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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A Contested Land

Document Scotland’s A Contested Land has now opened at the Martin Parr Foundation in Bristol, England. The show runs until 16th March, 2019, before further showings in Scotland at Perth, Dunoon and Inverness.

 

Document Scotland exhibition ‘A Contested Land’ opens at the Martin Parr Foundation, in Bristol, England, 15 January 2019. © Jeremy Sutton-Hibbert, 2019. 

 

It gives us great pleasure to announce that our latest show, A Contested Land, successfully opened last week at the Martin Parr Foundation. Surrounded by friends, family, colleagues and esteemed members of the photographic community, a lively evening kicked off the show’s run in Bristol.

With talks by all four Document Scotland photographers – Sophie Gerrard, Jeremy Sutton-Hibbert, Stephen McLaren and Colin McPherson, the crowd was entertained and the works on the walls introduced before the socialising began over drinks.

With thanks to all who attended including Annie Lyden of the Scottish National Portrait Gallery, David Hurn/Magnum, Homer Sykes, Tony O’Shea, Brian Sparks, Daffyd Jones, Miles Ward, Craig Easton, Toby Smith, Jon Tonks, and many, many more. And of course many thanks to Martin Parr and his wonderful team for their support, generosity and hospitality.

 

Document Scotland exhibition ‘A Contested Land’ opens at the Martin Parr Foundation, in Bristol, England, 15 January 2019. © Jeremy Sutton-Hibbert, 2019.

 

Document Scotland exhibition ‘A Contested Land’ opens at the Martin Parr Foundation, in Bristol, England, 15 January 2019. © Jeremy Sutton-Hibbert, 2019.

 

Document Scotland exhibition ‘A Contested Land’ opens at the Martin Parr Foundation, in Bristol, England, 15 January 2019. © Jeremy Sutton-Hibbert, 2019.

 

 

Document Scotland exhibition ‘A Contested Land’ opens at the Martin Parr Foundation, in Bristol, England, 15 January 2019. © Jeremy Sutton-Hibbert, 2019. 

 

Document Scotland exhibition ‘A Contested Land’ opens at the Martin Parr Foundation, in Bristol, England, 15 January 2019. © Jeremy Sutton-Hibbert, 2019.

 

Document Scotland exhibition ‘A Contested Land’ opens at the Martin Parr Foundation, in Bristol, England, 15 January 2019. © Jeremy Sutton-Hibbert, 2019.

 

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

– Salon event at Stills Gallery Edinburgh 7th February 2019 (evening).
– Perth Art Gallery and Museum – 20th April 2019 – 23rd June 2019. Preview on 19th April.
– Dunoon Burgh Hall – 20th July 2019 – 18th August 2019. Preview on 19th July.
– FLOW Photofest, Inverness, September 2019.
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A Contested Land: Behind the lens #4

In the lead up to our forthcoming exhibition A Contested Land opening at the Martin Parr Foundation in Bristol on 15th January 2019, each of the Document Scotland photographers gives an insight into their work, this week Stephen McLaren talks about his new and ongoing work Edinburgh Unchained.
“After I finished taking photographs for my 2015 project, A Sweet Forgetting, which looked at how Scottish slave-owners made their fortunes in the production of sugar by thousands of enslaved Africans in 18th and 19th century Jamaica, I felt that there was some unfinished business here for me. Specifically I wanted to know how wider Scottish society had related to the rapacious nature of the slave-colonies in the Caribbean? What did they know, when did they know it, and what did they do about it? 

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

 

These are the kinds of historical questions that photography struggles with, or certainly my kind of photography struggles with. How to photograph the social and historical attitudes of a population?

Anyway, one way through the puzzle, I found was to look at one specific Scottish location, Edinburgh’s New Town, and using historical records try and make some kind of visual record of how slavery impacted the lives of the city’s denizens.

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

 

In Edinburgh Unchained, I have attempted to show how those genteel Georgian streets laid out to create room for a burgeoning Scottish middle class, benefited enormously from slavery in the Caribbean during the 18th and 19th centuries. 

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

 

In 1834, when slave-ownership was finally abolished, the British government paid out £20m to compensate around 3,000 families that owned slaves for the loss of ‘property’. This sum is the equivalent of around £16.5bn today and equates to around 40% of UK’s gross national product in that year. This was the biggest bailout of private interests in British history and the government debt was only finally paid off in 2017.

The New Town in Edinburgh benefited disproportionally from this bailout and thanks to a ground-breaking database from University College London, we know that 320 Edinburgh addresses were compensated by the government for every slave that was owned by these households. 

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

 

In Autumn 2018, I downloaded the UCL database of compensated slave-owners from New Town, Edinburgh, and using GPS I walked and cycles around every street. I photographed every address in whose owners had been compensated in 1834 and found that, thanks to very strict preservation orders, virtually all these addresses currently still exist. Not every house contained slave-owners as many were represented by local agents and lawyers, but a great many were fairly ordinary people, who just happened to own slaves.

Virtually all of the properties I visited are respectable Georgian-era buildings, most are still private dwellings, but occasionally we see how commercial life has taken over some of these properties in the intervening period. What is certain is that Edinburgh, as a city, benefited from slavery, both from the huge government compensation bailout, but also from 150 years of brutal human exploitation of African labour.

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

 

In Edinburgh Unchained I suggest that the profits from slavery have been deeply embedded in the very fabric of Edinburgh life and society, and that ultimately, the city, and Scotland as a whole, has a massive debt to pay to the countries of the Caribbean for the depravity and human exploitation which lay at the heart of this transatlantic crime against humanity. 

If you would like to read my Guardian article on why Scotland has a real financial debt to pay the countries of the Caribbean for the era of slavery please follow this link…https://www.theguardian.com/commentisfree/2017/jan/13/slave-trade-slavery-scotland-pay-debts

 

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

See more information 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

– Salon event at Stills Gallery Edinburgh 7th February 2019 (evening).
– Perth Art Gallery and Museum – 20th April 2019 – 23rd June 2019.
– Dunoon Burgh Hall – 20th July 2019 – 18th August 2019. Preview on 19th July.
– FLOW Photofest, Inverness, September 2019.
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A Contested Land: Behind the lens #2

As we approach our forthcoming exhibition at the Martin Parr Foundation in Bristol in January, 2019, each of the four Document Scotland photographers gives an insight into the work they have made for the show. Here, Jeremy Sutton-Hibbert tells of his project ‘Let Glasgow Flourish’:

Pro-Scottish Independence march, organised in the ‘All Under One Banner’ name, through the streets and to the battlefield in Bannockburn on the 704th anniverary of the Battle of Bannockburn. It was estimated that 10,000 people took part in the march calling for a second independence referendum. © Jeremy Sutton-Hibbert, 2018.

 

“I’ve always marvelled at the thought that walking down the street any one person you see has a multitude of experiences and stories to tell, you take that one person and the stories you could tease out of them, and multiply that by everyone in the street and then the city, the country. So many stories, so many nuanced versions of life all informed by different upbringings and experiences.

And so it is with political views, a multitude of nuanced political views abound, and this has never been more obvious than in the streets of Glasgow, and Scotland, over these past few years. 

After a decade of photographing in Japan I moved home to Glasgow in 2012, knowing the referendum on Scottish independence from the United Kingdom was going to be gearing up as we approached the 2014 Scottish Independence referendum date. I wanted to be back in the country to see it all, to experience it, and of course to vote. 

 

A Unionist demonstration takes place as the Scottish Cabinet sits at the Fernhill Community Centre for the fifth in a series of meetings outside of Edinburgh following publication of Scotland’s Future, the Governments’s white paper book on Scottish Independence.  May 2014, in Rutherglen, Scotland. © Jeremy Sutton-Hibbert 2018

 

I attended the rallies and marches of both sides, pro-Union and pro-Independence, trying to understand both sides of the argument, photographing it all. Photographing what we were told at the time was a ‘once in a generation’ referendum. For me, trying to describe in pictures the colour, energy and anticipation of what would come before us was the greatest challenge, but also the most rewarding part of the experience. It felt as if anyone in Scotland could have been there, on those marches. For both sides it was a peoples’ crusade: the divisions cut across race, class, gender and location.  

Now four years on and not much has been settled, we’re still walking on daily shifting sands of political information. A second Independence referendum is still a debated issue, still on a hand of cards yet to be played and for the time being kept close to the SNP’s chest. The political game of cards has seen many other hands played: the chaos of Brexit; Scotland welcoming refugees (as it always has) seeking asylum and the extreme minority Scottish Defence League staging rallies to espouse their hatred against them; anti-Trump demonstrations taking place when the American President insults the people of Scotland, as elsewhere, with his below par versions of truth, except Scotland is home to two of his golf courses; and at Faslane peace protestors continue to link arms and sing against Trident missiles which are still the true monster in the Scottish loch. 

 

 ‘Nae (No) Nukes Anywhere’ anti-nuclear weapons 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.” Faslane, Scotland, September 2018. © Jeremy Sutton-Hibbert, 2018.

 

There hasn’t been a shortage of political theatre in the streets to watch, to listen to, and to photograph. Some views you can understand, some you wince at when you hear them spoken, but the one thing we can be proud of and take from it all, pro- or anti-, is that the people of Scotland are awake.”

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

See more information 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

– Salon event at Stills Gallery, Edinburgh. 7th February 2019 (evening).
– Perth Art Gallery and Museum – 20th April 2019 – 23rd June 2019.
– Dunoon Burgh Hall – 20th July 2019 – 18th August 2019. Preview on 19th July.
 FLOW Photofest, Inverness, September 2019.

 

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A Contested Land: Behind the lens #1

In the lead up to the opening of our forthcoming exhibition at the Martin Parr Foundation in Bristol in January, 2019, each of the four Document Scotland photographers gives an insight into the work they have made for the show. We start with Colin McPherson, who tells us about his project entitled Treasured Island.

“Last year, we sat down as a collective and discussed what the big issues were facing Scotland at present. Although it is blinding obvious to mention Brexit and all the ramifications and spin-offs from that, including the prospect of a second Independence referendum at some point, we wanted to look more broadly at what challenges and changes Scotland face, and how we could illustrate this through a collaborative photographic narrative.

One theme that we kept on coming back to was ‘land’. Taken in its broadest context, the relationship between our history and people has always been connected to a sense of place in Scotland. Whilst the issues around land-ownership and management, with its relevance to the environment and economic growth, are often debated, these subjects are best illuminated when narrated either through people, communities or by the photographer themselves. We wanted to show the diversity of Scotland within the idea of a project based around ‘land’ and to be able to stretch the imagination of our audiences to think beyond the obvious. As always, that’s a difficult task, but one I think we have achieved through A Contested Land, the title we settled on for the four individual bodies of work.

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

 

The problem is there are just so many interesting aspects to our ongoing relationship with the physical landscape of Scotland. Misty-eyed romanticism often clouds our judgement about where we live and how we relate to our surrounding environment. For myself, I wanted to tell a personal story, one which could resonate beyond the confines of where I made the work, and which would challenge me to re-examine my relationship and place within a very special community in Argyll.

My connection with the tiny, car-free island of Easdale goes back three decades. I first visited on holiday, and having fallen in love with the place, subsequently built a house and lived there for a year. It is a location best known for its history as the centre of the Scottish slate quarrying industry of the 19th century. Easdale slate was said to have roofed the world, and this industrial legacy is still very much in evidence today, with abandoned buildings, piles of slate spoil and disused flooded quarries configuring the landscape. I was more interested, however, in the parallels of life then and now, more specifically by looking at the difference in men’s lives in the past and today, and how memories of a bygone age still resonate today.

Life was indeed hard in the days when teams of men quarried for slate. The work was relentless and the conditions harsh. But life on Easdale was embellished by a strong sense of communal life, with a school, evening classes for adults and other activities. Paradoxically, it is much harder for islanders these days to engender the same sense of community, although Easdale today boasts a pub, has an active residents group and organises events such as the annual World Stone Skimming Championships. The main connection with the past, however, lies in the challenges and difficulties faced by the population today: the unpredictable weather and tough economic conditions both locally and further afield mean that life and living are almost as precarious today as during the quarrying heyday, when over 400 people lived on Easdale.

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

 

Making the work for Treasured Island allowed me to engage with the community on a new level personally. Although a frequent visitor to Easdale, I have seldom previously used my camera as a means of exploring and narrating life on the island. My family has played a small part in the regeneration of the island (the population now stands at 65, having decreased to just a handful in the 1960s), so this project, shot entirely in 2018, has been my way of rekindling my connection with the place, whilst reflecting the immense sense of pride and care people take for the island. They may not always agree on what’s best for Easdale, but the sense of ownership and a love for the island’s unique landscape is never far from any conversation with local people.

I aim to continue the work I began this year. I believe that it is important to keep documenting the changes around us. We cannot say with any certainty where Scotland, or Easdale, will be in five or ten years’ time, but whatever happens we will still look back to the past to inform ourselves about the present, and hopefully the future…”

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

See more information 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

– Salon event at Stills Gallery, Edinburgh. 7th February 2019 (evening).
– Perth Art Gallery and Museum – 20th April 2019 – 23rd June 2019.
– Dunoon Burgh Hall – 20th July 2019 – 18th August 2019. Preview on 19th July.
 FLOW Photofest, Inverness, September 2019.

 

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A Contested Land

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

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

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

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

 

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

 

A Contested Land.

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

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

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

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

 

from the series The Flows © Sophie Gerrard 2018

 

Easdale, Scotland. © Colin McPherson 2018.

 

 

‘Edinburgh Unchained’, © Stephen McLaren 2018.

 

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

 

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

 

from the series The Flows © Sophie Gerrard 2018

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

 

‘Edinburgh Unchained’, © Stephen McLaren 2018.

 

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

Easdale, Scotland © Colin McPherson 2018

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

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

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

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

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

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

Martin Parr Foundation
316 Paintworks
Arnos Vale
Bristol
BS4 3AR

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

Free entry to all exhibitions.

 

Touring exhibition dates

– Salon event at Stills Gallery, Edinburgh. February 2019. Date to be confirmed.
Perth Art Gallery and Museum – 20th April 2019 – 23rd June 2019.
Dunoon Burgh Hall – 20th July 2019 – 18th August 2019. Preview on 19th July.
FLOW Photofest, Inverness, September 2019.
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@EverydayClimateChange

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

 

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

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

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

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

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Nelson Mandela, Glasgow 1993.

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

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

 

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

 

From Street Level Photoworks:

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

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

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

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

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

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

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

 

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PLANES, TRAINS AND AUTOMOBILES.

PLANES, TRAINS AND AUTOMOBILES: TRANSPORTATION PHOTOGRAPHS

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

Part of Edinburgh Art Festival 2018

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

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

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

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

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

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

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

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

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

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MacKinnon Collection

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

 

100 years of Scottish photography secured for the nation

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

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

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

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

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

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

Culture Secretary Fiona Hyslop welcomed the public acquisition.

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

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

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

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

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

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

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

Highlights include:

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

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

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

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

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

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

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

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

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

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

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

#ScotlandsPhotos

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Colin Templeton’s Glasgow.

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

 

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

 

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

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

 

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

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Going with the Flow

The inaugural Flow Photography Festival took place across the Highlands and Islands of Scotland in September 2017 with the theme ‘People and Place’. The festival launched at Eden Court Theatre in Inverness, with several other galleries hosting work by internationally-acclaimed and award-winning photographers from Iceland, Finland, Scotland and Norway, icluding work by three Document Scotland photographers. In addition, the festival staged a series of concurrent events throughout the North of Scotland and the larger collections have just begun a tour of other venues. The man behind the festival, Matt Sillars, looks back on their first festival foray…

“As I write the main exhibitions from the inaugural photography festival in the Highlands and Islands are all bubble wrapped and packed in storage. However, An Lanntair in Stornoway, St Fergus Gallery in Wick and Timespan Gallery in Helmsdale all have shows with longer finish dates, so there is plenty to see well into November. The festival has been a real success with a set of  comment books burgeoning with positivity!

After two years planning the FLOW Photofest launched in September with a host of exhibitions from some of the leading photographers in the North including work by three Document Scotland members. Work from ‘When Saturday Comes’ by Colin McPherson and ‘North Sea Fishing’ by Jeremy Sutton-Hibbert was on show along with the St Andrews University exhibit ‘Scotland through the Lens – 175 years of documentary photography’ featuring work by Sophie Gerrard. It was a real pleasure being able to show school groups the work of Sophie and discuss the photography of Franki Raffles, who was also in the 175 years show, in the context of contemporary documentary work.

Designed as a biennial destination festival, showing in galleries and spaces across the Highlands and Islands, FLOW has set itself the task of showcasing challenging and exciting photography by photographers ‘from the North’, ‘based in the North’ or ‘making work in the North’.  We featured work by 19 photographers – Ragnar Axelsson and Sigga Ella (Iceland), Iiu Susiraja  (Finland), Andrea Gjestvang and Tonje Boe Birkland (Norway), Dominique Gais (France), Mat Hay, Kieran Dodds, Alex Boyd, Chris Friel, Evija Laiviņa, Tom Kidd, Robin Gilanders, Ross Gilmore, Colin McPherson, Jeremey Sutton-Hibbert, Mary Overmeer, Nicky Bird, Kevin Percival (all Scotland) and the St Andrews University Special Collection exhibit. We also featured the work of a rediscovered Inverness photographer from the 1930s, Andrew Paterson.

Talks and workshops featured Alicia Bruce and the Paterson Collection while the over subscribed portfolio review sessions were conducted by Malcolm Dickson. Katherine Parhar and James Pfaff. These were very well received and we hope will be a regular feature. A series of films on Photographers were shown and photogravure workshops were held by Highland Print Studio. This was all finished off by a ‘small walls trail’ featuring local shops and unusual walls.

Most importantly the festival organisation had a real collegiate feel with everyone involved coming on board with enthusiasm and commitment, from the Highland Council, who saw real merit in the ‘cityness’ of such a festival to the photographers who all contributed their work, at times, in the case of Andrea and Kieran, making new work for our festival.

We are now in the process of developing the positive links established and working towards a ‘curated’ gallery wall dedicated to photography in Inverness.  Quite soon there will be the opening of a Community Darkroom in Inverness and this, allied to the exhibition space, will see the profile of photography becoming more established in the North.

Our next official outing will be September 2019 – across the Highlands and Islands. Please come and see what we will have on show!”

Title image: The Faroe Islands. Photograph © Andrea Gjestvang, 2017 all rights reserved.

The Andrew Paterson Collection at Inverness College UHI.

 

Sigga Ella Title Wall at IMAG.

 

North Sea Fishing. © Jeremy Sutton-Hibbert, 2017 all rights reserved.

 

Ragnar Axelsson and Tom Kidd Eden Court Theatre, Inverness.

 

Adam, Heather Burn. © Matt Hay, 2017 all rights reserved.

 

Kieran Dodds with Gingers at IMAG.

 

Evija Laivina’s Beauty Warriors at Eden Court Theatre, Inverness.

 

‘Fraserburgh, 2010’. © Colin McPherson, 2017 all rightsreserved.

 

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