Paul Reas
Flogging a Dead Horse, Constable Country, Flatford Mill, Suffolk, 1993
Lightjet print
Edition of 3
Edition of 3
76.2 x 101.6 cms
30 x 40 ins
30 x 40 ins
10970
Provenance
Acquired directly from the artistLiterature
Ed. Verity Elson & Rosemary Shirley, Creating the Countryside: The Rural Idyll Past and Present, Paul Holberton Publishing, 2017, p.15Exhibitions
Creating the Countryside: 1600-2017, Compton Verney Art Gallery and Park, 2017 (This print)A Green and Pleasant Land: Landscape and the imagination, 1970-now, Towner Art Gallery, Eastbourne, 2017-18 (This print)
Creating the Countryside: 1600-2017, Compton Verney Art Gallery and Park, 18 March - 18 June 2017
From the edition of 5 From the series Flogging a Dead Horse 1985-1993 This image is from a guided tour of all the locations John Constable painted in Suffolk. Paul...
From the edition of 5
From the series Flogging a Dead Horse 1985-1993
This image is from a guided tour of all the locations John Constable painted in Suffolk.
Paul Reas is part of a pioneering generation of photographers who exposed and critiqued British class and culture in the 1980s and 90s. Reas' seminal body of work, I Can Help (1988) examines the impact of the consumer boom of the 1980s, which resulted in a proliferation of American-style shopping malls and the rise of the new middle class. Humorous and slightly caustic, Reas' images are a criticism of an emerging cultural façade epitomized by heritage industry sites, branding, and figurative cultural icons.
From the series Flogging a Dead Horse 1985-1993
This image is from a guided tour of all the locations John Constable painted in Suffolk.
Paul Reas is part of a pioneering generation of photographers who exposed and critiqued British class and culture in the 1980s and 90s. Reas' seminal body of work, I Can Help (1988) examines the impact of the consumer boom of the 1980s, which resulted in a proliferation of American-style shopping malls and the rise of the new middle class. Humorous and slightly caustic, Reas' images are a criticism of an emerging cultural façade epitomized by heritage industry sites, branding, and figurative cultural icons.
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