Irony and subtlety enable proper satire. The shrewder and more subversive the message, the greater the likelihood it will be misunderstood or unappreciated.
Photographer, author and social satirist Marques Vickers has compiled a series of comparative images and commentary in his edition “102 Satirical Photographic Ironies: Subtle to Subversive”. The photographic compositions are laid out to resemble contemporary advertisements.
This edition is an entertaining and disarming visual portrayal of lifestyle choices and realities that pose paradoxical contrasts. Vickers’ third satirical work ventures into social commentary and presumptive observations usually taken for granted. His two previous editions concentrated on human phobias and obsessions.
Among the varied topics of assault include racism, sexism, nationalism, poverty, addiction, privacy invasion, societal evolution, icons, vanishing idealism, excess and clichés that often summarize human behavior.
His succinct and sometimes biting messages offer an offbeat perspective to customarily simplistic assumptions. His downplayed visual comparisons contrast with overt proselytizing tactics that he observes in his preface as “usually condescending, sentimentalized or simply redundant”. Vickers photography offers him a platform to focus his aim beyond superficiality with a notable absence of malice.
Photographer, author and social satirist Marques Vickers has compiled a series of comparative images and commentary in his edition “102 Satirical Photographic Ironies: Subtle to Subversive”. The photographic compositions are laid out to resemble contemporary advertisements.
This edition is an entertaining and disarming visual portrayal of lifestyle choices and realities that pose paradoxical contrasts. Vickers’ third satirical work ventures into social commentary and presumptive observations usually taken for granted. His two previous editions concentrated on human phobias and obsessions.
Among the varied topics of assault include racism, sexism, nationalism, poverty, addiction, privacy invasion, societal evolution, icons, vanishing idealism, excess and clichés that often summarize human behavior.
His succinct and sometimes biting messages offer an offbeat perspective to customarily simplistic assumptions. His downplayed visual comparisons contrast with overt proselytizing tactics that he observes in his preface as “usually condescending, sentimentalized or simply redundant”. Vickers photography offers him a platform to focus his aim beyond superficiality with a notable absence of malice.
