View allAll Photos Tagged provocation
Summer's End: Living Sculpture: An exercise in curated opulence. The metallic drape transforms into a second skin, blurring the line between fine art and provocation. Gilded, glowing, and entirely in control.
The Wire Fox Terrier breed standard says they should be 'on the tip-toe of expectation at the slightest provocation.' Once a mainstay of traditional British foxhunts, today's Wire is a handsome and amusing companion and master show dog.
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.
Pink Hex - Quiet Provocation (B&W) - A study in poise and playfulness, where the lighting is soft but the energy is piercing.
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.
"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.
Toronto G20 Riot Fraud: Undercover Police engaged in Purposeful Provocation. This police tactic has been used at all the G8-G20 summits held around the world.
police accused of attempting to incite violence at spp
www.youtube.com/watch?v=BWbgnyUCC7M&feature=related
Canadian Police Again Use Provocateurs to Incite Response
sbeckow.wordpress.com/2010/06/28/canadian-police-again-us...
''cheeky', you'd say and we all fell around
rolling round the playground'
- texture courtesy of les brumes -
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
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)
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]