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Catalogue No.MKJJ001
LocationAmsterdam, The Netherlands
Date
Print QualityFine Art Digital Print

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Joe Jakson
by Menno Kok
Joe Jackson in Amsterdam, The Netherlands. Edition of 10
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Joe Jackson (born David Ian Jackson, 11 August 1954, Burton upon Trent, Staffordshire is an English musician and singer-songwriter now living in Berlin, whose five Grammy Award nominations span from 1979 to 2001.He is probably best known for the 1979 hit song and first single "Is She Really Going Out with Him?", which still gets extensive US FM radio airplay; for his 1982 hit, "Steppin' Out"; and for his 1984 success with "You Can't Get What You Want (Till You Know What You Want)". He was popular for his pop/rock and new wave music early on before moving to more eclectic, though less commercially successful, pop/jazz/classical hybrids.
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Portrait photographer Menno Kok earned his educational stripes at the Pratt Intitute in New York (1996) and at the Rietveld Academy in Amsterdam (1997). Since then he has influenced the editorial front line of Amsterdam and made his mark in New York, Tokyo, Berlin, London and Copenhagen.
Menno’s devotion knows no limits, be it as an art lover, teacher, curator, father, husband or photographer. The latter manifests itself in a behavior that is reminiscent of a mad collector. In a self-therapeutic attempt to conquer his cynicism towards his surroundings, Menno tenderly collects tokens of nostalgia. By exhibiting this evidence that “we were here” he contextualize the popular culture that we have taken for granted and opens our eyes to the mechanics behind it. Be it the wallpaper in an en-route hotel room, abandoned vehicles, or an endless collection of discarded matrasses that catches his eye. By drawing attention to the arbitrary he opens our eyes to the divine. In effect, Menno reveals to us who we are, without necessarily portraying us physically in the image. When portraying people, Menno strives to make an image as opposed to take an image. Paradoxically though, those who have stood before his lens have never before seemed so anonymous, yet omnipresent. So fragile, yet empowered. Then again, as Menno would put it; the camera always, never lies.
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