Paul Reas
Flogging a Dead Horse, Harvest of a Bygone Age, Home Farm Museum, Hampshire, 1993
Lightjet print
50.8 x 60.96 cms
20 x 24 ins
9047
Provenance
Acquired directly from the artistLiterature
Ed. Verity Elson & Rosemary Shirley, Creating the Countryside: The Rural Idyll Past and Present, Paul Holberton Publishing, 2017, front cover & p.9Exhibitions
Creating the Countryside: 1600-2017, Compton Verney Art Gallery and Park, 2017 (This print)Modern Nature. Photographs from the Hyman Collection, Hepworth Wakefield, 2018-19. (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 Paul Reas is part of a pioneering generation of photographers who exposed and critiqued British class and...
From the edition of 5
From the series Flogging a Dead Horse 1985-1993
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
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.