The spreads be produced then are now on show at the institute of Contemporary Arts in London until 28 Also exhibited are canvases which Kennard made in esponse to specific events South Africa. Northern Ireland, Hay and West Germany. and fragments of his work-in-progress, which he describes towards astudy of the word and image of human rights', and 'an Peter Kennard worked on what was then the Socalist Labour League's daily paper, Workers Press, as full-time photomontage artist from September 1973 to May 1974, a period which included the twilight of Heath's Government, the Industrial Relations Court, the confrontation with the miners, and the three-day week.
attempt to puncture false unities in the transmission of information'Kennard has consciously tried socialist with his practice as an MELISS This has been unusua enough in post-war where the main tendencies in the visual aris have all led turbici and further away from involve ment with the material condiLots of lie or any responso to history. *Professionalism' Kennard has had to confront a double crisis; that of the artist whose professionalism whose capacity to represent the material and social worlds in a culturally significant form have been eroded by the development togrand hat of she see at a time of extreme fragmentation on the left MASCILE ON SHOSLAEL END 1972 and 1974, by the ahsence of La non-sectarian press:
artist's secondary MAIGHT IS TOUCHOIL awi.
BAR DETENE like television, nho and mass print Concrete characterised by the party and, between revolutionary His most interesting attempt at a solucion was his photomontage work. Photomon and evades le long heen position relation to the camera and mechtage artist müst arrange the given elements, provided by the pho •tographer, in such a way Chal they penetrate reality more deer or represent it more immedi If the montage artist works for a newspaper, he or she also Science in Society makes use of mass printing to reach a concrete audience, and if compelled by the very nature of his or her practice to respond events, and to stand in a definite relationship to history. Nevertheless, specilically socialist photomontage work is dependent the existence of a credible social at preet tomore las photomontage assimilated by the Kennard, who is about to start costeibuting montages to Socialmodestly intends his ICA exhibition Critical evamination af his polici- HOOSCIE cal and aeschetic development". Inevitably, he is haunled by the ghost of Heartfield, the German photomontagist who opposed the History made it easier for Heartfield than for Kennard struggling with the constraints of the Workers Press in 1973/74.
The iconography of European Hair-brained or hairyfascisen in tbe 1930s was casily artist like Heartfield grasped its abjective character many dramatic, widely published, sing le images. The reality of Britain in 1973 to 1974 was harder for AT THRUSTICHC CIA least because Heath's Toryism was not wholly identifiable with An image of Hitler receiving a literal back-hander from German Bus nessed DE THIEN two page spread of a pig with Healt's face protesting agains hieher hacon prices in che EECI anotber, But Kennard's limitato late to a ninte FOR between the too PETER KENNARD'S echibi tion, Finues, is at the institute of Contemporary Aris Nash race, London 5W7 amall 28 Cero roused 12 Corison House Ter ber. Admission free.