Alison Jackson Quotes
Because Bin Laden's culture doesn't permit the worship of images, they understand how powerful images are. We wouldn't have thought of creating a visual bomb. In a way, he's chopped down two iconic buildings, and used our very truth imagery, to express himself. It's fascinating... I mean, dreadful.
Jackson, Alison. Private. Penguin Books, 2004.
Describing civilian review boards of police departments:
Wikileaks had just released 400,000 classified American documents relating to the Iraq War. Many accused him and Wikileaks of endangering the lives of not only soldiers, but Iraq civilians who might be identified as cooperating with the coalition forces by the released documents. The heart of the problem is that governments tend to use classification to hide embarrassing facts or policies that might be controversial as well as to protect legitimate national security secrets and sources and methods of information. The majority of the 400,000 leaked documents, when examined, were clearly not protecting any legitimate people or secrets but just staved off criticism or embarrassment; in many cases, there was no value to the contents and the maw of the censorship and classification process was applied indiscriminately to many documents. A much better argument than Assange made, can be gleaned from the vast number of WWII documents that America, England, France, Russia and others still keep secret, when the people who might have been protected have already died and the methods are long since obsolete.
Commenting on the photo realistic technological achievement in Disney’s remake of The Lion King, David raises a warning about the ability for this technology to create deepfakes that are indistinguishable from reality.
Alison Jackson is an English contemporary BAFTA and multi award winning artist, photographer and filmmaker whose work explores the theme of celebrity culture. Jackson makes convincingly realistic work about celebrities doing things in private using cleverly styled lookalikes. Jackson comments on our voyeurism, on the power and seductive nature of imagery, and on our need to believe.
