Read all about it!

Hogmanay revellers, Edinburgh, 1995. Photograph © Colin McPherson, all rights reserved

 

With An Independent Eye now up-and-running at Oriel Colwyn, Document Scotland’s Colin McPherson explains how his current exhibition came about and what led to the photographs being transferred from printed page to gallery wall.

“Something must be done! That oft-repeated phrase, beloved of campaigners, complainers, politicians and journalists, was on my lips when the Independent newspaper announced in early-2016 that it would cease publication as a newspaper and concentrate its output online. The title, founded 30 years previously, had provided me the opportunity over more than two decades to cover news, features, travel, sport and much, much more for the title and its sister, the Independent on Sunday.

Jacob Rees-Mogg, Fife, 1997. Photograph © Colin McPherson, all rights reserved

 

“So I decided to bring out a small compendium of images which I had either been commissioned to take for the paper, or had submitted and had published since my first assignment for them back in 1995. The 48-page book, A5-size, containing some memorable and favourite images, proved to be very popular as people looked for a small souvenirs of something disappearing from our newsstands in the UK. I had first worked for the Indy in Scotland and when I relocated south of the border in 2004, the work followed me down there. It was always an interesting mix of assignments and working for them always felt like a pleasure. Even when the papers shrank from broadsheet to tabloid, there were still people who understood the value and power of the picture, something which informed the way the Indy presented itself to the world. Their love of the monochrome image was especially prevalent in the early days and often a whole half-page would be surrendered to a photograph in order to tell or lead into a story.

“By the time the final edition rolled off the presses on the 26th March 2016, I had had over 1000 images published from stores and features across the world, some on assignment, some ideas which I had taken to the Indy myself and which they had printed.

An Independent Eye at Oriel Colwyn, 2017. Photograph © Colin McPherson, all rights reserved

 

“But the story didn’t end there. Shortly after An Independent Eye was published, Paul Sampson, the curator of Oriel Colwyn, the photography gallery with a burgeoning reputation for staging contemporary photography shows, contacted me and suggested the book would be the basis of an interesting and informative exhibition. Over the subsequent months we gently patted ideas back-and-forward until it was decided that we should display a selection of images from the book alongside the original newspaper cuttings showing the published images. As I had preserved cuttings from many of the most important stories I covered, it proved easy to put together. The result is a show which brings the recent past into focus and allows the viewer to see the original setting and context of where the pictures appeared. There are a smattering of famous people and places, iconic locations and momentous political events. Being on commission for a newspaper such as the Indy meant that every assignment looked and felt different to one another, or at least that’s how the photographers who worked for them wanted to make it look.

Fittingly, the exhibition opened on 26th March this year, precisely one year to the day since the Indy’s disappearance from the country’s newsagents and kiosks.”

An Independent Eye, the exhibition, is a joint collaboration with Glasgow’s Street Level Photoworks and the intention is that the show will tour to Scotland (venue and date TBC) and other venues across the UK over the coming months and years. It runs until 31st May, 2016 at Oriel Gallery, Colwyn Bay, north Wales.

Traveller children, Liverpool, 2004. Photograph © Colin McPherson, all rights reserved

 

Demonstrators, Berlin, 2015. Photograph © Colin McPherson, all rights reserved

 

Peat cutters, Lewis, 1996. Photograph © Colin McPherson, all rights reserved

 

Family, Swaziland, 2008. Photograph © Colin McPherson, all rights reserved

 

Male racegoers, Aintree, Liverpool, 2012. Photograph © Colin McPherson, all rights reserved

 

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A PERFECT CHEMISTRY: PHOTOGRAPHS BY HILL & ADAMSON

A PERFECT CHEMISTRY:
PHOTOGRAPHS BY HILL & ADAMSON
27 May – 1 October 2017
SCOTTISH NATIONAL PORTRAIT GALLERY
1 Queen Street, Edinburgh EH2 1JD
Admission: £10 (£8) | 0131 624 6200
#HillAndAdamson

Hill and Adamson, Sandy (or James) Linton, his boat and bairns ca.June 1845

This summer the Scottish National Portrait Gallery will explore the captivating images produced by the unique partnership of Scottish photographic pioneers David Octavius Hill (1802-1870) and Robert Adamson (1821-1848). A Perfect Chemistry will comprise over 100 photographic works dating from just four short years in the 1840s, when these two men changed the path of photography and created a remarkable body of work that has had an unparalleled impact on the medium. This will be the first time in 15 years that these treasured photographs will have been the subject of a large exhibition in the UK.

The artistic partnership between the painter Hill and the engineer Adamson was remarkable in many respects: only four years after the invention of photography was announced to the world in 1839, the Scottish pair had not only mastered and improved upon the new medium, but were producing breathtaking works in extraordinary quantities. Their innovative images appear surprisingly fresh even today and their subjects range from intimate portraits to beautiful cityscapes that document the urbanisation of the Scottish capital. A Perfect Chemistry will also feature fascinating images of the Newhaven fisherfolk which form one of the most significant groups within Hill and Adamson’s oeuvre; these outstanding photographs belie the technical challenges faced by the duo and are arguably among the first examples of social documentary images in the history of photography.

The meeting between Hill and Adamson was precipitated by a polarizing religious dispute: on 18 May 1843 a group of ministers walked out of the Church of Scotland’s annual General Assembly in Edinburgh and officially established the Free Church of Scotland. The event rocked the nation and political status quo, sending reverberations around the world. Hill was so moved by the ministers standing up for their beliefs that he decided to commemorate the event in a large-scale painting representing all 400 of them. He turned to Adamson, 19 years his junior, as the first and only professional calotypist in Edinburgh, to photograph the sitters as preliminary sketches for his grand painting.

Hill quickly became smitten by the new art form and within weeks of meeting, the two men entered into a partnership and began making photographs together. Within a matter of months their works were featured in exhibitions and receiving critical acclaim, often being compared to Rembrandt’s etchings due to the strong chiaroscuro (or contrasting dark and light) quality of the prints.

Ironically, Hill had approached photography as a means to expedite his painting yet it took him 23 years to finish his large commemorative canvas: The First General Assembly of the Free Church of Scotland; Signing Act of Separation and Deed of Demission (1843-66).The imposing picture was ultimately sold to the Free Church of Scotland and it continues to hang today in their headquarters in Edinburgh.

The success of Hill and Adamson’s partnership relied on professional alchemy as well as personal affinity, with both men working and living in Rock House, a landmark building located on Edinburgh’s Calton Hill. Since making calotypes required natural sunlight, the photographers used the house’s south-facing garden as their studio, employing a series of props and several different backgrounds for their outdoor images.

These portraits made at Rock House represent a real ‘who’s who’ of Edinburgh’s society and illustrate the vibrancy of the capital’s cultural life in the 1840s; eminent sitters ranged from the artist Sir David Allan, to Isabella Burns Begg, the sister of poet Robert Burns, and the inventor of chloroform James Young Simpson. A string of foreign sitters also attested to the international nature of the capital at this time.

Hill’s artistry gave him an eye for composition, evident in an intriguing portrait of Lady Ruthven, whom he posed with her back to the camera to exploit the intricate lace detailing of her shawl against her dress. The image reads as a metaphor for photography itself: the negative and positive image captured on paper. Adamson appeared to push the boundaries of photography—demonstrating skills few possessed at such an early period in the history of the art form. To create calotypes the photographers dealt with a complex process of applying light-sensitive chemical solutions to paper in order to create the images. The steps involved were cumbersome and variable, yet the consistently high quality of the prints indicate they had perfected the process and mastered the fickle chemistry of early photography.

The exhibition also will reveal how Hill and Adamson made clever use of stylistic and practical devices when creating their pictures. Books not only suggested the sitter was educated, but the white pages allowed light to bounce back on the subject (at a time when there were no studio lights), while the actual object would keep the sitters’ fidgety hands occupied for the duration of the exposure. Poses were held anywhere from 30 seconds to several minutes depending on the available sunlight, and any fidgeting during that time would result in a blurred image. The resulting photographs nevertheless display remarkable vitality, and in some, carry the sense of spontaneity of a modern snapshot like in the group portrait Edinburgh Ale where the sitters exhibit relaxed poses and faint smiles.

Hill and Adamson also captured the fisherfolk of nearby Newhaven. The men and women of the village were known throughout Edinburgh and beyond for their distinctive costumes, and their reputation for bravery had made them a part of popular culture in the nineteenth century, even featuring as characters in novels by Sir Walter Scott. With the limitations of the medium, the photographers could not capture the boats at sea and interestingly some of their most iconic works from the series, depict the men beside their beached boats or tending to their fishing lines ashore. These shoots were not a casual day out at the shore; in order to record these subjects the two men had to transport all their cumbersome equipment (wooden box cameras, tripods, paper, and support stands) to the site. Such complex requirements didn’t stop Hill and Adamson from travelling around Scotland—Glasgow, Linlithgow and St Andrews — and even as far afield as Durham and York in England. The Newhaven images are rare examples of social documentary photography and a selection of the Newhaven photographs was shown at the Great Exhibition at the Crystal Palace in London in 1851; an early indication of the importance of the partnership to the history of photography.

The untimely death of Adamson on 14 January 1848, at the age of 26, marked the end of this unparalleled partnership, but their legacy continues. The fact that the photographs continue to delight is indicative of the special chemistry shared by these two Scottish pioneers. The last exhibition of this scale of Hill and Adamson’s fragile works was Facing the Light at the Scottish National Portrait Gallery in 2002.

Christopher Baker, Director of the Scottish National Portrait Gallery, commented: “Hill and Adamson’s works are the foundation of the photography collection at the National Galleries of Scotland. Their contribution to the history of photography was profound and enduring and is appreciated all over the world. The National Galleries holds the most comprehensive collection in existence and this very carefully selected exhibition will demonstrate the full range of their achievement. We are delighted to be providing visitors with an opportunity to view such important and inspiring works as part of our long-term commitment to promoting the appreciation of photography.”

Sue Dawe, EY Managing Partner for Edinburgh and Head of Financial Services in Scotland, said: “EY has long been a supporter of the arts and I am delighted that we are able to continue our sponsorship in Scotland with the National Galleries of Scotland. The work showcased in this exhibition demonstrates a legacy of industry and ingenuity for which Scotland is renowned worldwide. On behalf of EY, I am proud to help celebrate the efforts of two creative, Edinburgh-based photographers who were dedicated to their craft and documenting Scotland’s social history.”

A Perfect Chemistry: Photographs by Hill & Adamson is part of the Edinburgh Art Festival.

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WildFires

WildFires is a new collective of female photographers working in Scotland. Initiated by Dr. Katherine Parhar, the group’s first exhibition, When the Light Shifts, is on display at Glasgow Women’s Library until 1st April. Here, Sarah speaks to Katherine about the ideas and aims behind the initiative.

Be, Still © Mairead Keating all rights reserved

 

SAF: Katherine, can you tell us a bit about yourself, your background and how you became interested in photography?

KP: I’m a photo historian, writer and curator. I teach at Napier University in Edinburgh, but I studied in Glasgow, where I began to specialise in the art of the inter-war era, a time when new technologies in print and photography altered, quite profoundly, how people saw and experienced their world – be it through war reportage fashion ephemera or x-rays of the human body. Photography developed so rapidly, so much the fabric of an increasingly unstable social climate, that I became fascinated with its creative possibilities, yes, but also with its moral and ethical place in our world. I like working with photographers because they – and their images – balance creative, ethical and personal drives in ways that other art forms don’t necessarily demand at every turn, as photography – I believe – does. So I love photography as a force in contemporary life, for its dilemmas and for its power – though, like many photographers, I’m cautious of it too.

 

Crosskennan © Zoe Hamill all rights reserved

 

SAF: What made you decide to begin the process of bringing together female photographers working in Scotland?

KP: As a historian, I’ve spent a lot of time looking back to recover and reinterpret the work of female photographers who were not acknowledged, collected, or written about by the institutions and individuals who decide what makes ‘History’ in the history of art and photography. I’ve been to all sorts of conferences and events that gathered together people like me. And yet the balance, for working photographers, hasn’t shifted as much as one might want to believe. In the British Journal of Photography, in this decade (so far), only 20% of the projects featured are by women. In the 1970s, that was 4%. So I began to think, how can I apply my energies to the future, to creating a living structure that promotes and records the women where I work, in Scotland? Back in 2016, September I think, I asked a few friends to the pub to ask what they thought that structure might look like – or to decide if we even needed one. Would we create exhibitions? A journal? A website? Or books? Over 20 women turned up and now we have all of these things under one name: WildFires. Our first exhibition is supported by Napier and Glasgow Women’s Library. We also have a pop-up projection at OCAD in Canada just now so we’re international already. And we have a book coming soon. But we’ve still to go for that drink!

 

Household Forensics © Susanne Ramsenthaler all rights reserved

 

SAF: What do you think people in the industry – artists, curators, photo editors – can do to ensure more visibility of women’s photographic work?

Well WildFires is something that yes, I initiated, but it’s been carried as far as it has, as quickly as it has (though it’s still new) by the people involved, from the photographers themselves to our partners (like Napier and Glasgow Women’s Library) who have all said ‘I’m in’ and pooled their energies without hesitation. WildFires is still taking shape but I initiated it with an eye to creating a platform for women photographers that would also plug in to more general needs for the photography community in Scotland – for example ‘home-grown’ international opportunities for emerging and established artists, and all who consider themselves in between. For every creative community the answer is different. But something Sophie (Gerrard) said, at our first meeting, is true across the board – if another woman has a good idea, second it; in other words, image-making is, professionally and creatively, always a network of relationships – give each other voice and volume, and with these comes visibility for us all.

Thank you Katherine. When the Light Shifts is on at Glasgow Women’s Library, 23 Landressy Street GlasgowG40 1BP until 1st April. See more work from the WildFires photographers here.

 

Fantastic New Community © Gina Lundy all rights reserved

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Gone fishing

Fisherman Felix Impas Jr. from the Philippines, Peterhead, 2016. Photograph © Keith Lloyd Davenport, all rights reserved.

 

The work of Scottish photographer Keith Lloyd Davenport first came to our attention last year when Document Scotland held a portfolio review session in Cardiff at the launch of our Common Ground exhibition at the city’s Millennium Centre.

It’s fair to say that tackling the subject of fishermen as a documentary photographer offers both abundant source material, but comes also with a series of pitfalls. Whist the allure of Scotland’s coastal and fishing communities draws us into a rich history set against the contemporary narrative of a once-thriving industry in seemingly terminal decline, the fact that so many great photographers have spent time and effort capturing fishing in all its forms means that the bar is set incredibly high in terms of producing something relevant, interesting and different from what has gone before. Indeed in his ongoing project Mare Liberum, Freedom of the Seas, Davenport cites two legendary bodies of work, Pleine Mer by Jean Gaumy, and Fish Story by Allan Sekula as major influences. So far, so good. When it came to Davenport’s work, made chiefly at a number of locations around north east Scotland since 2014, the then final year photography student at Newport showed us a set of images which although technically good and aesthetically pleasing, left a void in terms of connecting with the subject and telling a story. There was something there, but we could not at that stage see what it was.

Fast forward almost a year, and Davenport’s project reached a milestone as a small selection formed part of his MA final show exhibition. To supplement this, he produced a newspaper with images from the project, giving further context and meaning to his work. This publication has transformed the work and what is presented on the pages illuminates both the photography and the story behind it. The idea came from discussions with friend and fellow photographer, Rocco Venezia, (who also collaborated with the design of the newspaper) to have something other than prints on the wall for the exhibition at West Wharf Gallery in Cardiff.

Mare Liberum, Freedom of the Seas by Keith Lloyd Davenport. Photograph © Colin McPherson, all rights reserved.

 

The end result connects us with the people involved in the story and the state of the Scottish fishing fleet at a time when the implications of Brexit – unknown and uncharted – will probably redefine what it means to be a fisherman in Scotland in the 21st century as the Common Fisheries Policy recedes over the horizon and into history.

It was Davenport’s connection to the area he was born – the town of Banff on the Buchan coast – which gave him the initial impetus to make the work. It is places such as this which have seen the greatest changes in fishing over the past two decades as the European Union’s decommissioning policy has wielded the axe to so many small and medium-sized fishing boats. Concurrently, the consolidation of the industry now means that so-called super trawlers now rule the roost and these enormous and incredibly high-tech vessels compete in Scotland’s territorial waters with boats from outwith the country, to land almost all the nation’s catch.

One of the most striking aspects of the work presented on the pages of his newspaper is the ethnic mix of the crew of the boats which Davenport worked with. It nails the lie that the fishing industry supports scores (hundreds? thousands?) of ‘indigenous’ jobs. I look at the Filipino faces staring back at me from the pages (around 1000 men from the Philippines have crewed for the Scottish fishing industry in the last decade) and wonder what this multicultural workforce makes of Peterhead or Fraserburgh and what these communities make of the men whose honest toil puts fish on our plates and in the nation’s chippies. It is a further mark of how the world of traditional, manual work continues to change in the interconnected, global world of business.

Scotland’s skippers were the most enthusiastic Brexiteers and it will be interesting to see how this plays out over the coming years. Hopefully Davenport, his studies behind him, will continue to find the motivation and skill to continue with this striking and worthwhile project.

View of Banff from Macduff, 2016. Photograph © Keith Lloyd Davenport, all rights reserved.

 

Working aboard the Troon-based trawler Progress, 2015. Photograph © Keith Lloyd Davenport, all rights reserved.

 

Peterhead Fishermen’s Mission, 2016. Photograph © Keith Lloyd Davenport, all rights reserved.

 

Renyl Lofranco from the Philippines, Peterhead, 2016. Photograph © Keith Lloyd Davenport, all rights reserved.

 

Pyramid Takeaway, Banff, 2016. Photograph © Keith Lloyd Davenport, all rights reserved.

 

Vic from the Philippines aboard the Progress, 2015. Photograph © Keith Lloyd Davenport, all rights reserved.

 

Cod and haddock for sale in Peterhead Fish Market, 2016. Photograph © Keith Lloyd Davenport, all rights reserved.

 

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Graham MacIndoe – Coming Clean

Untitled from the series Coming Clean, negative: 2004-2010; printed 2015 by Graham MacIndoe (b.1963). © Graham MacIndoe

 

GRAHAM MACINDOE: COMING CLEAN
8 April – 5 November 2017
Scottish National Portrait Gallery
1 Queen Street, Edinburgh, EH2 1JD
Admission free
#GrahamMacIndoe

Powerful self-portraits depicting drug addiction of acclaimed Scottish photographer to be shown by National Galleries of Scotland

A compelling and powerful series of photographs that document an acclaimed Scottish photographer’s devastating descent into drug addiction are to be given an exclusive first public showing this spring at the Scottish National Portrait Gallery (SNPG).

Graham MacIndoe: Coming Clean will exhibit 25 personal and graphic images taken throughout the six-year period in which heroin and crack cocaine seized hold of successful New York-based photographer Graham MacIndoe (b.1963).

These hugely original photographs intimately record MacIndoe’s downward trajectory from professional photographer with a flourishing career to struggling opiate addict, a journey of anguish and isolation that was to culminate in an arrest for drug possession and a four-month stint in New York’s notorious Riker’s Island prison and five months in an American immigration detention centre before he got clean.

The images both powerfully confront the perilous destructiveness of addiction and explore the genre of self-portraiture in a way unrivalled in the photographic medium.

Graham MacIndoe studied painting at Edinburgh College of Art and received a Masters degree in photography at the Royal College of Art in London, before moving to New York in 1992 where he later pursued a career as a professional photographer. His work began to appear in some of the world’s leading publications, including The New York Times and The Guardian.

MacIndoe’s success led him to take portraits of the most recognisable people in the world, from Hollywood actors and authors to international artists and pop stars. However, he began to use alcohol and drugs in part to mitigate the stress arising from this demanding lifestyle, and also upheaval in his personal life, but his heroin habit gradually overtook everything that once mattered.

MacIndoe has now been clean for seven years, largely thanks to an innovative prison rehab program, what he describes as “a compassionate judge” and the support of his partner Susan Stellin, a reporter with whom he co-wrote Chancers: Addiction, Prison, Recovery, Love: One Couple’s Memoir, published by Random House in June 2016.

The recovery has seen MacIndoe prosper again, as a working photographer and as adjunct professor of photography at Parsons The New School in New York City, while he and Stellin were awarded a 2014 Alicia Patterson Foundation Fellowship for a project about deportation. In addition to being represented in the National Galleries of Scotland collection, his photographs also reside in the collections of The New York Public Library, The British Council, The V&A Museum, The Museum of Fine Arts, St Petersburg, Florida and The National Media Museum, Bradford.

While other photographers have shown the excesses of drug-taking in graphic detail before, the position usually adopted has been one of voyeur; not of subject. In MacIndoe’s case, his images do not show an individual exploited for a mass audience, so the power and control rests firmly with himself, and never before has a photographer captured addiction with such subjective honesty and rigour from the inside. This produced body of work is not only truly ground-breaking in its content, but in fact requires a certain degree of courage in viewing.

Coming Clean’s images are a result of a powerful interdependence between MacIndoe’s strong compulsions, the drive to capture the consequences of his addiction, and of his dexterous ability to do so.

The photographer hoped to avoid glamorising what had become “a solitary existence, the monotonous repetition of an addict’s daily life. I turned the camera on myself because I wanted to photograph addiction from the inside – a perspective most people never see”.

He admits that, “even in that haziness of addiction I was thinking like a photographer… how these pictures would be perceived”, and throughout this, his photographer’s eye remained keen and strong, even if everything else did not.

In their use of light, composition and ambiance, this eye emanates through Coming Clean’s images. Using basic digital cameras with self-timers, MacIndoe recorded himself while engaging in his personal drug rituals. His skilful use of light and shadow created a series of haunting self-portraits that reveal the squalor and stark reality of addiction.

Almost all the photographs are set within the small and limiting confines of his flat in Brooklyn. There is little connection with or evidence of the outside world and the few views of the city outside recorded from the window only seem to reinforce the isolating and claustrophobic existence. The only figure to appear in the scenes is MacIndoe himself, whose ghost-like presence is often exaggerated through the piercing light. In one portrait he is photographed against a window—turning his back literally and figuratively on the outside world—and the strong backlight has effectively distorted his body so that his head appears to float up and away.

Though no image, perhaps, is as symbolic of Coming Clean as that in which a clearly incapacitated MacIndoe rests his head on a seat, the evidence of a recent heroin injection in his contorted face and blood trickling from his forearm. Not only does MacIndoe, albeit inadvertently, frame the whole shot with his outstretched hand, but in his final action before descending into unconsciousness leaves the viewer with the understanding that amid the chaos, what he had been reaching out for was is the one thing he’d been left with any discernible control over; his camera.

Graham MacIndoe said: “It is a great honour to have the first showing of this body of work at the Scottish National Portrait Gallery. Although the images were taken during a difficult time, I am grateful to have made it through that period and hope this series shows that recovery is possible even from the depths of serious addiction. I never anticipated that these photographs would find a place in the national collection, so I’m especially excited for the opportunity to exhibit them in the city where I first discovered photography”.

Annie Lyden, International Photography Curator at the Scottish National Portrait Gallery, said: “These photographs offer a rare insight into a very real aspect of the human condition. Graham’s honesty and courage in documenting this particular moment of his life allows us to see the rawness and isolation of addiction from the inside. The images are powerful and are at times upsetting, but you will not find a more candid and revealing series of self-portraits than Graham MacIndoe’s Coming Clean photographs.”

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‘Gravitas’ at London Art Fair

We’re delighted that Jeremy Sutton-Hibbert’s ‘Unsullied And Untarnished’ project, which examines the culture of the Common Riding festivals of the Scottish Borders, has been chosen to be included in the Photo50 show at London Art Fair which runs this week from Wednesday 18th – Sunday 22nd January.

Photo50 is London Art Fair’s annual exhibition of contemporary photography, providing a critical form for examining some of the most distinctive elements of current photographic practice. 2017’s installment is ‘Gravitas‘, a group exhibition of lens-based works, curated by Christiane Monarchi, editor of Photomonitor photography website.

Also from Scotland and included in the show are works from a new portrait project by Wendy McMurdo which examines the dual existence of children and their digital online worlds.

GRAVITAS

“‘Gravitas’ refers to one of the core personal virtues taken by ancient Roman society as an important part of the expression of a purposeful life, a facet of the ideal and well-rounded citizen. It denoted depth as well as a seriousness and solemnity of character. The presence of gravitas signalled the transition of the Roman youth from the ranks of boyhood to become a respected member of society.

Artistic representation of the interior world of children and adolescents as they enter the adult world is fraught with challenges: not least the existence of taboos regarding the portrayal of children in the media under the age of consent. However, at a time when childhood itself comes under increasing pressure from society in many real and virtual arenas, the path through adolescence constitutes a fascinating journey worth illuminating for both artistic and sociological discourse.” – Christiane Monarchi explains the exhibition.

 

Ethan McMurdo as monk, St. Ronan’s games festival, Innerleithen, Scotland on 19th July 2014.

 

Jeremy will be exhibiting portraits of youths (above) participating in the Common Riding festivals from his Unsullied And Untarnished project, photographic portraits of the people of the towns of the Scottish Borders who each year undertake the maintaining of tradition, commemorating their local history and strengthening the bonds of their communities, during the annual Common Riding festivals of the summer months. Braw Lassies and Honest Lads, Left Hand Lassies and Right Hand Men, Cornets, Hunters and Coldstreamers – all titles given to the upstanding youths who lead the festivities, and whose duty it is to carry the burgh or town standard around the common lands, to “bring it back unsullied and untarnished”.

Wendy McMurdo’s work focuses on the now ubiquitous role of the computer in the lives of the majority of western children. The rapid proliferation of computers in schools has provided the context for the development of much of her work, which looks directly at the influence of computers on early years education. Working closely with local schools, she has explored the role of the child within the school, the growth of the Internet and the development of networked play. In related projects, she shadowed school parties on educational visits to various local museums, a process which evolved naturally from photographing in the classroom. From this, she produced series of works that explored the ways in which children related to the museum and its objects in a world of increasing simulation. She is based in Edinburgh.

Young Girl (iii), photo © Wendy McMurdo 2016.

 

Talking of the project Wendy says, “In the summer of this year, my youngest daughter was about to leave primary school and I wanted to make a final piece of work documenting her class. I’d worked with this group on many occasions over the years, mainly looking at the impact that the computer and digital culture had on their lives.

That summer, location based gaming exploded onto the scene and it seemed that much of this group’s time outside school was spent chasing Pokémon around the streets of the city. Using GPS and their camera functions, they roamed the city, inhabiting two worlds at the same time – one geographic and one imaginary. In this set of portraits, I wanted to capture that dual existence, now that space has been re-imagined for us by the appearance of location-based gaming.”

‘Gravitas’ Exhibiting Artists.

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Harry Benson: Shoot First

 

HARRY BENSON: SHOOT FIRST – a new movie about acclaimed photojournalist Harry Benson, native of Glasgow and now residing in New York, and Honorary Patron of Document Scotland, is now out in the cinemas.

HARRY BENSON: SHOOT FIRST will be shown at the Filmhouse in Edinburgh on Monday, February 6 and Tuesday, February 7. And no doubt on many more screens to come.

Watch the trailer here.

 

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Disappearing Glasgow

We’re delighted to read that Chris Leslie‘s Disappearing Glasgow project is getting another outing, this time as a multimedia exhibition at Glasgow Lighthouse space. If you missed Chris’s recent Glasgow School of Art show, then you should hurry along to see this arrangement of the works…

Disappearing Glasgow, by Chris Leslie.

 

Exhibition info:

Photographer and filmmaker Chris Leslie is widely acknowledged as the most consistent chronicler of the city’s recent history. This new multimedia exhibition and accompanying book ‘Disappearing Glasgow’ documents an era of spectacular change in Glasgow through the medium of photography and film.

The skyline of Glasgow has been radically transformed as high rise tower blocks have been blown down and bulldozed. Since 2006 more than 30% of the city’s high rise flats have disappeared, communities dispersed across the city and Dalmarnock have ‘been raised from the ashes’ via the Commonwealth Games.

Does this Disappearing Glasgow herald a renaissance in the city?

Disappearing Glasgow, by Chris Leslie.

 

Disappearing Glasgow book, by Chris Leslie.

 

Reviews of the book:

‘There’s something about a still image of something gone wrong that’s truly haunting. Perhaps to do with the age we live in, where everything is fast-moving and fleeting, that something grounded can have such a lasting effect. That’s what Chris Leslie brings to the table in Disappearing Glasgow. FIVE STARS’ The Skinny

‘Fascinating and highly emotive.’ i-on

‘Fascinating and moving.’ Scots Magazine

‘Photographer Chris Leslie documents this decline and fall wth steely-eyed honesty and unsentimental empathy. The result is both distressing and beautiful, an essay in what might have been and a lesson for anyone involved in the planning process.’ Scottish Review of Books

‘The photographs are absolutely stunning, perfectly capturing the spooky, eerie atmosphere of buildings which have been left to time. The story which Leslie tells through his photo series involves the smallest detail, such as a lost lottery ticket or an old thermostat on the wall, but also panoramas of the Glasgow cityscape, being once someone’s view. Two thumbs up for this book!’ SkyHighCity

‘Chris Leslie is the foremost chronicler of the changing face of Glasgow over the last decade.’ A Thousand Flowers

‘Chris Leslie builds on that erudite pointed critical observation and legacy of photography from the Victorian photographer Thomas Annan, through to Marzaroli. The city is fortunate to have such a critical friend, the contemporary conscience of our generation, able to aim his lens with astonishing focus, at the same time capturing the beauty, sadness and poignant with a pointed dignity.’ Page and Park Architects

Release date: 26th October 2016
Format: A4 Landscape Hardback, 192pp

Book can be purchased at usual outlets or online here – http://www.freightbooks.co.uk/disappearing-glasgow.html

Disappearing Glasgow, by Chris Leslie.

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Frank McElhinney

Frank McElhinney’s work first came to our attention in 2014 when he won first place at that year’s Jill Todd Award for his intriguing, unique aerial photographs. Since then this prolific artist has gone from strength to strength, creating several bodies of work focussing on Scotland’s landscape and how it relates to our country’s past, both near and distant. One of these, Adrift, is currently on display at Street Level Photoworks, Glasgow, as part of Tabula Rasa II. Here, he speaks to Sarah about his projects, processes, themes and methods.

Adrift: Learable, Sutherland (2016) © Frank McElhinney all rights reserved

SAF: Frank, you graduated from the Glasgow School of Art in 2014. Can you tell us a bit about how you got into photography? What were you doing before you became a student?

FM: After working in manufacturing for 20 years I decided out of the blue to become an artist. I attended several different night classes whilst building up a portfolio for entry into art school. So it’s a rather mundane answer I’m afraid, but I got into photography through adult education courses at Glasgow City College and GSA.

SAF: Your degree show plans were forced to change when the Mackintosh building caught fire in May 2014 – can you explain how this affected your work?

FM: Yes, it was a bit of a shock at the time. I’d spent over three years working on a project about the Battle of Bannockburn whose 700th anniversary was to coincide with the degree show that never happened. The main affect on my own work was the instillation of a great sense of urgency around production. Three days after the fire I went to the source of the River Forth at Loch Chon and began making a series of kite aerial photographs that won first prize in the Jill Todd Photography Award. The drive towards constant production has stayed with me.

Fire in the Mack, Friday the 23rd of May (2014) © Frank McElhinney all rights reserved

SAF: Speaking of the work you entered into the Jill Todd competition, how did you come to use the kite for making your photographs? Were there any technical challenges to this approach?

FM: Using the kite came from the need to make one specific picture. At the Battle of Bannockburn thousands of people drowned in the burn and the River Forth. I wanted to photograph the confluence of these two bodies of water from above and the kite was the simplest way to achieve that perspective. The kite is literally a joy to work with. The only challenge is the wind itself. Too much gusting and the kite will crash, not enough and a long journey might be wasted.

False Start, Limitless Ending: Confluence of Kelty Water and River Forth (2014) © Frank McElhinney all rights reserved

SAF: Your recent work, Adrift, also uses aerial photography – this time, to respond to the current migration crisis with reference to areas of Scotland once inhabited by subsistence farmers. The link is an oblique rather than an obvious one – can you tell us more about your process with this project and how you decided which locations to concentrate on?

FM: Even sympathetic media coverage of today’s migration crisis often represents refugees in problematic ways. I chose not to photograph people at all but to look instead at migration through the lens of Scottish history. The Scottish diaspora has affected all parts of the country but I focused on abandoned settlements in the Highlands and Islands. I was inspired by the early work of Tom Devine who described how the Highland Clearances were underpinned by ethnic inferiorisation of the Gaels and resulted in an almost complete cultural erasure. Whilst working on a previous project I’d also been struck by the fact that even today, of the 45 most populous cities and towns in Scotland only four of them appear on the northern side of the map.

SAF: Your work creates interesting visual conversations between past and present – responding to current events while illuminating Scotland’s history. You mention a previous project – 45 Sun Pictures in Scotland, for which you used another type of alternative photographic process – pinhole photography. Can you tell us a little about how that work came about?

FM: In September 2014, I was on a month long residency in Cromarty. At the beginning I held a workshop for local people where we made pinhole cameras, filled them up with photographic paper and tied them on lampposts and trees around the village. At the end of the month we retrieved and scanned the images that had been burned into the paper. Looking at those abstract ‘solargraphs’ with the sun tracking across the sky, I reflected that the fate of the entire nation was being decided during the exposures. Within a few days of the referendum on independence it was clear nothing had been settled, the country was still pregnant with change. Solargraphs seemed an appropriate way of saying something about that unexpected situation. So I made 200 pinhole cameras and installed them around Scotland’s 45 most populous cities and towns. I made a picture of Scotland that was, in the end, woefully incomplete.

45 Sun Pictures in Scotland: Dundee (2014-2015) © Frank McElhinney all rights reserved

SAF: It’s almost as if, through your practice, you’re creating alternative geographical surveys of the land – linking the physical terrain to more abstract ideas about identity and nationhood, with reference to events both recent and ancient. There are definite strands running through your work, though the subject matter changes. What projects do you have planned for 2017?

FM: When I look at the land I see history and I think about how I can use history to address contemporary issues, (such as nationhood, conflict and migration), rather than simply represent historic events or the land itself. I like your description ‘alternative geographical surveys of the land’, but at the same time I am also making alternative histories that connect with the present.

Looking ahead I have two new exhibitions in development for 2017 and 2018. The first relates once again to migration but looks even further back in time to the old Roman border between Caledonia and Britannia, the Antonine wall – this will be shown at the Auld Kirk Museum, Kirkintilloch, in April and May 2017. The second project is a collaboration with John Farrell, whom I met at art school. John and I were born and raised in Lanarkshire a few miles apart, and that’s where the project is based. Our working title is Coal, Steel and Earth. I am focusing on Kingshill Nature Park, formerly the site of a pit where my maternal grandfather worked as a coal miner. John is focused on what remains of Ravenscraig steelworks, where coincidentally my paternal grandfather worked as a platelayer. The exhibition is provisionally planned for 2018, at Summerlee Museum of Scottish Industrial Life. Beyond these immediate projects I have a few ‘slow burners’ including that lost project that claims me every time I drive up the A91 past Stirling and look out over the long loop of the burn as it flows into the Forth. I used to think that the moment for Remembering Bannockburn had gone up in smoke forever, but there is still work to be done out there.

Coal, Steel and Earth: Kingshill trench and tree (2016) © Frank McElhinney all rights reserved

 

Remembering Bannockburn: Confluence of Bannockburn and River Forth (2014) © Frank McElhinney all rights reserved

 

Thank you for taking the time to speak to us, Frank. We’re really excited to see where your work takes you!

Adrift is currently on display as part of Tabula Rasa II, Street Level Photoworks, Glasgow, until 4th February.

 

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Sarah Amy Fishlock joins Document Scotland

Document Scotland begins a new era in our short and full life. We are delighted to announce that long-time friend and occasional collaborator, Glasgow-based photographer Sarah Amy Fishlock has joined us, and together we look forward to joining our energies and expertise, and building on all that Document Scotland has so far achieved in promoting documentary photography in and about Scotland.

 

We welcome photographer Sarah Amy Fishlock to the Document Scotland team.

 

Sophie Gerrard spoke with Sarah about how she got started in photography, her projects, some of her influences and what’s next.

From the series Middlemen © Sarah Amy Fishlock 2011 all rights reserved.

SG: So welcome to Document Scotland Sarah, we’re looking forward to working with you – perhaps we can start with you telling us a bit about yourself…

SAF: I was born and brought up in Glasgow. When I left school I did a degree in Literary Studies at Glasgow University – it was originally going to be an Honours English Literature degree, but I cut it short when I realised that I wanted to go to art school. My father, whom I was close to and who passed his love of visual art on to me, passed away a year after I left school. I remember being in Venice with my mother soon afterwards, and taking a photo with my little point and shoot camera – a view of a corner building, from a bridge. The photo is pretty ordinary but I remember the moment really clearly as the instant I realised I wanted to do something creative, although I wasn’t quite sure what that would be.

Even though it was photography that sparked my interest in the creative industries, I started studying Visual Communication (now Communication Design) at Glasgow School of Art when I was 21, originally intending to specialise in Graphic Design. After taking a short introduction to black and white photography course in 2nd year (my first time in a darkroom), I fell in love with the process of photography. My boyfriend at the time, though not a professional photographer, was really interested in photography, and would buy me various cheap cameras for birthdays and christmases – Olympus Trip, Holga, Fuji Instax – so my first forays into photography were really experimental. I fell in love with the way my everyday surroundings could become beautiful through photography. I spent lots of time in the darkroom during my degree – now, I can’t even remember what I was printing, but I remember it being a really meditative experience, and crucial in helping me to form ideas of what a future career could look like.

saf_middlemen_2

From the series Middlemen © Sarah Amy Fishlock 2011 all rights reserved.

SG: It sounds like your starting point was quite instinctive – tell us a little about how you developed your passion and interest …

SAF: During my degree, the artists I loved were those who made the ordinary extraordinary. I was fascinated by images of the American south – Robert Frank, William Eggleston, Stephen Shore. I still love those photographers, but I realised during my studies that my own style of photography would be more intimate, the stories I tell more focused. The Iraqi interpreters that I worked with during Middlemen, my degree project, have been through trauma that most people can’t imagine, but I wanted to tell the story of their quiet persistence, their day-to-day challenges and triumphs – a story about what happens after conflict, when people must rebuild their lives. One of the primary influences on this work was KayLynn Deveney’s The Day to Day Life of Albert Hastings – the simple story of the artist’s friendship with an elderly widower, illuminated by Deveney’s lyrical, painterly imagery.

Today, two of my main influences are Sian Davey and Bertien van Manen – two artists who produce slow, quiet, unhurried projects, in which the viewer is given an intimate glimpse into other worlds.

saf_amyeahren_1

From the series Amye & Ahren © Sarah Amy Fishlock 2012 all rights reserved.

SG: We’ve enjoyed your work such as Middlemen and Amye & Ahren and featured them in Document Scotland publications and salons, you’ve also created Goose Flesh photography zine. You’re clearly a prolific and driven individual, what motivates you?

SAF: For me, photography is a way of making contact with the world. It was hard to get Middlemen started – it look a long time and a lot of persistence to find the men, but once I did, I began to understand how humbling and illuminating it can be to help someone tell their story. While discussing a new project with a friend recently, something he said struck me – ‘the best projects are the most difficult’. For me, that’s definitely true – I want my work to challenge not only the viewer but myself, as a photographer and as a human being – to think differently, to change perspective, to reconsider opinions.

From the series Middlemen © Sarah Amy Fishlock 2013 all rights reserved.

From the series Amye & Ahren © Sarah Amy Fishlock 2012 all rights reserved.

I always begin by researching my subject: this is really important when working with a different culture, as during Middlemen, or with disabilities, like Amye & Ahren. I read around the subject and look at other artists’ work for inspiration. I’ve learned to always make work about subjects that interest me, even if they don’t seem ‘photograph-able’ to begin with – there’s always a way in. I then look for ways to access the people I want to work with – this might be through a charity, like the Scottish Middle Eastern Council who helped me meet the middlemen, or a mutual friend, who introduced me to Amye. I treat my projects as collaborations between myself and the subject – their comfort always comes first. It’s important to me that when I show my work, the people I’ve photographed are happy with and proud of the result.

In 2013 I started Goose Flesh with a small grant from Ideastap as a way of showcasing work by emerging and established artists from, living in, or connected to Glasgow, in a compact, accessible, affordable form. So far, five issues of the zine have been produced, alongside exhibitions in a range of venues around Glasgow, from Trongate 103 to the Arches. My interest in zines continued during my residency at the Citizens Theatre (2013-14 ), for which I produced two zines documenting my projects – it was a great way to bring the work back to the community that inspired it. I now teach zine workshops to university students and community groups around Scotland. This is something I’d like to continue and develop in 2017, perhaps alongside one of my photography projects. Goose Flesh is on hiatus at the moment while I develop my own photography projects – but it’ll definitely be back at some point in the future!

From the series Five Lands © Sarah Amy Fishlock 2016 all rights reserved.

From the series Five Lands © Sarah Amy Fishlock 2016 all rights reserved.

SG: Have you had any surprises along the way? Unexpected moments or challenges when making your work?

SAF: I am always humbled and pleasantly surprised by the people I photograph – the middlemen and their families welcomed me into their homes, gave me lots of delicious food, and shared their stories with me. Amye and Ahren did the same, despite the daily difficulties and challenges they face as a single parent family living with autism.

I’ve begun a few projects that have later fizzled out because I wasn’t sure exactly what the focus of the story should be. It’s important to identify precisely what interests you about a situation, even if you can’t envisage the outcome right at the beginning.

From the series Five Lands © Sarah Amy Fishlock 2014 all rights reserved.

From the series Five Lands © Sarah Amy Fishlock 2016 all rights reserved.

SG: We’ve seen that your new work Beloved Curve, has been selected for Focus Photography Festival in Mumbai, and you’ve just returned from exhibiting it with Uncertain States in East London – many congratulations.  What’s coming up for you next?

My most recent project, Beloved Curve, is a departure from my previous work – it’s a series of experimental double exposures looking at my relationship with my father and my experiences of mourning his loss. I have enjoyed immensely the process of working in a different way, and I’m really proud of what the project has achieved – as well as being exhibited in Glasgow and Edinburgh this year, it’s been featured by BBC News In Pictures, the Guardian and Fiona Rogers’ Firecracker. Thanks to this coverage, I’ve recieved great feedback from members of the public who’ve connected with the work – it’s important to me that my work has resonance beyond the photography community, and I’m delighted that this project has achieved that.

I want to continue looking at some of the themes Beloved Curve touches on, but with a documentary slant – getting back into telling other people’s stories. I’m currently researching what I hope will be a long term project about child bereavement in Glasgow, as well as some smaller documentary projects.

saf_belovedcurve2

From the series Beloved Curve © Sarah Amy Fishlock 2016 all rights reserved.

I’m really excited to have the opportunity to join Document Scotland at this stage in my career – I think it’s important to have other artists to collaborate with, and to support and be supported by. I feel passionately about getting Scotland’s photography seen, not only by people in the industry, but also making connections with those outside it. Document Scotland is making this happen, through the website, events and salons as well as exhibitions. It’s a very exciting time for photography in Scotland, and I’m really pleased to be a part of it.

SG: Thank you for joining us Sarah and for taking the time to do this interview Sarah, we’re excited to be working with you!

If you’d like to see more of Sarah’s work please …

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‘Sun pictures and beyond’

Scotland’s pioneering role in the development of photography in the 19th century is being celebrated in a new display at the National Library of Scotland. The exhibition runs until March 26th, and entry is free.

It features one of the first ever books to be illustrated with photographs, William Henry Fox Talbot’s Sun Pictures in Scotland, published in 1845. Only 100 copies were produced and the National Library has one of the few complete copies that have survived.

 

A clean sandstone Scott monument under construction from 'Sun Pictures in Scotland'

A clean sandstone Scott monument under construction from ‘Sun Pictures in Scotland’ by William Henry Fox Talbot. 

 

Melrose Abbey, from 'Sun Pictures in Scotland' by William Henry Fox Talbot.

Melrose Abbey, from ‘Sun Pictures in Scotland’ by William Henry Fox Talbot.

 

The display, which opened on November 30, showcases examples of photographically illustrated books that followed this landmark publication in the second half of the century as photographic reproduction became simpler, quicker and more reliable. This includes work from some of Scotland’s early professional photographers such as George Washington Wilson, James Valentine, Thomas Annan and Scottish photographers abroad including William Notman and John Thomson.

Wilson and Valentine in particular followed Talbot’s lead by maximising the commercial opportunities of photography in book form, establishing successful studios in Aberdeen and Dundee. This included producing albums with original prints for tourists wishing to have souvenirs of the Scottish landscape and notable buildings. They also published illustrated books with photomechanical prints, which combined photography with existing commercial printing processes to create high quality prints on a large scale. Valentine went on to establish a globally successful business selling postcards.

Meanwhile, in Glasgow, Thomas and James Craig Annan became renowned for their photographically-illustrated books of architecture and fine art.

 

'Through Cyprus with a Camera, Vol 1, Cypriot Maid', by John Thomson

‘Through Cyprus with a Camera, Vol 1, Cypriot Maid’, by John Thomson

 

The display also features the work of Scots photographers abroad including John Thomson, one of the first photographers to visit the Far East. His final foreign trip was to Cyprus which resulted in a deluxe publication Through Cyprus with a camera from 1879 which can be seen in the display.

Curator Dr Graham Hogg who has produced the display said: “These books hold an important place in the history of photography and helped to establish an art form that still thrives in Scotland today. They represent only a small selection of the Library’s extensive holdings of photographically illustrated books relating to Scotland that were produced in the 19th century.”

Sun pictures and beyond: Scotland and the photographically-illustrated book 1845-1900 runs until March 26 at the National Library of Scotland, George IV Bridge, Edinburgh. Entry is free.

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