Episodes from Fay Godwin's Archive, 1970
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A University of Sussex DPhil 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 University of Sussex Geraldine Therese Alexander: Candidate for Doctor of Philosophy (D Phil) The People in the Pictures: Episodes from Fay Godwin’s Archive, 1970 – 2005 January 2014 Volume I 2 Statement I hereby declare that this thesis has not been and will not be, submitted in whole or in part to another University for the award of any other degree. Signature………………………………………………………….. 3 University of Sussex Geraldine Therese Alexander: Candidate for Doctor of Philosophy (D Phil) The People in the Pictures: Episodes from Fay Godwin’s Archive, 1970 – 2005 Summary This thesis presents a series of frameworks analysing some of the principal phases in the career of British photographer, Fay Godwin (1931-2005). The primary objective has been to identify people and events contributing to Godwin’s unusual position as a freelancer working productively in a climate that tended to instrumentalise photography. The secondary aim has been to establish the historical context within which she operated. Godwin’s progress is examined in three stages. Firstly, via the circumstances surrounding her pursuit to become a photographer-author in the 1970s. Her navigations between portraiture and landscape produced a series of collaborative publications that drew on different strands of longstanding literary and visual traditions. Additionally, wider research has revealed her interactions with some of the significant figures, and early developments in Britain’s revitalised photographic community through her membership of an aspiring photographic group. Secondly, I focussed on Godwin’s interventions with environmental groups in Britain during the 1980s. Building on a nurtured respect for the natural world, she moved comfortably into the rural branches of the movement’s third phase. Shaped by nineteenth century romanticism and sustained by the twentieth century spirit of socialism, modern environmental groups metamorphosed into sophisticated organisations, swift to capitalise on the far-reaching power of the media. Thus 4 Godwin used her both her status, as well as her conscience to help reinstate ancient rights of access to the land. Lastly, Godwin’s formal move to colour brought her to Bradford, a city in the throes of economic and cultural regeneration. Historically the North represented ‘a site of pilgrimage’ to literary and visual chroniclers of Britain, and Godwin’s Bradford work sat within that tradition. Yet, Bradford also proved a pivotal moment in her withdrawal from traditional landscape representations, into a more creative expressive phase of her photography signifying her independent spirit to pursue her own artistic goals. 5 Table of Contents Volume I Acknowledgements........................................................................................................6 List of Abbreviations .....................................................................................................8 List of Illustrations.........................................................................................................9 Introduction..................................................................................................................36 Chapter One: ‘Coming in from the cold’ .....................................................................43 Chapter Two: ‘A Coming of Age’ ..............................................................................116 Chapter Three: ‘A Homecoming’...............................................................................197 Conclusion .................................................................................................................258 Appendix: A Brief Chronology of Fay Godwin ........................................................267 Bibliography ..............................................................................................................274 Volume II List of Illustrations Figures: 1 - 209 6 Acknowledgements I would like to thank all those who have contributed to my research, and supported me through this time. Particularly my supervisory team: Professor David Mellor for being a steadfast guide throughout, as a deep source of knowledge and also for his remarkable list of contacts, and John Falconer, Lead Curator Visual Arts at the British Library, for his prompt attention on all matters concerning Fay Godwin’s archive, and for his organisation of the Godwin images that appear in this thesis. To Colin Hardy at the National Media Museum for his time and the information he made available to me. Also, I would like to give recognition to the Arts and Humanities Research Council for making funds available for this project. I am also deeply grateful to the Godwin family, and executor of her estate, Maggie Taylor for generously allowing me access to the family archive over the years, as well as contributing to my research. I am indebted to all of my interviewees who gave their time and trawled their memories to help piece together the different sections of Godwin’s long and varied career, in particular Ian Jeffrey for the interest he expressed on my subject, and his generous contributions to my research. I would like to express my sincere gratitude to Stephen Weiss for allowing me unlimited access to the Co-optic archive, which first had to be retrieved from his loft. Charles Mapleston for giving me generous access to the pre-production footage of his upcoming DVD on Godwin’s life. Also, Roger Taylor and Paul Hill, both of who were close friends and colleagues of Godwin, and have been very generous with their time and information on all aspects of her work. A special thanks goes to my good friend, Dr Helen Rufus-Ward who has been enormously supportive and inspiring throughout my research. A big note of gratitude is due also for the greatly appreciated support from my fellow student, Claudia Field – we’re nearly there! and Dr Sarah Robins-Hobden, at the University of Sussex Doctoral School, for her ongoing encouragement and advice. 7 Finally, I would like to acknowledge the invaluable support of my family and friends, particularly my husband, Terence Anderson for his constancy and dinners. This thesis is dedicated to the memory of my father, D. P. Alexander, who sadly missed the last episode. 8 List of Abbreviations British Library - housing the Fay Godwin Archive BL British Library Sound Archive BLSA Co-optic Newsletter CNL Council for the Preservation of Rural England CPRE Fay Godwin Archive FGA Godwin Family Archive GFA National Museum of Media NMM Ramblers Association RA 9 List of Illustrations Fig. 1. Fay Godwin, ‘Abel Cross’, 1977, Gelatine - silver print, from Remains of Elmet series Fay Godwin Archive, Courtesy of the British Library Fig. 2. Fay Godwin, ‘Barber Stone’, 1974, Gelatine - silver print, from ‘The Ridgeway’ series, Fay Godwin Archive, Courtesy of the British Library Fig. 3. Fay Godwin, ‘Marker Stone, London to Harlech road’, 1976, Gelatine - silver print, from ‘The Drovers’ Roads of Wales’ series, Fay Godwin Archive, Courtesy of the British Library Fig. 4. Fay Godwin, ‘Bridestone’s Moor’, 1977, Gelatine - silver print, from Remains of Elmet series, Fay Godwin Archive, Courtesy of the British Library Fig. 5. Fay Godwin, ‘Hebden Bridge’, 1977, Gelatine - silver print, from Remains of Elmet series, Fay Godwin Archive, Courtesy of the British Library Fig. 6. Bill Brandt, ‘Avebury Circle’, ‘22.01.44: The neolithic megaliths at Avebury Circle in Wiltshire, one of the greatest prehistoric ceremonial sites in Europe. Picture Post.’ Photograph, download from website: Getty Images: http://www.gettyimages.ca/detail/photo/avebury-circle- high-res-stock-photography/127999079 Fig. 7. Fay Godwin, ‘Barbury Castle’, 1974, Gelatine - silver print, from ‘The Ridgeway’ series, Fay Godwin Archive, Courtesy of the British Library Fig. 8. Bill Brandt, ‘Barbury Castle’ 1948, photograph, download from website, Bill Brandt Archive: http://billbrandtarchive.photoshelter.com/gallery- image/Landscape/G0000tfbKhIMAmYY/I0000knmdL8qYHF0 10 Fig. 9. Bill Brandt ‘Avebury Stone Circle, Wiltshire’ 1944, photograph, download from website, Bill Brandt Archive: http://billbrandtarchive.photoshelter.com/image/I0000pBJ722.jtJA Fig. 10. Fay Godwin, ‘Moonlight at Avebury’, 1974, Gelatine - silver print, from ‘The Ridgeway’ series, Fay Godwin Archive, Courtesy of the British Library Fig. 11. Samuel Palmer, ‘Moonlight, a Landscape with Sheep’, 1831-3, ink on card, support: 152 x 184, download from website: Tate Britain http://www.tate.org.uk/art/artworks/palmer-moonlight-a-landscape- with-sheep-n03700 Fig. 12. Fay Godwin, ‘Lyn Irddyn’ 1976, Gelatine - silver print, from The Drovers Roads of Wales 1977, Fay Godwin Archive, Courtesy of the British Library Fig. 13. Raymond Moore, ‘Untitled’, undated, photograph, in Creative Camera Yearbook 1977, download from website: Weeping Ash – Raymond Moore: http://www.fine-photographs.co.uk/index.php/display-as-