A Contested Land, at FLOW

 

The next showing of Document Scotland’s current exhibition, A Contested Land, featuring work by Sophie Gerrard, Jeremy Sutton-Hibbert, Stephen McLaren and Colin McPherson, will be at FLOW Photofest 2019, and held at Inverness College UHI.

FLOW Photofest 2019 – the international photography festival running across the Highlands & Islands and Moray in the North of Scotland, will launch on 6th September in Inverness.

 

FLOW would be delighted if you would be able to attend their official opening on the 6th September (6:00-8:00 p.m.) at:

Inverness Museum and Art Galley (IMAG)
Castle Wynd
Inverness
IV2 3EB

On show at IMAG will be work by Michael Flomen, Jana Romanova and Hannah Laycock. At Eden Court Theatre, a short walk away (and open till 10.00pm) we have work on show from:

Beka Globe
Jen Kinney
Tini Poppe
John Farrell
Adam Panczuk
Jeff J Mitchell
Daniel White
Sarah Riisager
Elena Chernyshova

At Inverness College UHI we have a major show from Document Scotland – A Contested Land.

The Launch night will also feature a visual display of work being shown outside Inverness in Thurso, Stornoway, Elgin, Findhorn, Uist and Ullapool by:

David Buchanan,
Iain Sarjeant (in association with Street Level Photoworks)
Kotryna Ula Kiliulyte,
Kacper Kowalski
Linda Lashford
Paul Glazier (in association with Street Level Photoworks)

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Drawn To The Land – Perth Museum and Art Gallery

Sophie was commissioned by Perth Museum and Art Gallery to continue her long term project Drawn To The Land, the resulting work is currently being exhibited at the gallery until the end of October.

Anna MacKinnon rolling fleeces at Amulree, Perthshire. June 2019

Anna MacKinnon rolling fleeces at Amulree, Perthshire. June 2019. From the series Drawn To The Land.  Image © Sophie Gerrard 2019 all rights reserved.

 

Laighwood, Perthshire, May 2019

Laighwood, Perthshire, May 2019. From the series Drawn To The Land.  Image © Sophie Gerrard 2019 all rights reserved.

 

Lucy gathering ewes, Foswell, Auchterarder, Perthshire, June 2019. From the series Drawn To The Land.  Image © Sophie Gerrard 2019 all rights reserved.

 

Mary, Connachan, Perthshire, April 2019.

Mary, Connachan, Perthshire, April 2019. From the series Drawn To The Land.  Image © Sophie Gerrard 2019 all rights reserved.

Drawn To The Land continues to be a fascinating journey for me. For this chapter it took me to Perthshire, where I also worked with Perth Museums’ photographic archive, following the journey of John Watt who documented Laighwood, a hill farm near Dunkeld, in the late 50s. I returned to that farm and met and photographed Elizabeth, who features in some of Watt’s earlier images. I also continued to work with Mary, a farmer who featured early in Drawn To the Land, revisiting her and continuing her story. Anna and Lucy are in their 20s and work as contract shepherds in Perthshire, their lives are an important new addition, giving alternative perspectives and a fresh approach to a traditional farming way of life.

The exhibition includes images made earlier in the project, around 2015, these new works and archive images from John Watt’s collection made at Laighwood and other locations in Perthshire from 1959 – 1961.

 

Shepherd moving blackface sheep at Laighwood, Butterstone, Perthshire. Image by John Watt between 1959 and 1961, © Perth Museum and Art Gallery archive.

Shepherd moving blackface sheep at Laighwood, Butterstone, Perthshire. Image by John Watt between 1959 and 1961, © Perth Museum and Art Gallery archive.

 

Elizabeth Bruges, Perthshire Highland Show. Image by John Watt between 1959 and 1961, © Perth Museum and Art Gallery archive.

Elizabeth Bruges, Perth Highland Show. Image by John Watt between 1959 and 1961, © Perth Museum and Art Gallery archive.

 

Elizabeth Bruges, shown above in a photograph by Watt, at a time when her father oversaw the hill farm, is now herself an owner of Laighwood, alongside with her brothers, I met and photographed her for this recent chapter of the project. Hers is an interesting story and one which highlights in many ways the hurdles many women in agriculture faced at the time.

Elizabeth, Laighwood, Butterstone, Perthshire, May 2019.

Elizabeth, Laighwood, Butterstone, Perthshire, May 2019. From the series Drawn To The Land.  Image © Sophie Gerrard 2019 all rights reserved.

 

A photograph of Elizabeth gathering sheep, Laighwood, Butterstone, Perthshire, April 2019. From the series Drawn To The Land.  Image © Sophie Gerrard 2019 all rights reserved.

 

Elizabeth Bruges of Laighwood, Butterstone, Perthshire with copy of The Story of a Scottish Black Face Sheep.

Elizabeth Bruges of Laighwood, Butterstone, Perthshire with copy of The Story of a Scottish Black Face Sheep. © Paul Adair, Perth Museum & Art Gallery 2019 all rights reserved.

 

Installation shot of drawn to The Land at Perth Museum and Art Gallery. July 2019

Installation shot of drawn to The Land at Perth Museum and Art Gallery. July 2019

 

Installation shot of drawn to The Land at Perth Museum and Art Gallery. July 2019

Installation shot of drawn to The Land at Perth Museum and Art Gallery. July 2019

Paul Adair of Perth Museum said…

 ‘My  first encounter with Sophie’s exhibited work was at the Scottish National Portrait Gallery in 2016. The Ties That Bind was a Document Scotland group show and Sophie was exhibited work from her Drawn to the Land series. I loved everything about her work. The quiet stillness of her studies- portraits of lives through carefully observed details. The colour palette of her film-based work seemed so right for the material she was recording.

Sophie’s series on women working the land included Mary McCall Smith’s farm near Crieff in Perthshire. I saw an opportunity to work with Sophie to develop her Perthshire work for a display at Perth Museum & Art Gallery. I am delighted that Culture Perth & Kinross has been able to commission Sophie to work with additional Perthshire women in farming. As well as making a fantastic exhibition, acquiring some of Sophie’s work is a valuable addition to the photographic archive here at Perth Museum & Art Gallery. The archive already has a strong documentary theme and this cross over between art and social document inherent to photography fulfils makes for a potent combination.’

Installation shot of drawn to The Land at Perth Museum and Art Gallery. July 2019

Installation shot of drawn to The Land at Perth Museum and Art Gallery. July 2019

 

It’s important to me to continue this work, and I’d grateful that Perth Museum saw an opportunity for collaboration. Working with the archive has been a fascinating addition. Women who work the land in Scotland are under represented, they have been for centuries, indeed representations of landscape, landscape photography and farming have often been presented through a male viewpoint. I hope that this project can continue to explore these themes and continue to take me to the far corners of Scotland.

Sophie Gerrard’s Drawn to the Land is on until 31 October 2019 at Perth Museum and Art Gallery. Admission is free. Read the full press release here.

Perth Museum & Art Gallery, 78 George St, Perth, PH1 5LB

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Scottish Orange Walks, 1993-98

A new publication from Scotland-based photographer Jeremy Sutton-Hibbert and Café Royal Books, their 7th collaboration, has been recently released.

From a series of photography Jeremy undertook in the early 1990’s, in the West coast of Scotland, photographing the annual Orange Order marches, and the spectators who accompany the walks.

Edition of 250
32 pages
14cm x 20cm
b/w digital

Copies can be bought for £6.00 from Café Royal Books.

 

Other titles from Jeremy Sutton-Hibbert and Café Royal Books:

The Common Ridings

North Sea Fishing

Klondykers, Shetland, 1994

Nelson Mandela, Glasgow, 1993

Shipbuilding On The River Clyde

Longannet Colliery 2001

 

 

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A Game of 2 Halves in Coatbridge

The memories are still ripe in my mind. The rain sliding in a grey sheet across the train window, the cold air colliding with our faces and the wind catching our breath as we alight from the train at the inappropriately-named Coatbridge Sunnyside station. In the distance, piercing the sodden winter gloom, bright stripes of red and yellow paint greet our arrival at Cliftonhill Stadium, home for the last century to Albion Rovers Football Club, one of the also-rans of the Scottish game who have, according to some, merely been making up the numbers since their formation back in Victorian times.

This place is far removed from the higher echelons and glories of the game. It is, however, a place of ritual and pilgrimage. Whilst bus loads of Celtic fans have departed each Saturday from this corner of North Lanarkshire for the sunny upslopes of Parkhead, the few that remain behind have cast their lot in with their local football team, and exhibit the same amount of passion, devotion and love for a club which has steadfastly refused to be pulled across the religious divide that defines so much of this part of Scotland.

In their distinctive and almost hallucinogenic red and yellow colours, Albion Rovers have been ploughing and plodding along for as long as anyone can remember, often derided, frequently ignored, but always there. That we cannot place their name on the map has even become something of a badge of honour for club and supporters. They have this unique identity, one which would be sorely missed if The Wee Rovers ever exited the Scottish League.

And this is nearly what occurred during a tumultuous 2018-19 season: somehow, against all the odds and expectations, Rovers managed to come back from the dead, overhauling fellow sufferers Berwick Rangers and condemning the Northumbrians to relegation and oblivion. It was a close thing, but Albion Rovers survived.

Set amongst these tales of the constant struggle for survival are individual stories, some of heroism, most of stoicism. And one of a photographer: Iain McLean. Almost two decades ago, Glasgow-based McLean was casting around, looking for a long-term project, something sporting to get his teeth into. After rejection from a local rugby club, he received a positive response from Rovers and set about documenting behind-the-scenes at this iconic little club.

Iain McLean’s ‘A Game of 2 Halves’ Photograph © Colin McPherson, 2019 all rights reserved.

 

After a hiatus lasting several years, McLean once again focused his attention on Cliftonhill and was fortunate enough to witness both promotions and relegations, the contrasting emotions now visible in his newly-opened exhibition entitled A Game of 2 Halves, on show at the Summerlee, the Museum of Scottish Industrial Life in Coatbridge, until 27th October, 2019. It is, due to its location, necessarily folksy and fun, but nevertheless there is a fine body of work which shows a keen eye and dedication to stick with the subject through thin and thin (as life is at Rovers).

McLean’s dynamic monochrome images sit alongside cases of ephemera and souvenirs, memory-jogging reminders of seasons gone by, all in those distinctive bright colours. McLean’s work, however, shows us a colourful side to the Rovers: a kaleidoscope of characters, often in fancy dress, compete with the friendly smiles of tea ladies and kit men, all of whom make up the cast at Cliftonhill.

My own experiences of watching my team playing against Albion Rovers in Coatbridge are many and varied: the seemingly bright idea to take a new girlfriend to her first-ever football match – a stultifying nil-nil draw, which, amazingly, never deterred her from future games. Then there was the time a young boy was admonished for throwing bits of rubble around the tumbledown terracing: “Stop that, Billy, you’re making a mess,” was followed instantly by “Fuck off, dad, I’m tidying the place up!” And no trip was complete with a pre-match pint in Owen’s bar, just a wayward corner kick away from the stadium.

And then there was Victor Kasule: the singularly most mercurial talent I have ever borne witness to on the football fields of Scotland. A diamond in a sea of mud. The grace, skill, poise and speed which could leave any opponent for dead, a winger who could weave his way through any defence and into any bar, the other place where he was very much at home. ‘Vodka’ Vic came to prominence at a time when there was not a single black player playing in any of the professional leagues in this country. And while his career may have trailed off after spells in England and Finland, his legacy and the memories of his dazzling footwork, have upgraded his status from favourite to legend at Albion Rovers and Meadowbank Thistle.

I ask McLean whether he is likely to continue the journey he has been on with Rovers. He is uncertain and I get the feeling he is worried about repetition and seeing the same places and faces over and over again. I don’t think so. My sense is there is a lot more to discover here and that the project could unfold in many ways. In the meantime, raise a glass and wave a scarf to the players, officials, volunteers and supporters of the mighty Albion Rovers. And to Iain McLean for documenting their emotions.

Iain McLean’s ‘A Game of 2 Halves’ Photograph © Colin McPherson, 2019 all rights reserved.

 

Iain McLean’s ‘A Game of 2 Halves’ Photograph © Colin McPherson, 2019 all rights reserved.

 

Iain McLean’s ‘A Game of 2 Halves’ Photograph © Colin McPherson, 2019 all rights reserved.

 

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Easdale Island events, 8th/9th June.

Join us this June on Easdale Island for a Salon evening of photography, followed by a day of community photographing, chat and reviewing.

Document Scotland Salon Evening

‘Tresured Island’. © Colin McPherson, 2019 all rights reserved.

Date of Event: Sat 08 Jun 2019
Location: Easdale Island Community Hall.
Event Type: Exhibition
Time: 8.15pm (Doors/Bar open 7.30pm)
Ticket Pricing: FREE

Document Scotland’s exhibition entitled ‘A Contested Land’ is on tour and is at present being shown at the Perth Museum and Art Gallery. It comprises four bodies of work, one from each member of the collective, including ‘ Treasured Island,’ Colin McPherson’s portrait of Easdale island made in 2018. The other projects are Jeremy Sutton-Hibbert’s series about street politics (‘Let Glasgow Flourish’), Sophie Gerrard’s environmental study of the one of Europe’s most important peat bogs (‘The Flows’) and Stephen McLaren’s work which links the historical wealth of Edinburgh with the African and Caribbean slave trade (‘Edinburgh Unchained’).

Colin, Sophie and Jeremy will be present at the Salon Evening to present their work on screen and talk about the projects and the work of Document Scotland, which was formed in 2012 and has staged a number of high-profile exhibitions in Scotland and elsewhere, as well as producing a number of publications and taking part in public engagement activities. They will also present work by other photographers which have been highlighted on their website recently.

Ferries to and from the island: 19.30; 20.00; 20.30; 21.00; and 23.00

Document Scotland – Community Photography Day

Date of Event: Sun 09 Jun 2019
Location: Easdale Island Community Hall.
Event Type: Workshop
Time: 10am – 4pm
Ticket Pricing: £10 (no concessions )

From 10am – 4pm (lunch and refreshments included)

Limited places available £10 per person. Pre booking required.

This day-long event will give anyone interested in photography the opportunity to come and try a number of activities, get help, advice and tips about their photos and even have their portfolio reviewed. It will be fun, informal and informative. The event will be aimed at people aged 14 and over.

Activities will include:

Tell a story about Easdale in six photographs (select a theme, idea, place or person and shoot a small magazine feature). We’ll advise you where to look and what to shoot.

Portraiture: get inspiration from three professionals who have photographed everyone from Nelson Mandela to the Easdale ferryman. Using the natural light and world around us to make stunning environmental portraits.

Portfolio review: Bookable in advance, have a one-to-one session with our photographers who will go through your work and give you some guidance about your work.

Tip top: top tips about photography. at our all-day rolling Camera Clinic you can ask us any question about being a professional photographer or about how to get the most out of your photography.

Ferries: 14.00 until 16.15 ferry runs on demand, then 16.45; 17.15; 17.45; 18.00; 18.15

Book tickets here.

 

Easdale Island, From ‘Treasured Island’, 2018. Photograph © Colin McPherson, 2018 all rights reserved.

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Craig Easton’s Fisherwomen

Born in Edinburgh, Craig Easton is a photographer whose work is deeply rooted in the documentary tradition. His photography often uses a mix of intimate portraiture and large format landscape to explore social histories and identity. His early career was defined by his work for the groundbreaking Independent newspaper in London and he has since gone on to win numerous international awards for both his commissioned work and personal projects.

This week, Craig launches the first exhibition of images from his Fisherwomen series in Montrose tomorrow, a project looking at the working lives of women who work onshore in the fishing industry along the east coasts of Scotland and England. As the show opened in Angus, Craig kindly agreed to share some insights into his photography.

Where did you get the inspiration or idea from to photograph the fisherwomen?

Initially, from the paintings of Winslow Homer and John McGhie and the old sepia tinted photographs of the ‘herring lassies’ on bustling quaysides. I’d read a lot about the the herring trade, how the fleet followed the annual migration of the shoals from Shetland to Great Yarmouth in Norfolk. And I’d read about how the fisherwomen used to mirror the fishermen’s annual journey travelling on land from port to port to gut and pack the herring into barrels in open air curing yards and quaysides. It felt to me that these women had been rightly celebrated for their critical role in fishing in days gone by, but their contribution was now mostly unseen – working as they were behind closed doors in large fish processing factories, smokehouses and small family firms right up and down the east coast. Fishing has always attracted photographers and artists, but most often the focus has been on the fisher ‘men’ and not the fisher ‘women’. I wanted to address that and make pictures that both documented and celebrated the women’s role in the same way as the painters had done in the late 1800s.

Could you tell us a bit about how the project developed, where were the locations you worked in and how long it all took?

I began the work in 2013 in Fraserburgh, Peterhead and Aberdeen. I’ve worked in and around fishing communities all my career and extensively in the Highlands and Islands of Scotland. I’d read Neil Gunn Silver Darlings and I knew the story of the herring girls and fisherwomen – how they used to wade through the freezing waves to carry their menfolk out to the boats to ensure they went to sea in dry clothing. How they baited the lines, mended the nets, gutted and packed the fish and essentially held the communities together whilst the men were at sea. I wanted to find today’s fisherwomen and so I started knocking on doors and making portraits in the processing houses in Aberdeenshire. You can imagine I got some odd looks and comments as I set up a backdrop and a large tripod in the middle of a working fish factory. Early on I decided to use the route of the traditional herring trade as a vehicle to explore the subject and to tie in the experience of the contemporary workers to the celebrated fisherwomen of the past. I continued to make portraits in various places on the east coast off and on over the next few years, until in 2017 when I decided to really concentrate on bringing it all together as a coherent project. I shot more pictures in Angus and Fife and then went up to Orkney and Shetland where the traditional herring season began in early summer each year. Speaking to the gutters, filleters and packers today, I realised they performed essentially the same role as their predecessors, but didn’t have the same connection from one fishing port to the next: the people in Shetland no longer travelled each season to Fraserburgh or Lowestoft and so the people of the southern ports didn’t have the same connection to the north. I wanted to remake that connection by shooting landscapes and seascapes along the length of the original route. The final piece in the jigsaw was to photograph and interview fisherwomen who had worked ‘at the gutting’ back in the 1940s, 50s and 60s – women who still remember the journey, still recalled the cacophony of the quaysides and could help make the connection to my contemporary portraits.

Did you discover anything unexpected, or was the project much as you had envisaged from the outset.

I’m not sure that I discovered anything ‘unexpected’ – I’d done a lot of research and was familiar with the story and the history. I discovered what I had hoped I would  find though and that was a fabulous camaraderie in the modern factory settings that can’t be that much different to the comradeship and fellowship of the herring girls when they stayed together in temporary ‘gutters huts’ or cheap lodgings as young women. There is still an enormous pride in their trade, it is still extremely skilled, arduous work and they are still the backbone of many fishing communities.

You have used a mix of archive material and your own work in the exhibition. Why?

To make the connection, to show how the modern fish workers are part of a long and important tradition, to tie the contemporary experience closely to the heritage. And one day, if this isn’t too bold, to maybe hang my pictures next to Homer’s, McGhie’s and the Jobling’s in a homage to the women of the fishing communities past and present. In some senses I see myself as an historian as much as a documentary photographer – it’s about recording social history, to preserve it for future generations. If those paintings hadn’t been made and those old black and white photographs of the herring girls hadn’t been taken, then we wouldn’t have the social history and we’d be all the poorer for it. It’s difficult sometimes to notice what’s important when our own experience is, by definition, ordinary and familiar to us, but I do think it’s important to see today in the context of history and it is as much my job to record this era as it was the artists of the past to record theirs. I don’t want it to sound grandiose, but I know that my life has been richly enhanced by photographs, paintings, literature, music etc etc from the past and so I feel it’s my responsibility to record what I see for future generations too.

How does this project fit into your other work?

Ah, good question. In the social history context mentioned above, it’s all interconnected I suppose.

More and more, recently, I’ve been recording audio or taking written testimony to work alongside the pictures, whether that is working with teenagers exploring how their dreams, hopes and ambitions are influenced by social background or location etc, as I did with the group project I’m leading called Sixteen, or whether it’s listening to the memories of fisherwomen and making connections between different generations, I feel that it is all about storytelling, listening and learning about real lives. The more we share and communicate with one another, the more we understand each other and it feels to me like that is more important now than ever. Maybe taking some pictures, talking to people and helping to tell their stories can play some small part in that.

A small selection of the work will be shown at Montrose Museum and Art Gallery from 19th April – 1st June, 2019, with a preview on the opening night. Craig will be expanding the work into the English fishing ports in the coming months and a wider show will happen at the Hull Maritime Museum in August, then aspects of it will travel to other galleries and museums along the route.

From ‘Fisherwomen’ by Craig Easton. Copyright photograph 2019, all rights reserved.

From ‘Fisherwomen’ by Craig Easton. Copyright photograph 2019, all rights reserved.

From ‘Fisherwomen’ by Craig Easton. Copyright photograph 2019, all rights reserved.

From ‘Fisherwomen’ by Craig Easton. Copyright photograph 2019, all rights reserved.

From ‘Fisherwomen’ by Craig Easton. Copyright photograph 2019, all rights reserved.

 

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The Photographs of Archie Chisholm

It was with interest recently that I spotted a little link in a mailer from Street Level Photoworks / Photo Networks Scotland, that author Michael Cope would be doing a talk (last week) in Uist about his new book on The Photographs of Archie Chisholm.

I wasn’t aware of the name Archie Chisholm, or of his photography, and on following a few links, and a few emails, Michael Cope (and his publishers Thirsty Books) generously shared a pdf of the new book, and have allowed us to reproduce below an introductory text to the photographic works of Archie Chisholm along with a few of his images. – Jeremy Sutton-Hibbert.

 

The Photographs of Archie Chisholm: a unique documentary source for the Outer Hebrides in the Late Victorian and Edwardian eras

 

 

Archibald Alexander (‘Archie’) Chisholm (1859-1933) was the Procurator Fiscal in Lochmaddy, North Uist during the years 1881 to 1913. Outside of his professional life Archie had many other interests including archaeology and natural history, field sports, especially fishing, and, importantly, photography. What or who sparked Archie’s interest in photography? It is interesting to speculate that he developed his interest through his friendship with Erskine Beveridge the renowned archaeologist, antiquarian and photographer who also lived in North Uist at the same time. We know that in the preface to his book North Uist: Its Archaeology and Topography Beveridge acknowledges Archie as ‘among friends who have been most helpful’.

 

Archibold Alexander ‘Archie’ Chisholm, 1859 – 1933.

 

Archie’s photographic archive comprises nearly 300 images taken in the years 1892 to 1905. The images, taken from Harris to Barra, range from landscapes to portraitures, especially of the working and crofting communities, and from aspects of trade and commerce to the means of transport and communications. As such this is a unique documentary source of the life and times in the Inverness-shire part of the Outer Hebrides during the two decades at the turn of the nineteenth and twentieth centuries. Importantly all the photographs are attributable to one person – so providing continuity across a wide variety of themes not usually seen in other compilations.

Archie’s earliest photograph is dated 1892 and the first public exposure of his work was a series of plates contributed to W.C. Mackenzie’s book History of the Outer Hebrides in 1903. In the same year he provided some images to a series of picture postcards published by the Scottish Home Industries Association. In 1904 he published his own edition of 140 picture postcards known as the Cairt Phostail series.

 

A whale’s tongue, Harris [Cairt Phostail series postcard: 2005; scan courtesy of Norman Hudson].

 

Shipping a Uist pony at Lochmaddy Pier [Cairt Phostail series postcard: 2165; scan courtesy of Norman Hudson].

 

Archie was keen chronicler of events with many of his photographs taken in and around Lochmaddy to include local celebrations at the annual cattle markets and fairs and a rare glimpse into the festivities surrounding Queen Victoria’s diamond jubilee in this remote corner of the realm. Also in the late 1890s he produced the contentious ‘eviction photographs’ which showed at least two families being evicted from their houses in Lochmaddy. Archie was active in upholding the rights of crofters and probably saw these events, very close to where he worked and lived, as a way to embarrass the estate owner at the time.

 

Distressed women and children at an eviction scene. [Original Archie Chisholm photograph reproduced from lantern slide collection of Margaret Paterson: 1931].

 

Family researches have gathered together all of Archie’s known photographic images from various museum archives, published pictures and postcards and family and other private collections. As far as possible all the original locations of the images have been established and present day photographs of the same places have been taken to highlight the changes, or lack of them, over the intervening hundred or so years; approximately three-quarters can be properly located.

These researches have been collated in the recently produced book The Photographs of Archie Chisholm: Life and Landscapes in the Outer Hebrides 1881-1913 by Michael Cope, published by Thirsty Books, Edinburgh.

An exhibition featuring Archie’s photographs is being planned for display at Taigh Chearsabhagh Museum and Arts Centre, Lochmaddy in 2020.

 

With many thanks to Michael Cope, and Sean Bradley at Thirsty Books.

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Sophie Gerrard featured in ‘209 Women’ and ‘Sixteen’

There are less than a week to catch 2 exhibitions featuring work by Sophie Gerrard this month. ‘209 Women’ at the Open Eye Liverpool and ‘Sixteen’ at Format Festival in Derby. Both exhibitions finish on the 14th April 2019. If you are in Liverpool or Derby do try and see them.

 

Deidre Brock MP for Edinburgh North & Leith in her constituency at her surgery, Carlton Hill and Leith Walk, Edinburgh, September 2018. All images © Sophie Gerrard 2018 All rights reserved.

209 Women

Open Eye Gallery, Liverpool

209 Women marks 100 years since the first general election in which some women could vote. It seeks to champion the visibility of women: particularly in politics, where decisions are made that affect people of all genders. It features new portraits of the UK’s women MPs, shot entirely by photographers that identify as women. 

It launched on 14 December at the Houses of Parliament, 100 years to the day that the first women walked into polling stations to cast their ballots. Now, it opens in Liverpool with the full set being shown for the first time — including Sinn Féin MPs who abstained from showing their images in the Houses of Parliament.

It’s an opportunity to reflect on how much progress has been made towards gender parity, whilst also highlighting how much more needs to be done, across all spheres of society, each and every day. 

Photography is a tremendously powerful medium of communication, yet all too often we see images in which women have had their agency denied. All the women in this project – both MPs and photographers – worked together to create images that communicated their identities on their terms: their own sense of justice, their own vision for a better world.

The ‘209 Women’ exhibition, featuring Sophie Gerrard’s portrait of Deidre Brock MP, install shot at the Open Eye Gallery, Liverpool. Image © ‘Open Eye Gallery, Tabitha Jussa, 2019’. 

 

I was delighted to be invited to be part of this ambitious and important group project. Deidre Brock MP is an Australian-born Scottish National Party politician. She was first elected as the Member of Parliament for Edinburgh North and Leith in May 2015 — the first SNP representative to hold the seat at either a Westminster or Scottish Parliament level.

Most of my work focuses on contemporary land use and environmental politics and I frequently explore this subject through the eyes of women. So it was a real pleasure to meet and photograph Deidre Brock for this important project. Deidre is a politician I admire in her role as SNP Spokesperson for the Environment, Food and Rural Affairs and her constituency is one I used to live in.

Huge thanks and congratulations to the great minds and curators behind this initiative Tracy Marshall, Hilary Wood, Cheryl Newman & Lisa Tse

For more info and to take a look through all the fantastic portraits in the 209 Women project please visit the website at www.209women.co.uk , and read about the photographers’ experiences of photographing their chosen MP.

Read about 209 Women in The Guardian, the BBC and hear from some of the MPs including Deidre Brock an article in the Sunday Post 

https://www.theguardian.com/politics/gallery/2018/dec/14/209-female-mps-by-209-female-photographers-in-pictures  https://www.bbc.co.uk/news/in-pictures-46553515  https://www.sundaypost.com/fp/women-about-the-house-new-photography-exhibition-unveils-portraits-of-the-uks-209-female-mps/

 

 

Sixteen

FORMAT International Photography Festival, Derby

 

In a major new touring exhibition leading contemporary photographers join forces to present the multimedia project Sixteen, exploring the dreams, hopes and fears of sixteen-year olds across the UK.

What’s it like to be sixteen years old now? This is the central thread running through multimedia project Sixteen.

Kirsty Noble, 16, Edinburgh. September 2018 Kirsty does a paper round everyday before school – she’d like to be a paramedic. Her granny is the only person she knows who reads a newspaper, all of her friends and classmates read their news online. Image © Sophie Gerrard 2018 All rights reserved.

 

Elsa Galbraith. 16, lives in Braes on the Isle of Skye. She attends school on the island and goes wild swimming in the sea in the mornings. Braes, Isle of Skye, August 2018. Image © Sophie Gerrard 2018 All rights reserved.

Photographer Craig Easton conceived this ambitious project following his engagement with sixteen-year olds at the time of the Scottish Referendum. It was the first, and as yet only, time that these young people were given the vote in the UK. Building on the success of that work he invited 16 of the UK’s foremost documentary portrait photographers to collaborate with young people across the country to make a visual vox pop on what it means to be sixteen now.

Sixteen is an age of transition, of developmental, and of social change. At this time of increasing national and international anxiety, these young people are shifting from adolescence to become the adults who will live in a politically reshaped country, divorced from the Europe Union.

Robbie Strathdee, 16, lives in Leeds. He’s photographed here working as a conservation volunteer in the Flow Country, in the NE of Scotland. “In 10 years time I’d like to feel as if I was part of a movement towards a more sustainable future for my whole generation, I think it would be really cool to be part of a new era of the way humans interact with the world around us.” Image © Sophie Gerrard 2018 All rights reserved.

I began photographing sixteen year olds around the time of the Scottish Independence Referendum in 2014, Craig also began his project at that time, at a time when 16 year olds could vote in a major political decision, it was a unique time, and hearing the voices of those young voters was inspiring. Many were well informed, opinionated and responsible. Craig then broadened out his project to include 16 photographers and the whole of the UK ands also included curator Anne Braybon and producer Liz Wewiora. I was proud to be invited to join such a talented group of photographers. The resulting exhibitions in Salford, Manchester and Derby highlight just how important it is to listen to young people. At a time of uncertainty and fear, these young voices offer hope, insight, maturity and positivity. It’s been an inspiration to be involved.

 

 

 

Project Sixteen at Format 19 International Photography Festival, Derby, March 2019.

Photographers: Jillian Edelstein, Kalpesh Lathigra, Lottie Davies, Simon Roberts, Sophie Gerrard, Stuart Freedman, Kate Peters, Roy Mehta, Abbie Trayler-Smith, Antonio Olmos, Linda Brownlee, Christopher Nunn, Michelle Sank, Ronan McKenzie, Kate Kirkwood and Simon Wheatley.

Read more about Project Sixteen in The Guardian and the BJP and see fantastic portraits by all the photographers involved. You can also watch a excellent film of the project made by Robert Brady here

     
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Chick Chalmers: American beauty

The United States of America is the great canvas onto which photography has painted history. As such, it is hard to imagine discovering a new body of work which truly illuminates American life, throwing into sharp relief the rugged contours of this singularly unique and diverse nation.

In 1980, Edinburgh-born documentary photographer Chick Chalmers (1948-98) was awarded a Scottish Arts Council grant as part of an exchange programme to visit the United States to take photographs. During a nine month period he visited almost every state over in an ancient VW camper van. The result was An American Roadtrip, which is currently being exhibited for the first time in almost four decades at Ten Gallery in the capital. These powerful yet subtle images reveal America’s hidden depths as depicted in everyday scenes in towns, cities and streets across the land. It is a remarkable set of photographs, one which although instantly calling to mind the great Robert Frank, nevertheless have something decisive and individual in their observational quality and forthright composition. These monochrome pictures set the stage for a country on the cusp of change: the stinking entrails of segregation sit uneasily with the creeping onset of Reaganomics which would render much of what Chick depicted as obsolete and redundant within a decade. These are moments in time to savour, and each one of the photographs on display invite the viewer to linger and ponder.

Like his photographs, Chick Chalmers was something of an enigma. His work was familiar to me, insomuch that the small amount he did produce was of such outstanding quality and interest that he was one of the ‘names’ which influenced my dreams of becoming a photographer. His series on life in Orkney shot in the mid-1970s produced many gems, none more so than ‘Sheep Being Transported For Sale In Kirkwall, Orkney’ a classic Scottish documentary image.

After An American Roadtrip was completed and premiered at Stills Gallery in 1982, Chick concentrated on teaching and his growing family. Despite the pleadings of friends and colleagues, he was happy to remain in the shadows, producing a fraction of the amount of work which his talent deserved. But that was his choice. And the beneficiaries of his wisdom and love were his students and his family. Although I didn’t know Chick personally, I remember precisely the day of his untimely death. I was attending a photocall with a number of other photographers where the world’s first bionic arm was being presented by scientists in Edinburgh. Suddenly a call came through that Chick was about to pass away and I recall at least three of the photographers present simply dropped their cameras and dashed across town to be with him. It is a mark of the man’s remarkable presence that he wished to be with so many friends at this pivotal moment of his life.

Legacy is an oft used and abused word in the world of photography. Few bodies of work survive the test of time and can be said to be truly important. I would content that Chick Chalmers’ An American Roadtrip deserves to be regarded as one of the great canons of work ever produced by a Scottish photographer. It is both exciting and gratifying that it is seeing the light of day once again, fittingly, in the city of his birth.

Untitled image from ‘An American Roadtrip’. © Chick Chalmers, all rights reserved.

Untitled image from ‘An American Roadtrip’. © Chick Chalmers, all rights reserved.

Untitled image from ‘An American Roadtrip’. © Chick Chalmers, all rights reserved.

Untitled image from ‘An American Roadtrip’. © Chick Chalmers, all rights reserved.

Untitled image from ‘An American Roadtrip’. © Chick Chalmers, all rights reserved.

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@EverydayClimateChange

@EverydayClimateChange, a Street Level Photoworks show, co-curated by Jeremy Sutton-Hibbert, is on now at Hillhead Library, Glasgow, until April 28th. 

Hillhead Library

348 Byres Rd, Glasgow G12 8AP

Monday to Thursday: 10:00am – 8:00pm
Friday & Saturday: 10:00am – 5:00pm
Sunday 12:00pm – 5:00pm

Another opportunity to see panels from the collective Instagram account involving 20 photographers from 6 continents, depicting causes and effects of, and solutions to, everyday climate change. This exhibition brings the photographic works of 14 of the contributors to the library walls, and includes photographs from Scotland by Jeremy Sutton-Hibbert.

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).

In this below narrated slideshow Jeremy Sutton-Hibbert discusses the Everyday Climate Change collective group, how they operate and the work on show at the exhibition. This slideshow was made by Street Level Photoworks to commemorate Green Arts Day 2019.

The exhibition was first shown at Tronagate 103 as part of the Season of Change 2018, a UK-wide programme of cultural responses celebrating the environment and inspiring urgent action on climate change that coincided with the COP24 UN Climate Negotiations in Katowice, Poland in December 2018. More info here

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

 

 

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A Contested Land, at Perth Museum

Our touring show for this year, A Contested Land, opens on 23rd April at Perth Museum and Art Gallery. The show will run until 23rd June, with talks about the exhibition and work by Jeremy Sutton-Hibbert, Sophie Gerrard and Colin McPherson, on the evening of Thursday 9th May, 7pm.

Perth Museum and Art Gallery,

78 George St, Perth

PH1 5LB.

Tel. 01738 632488

Tuesdays- Sundays, 10am- 5pm. Closed Mondays. Free entry.

 

‘Tresured Island’. © Colin McPherson, 2019 all rights reserved.

 

Set within the context of contemporary political debate and social changes, A Contested Land consists of four new projects by photographers Jeremy Sutton-Hibbert, Sophie Gerrard, Colin McPherson and Stephen McLaren. Collectively, they examine the complex relationships between the nation’s people, history and land at one of the most important times in Scotland’s recent past.

The works reflect upon Scotland’s precarious environmental and economic landscape, within ongoing political conflicts that give these issues relevance and urgency. During both the Independence and European Union referendums, the word that dominated discussion was ‘change’ – it became the go-to for the dissatisfied. However, even with this uncertainty, the referendums have highlighted the fact that the Scottish people are proud of their identity and independent voice.

 

Faslane, Scotland, on 22 September 2018. ‘Nae (No) Nukes Anywhere’ anti-nuclear weapons demonstration at the Faslane Peace Camp and walking to a rally outside HM Naval Base Clyde, home to the core of the UK’s Submarine Service, in protest against Trident nuclear missiles. The rally was attended by peace protestors from across the UK who came “to highlight the strength of support from many UN member states for Scotland, a country hosting nuclear weapons against its wishes”. © Jeremy Sutton-Hibbert, 2018.

 

The four bodies of work presented in A Contested Land – exhibiting for the first time in Scotland at Perth Museum & Art Gallery, reflect upon the ongoing changes Scotland continues to face.

The show launched at the Martin Parr Foundation, in Bristol, in January and February, and now moves to Scotland for a run of showings

– Perth Art Gallery and Museum – 23rd April 2019 – 23rd June 2019. Preview on 9th May, 7pm.
– Dunoon Burgh Hall – 20th July 2019 – 18th August 2019. Preview on 19th July.
– FLOW Photofest, Inverness, September 2019.
– Photo North festival 2019, Harrogate, England, 30 November – 2nd December 2019. This showing of A Contested Land will also include work by Margaret Mitchell.

 

Edinburgh Unchained. Photograph © Stephen McLaren, 2018 all rights reserved.

 

from the series The Flows © Sophie Gerrard 2018.

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Evening of photography from Scotland

Yesterday evening at Stills in Edinburgh, Document Scotland photographers Jeremy Sutton-HibbertSophie Gerrard, and Colin McPherson, and guests Arpita Shah and Margaret Mitchell, presented new photography work to a packed house, answering questions and generally having an enjoyable evening of photography from Scotland.

 

First on the floor was Sophie, introducing her new work The Flows, which takes a look at the management of the UK’s largest peat bog in the north east of Scotland, and the conservationists who manage it. Arpita led us on a brief trip through a few of her projects all of which look at Asian women, the diaspora and her own family and their journey through India, Kenya and Scotland. We were treated to a look at her new work ‘Nalini’, a project which will be on show at Street Level Photoworks in Glasgow, as of this Saturday, Feb 9th.

Jeremy Sutton-Hibbert presented images of the political demonstrations and marches that he has been photographing these past few years in Scotland, but started the talk with a few similar images from Romania in 1991, and Japanese demonstrations in 2003-2012, showing the threads and seams of work that run through his extensive archive.

 

Colin McPherson introduced ‘Edinburgh Unchained’ work of Stephen McLaren who sadly couldn’t make it along, talking to the Edinburgh crowd of the history of their city and how it benefited and profited from slavery and the end of slavery in the Caribbean, and the compensation paid to UK slave owners.

Margaret Mitchell silenced the crowd with her very thoughtful presentation of work about her own family, shot over 20 years. The projects, ‘Family’ and ‘In This Place’, provoke questions concerning options in life and how these are tied to the places you’re born, the society and families you’re born into, and the economic pressures which come to bare. You can read an interview with Margaret Mitchell about her work on our site here.

 

Colin rounded off the evening with a lovely presentation of his new work from Easdale Island on the west of Scotland, an island he has a 30-year history with, but through photographing there in recent months has rediscovered a new love for the place and and the people that live there.

Many thanks to all who came, for your thoughtful questions and also, much thanks to Ben Harman, Rachael and the staff at Stills for helping facilitate the evening.

The Document Scotland work on show yesterday evening can all be seen on the walls at the Martin Parr Foundation in Bristol until March 16th. Following that the work will tour to Scotland.

See more information about the show and the press release here.

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

– Perth Art Gallery and Museum – 23rd April 2019 – 23rd June 2019.
– Dunoon Burgh Hall – 20th July 2019 – 18th August 2019. Preview on 19th July.
– FLOW Photofest, Inverness, September 2019.
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