DOCSLIB.ORG

Chris Killip

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Chris Killip CHRIS KILLIP 19 Centre St #2, Cambridge, MA 02139, USA [email protected] 1946 Born Douglas, Isle of Man, Great Britain 1964 Moves to London and becomes assistant to the photographer, Adrian Flowers 1965-69 Freelance Assistant to various photographers, London 1969-72 Photographed in the Isle of Man 1972- Photographed in England 1975 Moved base to Newcastle-upon-Tyne 1976-84 Founder member and exhibition curator and advisor, Side Gallery, Newcastle- Upon-Tyne, England 1977-79 Director, Side Gallery, Newcastle-Upon-Tyne 1980-91 Photographed mainly in North-East of England 1988 Commissioned by Pirelli to photograph their tire factory 1991-93 Visiting Lecturer, Department of Visual and Environmental Studies, Harvard University, Cambridge, MA 1994-98 Professor, Chairman, Department of Visual and Environmental Studies, Director, Carpenter Center for the Visual Arts, Harvard University, 1998-2017 Professor, Department of Visual and Environmental Studies, Harvard University SELECTED AWARDS 1973-74 Arts Council of Great Britain Photography Award 1975-76 Northern Arts Photography Fellowship 1977 Arts Council of Great Britain Major Bursary Award 1989 Henri Cartier-Bresson Award, Paris 2013 Sundance Film Festival, The Short Non-Fiction Film Award for Skinningrove PUBLICATIONS Isle of Man, text, John Berger, London: Zwemmer/AC of GB, 1980 In Flagrante, text, John Berger & Sylvia Grant, London: Secker & Warburg, 1988 French edition, Vague à L’âme, Editions Nathan, 1988 Chris Killip, text Gerry Badger, Phaidon 55 series 2001, also French and German editions Pirelli Work, text Clive Dilnot, Steidl, Gottingen, Germany 2006 In Flagrante – A Case Study Essay by Gerry Badger, Errata Editions/ DAP, New York, 2009 Here Comes Everybody, Photographs and text. Chris Killip, Thames & Hudson, 2009 Seacoal, Photographs and text, Chris Killip, Steidl, 2011 Arbeit/Work, text, David Campany & Ute Eskildsen, Stiedl/Folkwang, 2012 Isle of Man Revisited Photographs and text, Chris Killip, Steidl, 2015 In Flagrante Two, Photographs Chris Killip, Steidl, 2016 Askam in Furness 1982, Photographs Chris Killip, Café Royal Books, UK 2017 Isle of Man TT Races 1971, Photographs, Chris Killip, Cafe Royal Books, UK 2018 The Station, A 32 page newsprint publication, Pony Design, London 2018 The Last Ships. A 28-page newsprint publication, Pony Design, London 2018 Skinningrove. A 32-page newsprint publication, Pony Design, London 2018 Portraits. A 32-page newsprint publication, Pony Design, London 2018 1 KILLIP page Huddersfield, 1974, Photographs by Chris Killip, Cafe Royal Books, 2019 OTHER PHOTOGRAPHIC PUBLICATIONS Isle of Man, 12 Chris Killip Photographs, Edition of 25, Witkin/Berley, New York, 1973 Chris Killip 1975-76, Creative Camera, May 1977 The complete issue, editor, P Turner Chris Killip, Mills & Milling, An edition of 8 stamps, Isle of Man Postal Authority, 2009 SELECTED ONE-PERSON EXHIBITIONS 1973 "Two Views - Two Cities", Huddersfield City Art Gallery; and Bury St. Edmunds Art Gallery, England; and tour of Great Britain 1977 "North-East of England", Side Gallery, Newcastle-Upon-Tyne; and tour. 1980 "Isle of Man", Side Gallery, Newcastle-Upon-Tyne; tour of G. B. 1980-1982 1983 "Askam and Skinningrove", Side Gallery, Newcastle-Upon-Tyne; and tour. 1984 "Seacoal", Side Gallery, Newcastle-upon -Tyne, and tour Northern Arts region "Chris Killip", Photo Gallery, Johannesburg, South Africa 1985-87 "Another Country" (with Graham Smith), Serpentine Gallery, London Arnolfini Gallery, Bristol; National Museum of Photography, Bradford; Auckland City Art Gallery, Auckland, New Zealand 1986 "Chris Killip", Art Institute of Chicago, Chicago 1988 "On The Edge Of The City" (with the painter Ken Currie), Manchester City Art Gallery, England 1988-90 "In Flagrante", Victoria and Albert Museum, London; Landes Museum, Munster; Atrium Museum, Aachen; Museum für Künst und Külturgeschede, Dörtmund; Alter Rathaussaal, Münich ;Centrum für Industrie- Kültur, Nüremberg; Landesbildstelle, Stüttgart, West Germany; Museum Het Princessehof, Leeuwarden, Holland; Musée de Photographie, Charleroi, Belgium;Baierd Art Gallery, Breda, Holland; I.V.A.M., Valencia, Spain 1989 "Chris Killip", Fotografiska Museet i Moderna Museet, Stockholm 1990 "Working at Pirelli", Victoria and Albert Museum, London, England 1991 "Chris Killip Retrospective", Palais de Tokyo, Paris, France 1996 “Scenes from Another Country” Auckland Art Gallery, New Zealand “The Last Art Show”, Bede Gallery, Jarrow, England 2 KILLIP page 1997 “Chris Killip, Photographs, 1971-1996”, Manx Museum, Douglas, Isle of Man 2000 “Chris Killip, 60 Photographs”, The Old Post Office, Berlin, Germany 2004 “15 Photographs” Rencontres d’Arles, France 2009 “Here Comes Everybody”, Gallery of Photography, Dublin, Ireland 2010 “Four & Twenty Photographs” Amador Gallery, New York & Howard Yezerski Gallery, Boston 2011 Seacoal, Museum for Photography, Braunschweig, Germany. GwinZegal, Center for the Arts, Brittany, France. PhotForum PasquArt, Beil-Bienne, Switzerland (2012) 2012 Arbeit/Work A Retrospective exhibition of Chris Killip’s work, Folkwang Museum, Essen, Germany. Curated by Ute Eskildsen What Happened- Great Britain 1970-90, LE BAL, Paris, France 2013/14 Arbeit/Work, Reina Sofia Museum, Madrid, Oct 1 – Feb 20 2014 2014 Chris Killip - 75 Photographs, Tate Britain, April 21- September 18 2014 2015 Close Distance, Gallery Focus 21, Zurich, Switzerland Nov 5- Dec 24 2016 In Flagrante Two, Yossi Milo Gallery,New York, Jan 28-Feb 27 Isle of Man Revisited, Manx Museum, IOM May 6 – July 27 2017 Now-Then, J Paul Getty Museum, Los Angles, May 23 - Aug 13 2018 The Last Ships, Laing Gallery, Newcastle upon Tyne, Sept 3- May 24 2020 SELECTED PUBLIC COLLECTIONS The Museum of Modern Art, New York International Museum of Photography, George Eastman House Center Creative Photography, University of Arizona, Tucson Harry Ransom Center, University of Texas, Austin Museum of Fine Art, Houston San Francisco Museum of Fine Art, San Francisco Museum of Fine Art, Boston J Paul Getty Museum, Los Angles University of Illinois, Urbana-Champaign 3 KILLIP page The Canadian Centre for Architecture, Montreal Krannert Art Museum, Champagne, IL Kalamazo Institute of Art, Albertina Palace Museum, Vienna, Austria Bibliothèque Nationale, Paris, France Stedelijk Museum, Amsterdam, Holland I.V.A.M., Valencia, Spain Museum Folkwang, Essen, Germany National Gallery of Australia, Canberra, Australia Auckland City Art Gallery, Auckland, New Zealand Moderna Museet, Stockholm, Sweeden Arbetets Museum, Norrkoping, Sweden Reina Sofia Museum, Madrid, Spain Victoria and Albert Museum, London Arts Council of Great Britain, London The British Council, London Tate Gallery Collection, London Manchester City Art Gallery, Manchester Laing Gallery, Newcastle-Upon-Tyne National Museum of Photography, Bradford Wilson Center for Photography, London SELECT BIBLIOGRAPHY- BOOKS, ARTICLES, INTERVIEWS 1 Selected articles by Chris Killip Lewis Hine 1874-1940, Newcastle, Side Gallery, for the Arts Council of Great Britain, 1976 “Sir Roy Strong, Director of the V & A, Interviewed” Creative Camera, October 1981, pp. 266-268. “Robert Doisneau: La Stricte intimité,” and “Danny Lyons: Uptown Chicago,” in Personal Choice: A Celebration of Twentieth Century Photographs Selected and Introduced by Photographers, Painters and Writers, Ed Mark Haworth-Booth, London, Victoria Albert Museum, 1983 "Robert Frank’s “New York to Nova Scotia”," Book Review, Creative Camera, No. 1, 1987. "Photography Now,"Camera Austria, No. 9, 1989. Marketá Luskacová: Photographs of Spitalfields, catalog essay, London, Whitechapel Art Gallery, 1991. “Object of Desire”, Essay on Henri Cartier-Bresson, V & A Magazine, London, 1998“A Photographers Life” Essay on David Goldblatt, Museum of Contemporary Art, Barcelona, 2001. “T V Society: The Photographs of Vincent Goutal.” Harvard Photography Journal, 2001 “Walker Evans” Review of the book, Walker Evans, Metropolitan Museum, N.Y. 2001, Times Higher Educational Supplement, May 17 2002. “Boris Mikhailov: Case History””, Tate Etc, Summer, London 2008 “A Shimmer of Possibility” A review of the Paul Graham exhibition at MoMA, NY, for 8-10 Magazine, London, May 2009 Three Photographs, Frieze Magazine London, November Issue 2011 4 KILLIP page Early One Morning, Essay on Anthony Caro Sculpture, Tate etc Magazine, summer 2014 Greg Halpern, Killip Essay on Halpern, Light Works Annual 2015 The Intimacy of Distance, Killip Essay on Birte Kaufmann for her book The Travellers, 2016 2. Photographic essays “Chris Killip,” Camera, Zurich Switzerland, January 1971, No. 1, pp. 14-20. “Chris Killip on the Isle of Man” (text Shoji Yamagishi), Camera Mainichi ‘71, Tokyo, Japan, Number 11, pp. 41-47. “Chris Killip: T.T. Week Visitors,” Creative Camera, January 1972, Number 91, pp. 458-463. “Faces of Man,” photographs C. Killip, text Frank Kermode, Observer Magazine, London, Sunday July 1, 1979, pp. 32-37. “Chris Killip: Här Finns Mina Rötter,” text Peter Turner, Aktuell Fotografi, nr. 11, Helsingborg, Sweden, 1980, pp. 42-49 “Die Verlorene Notwendigkeit,” “Lieber Vetter Stanley,” Chris Killip (translated Katrin Reinhart), Tages Anzeiger Magazin, Zurich, Nr. 6, 7 Februar 1981, pp. 20-25. “One Man’s Island” text Nigel Skelsey, SLR Camera, December 1981, Haymarket Publications, London, pp. 33-37. Photographs by C. Killip, text Mark Haworth-Booth, Camera Austria, Graz, Austria, 1983, Issue 11/12. Chris Killip,” photographs, text Paul Higgins, Camera and Creative Photography, London, January 1985., pp. 10-17.
Load more

Recommended publications
  • TPG Exhibition List
    Exhibition History 1971 - present The following list is a record of exhibitions held at The Photographers' Gallery, London since its opening in January 1971. Exhibitions and a selection of other activities and events organised by the Print Sales, the Education Department and the Digital Programme (including the Media Wall) are listed. Please note: The archive collection is continually being catalogued and new material is discovered. This list will be updated intermittently to reflect this. It is for this reason that some exhibitions have more detail than others. Exhibitions listed as archival may contain uncredited worKs and artists. With this in mind, please be aware of the following when using the list for research purposes: – Foyer exhibitions were usually mounted last minute, and therefore there are no complete records of these brief exhibitions, where records exist they have been included in this list – The Bookstall Gallery was a small space in the bookshop, it went on to become the Print Room, and is also listed as Print Room Sales – VideoSpin was a brief series of worKs by video artists exhibited in the bookshop beginning in December 1999 – Gaps in exhibitions coincide with building and development worKs – Where beginning and end dates are the same, the exact dates have yet to be confirmed as the information is not currently available For complete accuracy, information should be verified against primary source documents in the Archive at the Photographers' Gallery. For more information, please contact the Archive at [email protected]
    [Show full text]
  • On Being a Photographer, 3Rd Edition
    Photography/Photojournalism $12.95 USD Revised – Third Edition! “A photographer might forget his camera and live to tell the ON BEING A PHOTOGRAPHER tale. But no photographer who survives has ever forgotten the lessons in this book. It is not just essential reading, it’s compulsory.” DAVID HURN/Magnum Daniel Meadows Head of Photojournalism, Center for Journalism Studies, in conversation with University of Wales “A very useful book. It discusses issues which will benefit all BILL JAY photographers irrespective of type, age or experience – and it does so in a clear and interesting manner. I recommend it.” Van Deren Coke past Director of the International Museum of Photography and author of The Painter and the Photograph “I read On Being a Photographer in one sitting. This is an invaluable book for its historical and aesthetic references as well as David’s words, which go to the heart of every committed David Hurn/ on being photographer – from the heart of a great photographer. It is inspiring.” Frank Hoy Associate Professor, Visual Journalism, The Walter Cronkite School Magnum a of Journalism and Telecommunication, Arizona State University “We all take photographs but few of us are photographers. On Being a Photographer talks clearly and cogently about the difference … and Bill Jay photog- the book is rich in practical detail about how to practice as a photographer and to create worthwhile pictures.” Barry Lane past-Director of Photography at the Arts Council of Great Britain and presently Secretary-General rapher of The Royal Photographic
    [Show full text]
  • HOW BRITISH PHOTOGRAPHY FOUND ITS VOICE by Paul Hill
    HOW BRITISH PHOTOGRAPHY FOUND ITS VOICE by Paul Hill The 1970s was, in my opinion, photography’s most important decade of the 20th century. During this period its traditional practices were questioned – even undermined – its profile as a medium of creative self-expression was raised immeasurably, and the teaching of the subject changed beyond recognition. This is my view – partial and self opinionated – but at least I was there, hopefully providing the researchers of today, who have no particular axe to grind, with primary material to help them analyse this exciting era with critical detachment and insight. I want to stress the importance of education and dissemination during this period. The products were good and the message worth listening to, so let the wider public, as well as the cognoscenti, know about it. No one will be beat a path to your door until they know your address. Promoting debate, as well as confronting cliché-ridden photography and out-moded custom and practice, was crucial, and via various avenues, including academics, who had up to then viewed the subject as a purely vocational one, photography found a new position on the cultural and artistic map of Britain. Of course, there is a personal pre-history, and mine is similar to that of many who joined the cause – unusual. I became enamoured of personal photography, as we called it then, through journalism. I was a newspaper reporter before I decided to make one of my hobbies – photography – my career when I became a freelance in 1965. Although news photography was my mainstay, I began to appreciate other sorts of image making, and was particularly influenced by Bill Brandt’s Shadow of Light in 1966.
    [Show full text]
  • Coversheet for Thesis in Sussex Research Online
    A University of Sussex PhD thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details 1 UNIVERSITY OF SUSSEX Alice Compton Ph.D Waste of a Nation: Photography, Abjection and Crisis in Thatcher’s Britain May 2016 2 ABSTRACT This examination of photography in Thatcher’s Britain explores the abject photographic responses to the discursive construction of ‘sick Britain’ promoted by the Conservative Party during the years of crisis from the late 1970s onwards. Through close visual analyses of photojournalist, press, and social documentary photographs, this Ph.D examines the visual responses to the Government’s advocation of a ‘healthy’ society and its programme of social and economic ‘waste-saving’. Drawing Imogen Tyler’s interpretation of ‘social abjection’ (the discursive mediation of subjects through exclusionary modes of ‘revolting aesthetics’) into the visual field, this Ph.D explores photography’s implication in bolstering the abject and exclusionary discourses of the era. Exploring the contexts in which photographs were created, utilised and disseminated to visually convey ‘waste’ as an expression of social abjection, this Ph.D exposes how the Right’s successful establishment of a neoliberal political economy was supported by an accelerated use and deployment of revolting photographic aesthetics.
    [Show full text]
  • 7.10 Nov 2019 Grand Palais
    PRESS KIT COURTESY OF THE ARTIST, YANCEY RICHARDSON, NEW YORK, AND STEVENSON CAPE TOWN/JOHANNESBURG CAPE AND STEVENSON NEW YORK, RICHARDSON, YANCEY OF THE ARTIST, COURTESY © ZANELE MUHOLI. © ZANELE 7.10 NOV 2019 GRAND PALAIS Official Partners With the patronage of the Ministry of Culture Under the High Patronage of Mr Emmanuel MACRON President of the French Republic [email protected] - London: Katie Campbell +44 (0) 7392 871272 - Paris: Pierre-Édouard MOUTIN +33 (0)6 26 25 51 57 Marina DAVID +33 (0)6 86 72 24 21 Andréa AZÉMA +33 (0)7 76 80 75 03 Reed Expositions France 52-54 quai de Dion-Bouton 92806 Puteaux cedex [email protected] / www.parisphoto.com - Tel. +33 (0)1 47 56 64 69 www.parisphoto.com Press information of images available to the press are regularly updated at press.parisphoto.com Press kit – Paris Photo 2019 – 31.10.2019 INTRODUCTION - FAIR DIRECTORS FLORENCE BOURGEOIS, DIRECTOR CHRISTOPH WIESNER, ARTISTIC DIRECTOR - OFFICIAL FAIR IMAGE EXHIBITORS - GALERIES (SECTORS PRINCIPAL/PRISMES/CURIOSA/FILM) - PUBLISHERS/ART BOOK DEALERS (BOOK SECTOR) - KEY FIGURES EXHIBITOR PROJECTS - PRINCIPAL SECTOR - SOLO & DUO SHOWS - GROUP SHOWS - PRISMES SECTOR - CURIOSA SECTOR - FILM SECTEUR - BOOK SECTOR : BOOK SIGNING PROGRAM PUBLIC PROGRAMMING – EXHIBITIONS / AWARDS FONDATION A STICHTING – BRUSSELS – PRIVATE COLLECTION EXHIBITION PARIS PHOTO – APERTURE FOUNDATION PHOTOBOOKS AWARDS CARTE BLANCHE STUDENTS 2019 – A PLATFORM FOR EMERGING PHOTOGRAPHY IN EUROPE ROBERT FRANK TRIBUTE JPMORGAN CHASE ART COLLECTION - COLLECTIVE IDENTITY
    [Show full text]
  • Martin Parr / April 2019 Solo Shows – Current and Upcoming
    Martin Parr / April 2019 Solo Shows – Current and Upcoming Only Human: Martin Parr Wolfson and Lerner Galleries, National Portrait Gallery, London, UK 7 Mar to 27 May 2019 Further details here ​ The National Portrait Gallery celebrates a major new exhibition of works by Martin Parr, one of Britain’s best-known and most widely celebrated photographers. Only Human: Martin Parr, brings together some of Parr’s best known photographs with new work by Parr never exhibited before, to focus on one of his most engaging subjects – people. Featuring portraits of people from around the world, the exhibition examines national identity today, both in the UK and abroad with a special focus on Parr’s wry observations of Britishness. Britain in the time of Brexit will be the focus of one section, featuring new works, which reveal Parr’s take on the social climate in the aftermath of the EU referendum. The exhibition will also focus on the British Abroad, including photographs made in British Army camps overseas, and Parr’s long term study of the British ‘Establishment’ including recent photographs taken at Christ’s Hospital school in Sussex, Oxford and Cambridge Universities and the City of London, revealing the obscure rituals and ceremonies of British life. Although best known for capturing ordinary people, Parr has also photographed celebrities throughout his career. For the first time Only Human: Martin Parr will reveal a selection of portraits of renowned personalities, most of which have never been exhibited before, including British fashion legends Vivienne Westwood and Paul Smith, contemporary artists Tracey Emin and Grayson Perry and world-renowned football player Pelé.
    [Show full text]
  • Creative Camera Jan 1990-Jan 1991
    contents 5 NEWS Frontlines, headlines and comment. 9 KLEIN: OUTSIDER Peter Turnerintroduces this Klein monograph by commenting on the career of a born outsider who was first published inCC in 1974. 10 KLEIN: PORTFOLIO 12 KLEIN: INTERVIEWED Close Up (1989) is Klein’s opportunity to set the record straight about his photography. He talksDavid to Brittain about Barthes, parody and contact sheets. 14 KLEIN: CONTACTS Klein is currently synthesising painting with photography, applying marks on giant blow-up contacts. 16 KLEIN: PORTFOLIO 22 KLEIN: THE MOVIES Jonathan Rosenbaumtraces parallels between Klein’s movies and his stills. 24 KLEIN: PORTFOLIO 26 KLEIN: CONTACTS The thinking behind some well-known Klein photographs revealed and reconstructed through his contacts. 28 KLEIN: PORTFOLIO 33 REVIEW The sheer ambition and sweep of Anselm Kiefer's recent exhibition of paintings and sculpture causesGerry Badger to whistle Wagner, Francis Hodgsonisn’t entirely convinced by the latest version of Robert Frank’s The Lines of My Hand. And the writer, Brian McAvera makes a passionate plea on behalf of the work of fellow Ulsterman Victor Sloan, whom he feels was unfairly passed over in the latest Sun Life Awards. 38 BOOKS OF THE YEAR Left: William Klein and his son with paintings, 1965. contents 5 NEWS Frontlines, headlines and comment. 9 INTRODUCTION Paul Gilroysets the work of the photographerDavid A. Baileyin the context of ‘new Black British art’, and explains how it addresses the wider issue of identity. 10 DAVID A. BAILEY Pictures from Bailey’s exhibitionI’m Black, I'm Bajan and I’m British. 14 STEPHEN MARC A Chicago street photographer finds himself in Ghana.
    [Show full text]
  • MARTIN PARR Born in Epsom, Surrey, United Kingdom in 1952. Lives and Works in London
    MARTIN PARR Born in Epsom, Surrey, United Kingdom in 1952. Lives and works in London. SOLO SHOWS 2019 Martin Parr : Souvenir, Miguel Urrutia Art Museum (MAMU), Bogotá, Columbia. Only Human: Martin Parr, Wolfson and Lerner Galleries, National Portrait Gallery, London, United Kingdom. Life’s a Beach, Perspektivet Museum, Tromsø, Norway. Life’s a Beach, Grilles de Jardin Public, Bordeaux, France. Martin Parr: Return to Manchester, Manchester Art Gallery, Manchester, United Kingdom. Martin Parr Retrospective, NRW-Forum Düsseldorf, Düsseldorf, Germany. Martin Parr Limited Edition Prints, The Print Sales Gallery, National Portrait Gallery, London, United Kingdom. Martin Parr : Oxford, f22 foto space, Hong Kong. 2018 Holiday Parr-ty : British Food Photographs, Janet Borden Inc., Brooklyn, United States Early Work 1971-1986, Beetles+Huxley, London, United Kingdom Life’s A Beach, Latitudes 21, Huelva, Spain Foodographie, Beaugrenelle, Paris, France Martin Parr: Early Work 1971 – 1986, Huxley Parlour, London, United Kingdom 2017 Martin Parr’s Dunoon, Dunoon Burgh Hall, Scotland, United Kingdom Only in England (The Non-Conformists) with Tony Ray-Jones, The Bowes Museum, Durham, United Kingdom The Ceremony of Life, The Photographers Gallery, London, United Kingdom Sony World Photography Awards, Somerset House, London, United Kingdom Beach Therapy, Rocket Gallery, London, United Kingdom Cakes & Balls, Flatz Museum, Dornbirn, Germany Martin Parr, the Photo Space, Ludlow, United Kingdom Martin Parr, Qvale Galleri , Oslo, Norway Oxford, Bodleian Libraries, University of Oxford, Oxford, United Kingdom Souvenir – A Photographic Journey, Versicherungs Kammer Kulturstiftung, Munich 2016 Welcome to Belfast, Belfast Exposed, Northern Ireland Food, Janet Borden, Brooklyn, New York, USA Swans, Gloves, Roses & Pancakes, Tower Bridge, London, United Kingdom Stranger in Paradise, Niagara Gallery, Melbourne, Australia “A photographic journey”, Kunst Haus Wien, Vienna, Austria.
    [Show full text]
  • Ends in 67 Days Closed Today (Tuesday)
    Ends in 67 days Closed Today (Tuesday) L. Parker Stephenson Photographs celebrates its representation of John Davies (b. 1949) with the first solo exhibition of his work in the United States. Nominated for the Deutsche Börse prize in 2008, Davies is best known for his 1980s photographs documenting the broad, complex and changing topography of industrial and post- industrial Britain. Over a dozen large vintage and modern gelatin silver prints have been selected for presentation from his series The British Landscape (published in book format by Chris Boot, 2006). John Davies’ engagement with documentary photography emerged as a response to the economic and social upheavals taking place in the UK in the late 1970s and 80s. This important transitional era was examined in the Museum of Modern Art New York’s 1991 exhibition and accompanying catalog, British Photography from the Thatcher Years, which presented the work of John Davies, Paul Graham, Chris Killip, Martin Parr and Graham Smith. Davies’ exhibited images from A Green and Pleasant Land examined changes to the environment wrought on it by industrialization and urbanization. This 1986 title was the first book published by Dewi Lewis while he was Director of the Cornerhouse art center. Working through long-standing British traditions of painterly and literary scenes, Davies utilizes the sharp descriptive power of large format photography for his fine gelatin silver prints to include a range of details that exceeds a complacent reading of the terrain, emphasizing instead its flux. He honors and preserves the layers of cultural history while the past is regularly erased and replaced.
    [Show full text]
  • The Troublesome Document
    Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2014 The Troublesome Document Stanley Wolukau-Wanambwa Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Photography Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/3475 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. © Stanley Wolukau-Wanambwa - 2014 All Rights Reserved The Troublesome Document A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Photography & Film at Virginia Commonwealth University. by Stanley Wolukau-Wanambwa BA Double Hons. Oxford University, 2002 Director: Brian Ulrich, Associate Professor, Department of Photography & Film Virginia Commonwealth University Richmond, Virginia, April 2014 ii Table of Contents Abstract…………………………………………………………………………………...iv Section I. The Problematic Document…………………………………………………….1 Section II. A Period of Transition: From Picture Press to Photobook…………………...18 Section III. The Virtues of Documentary Photography………………………………….40 Section IV. Illustrations………………………………………………………………….45 iii Abstract THE TROUBLESOME DOCUMENT By Stanley Wolukau-Wanambwa, BA Double Hons A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Photography & Film at Virginia Commonwealth University. Virginia Commonwealth University, 2014. Director: Brian Ulrich, Associate Professor, Department of Photography & Film Virginia Commonwealth University Richmond, Virginia, April 2014 An essay concerning the development of documentary photography, its relationship to political norms, conventions of realism in visual culture, and the form of the photographic book.
    [Show full text]
  • Creative Camera Magazine 1985
    Matthew Horton. Gwent, South Wales by Sue Packer, 1984. NEW IMAGES/NEW YEAR ON POSING AS MALE THE OTHER EDEN REVIEWED CONTENTS To start the New Year, we show the work of three photographers — Sue Packer, Mary Cooper and Paul Barkshire — not previously seen in Creative 4 News & Views. Camera. While their nominal subject matter is quite different, all three photographers work in a very controlled way (either with medium or large 8 Current Comment by Ian format cameras) because for each of them the apprehension of detail is Jeffrey. important in conveying the feeling or message of the image as a whole. Perhaps another way of stating this is to say that in different ways, each of 10 The Other Eden by Brian these photographers is somehow concerned with a notion of character, Stokoe. whether of people or of places. For Sue Packer, this has to do with individuals. In the series of pictures presented here she deals with children, and how they develop and reflect in 14 Peter Sramek: The Male their ideas about themselves aspects of the roles society makes available to Image. them in real life and in fantasy — the role of the ‘little mother’ or the fairy princess, for example. Mary Cooper’s fascination lies in the discovery of the 19 On Posing As Male by Phil mood of places, usually interiors of buildings. Although her images also Derbyshire. provide superbly accurate architectural records, the nature of her interest primarily involves a contemplative and poetic way of seeing rather than a 21 Mary Cooper. practical, documentational one.
    [Show full text]
  • Creative Camera Back Issue Guide April 1998
    This supplement has been compiled at the request of many readers who keep asking which back issues are available and what they contain. Unfortunately, our stock only dates from 1986. Issues from the sixties, seventies and early eighties,Creative when Camera was owned by Coo Press, are so rare only collectors and libraries keep them (especially the Photographers' Gallery and the British Library). We hope this list demonstrates the extraordinary archival value Creativeof Camera. Over the past 30 years this magazine has played a central role in forming and sustaining the identity of the complex organism we call 'photography in Britain'. As a dedicated and sustained space for debates and practices, its pages resemble a sort of collective snapshot of the times. As a pillar of the support structure for photography in Britain, it has been unrivalled in supporting untested and obscure work. One of the delights awaiting any researcher is to trace photographers, over issues, from their emergence to their maturity. There is something in these pages for fans of the howler, the weird picture, and those who enjoy innuendo and subplots can relish the occasional backstabbing letter or thinly coded bitch in the form of a review. Issues during the eighties were monthly, edited by Peter Turner with design guidance from Pavel Buchler.Creative Camera became bimonthly in 1990.1 became editor in summer 1991. Phil Bicker redesigned the current versionCreative of Camera in 1994 and the magazine has been very fortunate to be able to count on Phil's input ever since. Prices reflect the relative scarcity or availability of each issue.
    [Show full text]