Martin Parr's Profile
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Daly, Timothy Michael (2016) Towards a fugitive press: materiality and the printed photograph in artists’ books. Doctoral thesis (PhD), Manchester Metropolitan University. Downloaded from: https://e-space.mmu.ac.uk/617237/ Usage rights: Creative Commons: Attribution-Noncommercial-No Deriva- tive Works 4.0 Please cite the published version https://e-space.mmu.ac.uk Towards a fugitive press: materiality and the printed photograph in artists’ books Tim Daly PhD 2016 Towards a fugitive press: materiality and the printed photograph in artists’ books Tim Daly A thesis submitted in partial fulfilment of the requirements of the Manchester Metropolitan University for the degree of Doctor of Philosophy MIRIAD Manchester Metropolitan University June 2016 Contents a. Abstract 1 b. Research question 3 c. Field 5 d. Aims and objectives 31 e. Literature review 33 f. Methodology 93 g. Practice 101 h. Further research 207 i. Contribution to knowledge 217 j. Conclusion 220 k. Index of practice conclusions 225 l. References 229 m. Bibliography 244 n. Research outputs 247 o. Appendix - published research 249 Tim Daly Speke (1987) Silver-gelatin prints in folio A. Abstract The aim of my research is to demonstrate how a practice of hand made books based on the materiality of the photographic print and photo-reprography, could engage with notions of touch in the digital age. We take for granted that most artists’ books are made from paper using lithography and bound in the codex form, yet this technology has served neither producer nor reader well. As Hayles (2002:22) observed: We are not generally accustomed to thinking about the book as a material metaphor, but in fact it is an artifact whose physical properties and historical usage structure our interactions with it in ways obvious and subtle. -
Martin Parr, Eric Poitevin and Viviane Sassen Unveil New Commission That Echo the Spirit of the Venue
From 14 May to 20 Octobe r 2019 For its twelfth contemporary art event, the Palace of Versailles invites 5 photographers from around the world to the Estate of Trianon, from 14 May 2019 to 20 October 2019. The next contemporary art exhibition at Versailles will be held in the intimate setting of Trianon. For the 2019 event, Dove Allouche, Nan Goldin, Martin Parr, Eric Poitevin and Viviane Sassen unveil new commission that echo the spirit of the venue. Their works, which combines creation and heritage, reveal a new Versailles. Curatorship Jean de Loisy, director of the Ecole nationale supérieure des Beaux-Arts de Paris Alfred Pacquement, Contemporary Art Curator at Versailles Architect scenographer Hala Wardé & her studio HW architecture PRESS CONTACTS CHÂTEAU DE VERSAILLES Hélène Dalifard, Aurélie Gevrey, Violaine Solari, Élodie Vincent [email protected] / +33 (0)1 30 83 75 21 OPUS 64 Valérie Samuel, Arnaud Pain et Fédelm Cheguillaume [email protected] [email protected] + 33 (0)1 40 26 77 94 FOREWORD The twelfth season of the Versailles contemporary art exhibition leads us as if through the antique darkroom of five photographers – Dove Allouche, Nan Goldin, Martin Parr, Eric Poitevin and Viviane Sassen – through their memories and dreams, and ways of seeing, revealing their visions of Versailles, another Versailles. For the first time, the Château of Versailles has commissioned artists to produce new works. In this instance, images that condense and pare down their thoughts on this elusive place. Nearly two hundred years after its invention, photography and its new techniques make Versailles itself as “new” a subject now as it was at the turn of the 20th century. -
BBC Four Winter/Spring 2007
bbc_four_Autmun_2006.qxd:Layout 1 16/1/07 10:42 Page 1 Winter/Spring Highlights 2007 bbc.co.uk/bbcfour bbc_four_Autmun_2006.qxd:Layout 1 16/1/07 10:42 Page 3 The Edwardians – People Like Us? In just a few years at the start of the 20th century, Britain changed in unimaginable ways. From the first foray into aviation, to the invention of labour-saving devices for the home, to the rise of “the brand”, and the birth of not only “the High Street”, but also of the “commuter class”, mass consumerism and tabloid journalism, the Edwardians lived lives not too distant from our own. This new BBC Four season investigates, interrogates and celebrates the richness and excitement of this pioneering and world-changing time. 01 bbc_four_Autmun_2006.qxd:Layout 1 16/1/07 10:42 Page 5 The season includes some of the era’s best-known names, from literary giants such as George and Weedon Grossmith and Saki, to the doyenne of the music hall, Marie Lloyd. Along the way, it also uncovers lesser-known figures. It hears about trailblazers in the fields of social reform, journalism, photography, entrepreneurship and technical invention, uncovering what it really felt like to be Edwardian. Dramas The season launches with Andrew Davies’s brilliant, two-part adaptation of the classic comedy novel The Diary Of A In a compelling drama about the life of one of the biggest stars Nobody, starring Hugh Bonneville as the wonderfully of the time, Marie Lloyd – starring Jessie Wallace as Marie – pompous diarist Mr Charles Pooter – the Victor Meldrew of the season exposes the seedy underbelly of this peculiarly his day – Edwardian entertainment. -
Artist's Notes the Rhubarb Triangle & Other Stories: Photographs by Martin Parr
ARTIST’S NOTES THE RHUBARB TRIANGLE & OTHER STORIES: PHOTOGRAPHS BY MARTIN PARR www.hepworthwakefield.org THE RHUBARB TRIANGLE & OTHER STORIES: PHOTOGRAPHS BY MARTIN PARR 4 February - 12 June 2016 INTRODUCTION and leisure events, or commenting on the consumerism of western culture in the documentation of everyday Martin Parr, the best-known British photographer objects and food in his series Common Sense (1995 – 9) of his generation, was born in Epsom, Surrey in exhibited in Gallery 10, themes of work and leisure can 1952. As a young boy, Parr’s interest in photography be traced throughout his work. was encouraged by his grandfather, George Parr, a Yorkshireman and keen amateur photographer. His Parr’s earlier work focussed on small social groups grandfather gave him his first camera and taught him within Britain, shown within series such as The Non- how to take photographs, process the film and make Conformists (1975 – 80) on display in Gallery 7. Over prints. Parr followed this interest and went on to study the past twenty years he has increasingly worked photography at Manchester Polytechnic from 1970 – 73. abroad, and his work has reflected this change, exploring themes of globalisation and the rise of Since studying in Manchester Parr has worked on international tourism, which can be seen within his work numerous photographic projects; he has developed exhibited in Gallery 10. an international reputation for approach to social documentary, and his input to photographic culture Changing photography and use of technology: within the UK and abroad. He also makes films, curates exhibitions and festivals, teaches, is president Parr’s first major series of work,The Non-Conformists, of the co-operative agency Magnum Photos, and was photographed in black and white, partially for collaborates with publishers to produce books on other its suitability to the subject and the nostalgic look at photographers. -
Martin Parr in Mexico: Does Photographic Style Translate?
Journal of International and Global Studies Volume 3 Number 1 Article 4 11-1-2011 Martin Parr in Mexico: Does Photographic Style Translate? Timothy R. Gleason Ph.D. University of Wisconsin Oshkosh, [email protected] Follow this and additional works at: https://digitalcommons.lindenwood.edu/jigs Part of the Anthropology Commons, Critical and Cultural Studies Commons, Environmental Studies Commons, and the Sociology Commons Recommended Citation Gleason, Timothy R. Ph.D. (2011) "Martin Parr in Mexico: Does Photographic Style Translate?," Journal of International and Global Studies: Vol. 3 : No. 1 , Article 4. Available at: https://digitalcommons.lindenwood.edu/jigs/vol3/iss1/4 This Essay is brought to you for free and open access by the Journals at Digital Commons@Lindenwood University. It has been accepted for inclusion in Journal of International and Global Studies by an authorized editor of Digital Commons@Lindenwood University. For more information, please contact [email protected]. Martin Parr in Mexico: Does Photographic Style Translate? Timothy R. Gleason, Ph.D. University of Wisconsin Oshkosh [email protected] Abstract This study analyzes Martin Parr’s 2006 photobook, Mexico. Parr is a British documentary photographer best known for a direct photographic style that reflects upon “Englishness.” Mexico is his attempt to understand this foreign country via his camera. Mexico, as a research subject, is not a problem to solve but an opportunity to understand a photographer’s work. Parr’s Mexico photography (technique, photographic content, and interest in globalization, economics, and culture) is compared to his previous work to explain how Parr uses fashion and icons to represent a culture or class. -
BBC One Moves Away from Circles, Towards 'Oneness'
BBC One Moves Away From Circles, Towards 'Oneness' 01.30.2017 Whether it's hippos swimming in a loop, the top of a lighthouse, or children holding hands while playing "ring around the roses," British viewers have gotten very used to seeing circles on their screens. For a decade, anyone tuning into BBC One - the British broadcaster's original and still most popular channel - will have seen its iconic loops, hoops and rings in between shows. But inevitably the time has come for a change, and something of a re-brand. On New Year's Eve the ident was finally retired, to be replaced by something completely new. The brief: to update BBC One with the times and, says Charlotte Moore, director of BBC Content, to ensure that the channel is fit to "evolve creatively." Cue a major challenge to the BBC's in-house agency, BBC Creative, to come up with something bold and new to bring the BBC up with modern times. For BBC Creative, it was one of the first big tests since its inception in February 2016, after the corporation's outsourced contract with Red Bee Media had run its course and the decision was made to bring the work back in house. Under the leadership of director Justin Bairamian, the team set about finding the right creative vision - one which captured the diversity of modern Britain in an original way and promoted a sense of shared identity and of people coming together as one. It was out of this spirit that theme was found and a title for the new ident was born: "Oneness." The next and crucial step was getting the right creative mind on board. -
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. -
ALEC SOTH Bibliography Selected Publications
ALEC SOTH Bibliography Selected Publications 2019 Soth, Alec. I Know How Furiously Your Heart is Beating. London: MACK, 2019. 2018 Soth, Alec. Alec Soth: Niagara. London: MACK, 2018. 2015 Penhall, Michele M. Stories from the Camera: Reflections on the Photograph. Albuquerque: University of Mexico, 2015. Schuman, Aaron and Kate Bush. Gathered Leaves, London: MACK, 2015. 2014 Fraenkel, Jeffrey ed. The Plot Thickens. San Francisco: Fraenkel Gallery, 2014. Knight, Robert. In Context: The Portrait in Contemporary Photographic Practice. Clinton, New York: Ruth and Elmer Wellin Museum of Art, 2014. Soth, Alec. Songbook. Minnesota: Little Brown Mushroom, 2014. “The Secret Lives of Museum Guards,” The New Yorker, September 26, 2015. “Voyages: Visual Journeys by six photographers,” The New York Times Magazine, September 26, 2015. 2013 Dyer, Geoff and Pico Iyer. Ping Pong. St. Paul, Minnesota: Little Brown Mushroom, September 2013. Soth, Alec and Brad Zellar. Three Valleys. St. Paul, Minnesota: Little Brown Mushroom, March 2013. 2012 Soth, Alec. Looking for Love 1996. Berlin: Kominek Books, 2012. Soth, Alec and Brad Zellar. Ohio. St. Paul, Minnesota: Little Brown Mushroom, May 2012. Soth, Alec and Brad Zellar. Upstate. St. Paul, Minnesota: Little Brown Mushroom, August 2012. Soth, Alec and Brad Zellar. Michigan. St. Paul, Minnesota: Little Brown Mushroom, November 2012. 2011 Alec Soth: Mostly Women. Portland, Oregon: Nazraeli Press, 2011. Soth, Alec. Alec Soth: La Belle Dame Sans Merci. 2011. Soth, Alec. Lonley Boy Mag (No. A-1: Alec Soth’s Midwestern Exotica). St. Paul, Minnesota: Little Brown Mushroom Books, March 2011. 2010 Rodarte, Catherine Opie, Alec Soth. Zurich: JRP Ringier, 2010. Soth, Alec. -
Editor. “Alec Soth's Guide to Photography.” I-D. October 24, 2019
Editor. “alec soth’s guide to photography.” I-D. October 24, 2019. Dance N Style. Sandusky, OH. Alec Soth. Photography Alec Soth / Magnum Photos Last year, Magnum introduced its first ever online photography course. With contributions from Bruce Gilden, Martin Parr, Susan Meiselas, Richard Kalvar, Carolyn Drake, Peter van Agtmael and Mark Power -- arguably seven of the biggest names working right now -- ‘The Art of Street Photography’ was perhaps the most prestigious access the internet had to offer in photography education for less than $100. “Like many industries there is an urgent need for greater diversity within the photographic industry,” Shannon Ghannam, Magnum’s Global Education Director, said at the time. “We are committed to developing and giving a platform to diverse voices and perspectives through our educational programming around the world.” Following the success of the course, and the positive feedback it received, this month Magnum launch their second edition: ‘Alec Soth: Photographic Storytelling’. Alec, the legendary photographer from Minneapolis -- famed for his startling vignettes of midwestern life and still, baron landscapes -- gives a 19- lesson breakdown via video in what he believes are the key skills to succeed. From his own creative journey to the more granular details of editing, the course aims to give an broad introduction to set any budding photographer’s wheels in motion, or help a more experienced artist hone their skills further. Ahead of its launch, we had a quick chat with Alec to find out more about his photographic journey. Melissa, Flamingo Inn. Canada. What was your first introduction to photography? When I was 16 I had a teacher that opened my eyes to the world of art. -
THE NEW YORK PHOTO FESTIVAL 2Nd Edition, May 13-17, 2009 Curated by William A
NYPH New Y ork Photo Festival O9May 13-17 FOR IMMEDIATE RELEASE: The New York Photo Festival is pleased to announce the THE NEW YORK PHOTO FESTIVAL 2nd Edition, May 13-17, 2009 Curated by William A. Ewing, Chris Boot, Jody Quon, and Jon Levy www.newyorkphotofestival.com “It’s a celebration of photography. The most important thing about the New York Photo Festival is that it fosters a dialogue with the viewer. It’s absolutely non-commercial and therefore it’s about intellectual rigor and having fun!” —Kathy Ryan, Curator, NYPH’08 Following up on its successful debut in May 2008, the New York Photo Festival is pleased to announce the exhibition dates for 2009 and its Festival Curators. The inaugural event in May 2008 was a surprise hit, and it delivered on the promise of presenting the “future of contemporary photography” through the efforts of world-class curators and the selected artists. The NYPH’08 Festival Curators—Kathy Ryan, Martin Parr, Lesley A. Martin, and Tim Barber—created four stunning exhibitions focusing on the ubiquity of images in digital and daily life, sculptural tendencies in contemporary photography, ground-breaking paths in formal photographic documentation and representation, and a formal yet whimsical approach to the democratic presentation of artistic representation. The New York Photo Festival’s debut run in 2008 answered critics’ lament that the world’s capital of photography could never compile a festival of its own. It also affirmatively resolved the quandary of whether contemporary photography could ever stand on its own, apart and distinct from its historical antecedents of greatest hits and exotic depiction. -
Introduction
Introduction Martin Parr is a chronicler of our age. In the face of the constantly growing flood of images released by the media, his photographs offer us the opportunity to see the world from his unique perspective. At first glance, his photographs seem exaggerated or even grotesque. The motifs he chooses are strange, the colours are garish and the perspectives are unusual. Parr's term for the overwhelming power of published images is "propaganda". He counters this propaganda with his own chosen weapons: criticism, seduction and humour. As a result, his photographs are original and entertaining, accessible and understandable. But at the same time they show us in a penetrating way that we live, how we present ourselves to others, and what we value. Leisure, consumption and communication are the concepts that this British photographer has been researching for several decades now on his worldwide travels. In the process, he examines national characteristics and international phenomena to find out how valid they are as symbols that will help future generations to understand our cultural peculiarities. Parr enables us to see things that have seemed familiar to us in a completely new way. In this way he creates his own image of society, which allows us to combine an analysis of the visible signs of globalisation with unusual visual experiences. In his photos, Parr juxtaposes specific images with universal ones without resolving the contradictions. Individual characteristics are accepted and eccentricities are treasured. The themes Parr selects and his inimitable treatment of them set him apart as a photographer whose work involves the creation of extensive series. -
Melanie Friend | Sussex University
09/28/21 Creative Media: Photography - P4076 - Melanie Friend | Sussex University Creative Media: Photography - P4076 - View Online Melanie Friend Abrahams, Fred, Eric Stover, and Gilles Peress. 2001. A Village Destroyed, May 14, 1999: War Crimes in Kosovo. Berkeley, Calif: University of California Press. Ackroyd, Peter. 2000. London: The Biography. London: Chatto & Windus. Adams, Robert. 2001. Summer Nights. New York: Aperture. ———. 2008. The New West: Landscapes along the Colorado Front Range. New York: Aperture. Adams, Robert, and Fondation Cartier. 2007. Time Passes. Paris: Fondation Cartier pour l’Art Contemporain. ‘Aesthetica: The Art and Culture Magazine.’ n.d. http://www.aestheticamagazine.com/. America & Lewis Hine: Photographs 1904-1940. 1997. New York, N.Y.: Aperture Foundation. Andrews, Philip. 2003. Adobe Photoshop Elements 2.0: A Visual Introduction to Digital Imaging. Oxford: Focal. Appleton, Jay. 1996. The Experience of Landscape. Rev. ed. London: Wiley. Arbus, Diane. 1985. Diane Arbus: Magazine Work. Phaidon. ———. 1995. Untitled. London: Thames & Hudson. Arbus, Diane, Doon Arbus, and Marvin Israel. 1997. Diane Arbus. 25th anniversary ed. New York, N.Y.: Aperture Foundation. Arnatt, Keith, David Hurn, Clare Grafik, and Photographers’ Gallery. 2007. I’m a Real Photographer: Keith Arnatt, Photographs 1974-2002. London: Chris Boot. ‘Art and Design, Photography and Architecture. The Guardian.’ n.d. http://www.theguardian.com/artanddesign. Auge ́ , Marc. 1995. Non-Places: Introduction to the Anthropology of Supermodernity. London: Verso. 1/22 09/28/21 Creative Media: Photography - P4076 - Melanie Friend | Sussex University Avedon, Richard, Michael Juul Holm, and Helle Crenzien. n.d. Richard Avedon Photographs, 1946-2004. Humlebæk, Denmark: Louisiana Museum of Modern Art. Bachelard, Gaston, and M.