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Show and Tell, op. 258. The link between Luchar! and Artists Call is described in D. Ashford, ‘Aesthetic Insurgency’, op. 114—16. As described in Show and Tell, ‘A work by Anne Pitrone — a life-size piñata that depicts a figure in the strappado torture position — generates some controversy. ’ J. ), Show and Tell, op. cit. 74—75. Conversation with D. Ashford, 10 September 2010; and conversation with J. Ault, , 20 November 2010. CISPES’s timeline is reproduced in J. ), Show and Tell, op. 90. 32 | Afterall role; Mathematica: A World of Numbers … and Beyond (1961) and The World of Franklin and Jefferson (1975—77) both included wall-mounted timelines, for instance.
Clearly, it should have included the work of Hans Eijkelboom. See I. Blazwick and C. Christov-Bakargiev, Faces in the Crowd: The Modern Figure and Avant-Garde Realism (exh. ), London and Turin: Whitechapel Art Gallery and Castello di Rivoli, 2005. 44 | Afterall Hans Eijkelboom, Paris–New York– Shanghai, 2007, C-print, 80 × 162cm each. Courtesy the artist non-negotiable rules. Photographing only takes place in a precisely determined spot, for a precisely determined length of time (both facts are always included at the bottom of the resulting arrangement of photographs as crucial bits of information), and the ‘subject’ is correspondingly narrowly defined to ensure maximum sameness.
Likewise, hanging above the year ‘1896’, a poster from Barbara Kruger’s series You make history when you do business (1982) precisely describes a much larger historical context of economically motivated military intervention. In Tina Modotti’s photograph Hands Resting on Tool (1926), which hangs between ‘1865’ and ‘1885’, a labourer’s hands pack the closely cropped frame, simultaneously conceding to work while issuing a silent refusal. The photograph conveys volumes about the exploitation of labour during Timeline’s entire historical span.