Roger Mayne, Goalie, Brindley Road, off Harrow Road, 1956
Every so often, I publish a piece here that was published originally elsewhere. This is a case in point, republished to coincide with the opening of David Campany’s exhibition A Handful of Dust at the Whitechapel Gallery in London ( June 2017). It was originally published on Various Small Fires and is republished here with the permission of the editor of that site, Thierry Bal.
It’s called Tropes in Mind in echo of Trouble in Mind, the old blues song, best sung by Big Bill Broonzy, in accordance with a thought I have that tropes stay in one’s mind like music, there even when not actually playing. Continue reading →
A particularly elegant version of the Signed-Titled-Dated authentication that has become common in photography. This one in fact comes from a book (Larry Towell’s remarkable No Man’s Land) and is used purely illustratively here.
It is often quite casually stated that the art market is the last unregulated financial market. The implication is of skullduggery and villainous malpractice, with the suggestion of lamb-like collectors fleeced by unscrupulous wielders of huge shears. There are indeed egregious practices all around the art markets, some of which are complex in relation to ethics, industry practice, or the law. These include such arcana as dealers refusing to sell particular works to individual clients who have the money and want to buy — on the grounds that they don’t represent a ‘good enough home’ for the art. There could be a wide discussion aimed at reform of the whole range of these in the interests of clarity and fairness, but with care taken to preserve the flexibility and fleetness of foot which is one of the strengths of the market.
Here, immediately after PhotoLondon 2017 and in advance of any such broader discussion, are two simple practices which could and should be written out of the lexicon of trading practices in art. Continue reading →
View of the V&A by Bolas & Co., c.1909, V&A E.1128-1989
It’s not often, in the cash-starved world of UK photographic institutions, that there is major good news to celebrate. But yesterday the V&A announced ambitious and yet wholly realistic plans to expand its photographic activities in a range of impressive ways. Continue reading →
Wolfgang Tillmans, Studio, 2012 A pared-down reflection on what studio photography used to be. Black, and white, detailed in texture, and with an amassed heap of transparent greys adding up to all the tones of platinum or photogravure. All made of the simplest elements with total control.
Wolfgang Tillmans is a very lucky man. I happened to revisit his show at the Tate on the day Sotheby’s announced a record price for one of his photographs at the grand Evening Sale of the night before. Continue reading →
Christiane Feser, Partition 48, 2016. Represented by Anita Beckers. This is an angled detailed view of a work that is cut, layered and built well above the plain surface. One of many pieces deliberately shown for the first time as an Unseen Fair Premiere.
It’s a rare thing – for those of us in the business of extrapolating tendencies from the amorphous bulk of any creative activity – to see an unmistakable trend. I’m sure the fashion writer who says “Roman legionary sandals will be in this year” worries that no such sandal will be seen again. For once, at the Unseen Photo Fair in Amsterdam, there was no mistake. It’s not quite a rule, because there are still plenty of exceptions, but it’s all-but a rule: You want to be taken seriously as an artist using photography? Any surface you like so long as it’s not flat. Continue reading →
“Three dead Americans on the beach at Buna.” A famous and an important picture by George Strock. Often cited as the first picture to show American dead after Pearl Harbor, it was taken either in late December 1942 or in early January 1943, but not published until September 1943, after LIFE had exercised considerable effort in overcoming censorship. In an editorial accompanying publication, LIFE described the three bodies on the beach (in New Guinea) as “three units of freedom”.
I was doing a little research (of the familiar Google-drifting kind) on something else when I came across a remarkable man of whom no British reader of these lines will ever have heard. So allow me to introduce you to Clarence A. Bach, founder and principal teacher of what seems to have been the first vocational course in photography in any American high school, the idiosyncratic — and wildly successful — course at John C. Fremont High School, Los Angeles. Continue reading →
“Of Mr.Rejlander’s pictures (for such we may justly call them), we have no hesitation in saying that they are full of beauty and full of mind.”
Anonymous reviewer in the Art Journal for 1868
Oscar Gustav Rejlander
The National Portrait Gallery in London has recently acquired these very different pictures from an album of the mid-1860s (holding both well-known and unknown studies) by Oscar Gustav Rejlander after a successful export block. Continue reading →
A number of themes absolutely central to photography meet in this wonderful series of pictures by the artist Jos Jansen. He calls them Battlefields. As often enough, I come to them late. They were published in an award-winning book in September 2015. Continue reading →
Nigel Shafran, from Visitor Figures. Not selected for the V&A’s Annual Review
“For those who like that sort of thing,” said Miss Brodie in her best Edinburgh voice, “That is the sort of thing they like.”
― Muriel Spark, The Prime of Miss Jean Brodie
I have recently been writing quite a lot about how we could possibly set standards by which to judge photographs. It is not just a recent preoccupation; it’s one I’ve been gnawing away at for a long time. Put very simply, I recognize the absurdity of applying any one family of criteria to all photographs (and the arrogance of any one person setting themselves up to do that). But do we really have so little common ground in judging them, torn between all the hundreds of different criteria that could apply, that we have to make a profound revelation of ourselves as users of pictures before we can make even a moderate assessment of the pictures themselves ? Continue reading →
There was a certain rich man, which had a steward; and the same was accused unto him that he had wasted his goods.
And he called him, and said unto him, How is it that I hear this of thee? give an account of thy stewardship; for thou mayest be no longer steward.
Luke 16:1 – 16-2
I published last month a short article in The Conversation [ http://bit.ly/1RdmhpD ] on the breaking up of the holdings of the National Media Museum. Here, with the kind permission of the editors of The Conversation, is the longer version of that article. Continue reading →