An exhibition is all about what you leave out and yesterday, as Bridget and myself took down the Rescription show, I went through the boxes of prints that became the 'left-outs'. Many of the cornerstones to 'For Our Love of War' deal with appropriation and what interests me about appropriation is its' economy, It's the final part of editing, and in the images below, the crux of the world is this endless advert, a visceral and all too real quantum of marketing.
I understand the critics disquiet over appropriation but the vaguaries of originality are more of a concern. How many billions of photographs are taken every day, re-appropriating the same space time and again. Originality is the art of delusion, appropriation is the art of the disillusioned.
The box of prints shown here are from For Our Love of War, Back to Front, It's Showtime, 1989 - 2018.
Mark Cator, 1989-2018, Back to Front, It's Showtime, I
Mark Cator, 1989-2018, Back to Front, It's Showtime, II
Mark Cator, 1989-2018, Back to Front, It's Showtime, III
Mark Cator, 1989-2018, Back to Front, It's Showtime, IV
Mark Cator, 1989-2018, Back to Front, It's Showtime, V
Mark Cator, 1989-2018, Back to Front, It's Showtime, VI
Mark Cator, 1989-2018, Back to Front, It's Showtime, VII
Mark Cator, 1989-2018, Back to Front, It's Showtime, VIII
Mark Cator, 1989-2018, Back to Front, It's Showtime, IX
