Photography Truthfulness Propoganda


Untitled LS-HW SH62 N30B 2016 /17
Archival inkjet pigment print
127 x 180 cm (paper size)
Edition of 5 + 2 AP

The bellow is a short essay I wrote for my degree back in 2016. It is about photography, truthfulness and propaganda in art and I used my favourite artist, Bill Henson as the example in this piece. I hope you enjoy it.


Photography. Truthfulness. Propaganda

I’ve worked with people this age for many, many years. They seem to be the most effective vehicle for expressing the things that interest me about humanity and vulnerability and our sense of ourselves living inside our bodies.
— Bill Henson, 2008

Bill Henson is the biggest inspiration for me. Not by way of photographic style or imagery, but an inspiration for life. Throughout my adolescent years and still today into my young adulthood, I am obsessed with his photography, the ideas he experiments with, but more so the way in which he does it. With no regard to societal norms or how the public would perceive him or his work, he creates bodies of work that speak to adolescences and young adults, that truly–I believe–only adolescent and young adults can understand.

Bill Henson’s work is publicly showcasing the issues facing adolescence, that the advertising industry is creating
— Nick Jeremiah
Look, for example, at the way children are used in advertising and dressed by their parents.
— Anna Schwartz, 2008

I’m talking of course, about his images of children, adolescent and young adults. The photos are an accurate visual representation of the way teenagers feel. Darkened by criticism and forced into society’s idea of gender and behaviour, they are treated with no responsibility and yet are expected to be responsible. It is this visual vulnerability that is raw, truthful and accurate by all accounts.

The propagandist editorials and advertising depicting unrealistic or unnatural models, beauty, clothing and more is a far more harmful form of photography. The advertising industry is projecting unrealistic expectations into the minds of children and teenagers is the very cause of the many issues that Henson’s work is trying to bring to light.

It’s a dark day for Australian culture, in my view … it is an indictment of a culture when an artist of the integrity and stature of Bill Henson isn’t free to show his work.
— Anna Schwartz, 2008

Henson’s work is criticised widely for depicting children in sexualised contexts. In 2008 his exhibition at Roslyn Oxley9 Gallery in Sydney was temporarily shut down after police seized some works of nude children. Then Australian Prime Minister Kevin Rudd said the images were “revolting” and “devoid of any artistic merit”. 

My interpretation of Henson’s images is probably different to his own; however, they are wonderfully ambiguous yet still apparent at the same time. The dark tones, sickening greens and yellows and silvering skin tones all plays on the darkness, angst and frustration children experience in this transition period from childhood to adolescence and into young adulthood. The nude bodies are an interpretation of that vulnerability. Henson’s work is the most truthful and compelling interpretation of psychological art photography to date, and I am yet to find another artist that explores and represents such issues as accurately and beautifully as Bill Henson.

Untitled #29  1974 Type C photograph, framed 44 x 51.5 cm Edition of 9, AP

Untitled #29 1974
Type C photograph, framed
44 x 51.5 cm
Edition of 9, AP

Untitled AH SH28 N8  2009/2010  Archival inkjet pigment print 127 × 180 cm

Untitled AH SH28 N8 2009/2010
Archival inkjet pigment print
127 × 180 cm

© Bill Henson "Untitled" 2009/2010

© Bill Henson "Untitled" 2009/2010

© Bill Henson "Untitled" 2005/2006

© Bill Henson "Untitled" 2005/2006


Truthfulness and propaganda in my works are very different from Henson. My commercial work is very much playing off the propaganda ideology; studio fashion, hair and makeup, skin and beauty retouching. My architecture, photographed during the best light, retouching out imperfections or distractions in the area surrounding the property; it is all very false and controlled to persuade your thinking that what you’re looking at is desirable and will make you want it or believe it. However, my work–portraits, landscapes, conceptual series’–are all very truthful by their nature.

I shoot film when I’m undertaking a personal project. I like the slowness, and the time it takes, not just in the taking of a picture, but in the processing and developing. I have to wait a day or two before seeing my images after finishing a roll, and this gives me the chance to forget what I shot and look at the pictures with fresh eyes. I would not say I like to alter my film photographs, even though there’s a lot I can do with them in the darkroom, I feel changing the way the scene is captured onto this piece of the film takes away from the truthfulness of the shot, no matter the subject.

From the very beginning, I was all about the commercial genre of photography. I taught myself photography by watching a commercial photographer and wanted to go down that path. Commercial photography is propaganda; it is advertising. It is showing you something that you don’t have and telling you that you want it. Art and conceptual photography, on the other hand, makes you think about ideas, concepts, issues and so on. I’ve only really started to explore that side of photography this year, but I’m finding it to be a refresh being able to get away from the telling, and moving more into the showing and the stimulating.

© Nick Jeremiah, 2016

© Nick Jeremiah "Sleeping Suburbia" 2016

© Nick Jeremiah "Sleeping Suburbia" 2016

© Nick Jeremiah "Untitled #12" 2016

© Nick Jeremiah "Untitled #12" 2016

Images and image information sourced from [Accessed Tuesday, October 18 2016]

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