Archive for the ‘Photographers’ Category

Anarchists & Underdogs

Wednesday, December 26th, 2018

I read a post a week or two ago, pointed out to me by an anarchist friend, on the British Culture Archive web site, posted there last March, Anarchists & Underdogs | Images of Social & Political Graffiti in the UK and as well as sharing the link with you, thought there were also a few images I took in the 1980s of similar material.

It was one thing thinking that, but since I had no real idea of when I might have taken the pictures they were not that easy to track down. I’ve never really concentrated on taking pictures of graffiti, though in more recent times I have photographed some of the more colourful images on walls in Leake St underneath Waterloo Station, a route a sometimes detour through when I’ve just missed a train home and have 22 minutes to wait for the next, in Shoreditch, London’s graffiti capital, and elsewhere, not forgetting Hull’s great Bankside Gallery. But these are more murals than graffiti, and the earlier examples, both in the BCA article and here are simple text statements, usually of a political nature.

‘George Davis is innocent, OK’ appeared on walls across London, and is one I’ve written about before, though I can’t remember where. It was so common it hardly seemed worth using film on, unless there was a little more to it. Of course he was probably innocent of this one particular charge but otherwise a prime villain. Police had deliberately held back evidence that would have led to his acquital and the identification evidence was unsound and the huge campaign over his sentence led to early release in 1976 although the conviction was only finally quashed in 2011.

Many of us knew that such things happen – and I was later openly threatened with being “fitted up” by a police office back in the 1990s – but the George Davis case brought it out into the open in a way that hadn’t happened before. But what made me photograph this particular instance was the anti-nuclear figure with a CND symbol  next to it and the location. I didn’t even feel it necessary to include all of the G.

Housing was an issue back in the 1980s as it is now, with London Councils being accused of racism and social cleansing. Of course things have changed. Then the councils were building council housing – if not always doing so in a way that really met local needs, and clearing largely privately owned slums, often in very poor condition, though some were structually sound and could better have been refurbished. Now they are working with property developers to demolish council estates and build properties almost entirely beyound the means of the council tenants who are being displaced by the new developments and mainly for private sale at market prices, under the banner of ‘regeneration’. Tower Hamlets, traditionally Labour, came under Liberal/SDP control days before I took this picture by a majority of twoin a low (35%) turnout.

Joe Pearce was, together with Nick Griffin, one of the leading members of the Nazi National Front; together they took over the party in 1983, and reorganised it from a racist political movement into a racist gang based on young poor working class urban youth, particularly skinheads. Pearce had set up the NF paper ‘Bulldog‘ in 1977 when he was only 16 and in 1980 became editor of ‘Nationalism Today‘. He twice served prison sentences for offences in his wiriting under the 1976 Race Relations Act, in 1982 and 1985–1986. In 1989 he was conveted from Protestantism and membership of the Orange Order to become a Roman Catholicism and, according to Wikipedia, “now repudiates his former views, saying that his racism stemmed from hatred, and that his conversion has completely changed his outlook.”

I took all of these pictures in London’s East End in May 1986.
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There are no adverts on this site and it receives no sponsorship, and I like to keep it that way. But it does take a considerable amount of my time and thought, and if you enjoy reading it, a small donation – perhaps the cost of a beer – would be appreciated.

My London Diary : London Photos : Hull : River Lea/Lee Valley : London’s Industrial Heritage

All photographs on this and my other sites, unless otherwise stated, are taken by and copyright of Peter Marshall, and are available for reproduction or can be bought as prints.

To order prints or reproduce images

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Rothschild’s Gunnersbury

Saturday, December 1st, 2018

It should have been an easy walk from Brentford Station to Gunnersbury Park and it wasn’t far, but seemed longer going on a narrow path past extensive building work. The park used to be the home of various Rothschilds, part bought by Nathan Mayer Rothschild in 1835, and the rest in 1889. He had come to establish a bank in London and made a huge fortune in the Napoleonic wars smuggling gold bullion to pay Wellington’s troops, and by the time he bought the ‘Large Mansion’ was the richest man in Britain, but didn’t live long to enjoy this country estate, dying the following year. It flourished under his son Lionel, the man he lent the government the cash to buy half the Suez Canal.

After Nathan’s grandson Leopold died in 1917 (the family having acquired a ‘de’) parts of the estate were sold off and in 1925 his widow sold the remaining 75 hectares of park and houses to the boroughs of Ealing and Acton (with some financial support from Middlesex County Council) to be kept for leisure purposes as a memorial to her late husband, and the park opened to the public in 1926.

Gunnersbury had been chosen as it was ‘out of town’ a convenient ‘country estate’ for the lavish parties held there, only a short drive of around 8 miles from West End homes. Part of the reason for the sale may have been the opening in 1925 of the Great West Road, running along the southern edge of the park which would have brought much more traffic and make the location considerably less rural, with new estates being developed all around it.

The Large Mansion has been recently done up and looks in splendid condition, though the local history museum it contains has been given a makeover as a rather shallow visitor attraction. There are some things of interest, and it is still worth a visit, particularly the extensive kitchens, but I prefer my museums dusty and crowded with artifacts, and preferably with ready access to local history resources. Perhaps the large collections the two boroughs had are still available elsewhere; some documents form Hounslow are now at the libraries in Feltham and Chiswick.

In the upper corridor are some fine large prints from the Autochromes taken around the house by Leopold de Rothschild, a keen photographer in the early years of the last century. He took up the process in 1908, the year after it was introduced, and The Rothschild Archive holds 733 autochrome plates, the largest collection by any single British photographer to have survived, and you can download an interesting document about them.

One of the reasons why the autochrome process never achieved great popularity was that there was no simple way to print or reproduce the images. The plates, available in sizes from about 4.5×10.5cm to 18x30cm were usually viewed with a special viewer containing a mirror (or eyepieces with prisms) as the images were inverted. Now of course it is possible to scan them and make prints.

We met the older members of our family at the mansion, after they had taken the short bus journey from Acton Town and ate at the cafe in the park. Tasty enough but not a place for either the hungry or poor, and for me the least satisfactory part of our day out.

I made my excuses and left to take a further walk around the park and more pictures on a more direct way back to Brentford, intending to pick up another small snack when I got there. I’d just missed a train so took a further short walk around Brentford, although it was now raining slightly.

Gunnersbury Park & Brentford
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There are no adverts on this site and it receives no sponsorship, and I like to keep it that way. But it does take a considerable amount of my time and thought, and if you enjoy reading it, a small donation – perhaps the cost of a beer – would be appreciated.

My London Diary : London Photos : Hull : River Lea/Lee Valley : London’s Industrial Heritage

All photographs on this and my other sites, unless otherwise stated, are taken by and copyright of Peter Marshall, and are available for reproduction or can be bought as prints.

To order prints or reproduce images

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On the street

Sunday, November 25th, 2018

Although I take almost all of my pictures on the street I’ve never really though of myself as a street photographer, largely because I think of it as a meaningless category. If you disagree I think it is worth going back to what many think of as the ‘bible‘ of the putative genre, Bystander, and read through it carefully and critically looking at the examples. Of course there are plenty of photographs we can say are definitely not street photography, but nothing really emerges which amounts to a clear definition of a genre.

Yesterday I watched a couple of videos about street photography, both of which were mentioned on PetaPixel. For some reason the link to ‘Cheryl Dunn’s highly-regarded 2013 documentary Everybody Street‘ which is now on YouTube refused to display in the PetaPixel page in my browser, but a search on YouTube found it without problems and I was able to watch it full-screen in fairly high quality and I didn’t notice the ads.

It contains a number of photographers who have worked on the streets of New York speaking about their work, and shows them taking pictures and some of the pictures they have taken. Some are very well-known, while others less so, and their work covers a fairly wide range of practices. There is some attempt to give a historical perspective, with Max Kozloff talking about a number of other photographers from Alfred Stieglitz on.

One of the featured photographers, Rebecca Lepkoff, talks a little about the New York Photo League which brought her into photography, though it would have been good to have had a interviewer drawing her out more about this. She was one of the photographers I wrote about years ago in a series on the Photo League, but it would have been good for the film to have looked in a little more detail on some of the others, though few now survive. I think it is impossible to overstate the importance of this organisation in what later became known as ‘street photography.’

Some of the work shown and discussed in the film is quite clearly documentary photography,  and the rest seems to me too varied for the overall category of street photography to have any real use.

I think the film was about 80 minutes long, and it is certainly a very professional film, with some nice footage of New York, making me feel I should have gone there and lived and photographed on its streets, but there were times when I felt it dragged and I did skip forward a little at times. The making of the film was made possible by over $45,000 of crowdfunding but it looks as if it cost considerably more

The second film featured on PetaPixel was the curiously capitalised ‘Why you SHOULDN’T do STREET PHOTOGRAPHY‘ by UK photographer Jamie Windsor, which I have to say I found far more difficult to watch. Not because of what he said, which in part echoes things I’ve said and written in the past, but because of the production and personality of the presenter. He looks at the work of several photographers, particularly the late Hong Kong photographer Fan Ho, Nan Goldin and Martin Parr.

I wasn’t familiar with the work of Fan Ho, but by the time I’d seen a few pictures found it extremely repetitive, and failed to see that it represented in any real way the changing times of the city. If you like pretty, arty photos it may be for you.

Goldin of course did as he suggests live the life of the subjects she photographed, recording moments in the lives of her friends and their particular subculture, with her work something of a ‘family’ album.

I share some of Windsor’s misgivings about Martin Parr and his depictions of working class life. His approach was clearly rather more distant than that of – for example – the Picture Post photographers, and sometimes appears to be very much as he suggests reflecting he prejudices of a middle-class photographer, making judgements about those he photographs.

But not all those Picture Post photographers were Bert Hardy, who grew up a working class kid in the Borough and some who managed a much more empathetic approach came from rather more patrician backgrounds than Parr.

Despite Hardy’s working class background he appears to have had no problems relating to and empathising with people from all walks of life and all levels of society. The nature of Parr’s work came from his intention to be a social commentator rather than to engage with the people he was photographing.

Taking a photograph always implies a point of view. We shouldn’t pretend to “accurately represent a culture” whether or not we are part of it, and I’m not at all sure what that means. For me, empathy with the people I photograph is vital, and to that extent I agree with him.

Much of the uneasy interest I have in, for example, Martin Parr’s New Brighton pictures, comes from knowing that his is a rather snooty middle-class exploitatative view of the working class. It gives them the edge that makes them stand out, just as Bruce Gilden’s photographic street assaults do, though in Gilden’s case I find the approach soon gets to be rather boring, the pictures more about his antics rather than the subjects he photographs. I want photography to be about the world, not about photography.

And it is perhaps empathy that I find absent in Fan H0’s work, which uses people as tokens or ciphers, something which the presentation in this video emphasizes. They remind me of my least favourite of Cartier-Bresson’s work, what another photographer called the ‘waiters’, where the photographer had clearly identified a situation and then waited for a person to put themselves in just the right spot. It’s a side of ‘street photography’, particularly loved by amateurs, that I find just boring. But I wouldn’t want to proscribe it. By all means let a thousand Fan Ho’s bloom, just don’t expect me to spend much time looking at them.

Both for the people who do it and for the audience (if any) for it, photography can be many different things. It’s fine for Windsor to state what he thinks and to ask others also to think about their own practices, but not, as his title says, to try to impose a straitjacket on others.

Victoria Coach Station – Paul Baldesare

Thursday, November 22nd, 2018

The latest title from Café Royal Books, Paul Baldesare — Victoria Coach Station 1991–1993, showcases some images that I’ve really loved since I first saw them when Paul was working on this project. And there are a few great pictures I’ve not seen before.


© Paul Baldesare 1991-3

Paul and I met at the Museum of London a year or so before he took these pictures, and we became members of the ‘London Documentary Photographers‘ group set up by Mike Seaborne who was the curator of photographs at the museum. At the time Paul had a great body of work taken on the London Underground (some in another Café Royal book) which inspired me to begin a series of pictures on London buses.

London Documentary Photographers decided to put on a show about transport in London – and the museum showed this, I think in 1992 or 1993. As well as some of the bus pictures, I also contributed a set of black and white panoramic images showing the DLR extension to Beckton under construction, including this picture of the line going over Bow Creek.

This was the first project that I’d done using the Japanese Widelux swing lens panoramic camera, chosen because the subject matter seemed to suit it so well. This picture from it has been published and shown a number of times, but much of the rest of the work has hardly been seen since I took it, though an image taken a couple of years later when the line was in operation and I returned to photograph it in colour,  still using a panoramic camera, did rather nicely wrap around both sides of a record cover.

There are plenty of other Café Royal Books worth looking at, and now is a great time to stock up, as there is a half price sale – 50% off orders over £24, but only until midnight on 26th November. As well as buying copies for yourself, they might make good stocking fillers for friends.

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There are no adverts on this site and it receives no sponsorship, and I like to keep it that way. But it does take a considerable amount of my time and thought, and if you enjoy reading it, a small donation – perhaps the cost of a beer – would be appreciated.

My London Diary : London Photos : Hull : River Lea/Lee Valley : London’s Industrial Heritage

All photographs on this and my other sites, unless otherwise stated, are taken by and copyright of Peter Marshall, and are available for reproduction or can be bought as prints.

To order prints or reproduce images

________________________________________________________

Peter Marshall — The River Hull 1977–85

Saturday, November 10th, 2018

I’m pleased to announce a second little zine just published with a few of my pictures – ‘Peter Marshall — The River Hull 1977–85‘, now available on Cafe Royal Books.

You can page through and see all the pictures on the web site – and of course buy a copy if you want. Might make a good Christmas present… And unlike my ‘Still Occupied, A View of Hull’ at a reasonable price, though postage adds a a bit to the £6 cover price.

Best to buy several copies and share them with friends, or of course there are many other great volumes in the series worthy of your consideration, including my own Notting Hill Carnival in the 1990s, as well as several by some of my friends, including Bob Watkins‘ The English Way, English Carnival Pictures, Paul Baldesare‘s Down the Tube Travellers on the London Underground and John Benton-Harris‘s The English and many more you can see on the Cafe Royal Books pages.

All these zines are fairly small editions and some sell out pretty quickly.

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There are no adverts on this site and it receives no sponsorship, and I like to keep it that way. But it does take a considerable amount of my time and thought, and if you enjoy reading it, a small donation – perhaps the cost of a beer – would be appreciated.

My London Diary : London Photos : Hull : River Lea/Lee Valley : London’s Industrial Heritage

All photographs on this and my other sites, unless otherwise stated, are taken by and copyright of Peter Marshall, and are available for reproduction or can be bought as prints.

To order prints or reproduce images

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The Isle of Dogs…

Sunday, October 21st, 2018

Thursday night last week I went to the launch of Mike Seaborne‘s book, ‘The Isle of Dogs: Before the big money‘ appropriately held on the Isle of Dogs in Cafe Vert at George Green’s School, a few yards from Island Gardens DLR station.

Mike is an old friend who I met not long after he was taking the pictures in this book, and we then found that we had both been photographing the area at the same time. But while I was just an occasional visitor to the area with a general interest in what was happening across London (and in across Docklands in particular), he became very much more involved in the community of this particular area, as this work shows. Of course, as you can see from his web site, he has also photographed widely across London and elsewhere.

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Image Copyright Mike Seaborne

It was good to see this work published by Hoxton Mini Press, who I think have done a fine job with this volume which is a part of their series ‘Vintage Britain‘. You can judge for yourself on their web site, which shows the cover and ten double-page spreads from the work, and says:

“Now home to Canary Wharf and global finance, the Isle of Dogs was once the beating heart of industrial East London. These photographs, taken between 1982 and 1987, show the island just before the big money moved in and the area was forever transformed.”

and of course you can buy a copy on-line.

Mike began to photograph London in 1979 and until 2011 was Senior Curator of Photographs at the Museum of London.  A group of photographers including Mike and myself have also organised a number of shows over the years, and you can still see work from several of these, including ‘Another London‘, on the web, and much more of Mike’s work on his own web site. Back in 2002 we set up a site together to celebrate Urban Landscape photography, featuring our own work and that of other photographers from the UK and around the world.

A few of my own pictures from the Isle of Dogs can be seen in the preview of my City to Blackwell on Blurb, the first of five books in my Docklands series. With both of us wandering around the area at about the same time, there are a few similar images. What photographer could resist this shop-front? Here is one of several pictures I took:


you can see Mike’s in his book, and also on his 80sIslandPhotos.

Mike has continued to be involved with the community he photographed back in the 80’s and this was evident at the opening, from which I’ll perhaps post a few more pictures later.

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There are no adverts on this site and it receives no sponsorship, and I like to keep it that way. But it does take a considerable amount of my time and thought, and if you enjoy reading it, a small donation – perhaps the cost of a beer – would be appreciated.

My London Diary : London Photos : Hull : River Lea/Lee Valley : London’s Industrial Heritage

All photographs on this and my other sites, unless otherwise stated, are taken by and copyright of Peter Marshall, and are available for reproduction or can be bought as prints.

To order prints or reproduce images

________________________________________________________

Thieving Artist

Thursday, October 18th, 2018

I’ve written before about Richard Prince and his appropriation of photographs and only return to the case as I’ve just read a post in The Art NewspaperRichard Prince defends reuse of others’ photographs,  by Laura Gilbert which states the defence he is offering to  a federal court in Manhattan about his use for profit of the works of two photographers, Donald Graham‘s photograph, Rastafarian Smoking a Joint, and Eric McNatt’s photograph of the musician and artist Kim Gordon. It is a rather longer statement, apparently 15 pages, than his original (and soon deleted) tweet: “Phony fraud photographers keep mooching me. Why? I changed the game. &their wizardry professorial boredom keeps coughing up a vick’sVAPOrub.”

Prince argues that by taking the images exactly as they were on Instagram, but enlarging them and adding his comment to put them on the gallery wall and sell them at high prices he was somehow producing a new original work of art, commenting on the process of communication involved in using social media – and Instagram in particular. As Gilbert writes, his approach is supported byome pretty serious names in the art world, with statements from  a museum director, curator and well-known art dealer to the court. All of course people who profit in some way or other from artists like Prince.

Prince of course profits from all the publicity this and other court cases give him, with many articles -including this one – in newspapers, magazines and blogs significantly raising his profile as an artist, and thus the prices and sales of his work.

Perhaps the photographers whose work has been stolen might think about reclaiming it by appropriating Prince’s, producing copies of ‘his’ images, perhaps ‘transforming’ them by the addition of their signatures. I rather suspect Prince and his dealers would call foul and run to the courts in what would be a rather fascinating copyright case.

There is of course absolutely no need for any of this. I’ve had my work used by artists – and they have come to me before doing so, explained what they wanted to do and we have negotiated a licence with an appropriate fee, and appropriate attribution. It’s an established way of working that avoids controversy – without misappropriation. But the very idea of stealing other people’s work seems to me to be the basis of Prince’s artistic practice. He’s famous for it.

I don’t of course know what judgement the court will finally make – and Prince has got away with it in earlier copyright cases, though I hope at last it will be one that fully respects the rights of the photographer – and leads to them getting compensation for the use of their work as well as the legal costs of taking the case. Prince would still be the winner, with all the publicity from the case aiding his status and sales. The only losers – in the longer term – will be those who have paid high prices for what are works which will almost certainly be consigned to the dustbin of art history, lacking any real worth or interest.

A Forgotten Street Photographer?

Friday, October 12th, 2018

While it’s great to see a film being made about Garry Winogrand which shows some insight into the man and his work, the description of him as a “forgotten street photographer” seems rather lacking in credibility.

Of course most people who think of themselves as “street photographers” nowadays are woefully ignorant of the history of photography including that of so-called street photography, and most people outside the photographic world would be hard put to name any photographer, certainly anyone who has been dead for over 30 years. Perhaps soon we will see a film about another of these “forgetten street photographers” like Henri Cartier-Bresson?

I’ve not seen the film, currently enjoying an extended run in New York, but I have watched the trailer and another introduction to it with more of WInogrand’s voice, as well as the preview – and many other videos about WInogrand, some of which I used in my teaching over 20 years ago. And I think the film will be something photographers should not miss. It will apparently be available later as a part of the ‘American Masters‘ series on PBS.

Vice has an interview This Forgotten Street Photographer Shot Some of Our Most Iconic Images with film director Sasha Waters Freyer which I think makes interesting reading and shows some fresh insight into the man and his work.

I’ve written about him and his work at some length, and have copies of most of his books as well as the most important works on him published since his death, and have been able to talk with one or two people who knew him working on the streets of New York. As well as this article, he gets a mention in 45 other posts I’ve written for this blog (and one other draft, about his work in Picture Post, that somehow never got finished.)

One of the problems with Winogrand is that he took so many pictures – including the many thousands on the undeveloped cassettes found after his death. Many of them didn’t really work as pictures, though without the openness they represent he would not have made those that, sometimes spectacularly, do. I feel sure that there are many images that have been published since his death (and a few during his lifetime) that do nothing to enhance his reputation, and the last show of his work I saw in London had far too many of them. Part of the reason for this lies with the art market, where anything attributed to him sells.

It’s interesting to look at his ‘Women Are Beautiful’ which Sasha Waters Freyer says “really hurt his reputation”. It obviously drew some attacks, but I don’t think he really had a reputation to destroy, and most of the attacks were based on the idea of a man publishing a book of that title rather than the work in it. As she goes on to say, “there are a lot of ways in which it is a celebration of women. It is a really important document of this period when women are entering the workforce and making themselves visible in a way that was completely new in American society.”

Winogrand thought it would sell, calling it in private “The Observations of a Male Chauvinist Pig” and hoping it might appeal to a different market, but it alienated too many and was too highbrow and insufficiently raunchy to attract the ‘Pigs’ he had anticipated. But it remains one of his best books, perhaps because of the focus given it by the problems in his personal life and the film sets out to examine him as a male artist and to understand how his “relationship to marriage and children and family … impacts (his) artistic output.”

Of course there are many other articles and reviews of the film (which has a Facebook page) you can find on-line. One from IndieWire by David Erlich caught my attention for this paragraph:

“Street photographer?” What a sterile way to describe someone who just captured what he wanted — who didn’t wait for permission to take pictures, or require an assignment.

Derek Ridgers at Old Truman Brewery

Thursday, October 4th, 2018

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If you are in London this weekend, don’t miss the ‘pop-up show’ by Derek Ridgers at the Truman Brewery, only until Sunday. I went to the opening on Thursday evening and couldn’t resist taking a few pictures – some here but many more on Facebook.

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As well as some of the pictures of well-known pop stars he took for the New Musical Express and other newspapers and magazines, there are some of the powerful portraits of skinheads and others, noncommissioned work that is a part of his important documentary of youth culture back in the 1980s and 90s.

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I’ve mentioned before that Derek and I both belonged to a small group of photographers who met regularly in West London to criticize each others work, in a no-holds barred way that quickly sorted out a few weaker souls who came but couldn’t stand the heat. We organised a number of shows together at the Orleans Gallery in Twickenham and the Watermans Arts Centre in Brentford, inviting a number of other photographers to take part.

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Slightly fewer of the pictures than I had hoped for came out sharp, as somehow the Fuji seems to have ignored the exposure setting I made caerfully at the start at the session, telling it to use Auto-ISO from a minimum ISO400 up to ISO3200, with a minimum shutter speed of 1/200s.

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Although the settings appear to be made correctly, halfway through the evening the camera decided to work at ISO 200 and let the shutter speed drop as low as was needed, and I failed to notice the change.

Here are the details:

Fri 05 October 11-9pm
Sat 06 October 11-6pm
Sun 07 October 11-6pm

Curated by FAYE DOWLING  – Presented as part of ARTBLOCK at the Old Truman Brewery

The Derek Ridgers Pop Up celebrates the publication of the artists monograph ‘Derek Ridgers: Photographs’ published by Carpet Bombing Culture 28.09.18

A series of special limited editions prints – signed and numbered by Derek will be available throughout the event.

Old Truman Brewery, Brick Lane
G4 Gallery Space. Entrance at Ely’s Yard,
15 Hanbury Street. E1 6Q

More pictures on Facebook

______________________________________________________

There are no adverts on this site and it receives no sponsorship, and I like to keep it that way. But it does take a considerable amount of my time and thought, and if you enjoy reading it, a small donation – perhaps the cost of a beer – would be appreciated.

My London Diary : London Photos : Hull : River Lea/Lee Valley : London’s Industrial Heritage

All photographs on this and my other sites, unless otherwise stated, are taken by and copyright of Peter Marshall, and are available for reproduction or can be bought as prints.

To order prints or reproduce images

________________________________________________________

Elswick Kids

Sunday, September 23rd, 2018

Beautiful work by the late Tish Murtha, (1956-2013), immediately after her return to her home in Elswick, Newcastle upon Tyne in the late 1970s after studying at Newport to is featured on Flashbak’s article ‘Elswick Kids‘. It is work that could only have been made by an exceptional photographer deeply rooted in the community and celebrates the freedom that kids still enjoyed then – something which I remember from my own childhood in a working class area on the fringes of London, but which by the time she made these pictures had largely disappeared in the more affluent south.

The article comes in advance of a Kickstarter campaign by her daughter Ella together with Bluecoat Press to publish ‘Elswick Kids‘ which launches at 10.30am on October 2nd 2018. Make a note in your diary now! Their previous collaboration was highly succesfull, with the limited edition of Tish Murtha’s ‘Youth Unemployment‘ selling out within three months, and I’m sure this volume will do as well. You can still buy the second paperback edition of Youth Unemployment, and there are also a number of Cafe Royal Books available.

You can see more about Tish Murtha and more of her work on the Official Website of Tish Murtha run by her daughter. A retrospective Tish Murtha: Works 1976-1991 is at the Photographers Gallery in London until October 18th 2018 and some of her pictures are also among the most interesting work in the Museum of London show ‘London Nights‘, which runs until 11th November 2018.

Also worth reading is an article on AnOther, The Forgotten Photographer Who Captured Britain’s Social Crises, by Belle Hutton.