A Contested Land

A Contested Land – new work and exhibition from Document Scotland. 

Set against the current political backdrop, Document Scotland’s four photographers examine the complex relationships between the nation’s people, history and landscape.

Showing at The Martin Parr Foundation, 15th January 2019 – 16th March 2019.

‘All Under One Banner’, Scotland. © Jeremy Sutton-Hibbert 2018.

 

“The Foundation supports and preserves the legacy of photographers who made, and continue to make, important work focused on the British Isles.” – Martin Parr.

 

A Contested Land.

When taking part in a tournament, competition or any sort of contest, it is usual to know what the prize is for winning. Whether it is a shiny medal or golden trophy, the outcome is usually something pre-determined or tangible, even if it is not ultimately obtainable by everyone competing. To the victor, the spoils: to everyone else the scars of defeat or the satisfaction not of winning but of having taken part.

If this description of where Scotland is as a nation today is somewhat allegorical, it is worth considering that the current and ongoing debate about the nation’s future hides the many layers of its story. Life continues to change and evolve, often in-spite of rather than because of the debates around the merits of becoming an independent nation, the ramifications of Brexit or the challenges posed by climate change or other seismic global events.

Into this miasma steps Document Scotland: four photographers passionate about dissecting their nation and disseminating their viewpoint beyond the border at Berwick in order to stimulate, inform and educate. By looking past the tired tropes and casual cliches which often cloud an accurate view of what Scotland is today, they aspire to offer a passionate yet dispassionate take on aspects of the nation unseen.

The past is ever-present in each of the collective’s four new individual projects which meld together to form A Contested Land, the title of Document Scotland’s forthcoming exhibition. 

 

from the series The Flows © Sophie Gerrard 2018

 

Easdale, Scotland. © Colin McPherson 2018.

 

 

‘Edinburgh Unchained’, © Stephen McLaren 2018.

 

Anti-nuclear demonstration, Faslane, Scotland. © Jeremy Sutton-Hibbert 2018.

 

For decades, Scotland’s largest city has been a hotbed of radical ideas, protest and, at times, insurgency. From the 1919 Red Clydeside rebellion, to opposition to the Poll Tax, from support for Spanish Republicans opposing General Franco to the hero’s welcome afforded to Nelson Mandela, politics has never been far from the surface in Glasgow. Today, set against the prospect of Brexit and a possible second referendum on Scottish independence, Glasgow is alive with political activity. The city has a long tradition of integrating people from elsewhere. In the past, Irish immigrants sought refuge from the Famine whilst Highlanders fled the brutal Clearances. In modern times asylum seekers have sought safe haven in the city. These events have helped shape Glasgow and given it a sense of identity and purpose and a pride that its people are ‘Clyde built,’ like the magnificent ships once manufactured on the river which snakes through the heart of the city: resilient, proud and unique.  As an insider, photographer Jeremy Sutton-Hibbert has spent a quarter-of-a-century documenting the raw and powerful political theatre which plays out in Glasgow’s public places. Saltires, tricolours and Union Jacks compete for space in vibrant and lively displays of standard-bearing, demonstrations and protests. Placards are waved, slogans chanted and the passion and belief on show evoke and provoke a visceral reaction based on one’s own point-of-view. What intrigues is not what divides the different sides of these arguments, but what, ultimately, unites: they are all Glaswegians. Strip away the banners, confiscate the flags, put them side-by-side on their marches, and you cannot tell these adversaries apart. It is what makes this work so poignant and beguiling. And offers the tantalising possibility of an undivided future, whatever the ramifications of current political discourse and disagreements.

 

from the series The Flows © Sophie Gerrard 2018

Sophie Gerrard’s work focuses on the gentle and undulating peat lands of Scotland’s Flow Country. Eschewing sentimentality, the photography looks at how this precious environmental resource has been desecrated and denuded over generations and how these almost magical places are being revived and reinvigorated through careful and considered conservation.  This is no abstract notion: survival of the peat bogs is a touchstone for the health of the nation. Once seen as ‘fair game’ for industrial-scale exploitation, Sophie poses a metaphorical question, asking us to consider our relationship with local and national areas of outstanding beauty and how these places of natural resources fit into Scotland’s topography and consciousness, linking people to the land, and vice-versa.

 

‘Edinburgh Unchained’, © Stephen McLaren 2018.

 

Building on previous work which looked at the historical ties that bind Scotland with slavery through the sugar industry, Stephen McLaren returns to the theme to explore and examine the hidden and almost forgotten link between Edinburgh’s wealth and the slave trade with Jamaica. In the immediate aftermath of this year’s Windrush scandal, it is a timely and forceful reminder that the past, in all its forms, is immediately around us. Behind the front doors of Edinburgh’s New Town lies the legacy of British colonial exploitation. With each pound passed down through the generations, Scotland distanced itself from its inheritance as architects and perpetrators of the widespread and cruel exploitation of many thousands of bonded and chained men, women and children. Stephen’s work does not exist merely to prick our consciousness, but to start a national conversation about acknowledging an historical wrong and discussion about reparations. It should also force Scotland to examine and re-evaluate the relationships with people and communities within and outwith its own borders.

Easdale, Scotland © Colin McPherson 2018

History is the starting point for Colin McPherson’s visual exploration of life on Easdale, the smallest permanently-inhabited Hebridean island on Scotland’s long, varied and sparse west coast. Once the epicentre of Scotland’s renowned slate quarrying industry, this fragile parchment of rock, sitting two hundred metres off the adjoining island of Seil, has become a by-word for repopulation and reinvention as its current community continues to battle traditional adversaries: economics and the environment. At its height in the 19th century, Easdale housed four hundred people; the quarrying provided work for the men and the slates they produced roofed the world, from the cathedrals in Glasgow and St. Andrews to the New World. When an epic storm decimated the island in the 1880s, the island went into decline and depopulation, only for a new band of pioneers to resettle and revive Easdale nearly a century later. The photographer’s personal connections with the island date back thirty years, and in this series he offers a contemporary commentary about the parallels with the past and how many of the 65 current residents live their lives.

In one sense, Scotland is not unique in that the problems it faces are identical in many other nations: environmental dangers demanding urgent governmental and public responses; poverty and lack of opportunity blighting a country of great natural wealth; inequality in all its forms scarring society, holding back peoples’ potential and draining the public purse. Viewed from afar, Scotland appears to be no different from any other country as the world evolves in the 21st century digital dynasty. However, drill down below the surface and what is revealed is a multi-layered tapestry, a hopscotch, hotchpotch history where the ebb-and-flow of power and wealth, emigration and immigration and an often rudderless sense of direction leaves the impression seen from within of a nation sailing precipitously through low-hanging haar towards an unknown destination. That is not to say there isn’t a strong sense of what constitutes Scottishness to guide the country. It pre-determines the national conversation, and if the 2014 Independence referendum highlighted one thing through the debate, discussion and diatribe, it was that those who live, work and breathe the air in Scotland feel first-and-foremost Scottish above all else. Scotland may not be colour coded like so many nations, including its much larger, more powerful and influential neighbour to the south but the sense of Scottishness runs through its citizens veins as strongly as the clear waters of any burn cascading its way down a craggy Munro into one of those fabled lochs or glens. So, whilst the direction of travel might be clear the ultimate destination remains tantalisingly unseen.

Scotland is mired in inconsistencies and contradictions. Vast tracts of its famous wilderness have been scarred by generations, centuries even, of public and private mismanagement, leaving a brutalised landscape, barely fit for human habitation and endeavour. The country’s precious marine resources are controlled by a mere five all-powerful fishing families. The wealth of the wealthiest is 250 times that of the poorest. Whilst the population of its major city conurbations continue to grow and expand, population growth in many areas is flatlining or even falling, leading to an unsustainable drain of the best and brightest from some of the most iconic and far-flung locations. The public response to this has been confused. During both the Independence and European Union referendums, the word which dominated the discussion was ‘change’. It became the go-to for anyone dissatisfied or desperate, demanding or downtrodden.

Although still rooted in many traditions of the past, one-eyed, lopsided romanticism has given way to glorious reinvention and innovative thinking. From the games designers of Dundee who brought the world Lemmings and Grand Theft Auto to Pride marches in the Outer Hebrides giving a voice to marginalised individuals, slowly but surely Scotland is loosening the grip of its moral masters, that toxic combination of power, vested interests and religious intolerance. The visual expression of this may be the flag-clad combatants who take to the streets to announce their political allegiances, displaying a fervour and belief long since lost by the footballing foot soldiers of the Tartan Army, but in quiet corners, small bedrooms and whispered conversations, Scotland is proving itself to be capable of radical thinking, a seed bed for creatives, dreamers and idealists.

The prize remains undefined and Scotland does not know is what it looks like. It is hard, if not impossible, to predict where and what Scotland will be in a generation’s time. The political tectonic plates are shifting and individuals and communities will be forced to adapt and survive in new and as yet unseen realities. With the game still very much in progress and the final result to be determined in remains an exciting time to be in Scotland, after all.

Document Scotland’s A Contested Land will have its first showing at the Martin Parr Foundation in Bristol, England from 16th January until 16th March, 2019, before further showings in Scotland at Perth, Dunoon and Inverness.

Martin Parr Foundation
316 Paintworks
Arnos Vale
Bristol
BS4 3AR

Gallery opening times
Wed to Sat, 11am – 6pm
Sun to Tue, closed

Free entry to all exhibitions.

 

Touring exhibition dates

– Salon event at Stills Gallery, Edinburgh. February 2019. Date to be confirmed.
Perth Art Gallery and Museum – 20th April 2019 – 23rd June 2019.
Dunoon Burgh Hall – 20th July 2019 – 18th August 2019. Preview on 19th July.
FLOW Photo Festival, Inverness, September 2019. The exhibition will be the headline show of the FLOW festival.
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@EverydayClimateChange

@EverydayClimateChange photographic collective are bringing their images off the popular Instagram feed and onto the gallery walls of Trongate 103, Glasgow, this month, in an exhibition running from 4th Oct – 4th November. The exhibition is an off-site show from Street Level Photoworks. An opening reception will be held on 4th October, from 6pm- 7:30pm, with an introductory talk by Document Scotland’s Jeremy Sutton-Hibbert who produced the show.

 

The @EverydayClimateChange group, which was founded by Tokyo-based photographer James Whitlow Delano with co-founding member Glasgow-based photographer Jeremy Sutton-Hibbert, National Geographic contributing photographer Ed Kashi and others, depicts the causes, effects and solutions to climate change and is contributed to by 20 photographers on 6 different continents.

This exhibition brings the photographic works of 14 of the contributors off the renowned Instagram feed onto the gallery walls. The exhibition includes panel images by Ashley Crowther (based in South Korea), Sima Diab (Syrian, based in Egypt), Georgina Goodwin (based in Kenya), James Whitlow Delano (USA / Lives in Tokyo, Japan), Matilde Gattoni (Italy), Nick Loomis (based in Senegal), Ed Kashi (USA), Suthep Kritsanavarin (Thailand), Mette Lampcov (Danish, based in USA), John Novis (England), Mark Peterson (USA), J.B. Russell (USA, based in France), Jeremy Sutton-Hibbert (Scotland), Elisabetta Zavoli (Italian, based in Indonesia).

The exhibition, curated by Jeremy Sutton-Hibbert, features as part of the Season For Change, a UK-wide programme of cultural responses celebrating the environment and inspiring urgent action on climate change. It commenced on 1st June and runs until 16 December, coinciding with the COP24 UN Climate Negotiations in Katowice, Poland.

Panel design and exhibition support by Yuko Hirono / Cabin 8 Design.

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Nelson Mandela, Glasgow 1993.

Jeremy Sutton-Hibbert’s images shot during the visit of Nelson Mandela to Glasgow in 1993, go on display this month at the City Chambers in Glasgow. Coinciding with Black History Month, the small exhibition has been made possible with the support of Street Level Photoworks, and depicts the events of the visit of Mandela to Glasgow to receive the Freedom of the City.

Exhibition runs at:
Glasgow City Chambers
82 George St, Glasgow G2 1DU
Mon – Fri, 8.30am – 5pm

 

Crowds await Nelson Mandela, Glasgow, 1993 – © Jeremy Sutton-Hibbert 1993.

 

From Street Level Photoworks:

2018 marks 100 years since the birth of Nelson Mandela. Known and loved around the world for his commitment to peace, negotiation and reconciliation, Nelson Rolihlahla Mandela was South Africa’s first democratically elected president (1994 to 1999). Mandela was an anti-apartheid revolutionary and political leader, as well as a philanthropist with an abiding love for children. In 1963 he was imprisoned by the Apartheid government of South Africa and was sentenced – with seven others – to life imprisonment in 1964.

Glasgow was the first city in the world to honour Nelson Mandela with the Freedom of the City, in 1981, nine years before he was released from prison. In a bold move to send a message to the then apartheid regime, the Glasgow City Council also renamed St George’s Place as Nelson Mandela Place in 1986. This was seen as highly significant as this then became the address of the South African Consulate, which was based there.

In October 1993, two years after his release from prison, Mandela came to Glasgow, where he was described by the then council leader Jean McFadden as “a symbol of the fight for equality and freedom across the world”. The event famously saw Mandela dancing on stage in George Square, to the delight of the crowd of 10,000 people who had come to see him.’

Award winning Scotland-based editorial photographer Jeremy Sutton-Hibbert was one of the photographers there that day, and these images are a record of that event. Previously published as a pocketbook by Cafe Royal Books, this is the first time these images have been seen in Glasgow.

In his acceptance speech in October 1993, Nelson Mandela said of Glasgow, “…It is a privilege to be a guest of this great City of Glasgow. It will always enjoy a distinguished place in the records of the international campaign against apartheid.

The people of Glasgow in 1981 were the first in the world to confer on me the Freedom of the City at a time when I and my comrades in the ANC were imprisoned on Robben Island serving life sentences, which in apartheid South Africa then meant imprisonment until death.

Whilst we were physically denied our Freedom in the country of our birth, a City, 6,000 miles away, and as renowned as Glasgow, refused to accept the legitimacy of the apartheid system, and declared us to be free. And in a real sense we were free, because however cruel the treatment meted out on us in prison, we never lost sight of the vision of a new South Africa as enshrined in our Freedom Charter. The City of Glasgow in granting us the Freedom of the City also took upon itself a very special obligation. It resolved to do everything possible to secure our freedom from the prisons of apartheid. It took up our plight in Britain and internationally. For example, the following year the Lord Provost co-ordinated a Declaration signed by over a thousand Mayors from 56 countries across the world which called for our freedom. Then in 1985 it joined with over 100 British local authorities in petitioning the then Prime Minister Margaret Thatcher, to press for my release. Such initiatives were thankfully successful…”

 

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Oot Tae Play

The British Journal of Photography recently announced their shortlist of photographers for their Portrait of Britain photo project, and we’re delighted that photographers and work from Scotland made the cut. Jeremy Sutton-Hibbert‘s portrait from Langholm Common Riding (from his Unsullied and Untarnished book of the Scottish Common Ridings) was selected, as are two portraits be Edinburgh-based Euan Myles (and here), and also a portrait (first image below) by Ilisa Stack from her series ‘Out tae Play’. We contacted Ilisa to find out more about her work and project…

 

Shortlisted image of Michaela, selected from 13,000 entries for the Portrait of Britain Award. © 2018 Ilisa Stack, all rights reserved.

 

Oot Tae Play, by Ilisa Stack.

I have always had a love and desire for photography from the days as a little girl who used to watch her dad developing film in the darkroom to taking everyday snap shots of my own family through the years, however it was not until 2014 when I was accepted into the Hnd photography course at City of Glasgow College that my photography exploration really began. I completed my Hnd and went on to study for the BA (Hons) Degree in which I recently graduated from in June.

The four years studying at COCG really was a joy. The first fast paced years of the course aided my photographic skill set tremendously. With all the given briefs completed I could really start to see the documentary path that my photography was leading towards. I could not wait to start the degree years for that path to develop further with the gentle guidance and support of the hugely talented lecturers at City, as well as inspiring talks from photographers such as Kirsty MacKay and Magnum photographer Martin Parr. The college really has such an atmosphere surrounding it and proved to me to be a wonderful creative hub.

The origins for the Oot tae Play series actually started when I was visiting Hartlepool in 2016 researching Daniel Meadows inspiring book ‘The Bus’. I was drawn to reading about Mary Clark one of his the subjects. Mary’s character reminded me of many of the great Glasgow women I knew. I walked along the beach at Hartlepool and took a few shots; however the area was very quiet except for my boys playing with an old rope they had found. I also came across a concrete play area at the sea-front and as I looked through my viewfinder, an eerie feeling came over me. Later that night everything made sense. My children walked in front of me into the entertainment area of the holiday park we had been staying, to the left of them was a brightly lit over the top stall set with toys galore and directly in front of them was a dance floor and stage full with children laughing and playing. At that very moment I realised it was children that had been vacant from the beaches and play areas. That was the point ‘Oot tae Play’ was created.
I wanted to create work that involved children and their environment, i realised that I could work on a project in my own city which was a revelation for me as a lot of my work consisted of projects that incurred many miles.

 

 

G32 | Age 3 | Scooter | 2018. © Ilisa Stack 2018, all rights reserved. 

 

I advertised the project on social media platforms with a poster that I had created to inform parents and carers who may be interested in their children taking part in the series to show the requirements of the project. The online presence was extremely successful and I had instant numerous responses.
At the start of the project I knew some of the children or I knew their parents, as the series has progressed that has changed and it is wonderful that people now are approaching me and wanting their children to be a part of the ‘Oot tae Play’ kids.
I choose to approach photographing the series in this way as I felt it is a modern way of communication. For me it is a very honest approach. I inform and explain to the parents before the shoot day that the proper releases will need to be signed.
The amazing children who have taken part so far all receive a high resolution image from the shoot, and a certificate to say that they have taken part in the ‘Oot tae Play’ series. It is much more than that though, they are now a community of children. One of the children Cari has now moved on to secondary school since I initially photographed her, her mum has informed me that she is planning on becoming a photographer. Michaela another child from the series’ mum informed me that she had went into school and enjoyed telling everyone about her shoot and showed the image to her class. Fifteen year old Declan’s mum was surprised that he wanted to take part in the project but because the shoot included what he does when he’s is outside, he was more than happy to take part and show his ball and team strip.

 

G32 | Age 6 | Scooter | 2018. © 2018 Ilisa Stack, all rights reserved.

 

The pictures tell a story of capturing a pictorial documentation of children today, how they play, what they play with and the outside environment in which they play. I would hope the images convey a positive representation of Glasgow children. (There also exists a short film of the children and their toys, from ‘Oot tae Play’)


Working on the series has outlined a huge shift in social change in regards to the photographic documentation of children today. These contemporary portraits may still be too current to show the lack of images being taken of children out with a studio environment or family online albums.

It is a tremendous privilege for me to photograph the ‘Oot tae Play’ children and the aim at the moment is to continue to build upon the body of work. It would be very interesting to see and photograph the children again in the future and is something for me to consider.

G73 | Age 14 | Snow | 2018. © 2018 Ilisa Stack, all rights reserved.

 

I receive inspiration from various sources and it is extremely difficult to narrow that down but in terms of photographers work though I have to mention Thomas Annan, Bert Hardy, Oscar Marzaroli, Edith Tudor-Heart, Tish Murtha to Joel Sternfeld, Jim Mortram, Daniel Meadows, Kirsty MacKay and painter Joan Eardly, to name but a few. Whilst being a student you learn a lot of skills and one of those skills is confidence. It for me was really daunting to put work out in the world for others to see other than that of my lecturers. Credit for me entering the BJP really goes to Aileen Campbell my then lecturer. I was given so much encouragement to enter the competition. I am absolutely delighted that my image has been shortlisted for the BJP and that I will have an image printed in the Portrait of Britain book. I cried many a happy tear when I found out. I am in awe of the images that have been shortlisted and it is just lovely to be included in that part of the process. It has been wonderful sharing the news with Michaela and finding how excited she is that her image will be printed in the book. We look forward to the outcome of the shortlist, yes it would be a dream to make the final 100, however I really don’t think Glasgow has enough tissue paper for the tears of joy I would shed if that was the outcome.

 

G44 | Age 5 | Dinosaur | 2018. © 2018 Ilisa Stack, all rights reserved.

 

At this moment in time I am still working on ‘Oot tae Play’. I am however researching background information for two new projects.
I have also been extremely fortunate to have been contacted in June of this year to take part in an exhibition at the aff Galerie in Berlin this October as part of the Monat der Fotografie OFF- Berlin by Malcolm Dickson, Gallery Director at Street Level Photoworks. I’ll be giving a short talk on the work in Berlin on Sunday 14th, which is the opening weekend of the Monat der Fotografie OFF Berlin, which the exhibition is a part of. I am so pleased to be presenting some of the ‘Oot tae Play’ series.

I am delighted that recently I have had an image shortlisted for the Scottish Portrait Awards. This again was wonderful news and as one of the 30 to have been shortlisted the image will be exhibited at Edinburgh Arts Club, Saturday 3 November to Saturday 1 December 2018 and then again at the Glasgow Art Club on Monday 21 January to Saturday 9 February 2019.

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PLANES, TRAINS AND AUTOMOBILES.

PLANES, TRAINS AND AUTOMOBILES: TRANSPORTATION PHOTOGRAPHS

FROM THE NATIONAL GALLERIES OF SCOTLAND 
2 June 2018 – 13 January 2019
Scottish National Portrait Gallery
1 Queen Street, Edinburgh EH2 1JD
0131 624 6200 | Admission FREE
#PlanesAndTrains

Part of Edinburgh Art Festival 2018

The extraordinary advances in the technology of travel over the past 170 years, and their wide-ranging impact on our lives will be the subject of a dramatic and inspiring new exhibition of photographs at the Scottish National Portrait Gallery (SNPG) this summer. Planes, Trains and Automobiles will draw upon the outstanding collection of the National Galleries of Scotland to consider the rapid expansion of transportation from the end of the Industrial Revolution to the present day. It will feature 70 exceptional images, including key images by Alfred G Buckham and Alfred Stieglitz, which demonstrate how the technologies of photography and transport have evolved in tandem, each of them broadening our horizons and radically altering our perception of our ever-shrinking world.

The exhibition will include iconic photographs such as The Steerage, a career-defining image by the American photographer Alfred Stieglitz (1864-1946), made in 1907, while he was travelling to Europe by sea; and Inge Morath’s striking portrait Mrs Eveleigh Nash, The Mall, London (1953). Walking on the first-class deck, Stieglitz looked down into the third-class steerage area below him. Immediately struck by the strength of the composition created by the group of travellers gathered there, he quickly retrieved his camera, and captured the jarring class divide. Celebrated both for its modernist composition and its social commentary, the resulting photograph is one of the most recognisable images in the history of photography. Similarly, Morath (1923-2002), one of the first female photographers to work for renowned photo agency Magnum, used the door frame of an open-topped car to artfully divide her composition, suggesting the social gulf between the wealthy Mrs Nash and her chauffeur.

One of aerial photography’s pioneers was Alfred G Buckham (1879-1956) who took breath-taking photographs in the skies above Edinburgh. Just as fascinating as his photographs, are Buckham’s dare-devil techniques to capture the perfect shot. He gave this sage advice to budding aerial photographers: ‘It is essential to stand up, not only to make the exposures but to see what is coming along ahead. If one’s right leg is tied to the seat with a scarf or a piece of rope, it is possible to work in perfect security’. Buckham also pioneered early layering of multiple negatives to create the perfect shot giving his photographs an ethereal, otherworldly quality.

The Industrial Revolution led to the rapid expansion of the railways, which had a huge impact on the way that people lived and worked and led to the expansion of many towns and cities. As early as 1845, the railway line in Linlithgow was photographed by David Octavius Hill (1802-70) and Robert Adamson (1821-48), who travelled by train to document the main sights of the town.

The Forth Bridge was the longest bridge in the world when it opened in 1890 and it is now widely regarded as a symbol of Scottish innovation and cultural identity. Radical in style, materials and scale, it marked an important milestone in bridge design and construction during the period when railways came to dominate long-distance land travel. Evelyn George Carey (1858-1932), a young engineer working on the construction of the bridge, made an incredible series of photographs as the building work progressed. In one of these photographs Carey records the amusing sight of two men demonstrating the cantilever principle – resulting in the boy sitting at the centre of the ‘bridge’ being lifted into the air. This series of photographs inspired the German contemporary photographer Dieter Appelt (b.1935) to make Forth Bridge – Cinema. Metric Space – a photographic montage of 312 separate silver gelatine prints which together offer a beautiful, lyrical interpretation of an engineering masterpiece.

Another innovation explored in Planes, Trains and Automobiles is the Victorian phenomenon of the stereograph. Made of two nearly identical scenes, which when viewed together in a special device, create a single three-dimensional image; this new photographic technology essentially mimicked how we see the world. It sparked curiosity and encouraged the public to view images of far-flung places from the comfort of their own home. The natural association between travel and transport meant that modes of transport were one of the most popular themes for stereographs. This exhibition will feature over 100 stereographs from the National Galleries of Scotland’s collection in a dynamic wall display, alongside digital interpretations.

524 million journeys were made by public transport in Scotland last year and Planes, Trains and Automobilesexplores this common form of travel. Photographers have been repeatedly drawn to the theme of commuting, fascinated by its ability to show humanity in movement, following regulated routes to work. Among these are documentary photographers Humphrey Spender (1910-2005) and Larry Herman (b.1942) who both made work observing Glasgow and Glasweigians on their daily commute.

From photographs of the iconic Forth Bridge to images of commuting, Planes, Trains and Automobiles is a photographic celebration of transportation in all its forms.

Christopher Baker, Director, European and Scottish Art and Portraiture, National Galleries of Scotland, said:  This is the third in a hugely popular series of thematic exhibitions drawn entirely from the outstanding collection of photography held by the National Galleries of Scotland. The carefully selected photographs on display show how technology and transport have impacted on so many aspects of our lives and provided such a rich and thought-provoking focus for outstanding Scottish and international photographers, from very earliest days of the medium to today’s innovators.”

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MacKinnon Collection

Pictured: Fairlie Album, 1860s by various inc. Julia Margaret Cameron. Collection: National Galleries of Scotland, MacKinnon Collection, acquired jointly with the National Library of Scotland with assistance from the Heritage Lottery Fund, Scottish Government and Art Fund.

 

100 years of Scottish photography secured for the nation

An exceptional collection of historic photographs that captures a century of life in Scotland is to be shared with the public following a special collaboration between the National Library of Scotland and the National Galleries of Scotland.

More than 14,000 images – dating from the earliest days of photography in the 1840s through to the 1940s – have been jointly acquired with support from the Scottish Government, the Heritage Lottery Fund and Art Fund.

The collection covers an expansive range of subjects – including family portraits, working life, street scenes, sporting pursuits, shops, trams, tenements, mountains and monuments. Until now, it was one of the last great collections of Scottish photography still in private hands.

The collection was put together by photography enthusiast Murray MacKinnon, who established a successful chain of film-processing stores in the 1980s, starting from his pharmacy in Dyce, near Aberdeen.

He said: “The collection covers the day-to-day lives of Scottish people both rich and poor, the work they carried out including fishing and farming, in order to survive, and their social life including sport and leisure. These were turbulent times what with industrialisation, shipbuilding, new forms of transport, the social upheaval caused by the First World War in Europe and the Boer War in South Africa. The discovery of penicillin and radiography heralded the development of medicine and the pharmaceutical industry in Scotland.

“I would like to thank all the people involved in acquiring this collection for the Scottish nation, and for their great efforts in making this acquisition possible.”

Culture Secretary Fiona Hyslop welcomed the public acquisition.

She said “The MacKinnon collection is one of the most remarkable collections of Scottish photography and an invaluable resource for researchers, students and the wider public. I am delighted that £300,000 of Scottish Government funding has supported the acquisition, curation, touring and digitisation of this collection, preventing it from being broken up or sold overseas.

“Our rich cultural and artistic heritage plays an intrinsic part in boosting our economy and tackling inequalities. I commend the National Galleries of Scotland and National Library of Scotland for their achievement in ensuring that this unique collection can now be enjoyed by the people of Scotland, enabling the public to learn more about our fascinating early photography tradition.”

National Librarian, Dr John Scally said: “Scotland has a unique relationship with photography which dates back to the work of the early pioneers such as Hill and Adamson. This acquisition is akin to buying Scotland’s photographic album of 14,000 pictures and bringing it home, and together with the National Galleries of Scotland, we were determined to make that happen. I am confident that every Scot will feel a connection with these wonderful photographs and we look forward to sharing them with the public over the coming months.”

National Galleries of Scotland, Director General Sir John Leighton, said: “This collection superbly demonstrates the important role Scotland had in shaping the history of photography. Our ability to tell this story is greatly enriched by this acquisition, and we look forward to the exciting partnership with the National Library of Scotland in making these artworks accessible to all.”

Heritage Lottery Fund, Manager for Scotland, Lucy Casot, said: “Taken in the pioneering days of photography in Scotland, these historical images allow us to glimpse our ancestors going about their daily lives. Thanks to players of the National Lottery, this valuable resource has been secured for us all to enjoy. It’s a fascinating collection detailing what life was like and how that has shaped us as a nation.”

Director of Art Fund, Stephen Deuchar said: “We are proud to be able to support both National Library of Scotland and National Galleries of Scotland in acquiring Murray MacKinnon’s unparalleled collection for the nation. It is incredible to have these photographs join a public collection where they can be enjoyed for generations to come through their display and tours as well as digitally.”

The photographs provide a visual record of how Scotland has changed physically, socially and economically since the 1840s.

Highlights include:

More than 600 original photographs from the pioneering days of photography featuring work from David Octavius Hill (1802-1870) and Robert Adamson (1821-1848), James Ross (d.1878) and John Thomson (d.1881), Cosmo Innes (1798-1874) and Horatio Ross (1801-1886).

Some of the finest work of Thomas Annan (1829-1887) and his son, James Craig Annan (1864-1946) including rare examples of their original albumen prints.

Fine examples of the work of Scotland’s successful commercial photographers including George Washington Wilson (1823-1893) and James Valentine (1815-1880).

Portraits of Scottish regiments from the Crimean War by Roger Fenton (1819-1869).

A series of albums and prints depicting life in the main towns and cities from the late 1800s and early 1900s.

Studies of farming and fishing communities in remote villages and hamlets.

Scenes of shipbuilding, railways, herring fishing, weaving, whisky distilling, dockyards, slate quarries and other working environments.

The collection contains an exquisite view of Loch Katrine by William Henry Fox Talbot, who travelled to Scotland in the autumn of 1844. Talbot was the inventor of the calotype, a negative-positive paper process that was patented around the world, but, importantly not in Scotland, allowing for free use and experimentation. As a result, early Scottish photographers, such as Hill and Adamson and Ross and Thomson, were encouraged to take up the new technology, becoming key figures in developing its potential as both document and art form within its first two decades.

As the photographic medium evolved, Scotland once again was at the forefront when, in 1883, Thomas Annan and his son James Craig Annan secured the British rights for the previously secret process of photogravure. The photomechanical process created prints in large editions, revolutionising the publication and reach of photography.

While photography is known for its reproducibility, many of the artworks contained within the collection are unique, including daguerreotype portraits and hand-made albums. One such impressive example is the Fairlie album, consisting of family portraits and photographs by known makers including Julia Margaret Cameron. Using elements of collage, drawing and marginalia, the pages are a one-of-a-kind celebration of the Fairlie Family, from Fife. Reginald Fairlie was the architect of the National Library of Scotland building on George IV Bridge.

A major exhibition of the MacKinnon collection will be held at the Scottish National Portrait Gallery next year, with touring exhibitions around the country to follow. The entire collection will also be digitised over the next three years and made available online.

#ScotlandsPhotos

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Colin Templeton’s Glasgow.

Photographer of Glasgow, Colin Templeton, is exhibiting work in a group show Photography Now, at the Brick Lane Gallery in London, from 8th – 20th November. There’s an opening night on the 8th Nov, 6.00- 8.30pm.

 

Rear Window – A face glimpsed through the steamed up window of a car. © Colin Templeton 2017

 

Of the work he’ll exhibit Colin says, “The city is in constant flux. Right now in Glasgow the shipyard cranes and tower blocks are vanishing. The pubs are closing or becoming gentrified. Everything disappears and, once gone, becomes fascinating.

I’ve come to realise that the city is my inspiration to pick up a camera. It seems to me that the fabric of the buildings and places are the perfect backdrop for the people. There is darkness and drama in the most everyday places, and I enjoy the challenge of finding and capturing it.”

 

Red Road – Final days of the Red Road flats. © Colin Templeton 2017

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Behind the Scenes, University of St Andrews

Recently as a group we were delighted to be invited to spend time at the University of St Andrews, taking a look at what goes on behind the scenes, seeing the little moments which make the historic educational establishment run on a daily basis. From gardeners to waiting staff, from members of staff to the choirs and students themselves, little glimpses of  daily life are being captured building into a larger set which will in time we hope be exhibited or published. But for now the chronicling of the corridors of education in St Andrews continues…

 

Heather Bremner cleans Younger Hall, prior to the installation ceremony of Professor Sally Mapstone as Principal and Vice-Chancellor – Behind the scenes at the University of St. Andrews. ©Jeremy Sutton-Hibbert 2016, all rights reserved.

 

Preparations for a ceremonial dinner at Lower College Hall – Behind the scenes at the University of St. Andrews. ©Jeremy Sutton-Hibbert 2016, all rights reserved.

 

The ceremonial Macebearers take the ancient and valuable mace’s from the safe, in the Vestry of St Salvator’s Chapel, prior to the installation ceremony of Professor Sally Mapstone as Principal and Vice-Chancellor – Behind the scenes at the University of St. Andrews. ©Jeremy Sutton-Hibbert 2016, all rights reserved.

 

Students having gowns adjusted after coming off stage at the Younger Hall at the University of St. Andrews, on graduation day, 30th November, 2016. ©Colin McPherson, 2016, all rights reserved.

 

Bell ringers at St. Salvator’s Chapel at the University of St. Andrews, on graduation day, 30th November, 2016. ©Colin McPherson, 2016, all rights reserved.

 

Newly graduated students at St. Salvator’s Chapel grounds at the University of St. Andrews, on graduation day, 30th November, 2016. ©Colin McPherson, 2016, all rights reserved.

 

Adam Taylor and his team of gardeners from the Estates, Grounds and Recycling Services carry out some spring time planting in the garden at Edgecliff House. This year they have planted over 11,000 tulip bulbs and 2000 crocus bulbs around the campus. Behind the scenes at The University of St Andrews, 30th March 2017. ©Sophie Gerrard 2017, all rights reserved.

 

Dame Anne Pringle, Senior Governor of The University of St Andrews University, April 2017. Photographed at University House – the Principle’s Residence at the University of St Andrews.
For the first time in the history of The University of St Andrews four of the senior positions are now held by women (Principal, Senior Governor, Rector and Student President). ©Sophie Gerrard 2017, all rights reserved.

 

Charlotte Andrew, President of the Students’ Association, St Andrews University, April 2017. Photographed at University House – the Principle’s Residence at the University of St Andrews.
For the first time in the history of The University of St Andrews four of the senior positions are now held by women (Principal, Senior Governor, Rector and Student President). ©Sophie Gerrard 2017, all rights reserved.

 

 

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Here We Are, by Burberry

Here We Are, an exhibition of over 200 photographs of British documentary work by 30 photographers, including work from Jeremy Sutton-Hibbert’s North Sea Fishing series, has gone on show in London, until 1st October. The show is curated by Christopher Bailey, President and Chief Creative Officer, Burberry; Lucy Kumara Moore, writer, curator and Director of Claire de Rouen; and co-curated by photographer Alasdair McLellan.

 

Burberry ‘Here We Are’ British documentary photography show at Old Sessions House, in London.

 

HERE WE ARE – EXHIBITION OVERVIEW
A major photography exhibition exploring the British way of life and character on display at Burberry’s new show venue, Old Sessions House.
* ‘Here We Are’ will bring together the work of over 30 of the 20th century’s most celebrated social and documentary photographers, from 18 September – 1 October 2017.

 

‘Here We Are’, by Burberry. Credit: Burberry. 

 

* The exhibition will be displayed over three floors of Burberry’s new show venue Old Sessions House in Clerkenwell, which will open to the public for the first time since its restoration.
* The exhibition will feature over 200 works and will be divided into themes which reflect different aspects of the British way of life.

* The exhibition will showcase important bodies of work by individual photographers as discrete, monographic presentations, alongside the thematic displays.

* Inspired by the spirit captured in British social portraiture, Burberry’s September collection for men and women will be presented at Old Sessions House on Saturday 16 September at 7pm.
Exhibiting photographers – ‘Here We Are’ will feature over 200 works by over 30 photographers including Alasdair McLellan, Andy Sewell, Armet Francis, Bill Brandt, Brian Griffin, Charlie Phillips, Chris Steele-Perkins, Colin Jones, Colin O’Brien, Dafydd Jones, Daniel Meadows, Homer Sykes, Ian Berry, Ian Macdonald, Ian Tyas, Jane Bown, Janette Beckman, Jeremy Sutton-Hibbert, Jo Spence, Karen Knorr, Ken Russell, Mark Power, Martin Parr, Olivier Richon, Peter Marlow, Roger Mayne, Shirley Baker, Stuart Franklin, Tessa Traeger, Tom Wood and Tony Ray-Jones.

More information and further interviews and work from the show can be explored via the Burberry App for smartphones.

Jeremy Sutton-Hibbert being interviewed about his work, at the Burberry ‘Here We Are’ British documentary photography show at Old Sessions House, in London.

‘Here We Are’
18 September – 1 October 2017
10am-9pm daily
Old Sessions House, 22 Clerkenwell Green
Free entry

PUBLIC PROGRAMMING & EVENTS
In addition to ‘Here We Are’, we will run a varied programme of events and activities and will include temporary versions of Burberry’s all-day café Thomas’s and a Claire De Rouen book shop.
We are endeavoring to curate a programme of events in collaboration with exhibiting photographers and key creative partners which will respond to key themes of the exhibition. Drawing upon the specific expertise of each partner, the programme will include a rich and varied selection of talks, tours, workshops, conversations and book signings. Visitors will be able to sign up to the public programmes and events via Burberry.com.

OLD SESSIONS HOUSE
This September, Burberry’s show will be taking place at a new venue, Old Sessions House in Clerkenwell. The space will be opening its doors to the public for the first time since its restoration. As well as being the home to the ‘Here We Are’ exhibition, the venue will run a programme of events and activities and will include temporary versions of Burberry’s all-day café Thomas’s and a Claire de Rouen bookshop. Old Sessions House will be open daily, from 10am–9pm, 18 September – 1 October 2017. Old Sessions House is an 18th-century Grade II* listed building, for which construction started in 1779. It opened for use in 1782 as Middlesex Sessions House and was once the largest courthouse in England. With an architecture that has attracted attention from artists and topographers over the years, the building is Palladian in style, with a facade constructed in Portland stone and an interior featuring a grand coffered dome at its centre. Visit www.theoldsessionshouse.com for further information.

 

 

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When We Were Young

We’re delighted that the next photography exhibition at the Scottish National Portrait Gallery, ‘When We Were Young’, will include work from the Scottish photography archive by Jeremy Sutton-Hibbert. Included in the group show will be Jeremy’s images of Roma children, photographed in Sintesti Roma camp in Romania in the early 1990’s, part of his multi-year project photographing the Roma settlement on the outskirts of Bucharest, ‘Satra, The Roma of Sintesti.

 

WHEN WE WERE YOUNG:
PHOTOGRAPHS OF CHILDHOOD FROM THE
NATIONAL GALLERIES OF SCOTLAND
14 October 2017 – 15 April 2018
Scottish National Portrait Gallery, 1 Queen Street, Edinburgh EH2 1JD
Admission FREE
nationalgalleries.org | 0131 624 6200
#WhenWeWereYoung

Part of Photography Scotland’s 2017 Season of Photography

The magic and wonder of childhood will be the subject of a new exhibition of photographs at the Scottish National Portrait Gallery (SNPG) this autumn. When We Were Young will delve into the rich collection of the National Galleries of Scotland to explore how the lives of children have fascinated photographers from the earliest days of the medium to the present. More than 100 images, which capture children at play, at work, at school and at home will reveal how the experience of being a child, and the ways in which they have been represented, have changed radically in the past 175 years.

The photographs not only reveal the shifting attitudes towards children and their representation, but also show the evolution of the photographic processes from early daguerreotypes to contemporary digital prints.

Opening on 14 October 2017 at the SNPG, When We Were Young is the second in a series of thematic exhibitions being held to inspire a new appreciation for this extraordinary art form.

One of the earliest works in the collection is a daguerreotype of a family photographed by James Howie (1791-1858). Having trained as an artist, Howie was known as a portrait and animal painter; he switched to photography and established the first professional photographic studio in Edinburgh in 1841 (only two years after photography was first introduced). His customers had to climb multiple flights of stairs, then use a ladder to access a skylight leading to the roof of his outdoor studio, where they would then perch several floors above a bustling Princes Street below and were told to “sit as still as death”.

Some photographers’ directions for children were more amenable. Julia Margaret Cameron’s literary and religious evocations of the 1860s brought an imaginative element to the depiction of childhood. In her portrait of Kate and Elizabeth Keown, titled The Red and White Roses, the two sisters are shown close up with one clutching a sprig of flowers, the other has hands clasped as if in prayer. The work was not intended as simply a portrait of the photographer’s neighbours on the Isle of Wight, rather it was a metaphor for youthful beauty and the passage of time. Cameron has posed the girls to create an artistic scene and deliberately records them in soft focus so as to create a dreamlike, ethereal quality in the photograph.

Some of the photographs show young children at work or in a work environment—apprentices at ship yards, fisher girls on the beach, or children working family farms and crofts, such as Larry Herman’s 1974 portrait of John Watson at work on a dairy farm in Ayrshire, and Paul Strand’s portrait of John Angus MacDonald on his family croft on South Uist in 1954. In the work of MacMahon of Aberdeen, the photographic studio captured three young boys at a fish processing plant in the town in order to provide a sense of proportion and scale for the giant cod that was being shipped overseas to Portugal. The picture shows the smallest boy in the middle of the composition, dwarfed by gargantuan fish.

From uniformed school pictures to class outings and lessons, another selection of photographs shows children within an educational context. Among the works on display is a series of images by Edith Tudor-Hart (1908–1973), whose intimate pictures of teachers and pupils from Camphill School, Aberdeen, were originally commissioned for a magazine essay in 1949. Tudor-Hart explored the teaching philosophy of the institution which is displayed in the tenderness of the work that addresses the school’s ethos of providing support and education for children with developmental disabilities, mental health problems and other special needs.

The exhibition also explores the notion of play, a subject synonymous with childhood. From portraits of Victorian children with their dolls and books to explorations of today’s virtual playground, the photographs reveal that while children may have vastly different toys from the past compared with the present day, there is still the desire to escape into a world of make-believe and imagination. Many photographs reveal the street playgrounds of the 1950s and 1960s, such as Roger Mayne’s Children playing on a lorry, Glasgow (1958). Like so many of Mayne’s highly contrasting, black and white photographs, it captures perfectly the children’s vitality and abandon in a simpler time, whereas Wendy McMurdo explores the state of modern play which often is situated both in the real and virtual worlds. Inspired by the recent phenomenon of Pokémon GO, which involved young children searching out computer-generated characters inhabiting physical sites and landscapes, McMurdo photographed a number of children and utilised digital technology to obscure their faces and create a splintered portrait—symbolic of their fractured play between two worlds.

When We Were Young is also a chance to see, for the very first time, new works recently acquired by the Gallery from artists including; Wendy McMurdo, Glasgow-based Margaret Mitchell and leading South African photographer Pieter Hugo. The carefully selected photographs, all from the national collection, celebrate the notion of childhood as recorded by the camera since the 1840s with a delightful and engaging selection and coinciding with the Year of the Young Person in 2018.

“This is the second of our thematic exhibitions drawn from the photography collection here at the National Galleries of Scotland. This fun and engaging display of childhood from all over the world will feature iconic images alongside less well known works, old favourites and new acquisitions—essentially something for everyone, no matter what your age!”

Anne Lyden, International Photography Curator, Scottish National Portrait Gallery.

Part of Photography Scotland’s, Season of Photography 2017, a lively series of exhibitions and events taking place across Scotland from September to November 2017.

Part of Luminate, Scotland’s creative ageing festival
Luminate runs a diverse programme of creative events and activities throughout the year, including a nationwide festival of arts and ageing. Luminate’s sixth festival takes place 1 – 31 October 2017.

About the Robert Mapplethorpe Photography Gallery
When We Were Young: Photographs of Childhood from the National Galleries of Scotland is being shown in the Robert Mapplethorpe Photography Gallery and is part of a continuing series of photographic exhibitions (including Lee Miller & Picasso and Ponte City) in the Scottish National Portrait Gallery. The Robert Mapplethorpe Photography Gallery, named after the renowned American photographer, is supported by a very generous donation from The Robert Mapplethorpe Foundation. The gallery is the first purpose-built photography space of its kind in a major museum in Scotland.

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North Sea Fishing, in Wick.

 

North Sea Fishing, an exhibition of black and white photographs shot aboard seine net fishing boats in the early 1990s by Jeremy Sutton-Hibbert, continues its travels up the East coast of Scotland, and is presently showing in Wick’s St Fergus Gallery. Times and dates are in the above poster.

After Wick, it’ll travel onwards to Thurso Art Gallery which will be the last stop this year, and then in early 2018 North Sea Fishing will finish its tour at Beacon Arts centre in Greenock.

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FLOW PhotoFest

Document Scotland are very pleased to announce that we’re being represented in the inaugural Flow PhotoFestival, with two bodies of work. The new photography festival takes place across the Highlands of Scotland throughout September.

Colin McPherson’s images of Scottish football culture, the When Saturday Comes series, are on show at the Eden Court, Bishops Rd, Inverness, IV3 5SA. From 2nd – 30th Sept.

Colin’s work documents the ‘beautiful game’ and photographs of football culture in Scotland. Exploring the social process which surrounds football, McPherson immerses himself, and the viewer, into the rituals and practices of the fan as they embark on their weekly experience of football. Attention is given to the banal and the everyday details of the manner in which football is performed by the fan in the season. McPherson produces illuminating and insightful work on a ubiquitous aspect of contemporary Scottish culture. This work was previously shown at the Scottish National Portrait Gallery in Edinburgh.

 

‘Craigroyston, 2006’ from the series ‘When Saturday Comes’. ©Colin McPherson 2017, all rights reserved.

 

‘Alloa Athletic, 2010’ from the series ‘When Saturday Comes’. ©Colin McPherson 2017, all rights reserved.

 

Jeremy Sutton-Hibbert’s North Sea Fishing images are being exhibited at St. Fergus Gallery, Wick Library, Sinclair Terrace, Wick, KW1 5AB. The show runs from 9th Sept – 21st Oct.

High Life Highland are delighted to be hosting a striking exhibition of black and white images shot aboard the seine net fishing boats, Mairead and Argosy, in the North Sea in the 1990’s. These images, by Scottish documentary photographer Jeremy Sutton-Hibbert, capture the reality of the life at sea for the fishermen of Scotland’s North East fishing communities – the cramped conditions, the monotony, and the gruelling work in harsh conditions.

Aboard the ‘Argosy’ seine-net fishing boat, in the North Sea, Scotland, February 1995. Photograph by ©Jeremy Sutton-Hibbert 1995, all rights reserved.

 

Bill Smith secures the nets, aboard the ‘Argosy’ seine-net fishing boat in the North Sea, Scotland, February 1995. Photograph by ©Jeremy Sutton-Hibbert 1995, all rights reserved.

 

The FLOW PhotoFest runs through September at a variety of galleries and exhibition spaces throughout the Highlands of Scotland.

 

 

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