David Evans
BA (Hons) Modern History
University of Cambridge
MPhil History of Art
Goldsmiths College, University of London
Senior LecturerBA (Hons) Photography
BA (Hons) Illustration
David’s research interests concern historic avant-gardes and their legacy, appropriation, and ‘poor photography’. He has published extensively on photography and photomontage. His catalogue raisonné of the German montage artist John Heartfield was published by Kent Fine Art, New York in 1992 and since that time, he has contributed to major Spanish and French exhibitions on Heartfield (2001 and 2006 respectively). In the last three years, articles and reviews on a wide range of historical and contemporary topics have regularly appeared in international journals and magazines such as Afterimage, Eye, The History of Photography and Source. He received support from the Arts Institute for his research on the Situationist uses of photography (published in History of Photography) and photographic error (published in Source).
In 2007-8, David held an Arts Institute at Bournemouth Research Fellowship, during which he edited the first anthology devoted to appropriation art, Appropriation, in the series Documents of Contemporary Art, (forthcoming London: Whitechapel Gallery and Cambridge, Mass. and London: MIT Press, 2009). He delivered an opening presentation, ‘Seven Types of Appropriation’ at the conference, Takeovers and Makeovers: Artistic Appropriation, Fair Use and Copyright in the Digital Age (University of California, Berkeley, 2008). Other recent publications include: ‘The Situationist Family Album’ in History of Photography (29: 2, 2005, pp. 172-82); ‘Les Virulentes Satires de John Heartfield’ in John Heartfield: Photomontages politiques 1930-1938 (Strasbourg: Musées de Strasbourg, 2006).
David Evans, ed., Appropriation
(Whitechapel/MIT Press, 2009).
Cover image: John Stezaker,Love X (2006), collage.