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Changes in Looking Changes in Looking VIEWING CONFLICT PHOTOGRAPHY // DON MCCULLIN By William Davie [ THE SEEN ] The Tate Britain’s deeply moving retrospective of photographer Don McCullin signals a sea change in the institution’s outlook on photography. McCullin, the first living British photographer to have a career survey at any of the Tate galleries, forged his reputation as a conflict photographer, an arena that he has worked tirelessly within for over six decades. As a method for restoring a semblance of order to what he has had to witness— an attempt to right a wrong— McCullin photographs the ever- shrinking English countryside. —————————————— ———— These works, which are seen in the final room of the retrospective, are, to put it bluntly, beautiful—if we, the viewer, are to take them at face value. But for McCullin, and now us, these images are loaded. If less overtly, the works are as politicized as his documentation of famine and wars in Africa, the troubles in Northern Ireland, destitution in London’s east end, and the industrial north of England. Owing to the rate at which urbanization is destroying the countryside, they are tainted with the poignancy, perhaps even survivor’s guilt, that McCullin might have felt as he shot them. ———————— —————————— However, a substantial portion of the rest of the retrospective is dedicated to the aftermath of unimaginable pain, suffering, and violation inflicted upon humans by other humans. There are fewer photographs showing conflict than expected, given the amount of time McCullin has spent on frontlines. But it is within these photographs where we witness, from the removed safety of the grey-walled galleries and inside the uniformly framed, black and white, gelatin silver prints, lives so alien to us, that it feels as if the setting of the gallery remains on the verge of making the suffering of McCullin’s subjects palatable. —————————— ——————— In Cyprus (1964), the face of woman who has just [ CHANGES IN LOOKING | 115 ] [ 116 | THE SEEN ] discovered that her husband has been ——————————— I am images immediately available to me vulgar familiarity that I fear could all killed during the Cyprus crisis is 26-years-old. I grew up with violence at anytime, anywhere I go. But the too easily and too soon become contorted by grief. She clutches her in the television shows and in the image is not real. I have never indifference. ————————— hands together in futile prayer as films I watched; there was violence experienced suffering like this. So, ————————— This comes onlookers and a crying boy pushes in the video games I played; violence when I see these photographs, a down to two factors that are outlined his hand against her chest, his fingers and its devastating effects from curiousity to know more about their throughout the retrospective. First: splayed open. Likewise, in A across the globe, even without fully context and a condemnation of the the demand for and our consumption Palestinian Mother in Her Destroyed recognizing it, dominating the news actions that caused them comes in an of these types of images. In the digital House, Sabra Camp (1982), a mother daily, and now, thanks to the internet, obvious and superficial manner, but I age, our ability and expectancy to in a long dark robe and head scarf there is an abundance of violent am never shocked. In fact, I feel a receive real-time news reports and stands with her arms outstretched in exclamation, her mouth open, to a person beyond the camera, in a “But it is my reaction to these photographs— building that has been destroyed by a bomb. ———————————— to their suffering and their pain, devastated by —————— Both lives are ruined. But it is my reaction to these conflict—that I suspect is shared by many others photographs—to their suffering and my age, which is the survey’s greatest asset: it their pain, devastated by conflict— that I suspect is shared by many questions our relationship to images of violence others my age, which is the survey’s greatest asset: it questions our and its aftermath.” relationship to images of violence —William Davie and its aftermath. ——————— [ CHANGES IN LOOKING | 117 ] updates about events from around the Further still, McCullin never relayed with CNN, when asked whether he screaming woman to the body of a globe has allowed technology to both this information back to his handlers feels his photographs have helped little girl lying on her back in a pool give ever-greater credence to at The Sunday Times for fear of being change anything, McCullin stated, “I of blood in the middle of the road. “I photojournalism, of which war labelled “a rank amateur not to have feel that I haven’t made any change didn’t go rush up to her, I didn’t try photography is just one aspect, but got such a picture.” ——————— or difference, every year there is a and help, I ran to the truck and got now, is radically redefining it with ——————————— But what new terrible conflict.” —————— my camera, I started filming the the proliferation of smartphones and does this say about the demand for ———————————— And situation.” he continues. “Some men the ability for people directly images of such cruelty, even fifty with each new face rigid with fear, picked her up and put her in the back involved to photograph and record years ago? Why are they so highly distraught with pain, with every life of a car—and they were actually videos. Speaking about the first time sought after; because people will see broken that I see as I go through blocking my shot and I grabbed one he witnessed a public execution in them on the front of a newspaper and McCullin’s retrospective, I am of the men on the back of the 1965, of a man who had detonated a buy it? Exclusivity? What right did reminded of the indelible details that shoulder, yanked him back and I bomb in a Saigon market, McCullin these photographers have to photographer Jon Steele recalls in went in with the camera. And I was recalled being surrounded by photograph this man’s execution and, Reporters at War. While on looking at her through the eyepiece, I journalists and photographers as the more broadly, what good is it going assignment in Sarajevo during the don’t know if she was conscious or man was executed by firing squad to do—it will not bring back the Bosnian war, Steele had heard a falling into unconscious, but she just before one of the executioners people he killed when he detonated high-powered round being fired. It kind of looked into the lens and then stepped forward grabbing the man by his bomb in the market. It will not was a Serbian sniper. Minutes before, her eyes just kind of lost focus and the hair and shooting him again, bring back the woman’s husband in he had promised to give sweets to the car took off and went away.” He through the head. The photographers Cyprus. It will not rebuild the children playing in a nearby road. continues, saying that later, while and journalists screamed and cajoled, mother’s house in Sabra Camp. The street went quiet, he says. He cleaning dust off the glass of the lens “My God, that was great stuff—did —————————————— rushed out of the building he was in and seeing his face, specifically his you get it, did you get it?” He did not. ———— During a 2016 interview and followed the eye-line of a now- eyes, in the reflection, something hit [ 118 | THE SEEN ] him: “the last thing she saw in her life, was her own-self dying. I did “I feel that I haven’t made any change that to her.” —————————— ———————— Second and or difference, every year there is a new more nuanced, and as a result of the first, is the language we use in terrible conflict.” association with such images, and —Don McCullin what it does to them. —————— ——————— Harper’s Magazine —————————————— the exhibition, as if it would be accolades of the art industry. ——— has described McCullin as “our era’s ———— During the same interview incomplete if it was not included. —————————————— greatest living war photographer,” with CNN, the interviewer asks, in —————————————— — He continues, “I’m not proud of his work has been labelled ‘genius’ reference to this image, what, after ———— What the associated [conflict photography] and the laurels and his photographs, particularly all these years and knowing what an language used in relation to these that come with it sit very uneasily Shell-shocked US Marine, The Battle impact this one image has had, what images also does is fan the flames of upon my head, I have won prizes that of Huế, taken during the Vietnam does it say to him now? His response the myth of the war photographer, or sit in my garden shed, I find it difficult War, in 1968, which shows a is that he is “Sick and tired of looking what Finbarr O’Reilly, noted conflict to feel rewarded at the cost of other muddied, shell-shocked marine, at it” and that he feels that “this photographer and author calls the people’s suffering.” —————— stunned and staring without blinking, photograph has cancelled out all the “hard-living, scarf-wearing loner ———————————— Long far beyond McCullin’s camera, others that came before it,” that he dashing from one war zone to the after you have left, with certain clutching his rifle with both hands, as thinks are more powerful, that show next, with romantic partners as distinct details trapped vividly in ‘iconic.’ ——————————— the suffering and sacrifice of both the expendable as bullets.” And, although your consciousness, the answers to ——————— How can we Americans and Vietnamese soldiers McCullin, now 86, is quick to dismiss the overarching line of questioning in measure ‘greatness’ in this instance, and civilians.
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