Mishka Henner is a key practitioner among the generation of artists redefining the role of photography in the internet age. He views the capturing of images by an endless array of automated and manual cameras as a unified representation of the world with infinite detail, accessible to anyone with an internet connection. Much of his work navigates through this vast digital terrain to focus on key subjects of cultural and geo-political interest. His process often involves extensive documentary research combined with the meticulous construction of imagery from materials sourced online.
Born in 1976 in Brussels, Belgium, Henner moved to the UK in 1984. He holds a Masters degree from Goldsmiths College in London and in 2013, was awarded the Infinity Award for Art by the International Center of Photography. He was shortlisted for the Deutsche Börse Photography Prize in the same year and in 2014, was on the shortlist for the Prix Pictet for his large-scale works focusing on landscapes carved by the beef and oil industries of America. Henner was showcased as part of the group show New Photography at the Museum of Modern Art, New York in 2015. A major solo show, Counter Intelligence at Orebro Konsthall, Sweden featured works across several series in the spring of 2017.
His works have been featured in large historical surveys at the Centre Pompidou Metz, the Metropolitan Museum of Art, and Fotomuseum Winterthur. He has also participated in contemporary surveys at the McCord Musem Montreal, Les Rencontres d'Arles, Frances Lehman Loeb Art Center at Vassar College, and the International Center of Photography, New York.
Henner's works are in numerous public collections including the National Gallery of Art, the Centre Pompidou, the Metropolitan Museum of Art, the New York Public Library, the Victoria & Albert Museum, the Nelson-Atkins Museum of Art, the Arts Council England and the Tate Collection of Artists' Books.
Print-on-demand book publishing has been at the heart of Henner's practice, producing numerous books since 2010. Editorial features and reviews of his work have appeared in Time Magazine, the New York Times, the Guardian, the Observer, Vice, Wired, FastCo, Mother Jones, Frieze, ArtBlouin, and Rhizome.