In 私的な (Michael Joseph)

Alison Jackson gives us all the pictures that every paparazzo has ever dreamed of getting, in this world or the next.

Here's Prince William starkers, with just a flannel for cover.

Here's Osama 貯蔵所 Laden boozing with Saddam Hussein. Here are Princess Diana and Dodi 妖精／密着させるd dandling their first baby.

There's David Beckham just after 存在 血まみれのd by that boot.

To get away with it, Jackson has to make the most solemn disclaimer: "The photographs in this 調書をとる／予約する do not, nor are they ーするつもりであるd to, 代表する any actual event that has taken place, nor that will take place ... These 井戸／弁護士席-known individuals have not had any 関与 in the 創造 of the photographs ..."

大きくする ?

It's true, too, in a way. These tableaux, 提起する／ポーズをとるd with lookalikes blurrily snapped as if caught on the wing, are not really about the celebs at all.

They're about us, the 消費者s. They show us what we most dream of seeing, the famous caught off-guard, the image slipping to 明らかにする／漏らす them to be just like us, or worse.

大きくする ?

These fictions play o n our mistaken sense of intimacy with the 星／主役にするs, 論証するing how slight a 支配する on reality we have.

In a pretentious afterword, the critic Waldemar Januszczak calls Jackson's work both Swiftian and Orwellian.

Simpler just to say it's the funniest picture 調書をとる／予約する for years.

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