002, a group of large-scale printed examples from ''The Cult of the Street'' were included in the [[Barbican Centre]] survey ''Rapture: Art's Seduction by Fashion Since 1970''<ref>Chris Townsend (ed.) ''Rapture: Art's Seduction by Fashion Since 1970'' (London: Barbican Art Gallery/Thames and Hudson, 2002). Overview on [https://books.google.com/books?id=hNlyQgAACAAJ&q=rapture:+art%27s+seduction+by+fashion Google books]</ref> and these were shown again, in 2004, at the [[Museum of London]], in an exhibition titled, ''The London Look: Fashion from Street to Catwalk.''<ref>Chris Breward & Edwina Ehrman (ed.) ''The London Look: Fashion from Street to Catwalk'' (Newhaven: Yale University Press, 2004); [https://books.google.com/books?id=THRGcg6viZwC&q=The+London+Look:+Fashion+from+Street+to+Catwalk Overview on Google books]</ref>

====Critical response====

Reviewing the book for the British newspaper [[The Independent]], fashion writer [[Tamsin Blanchard]] described the book as, "a rich social document of the way we dress—rather than the way fashion designers like to imagine we dress".<ref name="independent1998"/>

Writing in his commentary on the influence of the [[Young British Artists]], ''[[High Art Lite]]'', the art historian [[Julian Stallabrass]] said, "''The Cult of the Street'' is telling of many characteristics of ''High Art Lite'' and its engagement with mass culture and the media. It takes as its subject not just the conventions of the street but youth and their modes of display in shops, clubs, parties, restaurants and even private homes ... they don't do much, Bond's people; they shop, of course, persistently, and present themselves to each other and the camera, dance sometimes, but the book is composed above all of an intricate fabric of exchanged glances and gazes."<ref>Julian Stallabrass, ''High Art Lite'' (London: Verso, 1999), p.133. The complete section in Stallabrass is on Google Books here [https://books.google.com/books?id=OFmpiCWcglcC&q=Cult+of+the+Street&pg=PA133]</ref>

Writing in the British contemporary art journal [[Art Monthly]], critic David Barrett said, "[In ''The Cult of the Street''] values and meanings are constantly on the slide, be they the meaning of wearing brown instead of black, ''Airwalk'' instead of ''Airmax'' or including the subject's shoes in full-length photographs instead of cropping them. Bond sets out to document these fleeting social codes while also attempting to ride roughshod over the accepted conventions of photography."<ref>{{cite web|url=http://www.royaljellyfactory.com/davidbarrett/articles/artmonthly/am-bond.htm |title=David Barrett, "Henry Bond at Emily Tsingou Gallery," ''Art Monthly'', June 1998, p.33 |publisher=Royaljellyfactory.com |access-date=12 April 2010 |url-status=dead |archive-url=https://web.archive.org/web/20110715205202/http://www.royaljellyfactory.com/davidbarrett/articles/artmonthly/am-bond.htm |archive-date=15 July 2011 }}</ref>

===Point and Shoot=== [[File:Robbie paparazzi V sign.jpg|thumb| From Bond's ''Point and Shoot'' in which [[Robbie Williams]] confronts the photographer with the [[V sign]].]]

Bond's book of street photography ''Point and Shoot'', was published by German fine arts publisher Hatje Cantz Verlag, in 2000; many of the images included imitate forms of photography that are derided or taboo, such as [[voyeurism]] and [[paparazzi]] photojournalism; other images are grainy and suggest [[surveillance]] or [[CCTV]] images—the photographer is either an intrusive, prying, nuisance, or else reduced to an automaton-like spectator on daily life.

Printed examples from the book were exhibited in both commercial and museum gallery exhibitions, including a survey—selected and organised by curator Eric Troncy—which was on display at the contemporary arts centre ''Le Consortium'' in Dijon, France, March through May 1999.<ref>Le consortium [http://www.leconsortium.com/?Expositions:Expositions_pass%26eacute%3Bes:1999 Exhibitions archive]</ref>

====Critical response====

Writing in ''The Japan Times'', in 2000, journalist Jennifer Purvis said, "Bond elicits a film noir quality from a city that prides itself on the worst side of its nature. It is contemporary London in all its banality and beauty, portrayed in heavy, highly contrasted black-and-white photographs that evoke nostalgia more keenly than an old movie ... the images all speak of the life, London life, captured by a peering, voyeuristic Londoner."<ref>Jennifer Purvis, [http://search.japantimes.co.jp/cgi-bin/fa20001111a2.html "Capturing private moments of a gritty London,"] ''The Japan Times'', 11 November 2000</ref>

Reviewing the book in [[Frieze (magazine)|Frieze]], the critic Benedict Seymour said, "Bond jumbles up his subjects—street scenes, shop windows, night-clubs, posh parties, backstage fashion shows, intimate portraits and sex club sybaritics—as well as the composition, with the apparent intention of throwing our will to categorise, and so comprehend the image, into disarray."<ref>Benedict Seymour, [http://www.frieze.com/issue/review/henry_bond "Review: Henry Bond"] {{webarchive|url=https://web.archive.org/web/20081122142113/http://www.frieze.com/issue/review/henry_bond/ |date=22 November 2008 }} ''[[Frieze (magazine)|Frieze]]'', Issue 54, October 2000</ref>

In Germany, the book was awarded a [[Kodak Deutscher Fotobuchpreis]] in 2000.<ref>Photonews: Zeitung für Fotografie, Hamburg, Germany, May 2000.</ref><ref>{{cite web|url=http://www.hatjecantz.de/de/verlag/praemierte-buecher.php |title=Hatje Cantz Verlag Prämierte Büche, retrieved, 28 March 2010 |publisher=Hatjecantz.de |access-date=12 April 2010}}</ref>

===''Interiors Series''===

[[File:Interiorsexample.jpg|thumb|An example from ''Interiors Series'', 2005]]

Bond's follow up to ''Point and Shoot'', ''Interiors Series'' was published in Belgium, in 2005, by ''Fotomuseum Antwerp.'' The photographs included in the book appear to explicitly and deliberately invade the privacy of the subjects, who are captured—unaware of the presence of a photographer—at leisure, in their private dwellings. Writing in an essay accompanying the photographs, Bond said, "for me voyeuristic 'fixation' and the 'photographic act' have become inseparable. It is the sense of 'the illicit' that these photographs are leveraging. I must not be caught taking them, and in a way, the viewer of the photograph is included in my anti-social activity, they too are looking when they should not be."<ref>Henry Bond "Comments on this Series", in Christoph Ruys (ed.) ''Henry Bond: Interiors Series'' (Antwerp: Fotomuseum, 2005), p. 6.</ref>

==Exhibition organiser==

===''East Country Yard Show''=== {{Main|East Country Yard Show}} [[File:East Country Yard 1990.JPG|thumb|View across second floor of [[East Country Yard Show]] warehouse exhibition in Surrey Docks, June 1990]]

In 1990, working together with [[Sarah Lucas]], Bond organised the "seminal"<ref>[http://collection.britishcouncil.org/collection/artist/5/18428 "Anya Gallaccio"] {{webarchive|url=https://web.archive.org/web/20110807035127/http://collection.britishcouncil.org/collection/artist/5/18428 |date=7 August 2011 }}, [[The British Council]]. Retrieved 14 March 10.</ref> Docklands warehouse exhibition of contemporary art ''[[East Country Yard Show]]'' which was influential in the formation and development of the [[Young British Artists|YBA]] art movement.<ref name="findarticles.com">Bush, Kate. "Young British art: the YBA sensation", ''[[Artforum]]'', June 2004, p. 91. Retrieved from [http://findarticles.com/p/articles/mi_m0268/is_2_43/ai_n7069264/ findarticles.com], 14 March 2010.</ref>

====Critical reception====

In July 1990, reflecting on the ''East Country Yard Show'' and ''Gambler''—a concurrent Goldsmiths-oriented warehouse show—in ''[[The Independent]],'' art critic [[Andrew Graham-Dixon]] said, "over the past few months ... in terms of ambition, attention to display and sheer bravado there has been little to match such shows in the country's established contemporary art institutions."<ref>Andrew Graham-Dixon, "The Midas Touch?: Graduates of Goldsmiths' School of Art dominate the current British art scene", ''[[The Independent]]'', 31 July 1990, p. 13.</ref>

Writing in ''[[Artforum]],'' art critic and curator Kate Bush said, "[Hirst's] ''Freeze'' anticipated a spate of do-it-yourself group shows staged in cheap, sprawling, ex-industrial spaces in recession-hit East London. Bond and Sarah Lucas's ''East Country Yard Show'' as well as Carl Freedman and Billee Sellman's ''Modern Medicine'' and ''Gambler'', all in 1990, were, with ''Freeze'', the shows that fuelled the myth of YBA as, paradoxically, both oppositional and entrepreneurial.<ref name="findarticles.com"/>

Author Keith Patrick said, "[Following ''Freeze''] many of the same artists showed again two years later in four artist-led exhibitions ''Modern Medicine'', ''Gambler'', the ''East Country Yard Show'' and ''Market'' ... although ''Freeze'' had been poorly attended and barely reviewed, these shows together became a symbol of a new artist-led entrepreneurship, a combination of calculated anarchy and an astute reading of the changing relationship of the artist to the market.<ref>Patrick, Keith (2000). "Foreword" in Sarah Bennett and John Butler (ed.), ''Locality, Regeneration & Divers[c]ities'', Bristol: Intellect Books, 2000, p. 9</ref>

===''Exhibit A''=== {{Main|Exhibit A (art exhibition)}} In 1991, Bond was invited by [[Julia Peyton-Jones]] to select an exhibition for the [[Serpentine Gallery]]; a curatorial project that became the 7 May – 7 June 1992, exhibition ''[[Exhibit A (art exhibition)|Exhibit A]]''—a show on the theme of evidence and the scene-of-the-crime.<ref>Andrea Schlieker, "Preface." In Bond and Schlieker (ed.), ''Exhibit A'' (London, Serpentine Gallery, 1992), p. 7.</ref> One of the works on view was a slide-installation, shown in a darkened room, by artist [[Mat Collishaw]], which presented the viewer with a rapid-fire sequence of stills of Jodie Foster dancing as she appeared in the "rape scene", in [[Jonathan Kaplan]]'s 1988 movie ''[[The Accused (1988 film)|The Accused]].''<ref>Kate Bush, "Exhibit A", [[Art Monthly]], June 1992, pp. 15–16.</ref> Writing in Volume II of the exhibition catalogue, art historian [[Ian Jeffrey]] said, "''Exhibit A'' crystallises a turning in the art world away from the egotistical celebrity mode towards impersonality ... its premises are anonymous, fluent, vertiginous, wary of values."<ref>Ian Jeffrey, "Exhibit A and the Everyday." In Henry Bond and Andrea Schlieker (ed.) ''Exhibit A'', Vol. II, (London: Serpentine Gallery, 1992), p. 17.</ref>

===Selector and screenings=== In 1990, Bond and fashion photographer Richard Burbridge guest edited a double issue of ''[[Creative Camera]]'' showcasing emerging British photographers—"The New New" issue, October–November 1990; the selection they made included the first published examples of photo-based artworks by [[Sarah Lucas]], [[Damien Hirst]] and [[Angus Fairhurst]].<ref>See artists' pages, pp. 2–3; 16–45; and images accompanying scholarly essay, Andrew Renton, "Disfiguring: Certain New Photographers and Uncertain Images", pp. 16–21.</ref><ref>Also see the comments on that issue made by David Brittain in his Obituary of fellow Creative Camera editor, i.e., David Brittain, [http://findarticles.com/p/articles/mi_m2479/is_2_33/ai_n15856455/ "Peter Turner 1947–2005,"] ''Afterimage'', Sept–Oct 2005.</ref> Bond's collaboration with the magazine continued as an ongoing series of artists' pages that ran as "openers"—appearing on the inside front cover and contents page. One [[spread (typography)|spread]], created by Hirst, depicted the mutilated corpse of a young man with wounds to the eyes, and was captioned 'Damien Hirst: Fig. 60 Self-inflicted injuries...'; another introduced [[Angus Fairhurst|Fairhurst's]] [[self-portrait]] 'Man Abandoned by Colour.'<ref>See: [[Creative Camera]] issues 309/310/311/312. A comprehensive database of the magazine contents [http://vnweb.hwwilsonweb.com/hww/Journals/getIssues.jhtml?sid=HWW:ARTFT&issn=0011-0876 on hwwilsonweb.com] (athens signin required).</ref><ref>Facsimiles of the pages on Bond's archive, i.e., [http://www.henrybond.com/archive/hirst_cc.jpg Hirst] {{Webarchive|url=https://web.archive.org/web/20110711162714/http://www.henrybond.com/archive/hirst_cc.jpg |date=11 July 2011 }} (Issue 309, April–May 1991, pp. 2–3); [http://www.henrybond.com/archive/fairhurst_cc.jpg Fairhurst] {{Webarchive|url=https://web.archive.org/web/20110711162738/http://www.henrybond.com/archive/fairhurst_cc.jpg |date=11 July 2011 }} (Issue 312, October–November 1991, pp. 2–3).</ref>

In 1993 through 1995, Bond organised a series of screenings of experimental film and video, ''Omron TV.'' The screenings were presented in bookable-by-the-hour [[Soho]] film preview theatres—including De Lane Lea (Dean Street) and The Soho Screening Rooms ([[D'Arblay Street]]); the project included presentations of works by [[Merlin Carpenter]], the German artist [[Lothar Hempel]], and the Slovenians Aina Smid and Marina Grzinic.<ref>See the material held on Bond at the [http://www.studycollection.co.uk/ Artist's Film and Video Study Collection] which includes printed examples of the [http://www.studycollection.co.uk/artistfiles/bond.html original flyers to the screenings]. The project was also presented at Moderna galerija, Ljubljana—Slovenia's national museum of modern art—in 1994.</ref>

==Visual art practice== {{Main|26 October 1993 }}

During the 1990s, Bond made numerous artworks which used [[appropriation (art)|appropriated]] visual material; in particular a series titled ''One Hour Photo'' which presented typical [[snapshot (photography)|snapshots]] collected from [[wastebin]]s of [[High Street]] photo-processing labs, across London.<ref>Carolyn Christov-Bakargiev, "Someone Everywhere", [[Flash Art]], Summer 1991. pp. 106–110. In particular, Christov-Bakargiev states, "The pictures were not taken by Bond himself, and were instead collected by him at photo labs from among those rejected or never picked up by the shops' clients." (p. 106).</ref><ref>[[Tony White (writer)|Tony White]], "[[East Country Yard Show]]", ''Performance'', September 1990, p. 60; White states, "...snap-shots from the dustbins of 24-hour processing labs."</ref>

Bond also exhibited a collaboration with artist [[Sam Taylor-Wood]], titled ''[[26 October 1993]]'', in which he pastiched the role of John Lennon as he had appeared naked, in a photo-portrait with Yoko Ono—shot by photographer [[Annie Leibovitz]]—a few hours before he was [[Death of John Lennon|assassinated]].

Writing on Bond's art practice, artist and critic [[Liam Gillick]] said: "Bond's art is fundamentally negotiated. No apparently given element of his subject at hand is allowed to proceed while maintaining any sense of an essentialist value. While on the surface his production may appear to re-present lucidly some chosen images of the world around us, it does so with a sceptical relationship to the way meaning is encoded and interpreted by us every day."<ref>Liam Gillick, "Keeping the River in Mind." In Henry Bond/Angela Bulloch, Documentary Notes (London: Public Art Development Trust, 1996), p. 6.</ref>

===Exhibition===

In the early-1990s, Bond's work was included in two international survey exhibitions of contemporary art at [[Villa Arson]], in [[Nice]], France, ''No Man's Time'' in 1991, and ''Le Principe de réalité'' in 1993.<ref>[http://archives.villa-arson.org/expositions-par-artiste/Henry, Bond Villa Arson Archive]. Retrieved, 24 January 2012</ref>

In 1995, Bond was included in a group exhibition at the [[Institute of Contemporary Arts|ICA]], in London, titled ''Institute of Cultural Anxiety'',<ref>[https://www.independent.co.uk/arts-entertainment/arts-for-all-1571252.html?cmp=ilc-n "Arts for All,"] [[The Independent]], 3 February 1995.</ref> in which he presented [[archive|archival material]] from the vaults concerning the events at an experimental gig by ''Einstürzende Neubauten'' which had taken place at the ICA in January 1984, and during which the group used [[jackhammer]]s to drill into the stage.<ref>Stuart Morgan, "Stuart Morgan visits the Institute of Cultural Anxiety", [[Frieze (magazine)|Frieze]], Issue 21, March 1995, p. 35. Also see: Alexander Hacke, [https://www.theguardian.com/music/2007/feb/16/popandrock1 "How to destroy the ICA with drills,"] ''[[The Guardian]]'', Friday, 16 February 2007.</ref>

In the mid-1990s, examples of Bond's work were included in [[Brilliant!]] a survey of [[Young British Artists|YBA]] art held at the [[Walker Art Center]], Minneapolis, in 1995, and [[Traffic (art exhibition)|Traffic]], an exhibition introducing the [[Relational Aesthetics]] tendency, which took place at musée d'art contemporain de Bordeaux, France, through February and March 1996.

===''Other Men's Flowers''===

In 1994, Bond made a work using a [[letterpress]] printing press for a portfolio commissioned by [[Joshua Compston]]. The portfolio also included works by [[Gary Hume]], [[Sam Taylor-Wood]], and [[Gavin Turk]]. The title of the portfolio drew on a quote by the philosopher [[Montaigne]] ("I have gathered a garland of other men's flowers and nothing is mine but the cord that binds them."). For his part, Bond supplied a text which describes a series of views in Monaco, written in the style of a tourist guidebook. The portfolio was later acquired by [[Tate]].<ref>Tate collection: [http://www.tate.org.uk/servlet/ArtistWorks?cgroupid=999999961&artistid=2586&page=1 Henry Bond]. Accessed, 27 November 2010.</ref> In 2010, the portfolio was exhibited at the [[Courtauld Institute]].<ref>Courtauld Institute Press: [http://www.courtauld.ac.uk/east_wing/2010/pressrelease.pdf Exhibitionism: The Art of Display] {{webarchive|url=https://web.archive.org/web/20100921190346/http://courtauld.ac.uk/east_wing/2010/pressrelease.pdf |date=21 September 2010 }}. Accessed, 27 November 2010.</ref> Historian Elizabeth Manchester describes Bond's text as, "a page entirely filled with text apparently taken from a travel brochure or guide. It describes a fashionable and star-encrusted area in the south of France starting from the peninsula Cap Martin and including the Monte Carlo beach and the Riviera. Names of famous people, places and events, as well as geographical features, are capitalised for emphasis. The amenities provided by hotels, night clubs, casinos, museums and beaches, as well as a fish farm out at sea (producing the luxury fish, sea bass), are all named and occasionally described for the wealthy visitor."<ref>Elizabeth Manchester "[http://www.tate.org.uk/servlet/ViewWork?cgroupid=999999961&workid=21844&searchid=14226&tabview=text Tate: ''Other Men's Flowers''], Accessed, 13 November 2011</ref>

===''Documents Series'' with Liam Gillick===

Between 1990 and 1994, Bond collaborated with artist Liam Gillick on their [[Documents Series]] a group of eighty-three fine art works which appropriated the ''modus operandi'' of a news gathering team, to produce [[relational art]].<ref name="autogenerated65">Henry Bond & Liam Gillick, "Press Kitsch", ''Flash Art International'', Issue 165, July/August 1992, pp. 65–66.</ref> To make the work the duo posed as a news reporting team—i.e., a photographer and a journalist—often attending events scheduled in the [[Press Association|Press Association's]] [[Gazette]]—a list of potentially newsworthy events in London. Bond worked as if a typical photojournalist, joining the other press photographers present; whilst Gillick operated as the journalist, first collecting the ubiquitous [[Press kit]] before preparing his audio recording device.<ref name="autogenerated65"/>

====Exhibition and collection====

The series was first shown commercially in 1991, at [[Karsten Schubert Limited]]<ref>Karsten Schubert (ed) ''Henry Bond and Liam Gillick: Documents'' (London: Karsten Schbert Limited, 1991.)</ref> and then, in 1992, at [[Maureen Paley| Maureen Paley's]] [[Maureen Paley#Interim Art|Interim Art]]<ref>Maureen Paley (ed.) ''On: Henry Bond, Angela Bulloch, Liam Gillick, Graham Gussin, Markus Hansen'' (London and Plymouth: Interim Art/Plymouth Arts Centre, 1992); also see [http://www.maureenpaley.com/medias/history-paley-84-04.pdf Interim Art timeline] {{webarchive|url=https://web.archive.org/web/20071011155855/http://www.maureenpaley.com/medias/history-paley-84-04.pdf |date=11 October 2007 }}</ref> —two of the galleries that were pioneers in the development of the [[Young British Artists|YBA]] art movement.

The duo's series was subsequently exhibited at [[Tate Modern]], in the show ''Century City'' held in 2001,<ref>Emma Dexter, "London 1990–2001." In, Iwona Blazwick (ed.) ''Century City: Art and Culture in the Modern Metropolis'' (London: Tate, 2001), p. 84. Snippet view available on [https://books.google.com/books?id=_LdPAAAAMAAJ&q=Henry+Bond Google books].</ref> and at the [[Hayward Gallery]], in the exhibition ''How to Improve the World'', in 2006.<ref>{{cite web|url=http://www.tate.org.uk/whats-on/tate-modern/exhibition/century-city |title=Century City Exhibition |work=Tate.org.uk |access-date=12 April 2010}}</ref>

One example from the series, held in the [[Arts Council Collection]], titled ''14 February 1992'', documents an auction of the contents of Robert Maxwell's London home at Sotheby's.<ref>[http://www.artscouncilcollection.org.uk/searchWorkByArtist.do?searchParameter1=Henry Bond and Liam Gillick (Bond (b. 1966), Gillick (b. 1964))&searchParameter2=487 Arts Council Collection] {{Webarchive|url=https://web.archive.org/web/20120514111818/http://www.artscouncilcollection.org.uk/searchWorkByArtist.do?searchParameter1=Henry |date=14 May 2012 }} Accessed 21 November 2011</ref> A further example records the former [[Governor of Hong Kong]], [[Chris Patten]], addressing the [[Tory Reform Group]].<ref>[http://www.frac-poitou-charentes.org/pages/collection_artistes-bond_gillick_FRAC.html FRAC Poitou-Charentes Collection] Accessed 21 November 2011</ref>

===Video works===

Bond's videos are documents of action and events. Writing in his 1998 book [[Relational Aesthetics]], Nicolas Bourriaud said, "video, for example, is nowadays becoming a predominant medium. But if Peter Land, Gillian Wearing and Henry Bond, to name just three artists, have a preference for video recording, they are still not 'video artists'. This medium merely turns out to be the one best suited to the formalisation of certain activities and projects."<ref>Nicolas Bourriaud, ''Relational Aesthetics'' (Dijon, France: les Presses du réel, 1998), p. 46. A pdf of relevant extract is available at [http://www.hints.hu/upload/relational.pdf Hints.hu] {{Webarchive|url=https://web.archive.org/web/20110721105152/http://www.hints.hu/upload/relational.pdf |date=21 July 2011 }}</ref>

[[File:Henry Bond Deep dark water.jpg|thumb| 180px|Still from Bond's ''Deep, Dark Water'' (1994) depicting London's iconic [[Tower Bridge]] at night.]]

[[File:Henry Bond gallery.jpg|thumb|180px| Gallery view of Bond's photographs.]]

====Exhibition====

In 1993, Bond's short video work ''OTB'' was included in [[Aperto '93]] at the [[Venice Biennale]]—a survey of international contemporary art.<ref>{{cite web |url=http://venicebiennale.britishcouncil.org/timeline/1993 |title=The British Council's Venice Biennale Timeline |publisher=Venicebiennale.britishcouncil.org |access-date=12 April 2010 |url-status=dead |archive-url=https://web.archive.org/web/20100413194051/http://venicebiennale.britishcouncil.org/timeline/1993 |archive-date=13 April 2010 }}</ref> The short—which was looped and shown on a multi-screen system—showed grainy black-and-white footage documenting a flâneur's-eye-view of the day-to-day coming and going aboard the plethora of crowded [[Vaporetto]], the [[waterbus]]es, in Venice; Bond's deliberately down-to-earth perspective depicting humdrum daily life in the city was intended to oppose the iconic glamorised images of gondolas, etc.<ref>Benjamin Weil, "Emergency." In Achille Bonito Oliva and Helena Kontova (eds.) XLV [45th] Biennale di Venezia: Aperto '93, Emergency/Emergenza (Milan: Giancarlo Politi Editore, 1993), {{ISBN|88-7816-053-9}}.</ref>

Between 1993 and 1994, "Bond made eight hours of video footage documenting his walks along the river Thames, resulting in a 26-minute film shown at the Design Museum, reformatted as inserts on ''Channel One'', and finally as a book of stills, ''Deep, Dark Water.''"<ref>Jane Rendell, Art and Architecture: a place between (London: I.B. Tauris, 2006), p. 64. Snippet view available on [https://books.google.com/books?id=DnYd7t8UFjAC&q=video+deep%2C+dark+water+&pg=PA64 Google Books].</ref><ref>Henry Bond, ''Deep, Dark Water'' (London: Public Art Development Trust, 1994).</ref>

From July through September 1994, Bond's video works were showcased in an eponymous four-person exhibition at ''De Appel'' an art centre in Amsterdam—i.e., ''Deep, Dark Water'' (1994), ''Torch'' (1993), ''On the Buses'' (1993), ''Hôtel Occidental'' (1993), ''Big Shout'' (1993), ''The Burglars'' (1992/4), ''The Softly Softly'' (1994), ''Walked'' (1994)<ref>{{cite web|url=http://www.deappel.nl/exhibitions/e/231/1/1/ |title=De Appel exhibition archive, retrieved 25 March 2010 |publisher=Deappel.nl |date=10 September 1994 |access-date=12 April 2010 |url-status=dead |archive-url=https://web.archive.org/web/20110718120005/http://www.deappel.nl/exhibitions/e/231/1/1/ |archive-date=18 July 2011 }}</ref><ref>See the [http://www.studycollection.co.uk/artistfiles/bond.html partial Filmography/Biographical CV] held in the British Artists' Film and Video Study Collection.</ref>—which was selected and organised by curator and theorist Saskia Bos (Dean of The School of Art at [[Cooper Union|The Cooper Union]], in New York).<ref>http://www.allbusiness.com/finance-insurance-real-estate/real-estate/4410847-1.html All Business [unattributed] "The Cooper Union Appoints Saskia Bos Museum Director and Noted Curator to Head School of Art", 15 July 2005</ref>

In 1995, Bond's video works were included in the ''Biennale de Lyon'' survey exhibition.<ref>Thierry Raspail (ed.) 3e Biennale de Lyon: installation, cinéma, vidéo, informatique (Paris: Seuil, 1995) p. 1950. Snippet view available on [https://books.google.com/books?id=C5BPAAAAMAAJ&q=henry+bond+biennale+de+lyon Google Books].</ref>

==Fashion photography==

In the late-1990s and early-2000s, Bond contributed fashion editorial stories to [[The Face (magazine)|The Face]],<ref name="independent1998">{{cite news|url=https://www.independent.co.uk/life-style/fashion-everyday-people-1159450.html |title=Tamsin Blanchard, "Everyday people." In ''The Independent'', May 16, 1998 |work=The Independent|date=16 May 1998 |access-date=12 April 2010 | location=London}}</ref> [[i-D]],<ref>See, for example, the Bond spread in i-D, June 2006 ("The Horror Issue") captioned, "Armani modelled by contemporary art collector Helen Thorpe."</ref> Self Service,<ref>See, for example: "The Obsessions" in ''Self Service'', Spring/Summer 2003, p. 62-79.</ref> [[Purple (magazine)|Purple]]<ref>{{cite web|url=http://www.purple.fr/archive.php?c=1&a=3 |title=Purple Archive (Issue#2 Cover story was photographed by Bond) |publisher=Purple.fr |access-date=12 April 2010 |url-status=dead |archive-url=https://web.archive.org/web/20091005230819/http://www.purple.fr/archive.php?c=1 |archive-date=5 October 2009 }}</ref> and the now defunct [[Nova (Brazilian magazine)|Nova]].<ref>See, for example: "Sloane Square", [Photographer: Henry Bond; Stylist: Nancy Rohde] ''Nova'', Sept 2000</ref>

One fashion photograph made by Bond, originally published in the March 2000 issue of [[The Face (magazine)|The Face]], depicted the model Kirsten Owen revealing her [[panties]] in a manner typical of the derided and recently criminalised (e.g., in the United States and Australia) voyeuristic "Uppie" or [[Upskirt]]er.<ref>"Next Style/Fashion: We're Infatuated with it...", [[The Face (magazine)|The Face]], March 2000. p.156.</ref> In 2001, Bond was chosen by company director [[Roger Saul]] to photograph the commercial advertising campaign for a brand relaunch of [[Mulberry (company)|Mulberry]], a leather goods company—for which he used actors and celebrity couple [[David Thewlis]] and [[Anna Friel]], as models.<ref>{{cite news|author=Tamsin Blanchard |url=https://www.theguardian.com/lifeandstyle/2001/oct/28/shopping.fashion |title=Tamsin Blanchard, "Brand New Brand," ''The Observer'', 28 October 2001 |work=The Guardian |date= 28 October 2001|access-date=12 April 2010 | location=London}}</ref><ref>Photos from [http://annafriel.org/gallery/thumbnails.php?album=221 Bond's Mulberry campaign] {{Webarchive|url=https://web.archive.org/web/20120313142309/http://annafriel.org/gallery/thumbnails.php?album=221 |date=13 March 2012 }} on [[Anna Friel]] official website.</ref> Thewlis and Friel were reported to have been paid £50,000 to appear in the campaign.<ref>[http://www.vogue.co.uk/news/2001/07/31/friel-the-heat Vogue.co.uk]</ref>

In 2008, examples of Bond's fashion photographs from this period were included in an international survey exhibition of contemporary photography selected by Urs Stahel, ''Darkside: Photographic Desire and Sexuality Photographed'', held at ''[[Fotomuseum Winterthur]]''—the Swiss national museum and collection of photography.<ref>{{cite web |url=http://www.e-flux.com/shows/view/5816 |title=Exhibition information on e-flux |publisher=E-flux.com |date=5 September 2008 |access-date=12 April 2010 |url-status=dead |archive-url=https://web.archive.org/web/20100417084928/http://www.e-flux.com/shows/view/5816 |archive-date=17 April 2010 }}</ref>

==Academic career== Bond was a research student at the [[University of Gloucestershire]] in [[Cheltenham Spa]] between 2004 and 2007; he received a [[Doctor of Philosophy|doctorate]] in 2007.<ref>Ana Finel Honigman [http://magazine.saatchionline.com/culture/reports-from/los-angeles-reports-from/henry_bond_in_coversation_with "Henry Bond in Conversation with Ana Finel Honigman,"] {{webarchive|url=https://web.archive.org/web/20130927124942/http://magazine.saatchionline.com/culture/reports-from/los-angeles-reports-from/henry_bond_in_coversation_with |date=27 September 2013 }} Saatchi Gallery, 10 July 2007. To wit: "These relationships are discussed in detail in the text of my PhD thesis. They don't really function as brief anecdotes. If your interest is aroused, then please refer to the complete text."</ref>

He teaches [[Postgraduate education|postgraduate]] photography, in the Faculty of Art, Design & Architecture, at [[Kingston University]];<ref>Kingston University [http://www.kingston.ac.uk/postgraduate-course/photography-ma/who-teaches-this-course.html Kingston University: Photography MA: Who teaches this course], accessed, 31 October 2010.</ref> he is a Senior Lecturer in Photography, in the School of Fine Art.<ref>[http://fada.kingston.ac.uk/staff/henry_bond/henry_bond.php Kingston University Staff Directory], retrieved 09 04 2011.</ref>

==Personal life==

Bond has stated that he is a person with [[autism]] – specifically [[Asperger syndrome]]. He has had both [[cognitive behavioral therapy]] and [[psychoanalysis]] for this condition.<ref name="guardian.co.uk">Henry Bond [https://www.theguardian.com/commentisfree/2012/apr/16/autism-psychoanalysis-lacanian "What autism can teach us about psychoanalysis,"], ''[[The Guardian]]'', 16 April 2012, accessed 17 April 2012.</ref> In an article in ''[[The Guardian]]'' in 2012, Bond questioned the use of psychoanalysis with autistic children in France.<ref name="guardian.co.uk"/>

==Published works== '''Non-fiction''' *''The Gaze of the Lens'' (Seattle: Amazon KDP, 2011) *''Lacan at the Scene'' ([[Slavoj Žižek]], series ed., Short Circuits; Cambridge, MA: [[MIT Press]], 2009) '''Photography monographs''' * ''Interiors Series'' (Antwerp: Fotomuseum, 2005) * ''What gets you through the day'' (London: Art Data/Lavie, 2002) * ''Point and Shoot'' (Ostfildern: Cantz, 2000) * ''La vie quotidienne'' (Essen: 20/21, 1999) * ''The Cult of the Street'' (London: Emily Tsingou Gallery, 1998) * ''Documents'' (London: APAC/Karsten Schubert Limited, 1991) * ''100 Photographs'' (Farnham, Surrey: James Hockey Gallery, 1990) '''Documentation of video works''' * ''Safe Surfer'' (Lyon, France: Biennale de Lyon, 1995) *'' Deep, Dark Water'' (London: Public Art Development Trust, 1994) * ''Hôtel Occidental'' (Nice, France: Villa Arson, 1993) '''Edited books''' * Henry Bond and Sarah Lucas, ''East Country Yard Show'' (London: East Country Yard, 1990) * Henry Bond and Andrea Schlieker, ''Exhibit A'' (London: Serpentine Gallery, 1992) '''Essays in edited books''' *"The Hysterical Hystery of Photography." In Urs Stahel (ed.), ''Darkside I: Photographic Desire and Sexuality Photographed'', (Göttingen, Germany: Steidl, 2008) * "Comments on this Series." In Christoph Ruys (ed.), ''Henry Bond: Interiors Series'' (Antwerp, Belgium: Fotomuseum, 2005) *"Montage My Fine Care: Five Themes with Examples." In Henry Bond & Andrea Schlieker (ed.), ''Exhibit A'' (London: Serpentine Gallery, 1992)

==See also== *[[Legality of recording by civilians]] *[[Model release]] *[[Photography and the law]] *[[Public domain]]

==References== {{reflist}}

==External links== * List of [https://nal-vam.on.worldcat.org/search?queryString=au%3DBond%2C%20Henry books by Henry Bond] held at the [[National Art Library]], England. * Artist's personal website: [http://www.henrybond.com Henry Bond] * [https://www.independent.co.uk/life-style/fashion-everyday-people-1159450.html Tamsin Blanchard article] * [https://web.archive.org/web/20130927124942/http://magazine.saatchionline.com/culture/reports-from/los-angeles-reports-from/henry_bond_in_coversation_with Interview on Saatchi Blog with Anna Honigman] * [https://web.archive.org/web/20110610124621/http://www.walkerart.org/archive/A/B8A3918F73838ED66161.htm Walker Art Center press release] * Facsimile invitation card to [https://web.archive.org/web/20090518031230/http://www.emilytsingougallery.com/02.html ''The Cult of the Street'' exhibition] at [[Emily Tsingou Gallery]], 13 May – 27 June 1998. * [https://web.archive.org/web/20141129012135/http://www.fotomuseum.ch/COLLECTION-ONLINE.302.0.html?&L=1 Example from ''The Cult of the Street'' in the Swiss national photography collection] at ''Fotomuseum'', Winterthur. * [https://web.archive.org/web/20081122142113/http://www.frieze.com/issue/review/henry_bond/ Frieze review] * Facsimile of [https://web.archive.org/web/20090518031732/http://www.emilytsingougallery.com/13.html invitation card to ''Point and Shoot'' exhibition] at [[Emily Tsingou Gallery]], 9 May to 30 June 2000. ;'''''Lacan at the Scene''''' * [https://web.archive.org/web/20110604190619/http://mitpress.mit.edu/catalog/item/default.asp?ttype=2&tid=11859&mode=toc Link to Zizek foreword .pdf] *[https://web.archive.org/web/20100206014106/http://mitpress.mit.edu/catalog/item/default.asp?ttype=2&tid=11859 Lacan at the Scene/MIT Press catalogue page] *[https://web.archive.org/web/20110310090916/http://www.reviews.media-culture.org.au/modules.php?name=News&file=article&sid=3593 Review by Adam Atkinson] {{Relational Aesthetics}} {{Young British Artists}}

{{DEFAULTSORT:Bond, Henry}} [[Category:1966 births]] [[Category:Academics of Kingston University]] [[Category:Alumni of Goldsmiths, University of London]] [[Category:Alumni of Middlesex University]] [[Category:Alumni of the University of Gloucestershire]] [[Category:Autistic artists]] [[Category:English autistic people]] [[Category:Autistic writers]] [[Category:Photographers with disabilities]] [[Category:British art curators]] [[Category:British conceptual artists]] [[Category:British psychoanalysts]] [[Category:English art critics]] [[Category:English contemporary artists]] [[Category:English male non-fiction writers]] [[Category:English non-fiction writers]] [[Category:Photographers from the London Borough of Newham]] [[Category:Living people]] [[Category:People with Asperger syndrome]] [[Category:Street fashion]] [[Category:Young British Artists]] [[Category:Fellows of the Higher Education Academy]] [[Category:English writers with disabilities]] [[Category:British artists with disabilities]] [[Category:People from Forest Gate]]