London study visit
Making sense of 150 years of street photography in London and the four shortlisted portfolios for the Deutsche Börse Photography Prize 2011, all in the same day, is no mean task. And that’s what a group of dedicated OCA students set out to do on our latest study visit.
London Street Photography is hosted by the Museum of London and showcases over 200 images from 1860 to the present day. The exhibition explores how street photography has evolved in the last century and a half. It is a true time-travel experience which takes the visitor on a fascinating visual journey that includes work as diverse as London itself. Stereoscopic images taken by the London Stereoscopic Company in the 1850s share gallery space with the latest work by the In-Public street photography collective. Wolf Suschitzky’s poetic images of Charing Cross in the 1930s, amongst other work from the pre-WWII period, act as a counter point to grittier images taken in the 60s, 70s and 80s. Photographs from Paul Trevor’s East End Archive, the product of more than 30 years of image taking in London’s East End and evidence of the fascination that the photographer feels for that iconic area of London are also on display at the exhibition.
London Street Photography shows the “passion and curiosity to observe and capture [photographs]” that London has always prompted in local photographers, as Paul Trevor acknowledged. It also shows how difficult it is to define the genre, to pigeon-hole it. Street photography clearly evolves in the 150 years of practice that the exhibition spans. Early photographs denote a belief in the camera as a mere instrument and the photographer as no more than an operator. As one travels along the photographic time-line of the exhibition one realises how the practice gradually becomes more and more sophisticated, building on established visual strategies but at the same time progressively gaining something fresh and new. The contemporary street photography that marks the end of the time-line display positions the photographer as a creator of images with a clear communicative and aesthetic intention.
London Street Photography at the Museum of London is well worth a visit. Don’t be surprised if you spend far more time than you had anticipated; the exhibition is totally absorbing.
The second port of call of the study visit was the Deutsche Börse Photography Prize 2011, presented by the Photographers’ Gallery at Ambika P3, University of Westminster. We were eager to see the work of the four shortlisted contenders for the prestigious £30,000 prize. I was impressed by Jim Goldberg, a photographer whose practice has always inspired me. His latest project, Open See, is a very experimental approach to documenting migration and the geographical and economic displacement that is part and parcel of globalisation. Open See does what documentary photography is meant to do; it visually stimulates you and it makes you reflect on something about the world out there. Something that matters I should add. Golberg’s entry is an exhibition within an exhibition; the stories embedded in his images, installations, videos and artifacts are compelling and demand to be heard.
Opposite Goldberg’s images there is the single photograph that makes Thomas Demand’s display on the exhibition: an oversized image entitled ‘Heldenorgel’. It is perhaps the most intriguing image in the exhibition. It acts like a visual illusion; the paper and card replica of the organ looks deceptively real. The large photograph is cleverly mounted against a neutral grey background and the effect is not unlike looking through a hole in the wall and into the real organ model. It has a certain hypnotic effect which I found fascinating…for about 50 seconds to be precise. Then I went back to Goldberg’s images.
Yes, I’m aware of the nuances of Demand’s image, of its playful nature, of how it invites us to consider the meaning of photographic truth and the fact that photography is, after all, a limited 2-dimensional medium with which to translate reality. Or is it? I should ask Jim Goldberg I guess…
The study visit finished with an impromptu group discussion at Ambika P3 which revolved around the work of the other two photographers also contending for the prize. Elad Lassry’s image of green – and blurred – tomatoes stuck to my mind. More accurately, somehow, that image was tattooed on my mind during my visit to the exhibition. If the Börse Photography Prize “rewards a living photographer…who has made the most significant contribution to photography in Europe…” then it should go to Lassry. He has proved that ‘visual earworms’ exist – the green tomatoes photograph. Am I too cynical about his work? Am I missing subtle but key elements of his work which are of relevance in a wider photographic art context? Perhaps. Aware of this possibility I read this interview with Elad Lassry, but I still failed to find the rationale of his work.
I found the fourth contender, Roe Ethridge, marginally more interesting that Lassry. His photographs made me think of the banality of the imagery to which we are often subjected by commercial advertising campaigns. I felt more of a sense of purpose in Ethridge’s images than in those by Lassry. Because there has to be some kind of purpose in any porfolio of photographs that is shown to the public at such high level. Or may not. Perhaps a collection of gratuitous images, when conferred certain status, are automatically deemed to have clear intention and significance.
I’d better ask Jim Goldberg…
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Great summary of what was an intense day of thought and discussion. This was my first study day, and I recommend them wholeheartedly – extremely useful on a number of levels including meeting peers and tutors, sharing personal experiences of the course, debating the two exhibitions, exchanging views and opinions in a non-judgemental way, and especially in exploring the DB prize.
The London Street Photography exhibit was surprising in that I hadn’t expected to enjoy it so much as the DBP, but being able to walk around and debate with other students brought many new insights and ways of thinking. My own take was how important these photos are as a social document, and how we should continue to emulate taking “photos of the ordinary by the ordinary” (paraphrased). Particularly since there is growing pressure to avoid certain types of photo, such as children, or almost any building in central London. Society needs us now even if society doesn’t realise it.
Another thought I recorded was how things change so quickly – even in London the landscape and fashions change very quickly, in months even, let alone years.
So following a great lunch courtesy of the OCA it was on to Baker Street and the DBP. OMG, what is this?? I agree with Jose that Goldberg was most memorable, actually touching me with his exhibit, and being somewhat relevant to a Photography prize possibility. However a common view was that he couldn’t win because he was so obviously good.
Demand’s single giant photo was also interesting but in a different way, and for me the fellow student (Jan maybe?) who made the comment that the photo was essential to preserve the memory of the artwork was spot on. And this then set me to thinking that apart from Goldberg this wasn’t a photographic competition, it was more of a modern art show that would have fitted in very nicely in the Tate Modern, but what had any of it actually done for Photography last year, Goldberg being more of the same from previous years.
Looking a Lassry’s work, my first impression was that he made very nice frames to match his photos, and then I watched the video and in fact his work is a lot to do with colour and how it changes depending on its environment. So the green tomatoes was maybe less obvious than the shades of green in the photo (and its frame). Looking at Lassry again showed that yes indeed, it was all about colour, and it started to grow on me as a valid exhibit. He was also showing two videos though, and I didn’t understand those at all, in any sense. One was five minutes of a woman’s face with a camera pointed at it, then a zebra’s rear end with flicking tail. The other seemed to be a dance troupe doing some sort of slow motion routine. I have much to learn as to what makes a contribution to Photography..
Etheridge was not even much of a photographer for me, given his blurry, dual register, dull(?) photos, some of which were commercial out-takes. (Who’d buy this stuff?) As I heard elsewhere, the emperor’s tailor is still very busy.
As to who will win? Well really does anyone outside of this rarified arena even care? It was a great experience though, very much enjoyed through going as a group rather than as an individual. If you haven’t done so already, then you should.
Just read Amano’s blog entry about the day
‘Clive is quite dismissive of Goldberg seeing him as an American cultural imperialist, taking advantage of the poor to present a pleasant form of entertainment.’
Crikey, looking forward to discussing this over dinner with Clive tomorrow!
Wooooahhhhh there! I was questioning what the presentation was signalling to me.
Why print the Polaroid negs with their borders, or have the large image as a patchwork of sheets, or the kaleidoscopic hang, or the crumpled enprint balanced on a frame; that struck me as particularly arch.
It seemed to me that these were elements of playful entertainment which struck a discord with the serious subject matter; as if to make it more palatable for the audience.
It’s a personal opinion, I’m not being didactic. It’s up to everyone to make their own reading. Those were my reservations.
Clive, This is quoted slightly out of context; It was what you I understood you said when we were all looking at a certain display of Goldberg.
Later on, I mention that I was starting to come around to your point of view.
My blog of the day is rather brief and I trust it does not misrepresent you or Jose for that matter.
Am of course glad if it provokes discussion!
“Why print … the large image as a patchwork of sheets … ?” asks Clive.
Since the content of the photo was a rubbish dump, I feel this banal presentation was rather appropriate. The paper used was also of poor more or less draft quality.
What made me think twice about this image was the caption as it seemed to be imposing meaning on the image.
How did Goldberg know the goat was rancid?! Might this have been an assumption.
Jose says about Elad Lassry. “Am I missing subtle but key elements of his work which are of relevance in a wider photographic art context?”
I wasn’t able to go on the study visit but I’ve been looking at his work on my screen. From my perspective as a printmaker, its looking like photography as digital printmaking/painting. Making the photograph into more of a physical art object with the frames, the colour and other interventions. The subject matter might not be going to save the world (but we have documentary to do that don’t we:) ), anyway I find them visually interesting and that seems a valid use of photography to me.
Firstly, thanks to Jose and Clive for guiding us through the day. It was my first study day and great to meet other students. I was surprised though at my very differing reactions to the two Exhibitions.
The Street Photography Exhibition seemed, to me, a straightforward depiction of the evolution of this type of photography. There was nothing particularly controversial there and I was aware when writing it up for my blog that I was mainly focussing upon images which had particularly attracted me for a variety of reasons. Why was nothing there particularly controversial? Maybe due to the selection available in the Museum’s archives or because I have probably already seen some of the modern photographs several times over and become de-sensitised to their impact.
My immediate response to the very different images in the Deutsche Börse Prize was a kind of puzzlement and not being sure what I was supposed to think. Maybe it’s because I was feeling tired by then and also the atmosphere was so different from the Museum of London. The entry to the Deutsche Börse Prize is at the side of Westminster University and through a rather grotty outside area before descended in a cavernous space which houses the exhibition. Jim Goldberg’s multi-dimensional presentation takes up the most space. Jose describes Goldberg’s embedded stories as compelling and demanding to be heard. Yes, they are. There is an immediacy about the polaroids and the writing on them which brings his subjects into the room. There are so many of them that the voices are loud and compelling. The ‘rescuer’ in me wanted to know what is happening to these people now and how were they affected by writing something of their story. I found myself questioning Goldberg’s purpose. Is he just drawing attention and leaving it at that or is he using his photography in an attempt to change what’s happening. Was he turning me into a voyeur of other peoples’ suffering?
There was a startling change awaiting just around the corner. Vivid colour but no depth. Clever photographers showing off their technical skills and playing around with images or am I being too critical. Ethridge portrays affluence in Thanksgiving and decay with his rotten fruit (presented beautifully) and homage to Caravaggio. Lassry’s man with shifting eyes reminded me of Rene Magritte (and also a recent exercise in TAOP on the relationship between points!). A few of us spent some time pondering over Burmese Cat. How had this been processed; it looked slightly cartoonish; had Lassry used fractalius software?
Well I’ve read now that The Photographers’ Gallery has had criticism s in previous years for its ‘very narrow definition of photography’. There’s certainly two extremes here now – from the documentary to the conceptual. This set me thinking. Could Ethridge and Lassry carry out the same style and approach as Goldberg and vice versa? Certainly, John Thomson moved from documenting the lives of the London poor (and writing about them) to being a Society photographer but maybe that’s not such a great leap. Going back to Jim Goldberg. I’ve also been wondered whether my criticism of his methods is too harsh. Perhaps I’ve been projecting my anger at what has been done to his subjects onto him because he’s more immediately available.
Hi,
my turn to comment :o) Thanks for organising such a great day. I am about to tackle my write up for my blog. Was just as interesting to talk to people about their experiences as students, with the course material their tutors (where there any ears burning?) as much as take in 2 diverse exhibitions.
I had already done the Street Photography one on my own back in February so was great to go back and look at things more in depth and discuss how the genre has changed in some ways and remains the same in others, I have a list of photographers to check out/reference and parallel’s with family images I have from the early 1900’s to date. The images were interesting both for technical/historical and social reasons. The video enlightening and reassuring that pro’s suffer the same as us!
The Deutsche Borse Prize has made me raise my eyebrows on each occasion I have beem, and preferred Tod Papageorge to Paul Graham the year he won,although I can see that he had a more novel approach to his images. Will be interesting to see who will win our coffee table betting session ;o)Demand had only one image so was difficult to assess his body of work,and like Jose although I liked the photograph it didn’t hold my attention for long. Roe Etheridge has bright pin sharp photographs that were harking back to advertising or actual outtakes of his commercial work left me feeling non plussed, Elad Lassry hmm I’m probably the student that was commented on in the blog about the dodgy green tomatoes ;o)He had pretty frames which colour co-ordianted his images…he pushed the boundaries of is it art or photography but I couldn’t help asking “why?” even after watching his video about making photography democratic.
Jim Goldberg’s exhibit starts off by stating it is highlighting problems no-one knows are there…that made me think oh really? Everywhere you go there are posters telling of poverty/abuse/people trafficking/ turn on the TV there is yet another appeal for human rights etc. What he does I suppose is make them more personal and highlights the individual as they contribute to some of his final pieces.I felt in some ways he was exploiting them for his own gain rather than to assist them? Once he has clicked his shutter does he contribute to altering their lives? Campaign for change? His images cover so many places and so many issues to do with migration. He varied his framing and the display was awkward and uncomfortable. Maybe to highlight the awkward and uncomfortable issues he was dealing with. My opinion on that is let the images speak for themselves.
Do I think any of the entrants have made a significant contribution to photography in Europe between 2009 and 2010? Erm,,can I pass? ;o)
No comment until I go to see it myself in May
not sure which forum to post on…during the study day I said I’d upload some pictures of my physical learning log to my online Blog so people could see how I had gone about it? My blog isn’t linked to the OCA student site?
Jan, you could start a new thread in the student site http://www.oca-student.com. I’m sure that other students would find it very useful to see your blog, and you might have some helpful feeedback from them too.
It is now Jan 🙂
Cheers Jose and LOL TY Gareth You are both stars XX
Nigel Snookes says
Ahhaaaaa! so thats what those big issue guys are up to! ( let me explain )
I’m a regular performer on the streets ( or should I say walkways and pallasades ) of Bham City Centre and over the last few weeks due to other events taking place on spots normally reserved for ‘buskers’ etc in the city, I have been compelled to stray into zones normally the preserve of ‘Big Issue’ Sellers.
Yesterday ( Easter Bank Holiday Saturday )whilst doing my ‘contemporary’ cafe musician routine playing classical ‘romantic’ guitar outside the Bella Italian Restaurant on Bham New StreetI was all of a sudden the subject of an attack of ‘papparazzi style’ press intrusion by no not a reporter from the Bham Mail but a local Big Issue Vendor.
At first I thought this excessive camera interest was meant as some kind of punishment or aping satirical mickey-taking for my getting to close to this vendors space but no this was not the case and your rather interesting and informative article on the London Street Photography exhibition explains everytthing. The vendor rather than wishing to drive me humiliatingly from his spot was in fact expressing his view of me being worthy of the Big Issue Annual or collection of street photographs.
Phew thats a relief! Because as you know many Big Issue Vendors are not in fact simple victims of homelessness but many are rather victims of addiction of some sort whether it be methadene, crystal meths or just plain meths and it is this addiction that is often the root cause of their condition and in turn their sometimes desparate plight can make them very protective about their business i.e. selling making as much money as they can selling magazines in a very competive market.
Of course the streets can be a dangerous place and I at my worst moments do have images of some crazed samurai swordsman appearing as if from nowwhere, when one least expects it and hacking me down in the street in full public view, this my worst nighmare being based on the social fact that a sigificant no’ of people to be found working in our town and city streets are suffering from some kind of mental illness.
So the phew! from me ( and its a big phew! ) is due to the relief that the guy frenetically clicking what looked like a polaroid version of the ‘pin-hole’ camera was not indeed some crazy paranoid schizophrenic on the verge of attack but again a genuine Big Issue Seller taking part honestly in the London Street Photography project.
I really want to see it myself then i will give any comment. But it seems to be enjoyable….!!!