View allAll Photos Tagged provocation
Before the clay arrives - loose parts and wooden sticks for clay exploration and construction in the atelier.
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Some delegates of the AFD-Party were, protected by the police, posing in front of the demonstrators. Some verbal provations were done from both sides.
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Background:
After the German opposition party AFD (Alternative for Germany) had enforced the holding of its legally required party conference in the Grugahalle in Essen through the courts, representatives of the government parties and many NGOs called for protests. Violence broke out and the police had to protect the AFD federal party conference and the delegates who had arrived from attacks by demonstrators. 28 police officers were injured, 2 of them seriously.
The representatives of the government parties call themselves democrats. Since they do not recognize the AFD as a democratic party, they call on their supporters to fight the AFD.
Un temps bas
La lumière grise
Une table déserte
Les Verres abandonnés
Et pourtant.....
Une image
Test macro 80-400 + bague allonge de 36mm
DSC_3709_DxO-01a
Street art is visual art created in public locations, usually unsanctioned artwork executed outside of the context of traditional art venues. The term gained popularity during the graffiti art boom of the early 1980s and continues to be applied to subsequent incarnations. Stencil graffiti, wheatpasted poster art or sticker art, and street installation or sculpture are common forms of modern street art. Video projection, yarn bombing and Lock On sculpture became popularized at the turn of the 21st century.
The terms "urban art", "guerrilla art", "post-graffiti" and "neo-graffiti" are also sometimes used when referring to artwork created in these contexts.[1] Traditional spray-painted graffiti artwork itself is often included in this category, excluding territorial graffiti or pure vandalism.
Street art is often motivated by a preference on the part of the artist to communicate directly with the public at large, free from perceived confines of the formal art world.[2] Street artists sometimes present socially relevant content infused with esthetic value, to attract attention to a cause or as a form of "art provocation".[3]
Street artists often travel between countries to spread their designs. Some artists have gained cult-followings, media and art world attention, and have gone on to work commercially in the styles which made their work known on the streets.
When Pinky first arrived with our family of Bluebirds, she was near starving. Without hesitation, one of our male babies adopted her and encouraged her to come in for meal worms offered on our front porch.
At first, she was terrified and flew with the slightest provocation but her hunger kept her close. Our little boy still covered with his spotted feathers chirped gently to her and encouraged her to come in. When she did not immediately respond, he snatched a worm from the dish and flew to her side. Twice more he fed her before she felt safe enough to come down with him.
At that time, we had two offerings of meal worms for the Bluebirds, one a small flat dish that sat on the porch rail and the other a feeder looking like an elongated bird house with a hole at each end so that the birds could enter and exit and having one side of Plexiglas. The roof was hinged so that we could open it up and place more treats inside. We preferred to use this feeder so that the Scrub Jays did not monopolize the feeding station.
Of course, our little boy had been raised going in and out of the feeder without even a second thought but Pinky was frightened by the structure. She watched as he went in and out but would not enter herself. Little Blue Boy took it upon himself to teach her what to do.
He entered the house, snatched a worm and returned to the hole nearest his new friend and chirped to her. She came closer and took the worm from him. He got another and fed that to her and retreated inside. He called to her and she peered inside. He took a worm and gobbled it down and flipped his beak back and forth in the dish as if to show her that there were many more. Finally, he coaxed her inside and she remained there for some time eating her fill. Most of that time, he stood guard just outside the opposite hole talking to her softly all the while.
Now when it came time to make her exit, she was confused by the light through the Plexiglas and fluttered at it. Boy Blue simply called to her again, went inside, nestled beside her a moment until she calmed down and showed her the way out.
We are thankful for every day that our Bluebirds return to our yard, thankful that we have the opportunity to get to know these individual birds and to observe their family structure and are thankful to share the story with anyone that cares to look and listen.
Now that Pinky and her Boy Blue have been together for a couple of months, they have both gone through the molt, and are both looking beautiful. We have no doubt that because of the bonds they forged so early, they will be mating in the Spring. We hope that one of the boxes on our property nearby will be suitable for them to raise their family.
Capa watched from the curb. Doisneau stayed for the view.
Ying crossed the bridge like a provocation in heels.
Steel beneath her steps. Lace beneath her coat.
There was no turning back—only desire.
Framewritten by Charly & Ying
An interdimensional project by Ying.Ding.Studios · AI photography · 2025
"Mixing huge quantities of alcohol, hot sun and provocation could only ever have one result." – Nikon UK Ambassador, Leon Neal bit.ly/LeonNikonD5
Street art is visual art created in public locations, usually unsanctioned artwork executed outside of the context of traditional art venues. The term gained popularity during the graffiti art boom of the early 1980s and continues to be applied to subsequent incarnations. Stencil graffiti, wheatpasted poster art or sticker art, and street installation or sculpture are common forms of modern street art. Video projection, yarn bombing and Lock On sculpture became popularized at the turn of the 21st century.
The terms "urban art", "guerrilla art", "post-graffiti" and "neo-graffiti" are also sometimes used when referring to artwork created in these contexts.[1] Traditional spray-painted graffiti artwork itself is often included in this category, excluding territorial graffiti or pure vandalism.
Street art is often motivated by a preference on the part of the artist to communicate directly with the public at large, free from perceived confines of the formal art world.[2] Street artists sometimes present socially relevant content infused with esthetic value, to attract attention to a cause or as a form of "art provocation".[3]
Street artists often travel between countries to spread their designs. Some artists have gained cult-followings, media and art world attention, and have gone on to work commercially in the styles which made their work known on the streets.
Crown Headpiece from Galliano's Forgotten Innocents, 1986-7
Judy Blame, made by Frick and Frack
Crown Headpiece
Metal, coat hanger, wool, thread, shoelaces and rocks
Spitting Image, 2020
Nylon, hair spray, foam latex, man-made fibres, perspex
Taken in the exhibition
Monster
Opening The Horror Show!, Monster begins by delving into the economic and political turbulence of the 70s and the high octane spectacle and social division of the 80s. Against a backdrop of unrest and loud uprising, it charts the origin story and ascent of the individuals who will go on to disrupt, define and destroy British culture, while exploring the monsters which plague society today.
Punk prophet Jamie Reid opens the show by conjuring his Monster on a Nice Roof (1972), painting a prescient picture of the dark skies gathering over Britain. Chila Burman’s If There is No Struggle, There is no Progress - Uprising (1981) and Helen Chadwick’s Allegory of Misrule (1986) refigure social discontent and anxiety in the image of horror, as the socio-political and monstrous collide. In a jarring dislocation of British cultural identity, Guy Peellaert’s David Bowie, Diamond Dogs (1974) and the otherworldly creatures captured by Derek Ridgers’ nightlife photography point to the emergence of the cultural provocation and rebellion that defined an era. Monster revels in a resoundingly British spirit of nonconformity, with a spectacular display of Pam Hogg’s new Exterminating Angel (2021) and works by Somerset House Studios artist and designer Gareth Pugh and the late visionary Leigh Bowery. Elsewhere, Noel Fielding’s Post-Viral Fatigue (2022) shows how the imagery of horror resonates still in our Covid-ravaged contemporary reality. As the nightmarish and otherworldly fills the gallery, a newly commissioned mural by Matilda Moors sees the walls dramatically clawed at by a monstrous hand.
Contributing artists include Marc Almond, Bauhaus, Judy Blame, Leigh Bowery, Philip Castle, Chila Burman, Helen Chadwick, Monster Chetwynd, Jake & Dinos Chapman, Tim Etchells, Noel Fielding, Mark Moore & Martin Green, Pam Hogg, Dick Jewell, Harminder Judge, Daniel Landin, Jeannette Lee, Andrew Liles, Linder, London Leatherman, Don Letts, Luciana Martinez de la Rosa, Lindsey Mendick, Peter Mitchell, Dennis Morris, Matilda Moors, Tim Noble & Sue Webster, Guy Peellaert, Gareth Pugh, Jamie Reid, Derek Ridgers, Nick Ryan, Steven Stapleton, Ralph Steadman, Ray Stevenson, Poly Styrene, Francis Upritchard and Jenkin van Zyl.
The Horror Show! A Twisted Tale of Modern Britain
(October 2022 - February 2023)
Somerset House presents The Horror Show!: A Twisted Tale of Modern Britain, a major exhibition exploring how ideas rooted in horror have informed the last 50 years of creative rebellion. The show looks beyond horror as a genre, instead taking it as a reaction and provocation to our most troubling times. The last five decades of modern British history are recast as a story of cultural shapeshifting told through some of our country’s most provocative artists. The Horror Show! offers a heady ride through the disruption of 1970s punk to the revolutionary potential of modern witchcraft, showing how the anarchic alchemy of horror – its subversion, transgression and the supernatural – can make sense of the world around us. Horror not only allows us to voice our fears; it gives us the tools to stare them down and imagine a radically different future.
Featuring over 200 artworks and culturally significant objects, this landmark show tells a story of the turbulence, unease and creative revolution at the heart of the British cultural psyche in three acts – Monster, Ghost and Witch. Each act interprets a specific era through the lens of a classic horror archetype, in a series of thematically linked contemporaneous and new works:
Each of the exhibition’s acts opens with ‘constellations’ of talismanic objects. These cabinets of curiosities speak to significant cultural shifts and anxieties in each era, while invoking a haunting from the counter-cultural voices in recent British history. Alongside these introductory artworks and ephemera is an atmospheric soundtrack, conjuring the spirit of the time with music from Bauhaus, Barry Adamson and Mica Levi.
Monster, Ghost and Witch culminate in immersive installations, combining newly commissioned work, large-scale sculpture, fashion and sound installation, with each chapter signed off with a neon text-work by Tim Etchells. The Horror Show! offers an intoxicating deep-dive into the counter-cultural, mystic and uncanny, with the signature design of the three acts courtesy of architects Sam Jacob Studio and Grammy-winning creative studio Barnbrook.
[Somerset House]
Crown Headpiece from Galliano's Forgotten Innocents, 1986-7
Judy Blame, made by Frick and Frack
Crown Headpiece
Metal, coat hanger, wool, thread, shoelaces and rocks
Spitting Image, 2020
Nylon, hair spray, foam latex, man-made fibres, perspex
Taken in the exhibition
Monster
Opening The Horror Show!, Monster begins by delving into the economic and political turbulence of the 70s and the high octane spectacle and social division of the 80s. Against a backdrop of unrest and loud uprising, it charts the origin story and ascent of the individuals who will go on to disrupt, define and destroy British culture, while exploring the monsters which plague society today.
Punk prophet Jamie Reid opens the show by conjuring his Monster on a Nice Roof (1972), painting a prescient picture of the dark skies gathering over Britain. Chila Burman’s If There is No Struggle, There is no Progress - Uprising (1981) and Helen Chadwick’s Allegory of Misrule (1986) refigure social discontent and anxiety in the image of horror, as the socio-political and monstrous collide. In a jarring dislocation of British cultural identity, Guy Peellaert’s David Bowie, Diamond Dogs (1974) and the otherworldly creatures captured by Derek Ridgers’ nightlife photography point to the emergence of the cultural provocation and rebellion that defined an era. Monster revels in a resoundingly British spirit of nonconformity, with a spectacular display of Pam Hogg’s new Exterminating Angel (2021) and works by Somerset House Studios artist and designer Gareth Pugh and the late visionary Leigh Bowery. Elsewhere, Noel Fielding’s Post-Viral Fatigue (2022) shows how the imagery of horror resonates still in our Covid-ravaged contemporary reality. As the nightmarish and otherworldly fills the gallery, a newly commissioned mural by Matilda Moors sees the walls dramatically clawed at by a monstrous hand.
Contributing artists include Marc Almond, Bauhaus, Judy Blame, Leigh Bowery, Philip Castle, Chila Burman, Helen Chadwick, Monster Chetwynd, Jake & Dinos Chapman, Tim Etchells, Noel Fielding, Mark Moore & Martin Green, Pam Hogg, Dick Jewell, Harminder Judge, Daniel Landin, Jeannette Lee, Andrew Liles, Linder, London Leatherman, Don Letts, Luciana Martinez de la Rosa, Lindsey Mendick, Peter Mitchell, Dennis Morris, Matilda Moors, Tim Noble & Sue Webster, Guy Peellaert, Gareth Pugh, Jamie Reid, Derek Ridgers, Nick Ryan, Steven Stapleton, Ralph Steadman, Ray Stevenson, Poly Styrene, Francis Upritchard and Jenkin van Zyl.
The Horror Show! A Twisted Tale of Modern Britain
(October 2022 - February 2023)
Somerset House presents The Horror Show!: A Twisted Tale of Modern Britain, a major exhibition exploring how ideas rooted in horror have informed the last 50 years of creative rebellion. The show looks beyond horror as a genre, instead taking it as a reaction and provocation to our most troubling times. The last five decades of modern British history are recast as a story of cultural shapeshifting told through some of our country’s most provocative artists. The Horror Show! offers a heady ride through the disruption of 1970s punk to the revolutionary potential of modern witchcraft, showing how the anarchic alchemy of horror – its subversion, transgression and the supernatural – can make sense of the world around us. Horror not only allows us to voice our fears; it gives us the tools to stare them down and imagine a radically different future.
Featuring over 200 artworks and culturally significant objects, this landmark show tells a story of the turbulence, unease and creative revolution at the heart of the British cultural psyche in three acts – Monster, Ghost and Witch. Each act interprets a specific era through the lens of a classic horror archetype, in a series of thematically linked contemporaneous and new works:
Each of the exhibition’s acts opens with ‘constellations’ of talismanic objects. These cabinets of curiosities speak to significant cultural shifts and anxieties in each era, while invoking a haunting from the counter-cultural voices in recent British history. Alongside these introductory artworks and ephemera is an atmospheric soundtrack, conjuring the spirit of the time with music from Bauhaus, Barry Adamson and Mica Levi.
Monster, Ghost and Witch culminate in immersive installations, combining newly commissioned work, large-scale sculpture, fashion and sound installation, with each chapter signed off with a neon text-work by Tim Etchells. The Horror Show! offers an intoxicating deep-dive into the counter-cultural, mystic and uncanny, with the signature design of the three acts courtesy of architects Sam Jacob Studio and Grammy-winning creative studio Barnbrook.
[Somerset House]
August Macke (1887 à Meschede – 1914 près de Perthes-lès-Hurlus, Champagne, FR) illustre par son œuvre la curiosité d'une jeune génération d'artistes qui, en divers lieux d'Europe, puis d'Amérique, s'engagent dans l'établissement d'une nouvelle perception du monde et d'un nouveau sens de la vie – voire, dans bien des cas, dans la provocation par des scandales délibérément mis en scène :
« Tout cela », écrit Macke en 1913 dans une lettre à un ami, « le cubisme, le futurisme, l'expressionnisme et la peinture abstraite ne sont que les termes d'un changement de direction que notre pensée picturale veut opérer et opère.»
Ses œuvres se caractérisent par la vitalité et la sensualité de la vie.
Cela se reflète dans la force et la beauté des couleurs, qui dépassent souvent les formes picturales individuelles et intérieures pour envahir l'ensemble du tableau. Sans adhérer rigidement à un manifeste artistique ni radicaliser unilatéralement son langage visuel, August Macke reste ouvert à de nombreuses influences et stimulations dans sa pensée artistique, tout en créant une œuvre indépendante qui offre une synthèse exemplaire des caractéristiques spécifiques de l'expressionnisme rhénan. Son regard se tourne ainsi vers l'Occident : vers la France, vers Paris où, dans les œuvres de Robert Delaunay, il estime avoir trouvé une âme sœur.
Avec des peintures, des sculptures et des gravures, la vaste collection Macke du Kunstmuseum Bonn comprend des œuvres de toutes les phases de la création de l'artiste.
August Macke (1887 in Meschede – 1914 near Perthes-lès-Hurlus, Champagne, FR) illustrates through his work the curiosity of a young generation of artists who, in various parts of Europe and later America, were committed to establishing a new perception of the world and a new meaning of life—in many cases, even to provocation through deliberately staged scandals:
"All this," Macke wrote in a 1913 letter to a friend, "Cubism, Futurism, Expressionism, and abstract painting are merely the terms of a change of direction that our pictorial thinking seeks to bring about and does bring about."
His works are characterized by the vitality and sensuality of life.
This is reflected in the strength and beauty of the colors, which often transcend individual, inner pictorial forms to invade the entire picture. Without rigidly adhering to an artistic manifesto or unilaterally radicalizing his visual language, August Macke remained open to numerous influences and stimuli in his artistic thinking, while creating an independent body of work that offers an exemplary synthesis of the specific characteristics of Rhenish Expressionism. His gaze thus turned toward the West: toward France, toward Paris, where, in the works of Robert Delaunay, he felt he had found a kindred spirit.
With paintings, sculptures, and prints, the Kunstmuseum Bonn's extensive Macke Collection includes works from all phases of the artist's creative process.
''cheeky', you'd say and we all fell around
rolling round the playground'
- texture courtesy of les brumes -
negativo fuji fp100 elaborato chimicamente e successivamente corretto curve e densità con lightroom.
Designer: Yin Fukang (尹福康)
1958, September
Oppose the military provocations and threats of war of American imperialism!
Fandui Mei diguo zhuyide junshi tiaoxin he zhanzheng weixie! (反对美帝国主义的军事挑衅和战争威胁！)
Call nr.: BG E15/357 (Landsberger collection)
photo by Jessica Stewart - www.romephotoblog.com Public Provocation: www.colab-gallery.com/ June - October
Capa watched from the curb. Doisneau stayed for the view.
Ying crossed the bridge like a provocation in heels.
Steel beneath her steps. Lace beneath her coat.
There was no turning back—only desire.
Framewritten by Charly & Ying
An interdimensional project by Ying.Ding.Studios · AI photography · 2025
Without warning or provocation this framed photo just fell off the wall. I thought the remnants looked interesting.
In July 2015, Liz Ixer, sometime entropologist, took a careful photo of Bagsy's assisted found sculpture: "Summer Holiday".
It became one of his most celebrated pieces before disappearing mysteriously - rumoured to have been lovingly and skilfully restored and sent for auction in Miami. (I wonder did they get the clock going?)
Astounding
As Bagsy - Tottenham's sacchetti genius - approaches his 94th birthday, we see how his range of creative work remains astounding. It includes: sculpture; assisted found art; unfound art; exquisite miniatures; pastries; and giraffiti astride walls and bridges.
Despite his advanced age and current inability to scale heights, the good news is that the master has developed a training programme with a multi-talented workshop of apprentices, interns, consultants, interims, spin doctors; brand strategists; and miscellaneous hangers-on. They produce an endless flow of pieces and provocations, which appear across Haringey and elsewhere in London.
Demotic Interventions
Bagsy and his team, true community artists, generously donate many fine works to the people. Staging impromptu free public Art in the Open exhibitions in streets, parks, and alleyways, Such demotic interventions may be displayed in trees; behind phone cabinets; or hung proudly on fences.
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§ My grateful thanks to Liz Ixer for permission to post her photo here. It originally appeared on Twitter.
§ Thanks also to the Trustees of the Seymour Road Sculpture Garden.
§ Entropology according to Claude Lévi-Strauss, is the discipline that devotes itself to the study of the process of disintegration in its most highly evolved forms.