Salon event 2016

Our Salon events for 2016 start next month, and we are delighted to be partnering with the University of Highlands and Islands to bring you events across Scotland. On the 18th February 2016 we will be hosting an event from Perth College which will be streamed live to venues across Scotland.

We hope you’ll be able to join us!

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Please jois us in Perth or at any of the venues here;

Room 325, Perth College UHI, Creiff Road, Perth, PH1 2NX  tel: 0845 270 1177

Inverness College UHI, 1 Inverness Campus, Inverness, IV2 5NA tel: 01463 273 000

Moray College UHI, Moray Street, Elgin, Moray, IV30 1JJ tel: 01343 576 000

Orkney College UHI, East Road, Kirkwall, Orkney, KW15 1LX tel: 01856 569 000

Shetland College UHI, Gremista, Lerwick, Shetland, ZE1 0PX tel: 01595 771 000

Lews Castle College UHI, Stornoway, Isle of Lewis, HS2 0XR tel: 01851 770 000

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Common Ground Exhibition – Part Two!

Happy 2016 everyone – to kick start this year Document Scotland have once again joined forces with our good friends the Welsh collective A Fine Beginning. Continuing our theme of collaboration and partnership to show our exhibition Common Ground.

The exhibition opening evening (to which you are all most welcome) is on Thuesday 4th February at 6pm at Wales Millennium Centre, Bute Place, Cardiff Bay, CF10 5AL.

The show was first exhibited at Street Level Photoworks in Glasgow from August to October in 2014.

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It will now travel to Wales to be shown at The Millennium Centre in Cardiff from 5th February – 10th April 2016. Where Document Scotland and a Fine Beginning will also deliver a series of FREE talks and portfolio reviews.

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The publication to accompany this exciting collaboration, also called Common Ground, is on sale via our website, and at various retail outlets across Scotland.

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Here’s the press release for the Cardiff phase, Part 2, of Common Ground.

We hope you can join us at one or more of the events.

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As ever thank you to our partners and funders.

 

 

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National Galleries events – Curators’ Tour

On Thursday 14th January 2016 Anne Lyden, International Photography Curator of our exhibition “The Ties That Bind” currently on at The Scottish National Portrait Gallery, will lead a tour of the exhibition from 5pm – 5:30pm.

All are welcome – this event is FREE.

For more information please see here

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National Galleries events – Malcolm Dickson talk

Malcolm Dickson, director of Street Level Photoworks, Glasgow will give a lunchtime talk on 13th January at The Scottish National Galleries to accompany our exhibition “The Ties That Bind” currently on at The Scottish National Portrait Gallery. All are welcome – this event is FREE.

For more information please see here

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Mother Father, by Lucie Rachel

At a recent Street Level Photoworks ‘In Focus’ event, looking at book publishing, which we attended, we had the pleasure of listening to Lucie Rachel discuss her book-in-progress, ‘Mother Father’, a story documenting the relationship of her parents. Impressed with the work, and Lucie’s approach, we asked if we could showcase it here. Lucie kindly agreed….

 

Mother Father

Mother Father, by Lucie Rachel.

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Mother Father tells the story of my parents’ relationship through recent and archive
photographs, letters, diary exerts and online blog entries from both before and after my
father came out as transgender. Beginning with recent photographs of my Mother holding
her diary open on the page they met in 1979, the documentation follows the couple through
marriage, children, coming out and separation, finally leaving them in 2015.

 

LucieRachel_3_BookSpread

LucieRachel_4_BookSpread

The creation of the book was almost unintentional; a natural bi-product of my art practice.
I began working with my parents in 2013, almost two years after their separation. It was at
this time that I realised I knew very little about either of them and even less about their
relationship, especially from the years before my sister and I had become a part of it.
Through curiosity and an overwhelming desire to know and understand, the project began.
Originally I had no thoughts of making a book; I simply collected photos that I liked or felt
were insightful into an album, with no order or narration, which gradually grew in the
background into a substantial folder of material. Over a year later it had expanded to the
point of being a work in its own right. A compilation of photos, letters, blog and diary
entries which tell a story of love, hardship and acceptance, that I feel deserves to be told.

‘Without love, life has no purpose’ was the guiding principle of my Mother’s youth. Her
naive pursuit of true love was endearingly hopeless, built upon the foundations of
Hollywood cliches and Bronte novels. So when she met my Father on the eve of the New
Year 1976, she honestly believed she had found ‘the one’. Of course, reality never quite
matches up with expectations and her idyllic notions of married life were left to flounder in
the unpredictable but extraordinary relationship that was to follow.

 

Mother holding open her diary March 19th 1976, describing her first date with my father. From 'Mother, Father' by Lucie Rachel. ©Lucie Rachel 2015, all rights reserved.

Mother holding open her diary March 19th 1976, describing her first date with my
father. From ‘Mother Father’ by Lucie Rachel. ©Lucie Rachel 2015, all rights reserved.

 

Lovers enjoying the summer of 1976, captured by a family friend. From 'Mother, Father' by Lucie Rachel. ©Lucie Rachel 2015, all rights reserved.

Lovers enjoying the summer of 1976, captured by a family friend. From ‘Mother Father’ by Lucie Rachel. ©Lucie Rachel 2015, all rights reserved.

 

Their frst child arrives, feeling blessed they have a daughter. From 'Mother, Father' by Lucie Rachel. ©Lucie Rachel 2015, all rights reserved.

Their first child arrives, feeling blessed they have a daughter. From ‘Mother Father’ by Lucie Rachel. ©Lucie Rachel 2015, all rights reserved.

 

Fortunately, this was an exceptionally well documented partnership. My mother kept a
diary, intimately documenting their seemingly normal relationship. Likewise, my Father
rarely removed the camera throughout most of their time together, not to mention the
many letters penned to my Mother during her college years which still sleep under her bed.

 

Alone in bed; my father behind the camera. From 'Mother, Father' by Lucie Rachel. ©Lucie Rachel 2015, all rights reserved.

Alone in bed; my father behind the camera. From ‘Mother Father’ by Lucie Rachel. ©Lucie Rachel 2015, all rights reserved.

 

Taken by my 4 year old self, oblivious to what I was capturing. From 'Mother, Father' by Lucie Rachel. ©Lucie Rachel 2015, all rights reserved.

Taken by my 4 year old self, oblivious to what I was capturing. From ‘Mother Father’ by Lucie Rachel. ©Lucie Rachel 2015, all rights reserved.

 

However, during their fifth year together there happened a somewhat unusual revelation,
when my father came out to my mother as transgender. Unsurprisingly, this changed the
fundamental dynamics of their relationship and diverted them on a journey neither one of
them could have anticipated. The chronicling of the relationship was continued thereafter
in the form of an online blog kept by my father and further private writings by my mother.
The subsequent collection of materials follows their relationship from the exhilarating
highs of young love and through the turbulent waters of domesticity.

 

My father's frst pair of heels are still her favourite. From 'Mother, Father' by Lucie Rachel. ©Lucie Rachel 2015, all rights reserved.

My father’s first pair of heels are still her favourite. From ‘Mother Father’ by Lucie Rachel. ©Lucie Rachel 2015, all rights reserved.

 

My father in her kitchen exuding discomfort; unable to be her true self in the moment I hold my camera. From 'Mother, Father' by Lucie Rachel. ©Lucie Rachel 2015, all rights reserved.

My father in her kitchen exuding discomfort; unable to be her true self in the
moment I hold my camera. From ‘Mother Father’ by Lucie Rachel. ©Lucie Rachel 2015, all rights reserved.

 

Exhausted after our evening out, she removes most of her make up - but forgets the necklace. From 'Mother, Father' by Lucie Rachel. ©Lucie Rachel 2015, all rights reserved.

Exhausted after our evening out, she removes most of her make up – but forgets
the necklace. From ‘Mother Father’ by Lucie Rachel. ©Lucie Rachel 2015, all rights reserved.

 

Mother Father is also accompanied by a short film with the same title, in which my parents
talk retrospectively about their relationship. The book is currently in the Dundee Artists’
Book Collection in the VRC at Dundee Contemporary Arts and the film has been shown at
several film festivals this year including Aesthetica Short Film Festival and Underwire
Festival, gaining award nominations at both. The work will next be exhibited together at
the Royal Scottish Academy’s New Contemporaries Exhibition in March 2016.

At present, I am working on a short documentary about my own father-daughter
relationship with The Scottish Documentary Institute‘s Bridging The Gap programme,
which will premiere at Edinburgh International Film Festival in May 2016.

 

Lucie Rachel can be contacted via Twitter and via her website.

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Sophie on BBC Landward and BBC Radio Scotland

This month Document Scotland’s exhibition ‘The Ties That Bind’  at The Scottish National Portrait Gallery in Edinburgh has been featured on BBC TV and Radio. Sophie was filmed talking about her long term project about women, farming and the landscape, ‘Drawn To The Land’ on BBC1’s Landward and was interviewed for Radio Scotland’s Out of Doors program. Watch and listen again here…. !

 

BBC Landward

Sophie spent a very wet and windy couple of days filming with the wonderful Sybil MacPherson, a hillfarmer in Argyll with the crew from BBC Landward. You can see the film here, with Sophie talking about her work with the presenter Sarah Mack from about 22:00 minutes in.

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Watch the episode of BBC Landward on BBC iPlayer now.

“I’m delighted that Landward were interested in my project, after long discussions with the producer, Clare who had visited the exhibition and was curious about the work, we arranged a couple of days in November when we could meet with Sybil and do some filming on her remote and beautiful hillfarm near Dalmally. Sybil’s story and her relationship with the land she works and farms is fascinating. The 5 munros which make up her farm have been farmed by her family for over 175 year. There are ruins on the hill where her grandfather went to school. It’s a place full of history and full of connection which is why I thought it would be great to hear more from Sybil and introduce her to the Landward team. The fact that it turned out to be the wettest day I’ve seen in Argyll for some time wasn’t ideal – that it doesn’t even look that bad on tv is annoying!”

 

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BBC Landward presenter Sarah Mack with hill farmer Sybil MacPherson, Dalmally, Argyll © Sophie Gerrard 2015 all rights reserved.

“Having never done any TV before I was struck by how long everything took – there was quite a lot of back and forth, re-shooting, “say that again”, “drive over that bridge again and again”. So I’m hugely grateful to Sybil for taking time out of her busy week to allow this piece to be filmed. It was interesting seeing how it all worked, piecing together the parts of the interview and also seeing how they would include my photographs in the piece.”

 

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Colin, the BBC Landward camera man, films Sybil as she packs and rolls fleeces on her hill farm near Dalmally. © Sophie Gerrard 2015 all rights reserved.

“I hope what the filming does is introduce the project and my reasons behind shooting it. Women are under represented in farming. Commonly referred to as ‘farmers’ wives’ and seen as having a behind the scenes role. Sybil and the other women in my project are front and centre, they make life and death decisions every day. They are engineers, midwives, business women, decision makers and forward thinkers. The common sense of responsibility for the work they do, and to the landscape and the livestock is something that all the women in my project share. All of them talk as custodians, of having a sense that they are looking after this land for future generations. I have a huge respect for them and the work they do. It’s been a privilege and an honour to work with them and I look forward to continuing the project.”

Sophie Gerrard

 

 

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Clare, Colin and Sarah, the BBC Landward crew with Sybil, Dalmally November 2015 © Sophie Gerrard all rights reserved.

 

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Sophie with Sybil and the crew. Dalmally November 2015

BBC Out Of Doors

Sophie met with journalist Claire White of BBC Radio Scotland at the Scottish National Portrait Gallery to talk some more about her experience of photographing the 6 women included in the project over the last 2 and a half years. You can listen to this interview here, Sophie and Claire discus ‘Drawn To The Land’ from about 7:38 minutes in.

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Listen to the episode of BBC Scotland ‘Out of Doors’ on BBC Radio iPlayer now.

 

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Claire White from BBC Radio Scotland interviewing Sophie at the Scottish National Portrait Gallery

“I really enjoyed talking to Claire from Out of Doors about my work. Claire and I spent a really short time in the gallery talking about the work. I’ve done a little bit of radio before, and I’ve interviewed people many time using voice recorders – this just felt a much more comfortable way of talking to the media about my work.

Claire asked some really interesting questions, and picked up on some important aspects of the work. It’s always interesting meeting people who are interested in my work, and who then spot things in the work, or pick up on visual clues within images. Claire certainly did that, and in the interview you can hear her reading the clusters of images on the wall and getting an impression of the women I’ve photographed.

I was grateful for the time she took, and the interest in the project. I hope this reaches an audience who might want to come and see the work at the Portrait Gallery or look at it on my website, and take a little time to get know these women and their stories.

Thank you Claire and your team for the feature.”

 

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Sophie with Claire White from BBC Scotland Out Of Doors, at the Scottish National Portrait Gallery.

 

Thank you BBC1 and BBC Radio Scotland for featuring Drawn To The Land, both programs are available on iPlayer.

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What the papers say!

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Document Scotland’s latest exhibition – The Ties That Bind, curated by Anne Lyden and currently on at the Scottish National Portrait Gallery has now been open for over a month. We have been absolutely overwhelmed with the response. Thank you all of you who have already visited – and to those of you who haven’t had the chance – it’s on until 24th April 2016 so there’s plenty of time.

 

Here’s some selected press and reviews of the exhibition so far…

 

David Pollock interviewed Document Scotland and wrote an insightful article about the exhibition in The Independent

Janet Christie wrote an in depth article in The Scotland on Sunday about each of the Document Scotland photographers’ work.

Duncan McMillan gave ‘The Ties That Bind’ a 4 star review in The Scotsman

A review of ‘The Ties That Bind’ is featured in Photomonitor written by Dr Katherine Parhar

The exhibition was featured on the BBC: In Pictures feature by Phil Coomes

 

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The Ties That Bind’ was featured in The List Magazine

Jeremy Sutton-Hibbert’s work ‘Unsullied & Untarnished’ was featured by The Daily Record

The Photographers’ Gallery featured Sophie Gerrard’s project ‘Drawn To The Land’

Stephen McLaren’s project ‘A Sweet Forgetting’ was featured in The New York Times Lens Blog

 

 

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The National newspaper also featured a piece on Stephen McLaren’s project ‘A Sweet Forgetting’

As did The Sunday Herald – which featured ‘A Sweet Forgetting’ on the cover story of its weekend magazine one year on from the Referendum. 

Sophie Gerrard was interviewed by Annie Brown of The Daily Record for an in depth article about her project ‘Drawn To The Land’

The British Journal of Photography also featured a beautifully written article on Sophie Gerrard’s work by Jamie Dunn

 

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Brighton Photoworks interviewed Sophie Gerrard about ‘Drawn To The Land’, you can see a slide show here. 

An article on the exhibition by Kevin McKenna was featured in The National newspaper

Colin McPherson was featured in a BBC film by Dan Curtis about his project ‘When Saturday Comes’ – watch it here

 

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ITV News featured Jeremy Sutton-Hibbert’s work ‘Unsullied & Untarnished’

Jeremy’s book of the same name was reviewed by The Scotsman

And ‘Unsullied & Untarnished’ was also reviewed in Photomonitor by Dr Katherine Parhar. 

 

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Please remember….  we encourage photography in the exhibition and for you to share your views, thoughts, and images on social networks. Don’t hesitate to get in touch.

 

Gallery-sign

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Unsullied And Untarnished

To coincide with our new exhibition, The Ties That Bind‘, on now at the Scottish National Portrait Gallery, Edinburgh, until April 2016, Jeremy has published a book of his work,  ‘Unsullied And Untarnished’, portraying the Common Riding festivals of the Scottish Borders. The same work forms Jeremy’s contribution to our SNPG show.

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Unsullied And Untarnished’ is photographic portrait of the people of the towns of the Scottish Borders who each year undertake the maintaining of tradition, commemorating their local history and at the same time strengthening the bonds of their communities looking forwards, during the annual Common Riding festivals of the summer months.

Braw Lassies and Honest Lads, Left Hand Lassies and Right Hand Men, Cornets, Hunters and Coldstreamers – all titles given to the upstanding youths who lead the festivities, and whose duty it is to carry the burgh or town standard around the common lands, and to “bring it back unsullied and untarnished”.

To accompany the 58 photographs Document Scotland’s Honorary Patron the Glasgow-born photojournalist Harry Benson has written a foreword, and Alex Massie, Scotland editor of The Spectator, has written a beautiful essay which explains the Common Riding festivals, and what they mean to the participants and communities involved.

 

“Some of these ridings and festivals are ancient, stretching back five centuries and more. Others are more modern but, whatever their roots and antiquity, they have something in common. They are annual gatherings of remembrance and celebration; affirmations that though these may be small places there is nothing small about coming from Kelso or Galashiels, Lauder or Langholm.” – Excerpt from essay, ‘Unsullied And Untarnished’, by Alex Massie.

 

Unsullied and Untarnished book, in Glasgow, Scotland, on Monday, 7 September 2015.

St Margret's Hope for the South Ronaldsay Boys Ploughing Match, in Glasgow, Scotland, on Monday, 7 September 2015.

 

“These festivals are not flashy, for the Border towns are not flashy places….They are an argument for the small places – none of the Border towns, not even Galashiels and Hawick can count as metropolises – and the importance and permanence of place. They maintain the golden threads that stretch back through the ages to a time when the world was a younger place. These festivals are the guardians and custodians of memory and without memory, what does identity matter?” –  Excerpt from essay, ‘Unsullied And Untarnished’, by Alex Massie.

We were fortunate that during the opening night of our show in the Scottish National Portrait Gallery that two of Jeremy’s collaborators from the project made it along to see their portraits hanging on the wall of the show, which has been curated by Anne Lyden, the National Galleries’ International Curator for Photography.

Calum Moffat (left) and Jeremy Sutton-Hibbert at Document Scotland's 'The Ties That Bind' exhibition, including 'Unsullied And Untarnished', at the Scottish National Portrait Gallery, in Edinburgh, Scotland, on Thursday, 24 September 2015.

Calum Moffat (left) and Jeremy Sutton-Hibbert at Document Scotland’s ‘The Ties That Bind’ exhibition, including ‘Unsullied And Untarnished’, at the Scottish National Portrait Gallery, in Edinburgh, Scotland, on Thursday, 24 September 2015.

Calum Moffat (above) made the journey from Jedburgh along with his family, and the next day was going to be presenting at his school a little talk on the project and the fact that his portrait made it to the gallery wall. Graham Hamilton (below), the ‘Braw Lad’ of Galashiels in 1989, kindly made it along also, standing by his portrait.

Graham Hamilton and Jeremy Sutton-Hibbert at Document Scotland's 'The Ties That Bind' exhibition, including 'Unsullied And Untarnished' at the Scottish National Portrait Gallery, in Edinburgh, Scotland, on Thursday, 24 September 2015.

Graham Hamilton and Jeremy Sutton-Hibbert at Document Scotland’s ‘The Ties That Bind’ exhibition, including ‘Unsullied And Untarnished’ at the Scottish National Portrait Gallery, in Edinburgh, Scotland, on Thursday, 24 September 2015.

 

“Every Common Riding is unique yet, in this important respect, each is just the same as last year’s festivities. These are the permanent things; the ties that bind a people together, that insist upon the specialness of a particular small patch of Scotland. They are the things that make a difference, the things that matter most.

And if you listen carefully you will still hear the hoofbeats of history commanding us to remember and celebrate who we are and whence we have come.” – Excerpt from essay, ‘Unsullied And Untarnished’, by Alex Massie.

Unsullied And Untarnished.
ISBN: 978-0-9933742-0-3
96-pages, hardback, embossed cover.
58 photographs, printed on non-coated paper.

The book is available to purchase directly from Jeremy’s website.

NGSTiesThatBind

 

‘Unsullied And Untarnished’ forms Jeremy’s contribution to Document Scotland’s ‘The Ties That Bind’ photography exhibtion at the Scottish National Portrait Gallery, Edinburgh, on now until 24th April 2016.
@DocuScotland @NatGalleriesSco #NGSTiesThatBind

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Made In Wales

This year our good friends, the Welsh photography collective A Fine Beginning, are holding three exhibitions showcasing new work from its four members (Abbie Trayler-Smith, Gawain Barnard, Jack Latham and James O Jenkins) and twenty seven photographers whose work has featured on their blog.

A Fine Beginning offers a platform to photographers making work in and about Wales.

Made In Wales will be showing at:

– September 7th to 18th at Cardiff MADE (private view on 10th September).
41 Lochaber St, Cardiff, CF24 3LS. www.cardiffmade.co.uk

– November 9th to 20th at Carousel London (private view on 12th November).
71 Blandford Street, London, W1U 8AB. www.carousel-london.com

– March 1st to April 31st 2016 at Oriel Colwyn (private view on 1st March).
Abergele Road, Colwyn Bay, LL29 7RU. www.orielcolwyn.org

 

Photo © Mike Harvey 2015, all rights reserved.

Photo © Mike Harvey 2015, all rights reserved.

 

Photo © James O Jenkins 2015, all rights reserved.

Photo © James O Jenkins 2015, all rights reserved.

 

Photo © Abbie Trayler-Smith 2015, all rights reserved.

Photo © Abbie Trayler-Smith 2015, all rights reserved.

 

Photo © Francesca Jones 2015, all rights reserved.

Photo © Francesca Jones 2015, all rights reserved.

 

Please find a selection of work and a list of exhibiting photographers below.

‘Made in Wales’ exhibiting photographers:  Abbie Trayler-Smith, Celia Jackson, Clémentine Schneidermann, Craig Bernard, Daragh Soden, Eleanor Whiteman, Francesca Jones, Gareth Phillips, Garry Stuart, Gawain Barnard, Geoff Charles, Huw Davies, Jack Latham, James A Hudson, James O Jenkins, Jooney Woodward, Lewys Canton, Lua Ribeira, Mandy Thomas, Mark Griffiths, Marta Giaccone, Mike Harvey, Mira Andres, Nathan Klein, Neil Turner, Pete Davis, Peter Jones, Rob Hudson, Robert Haines, Roger Tiley, Stephen Clarke.

For further information or images please contact: james@jamesojenkins.co.uk

www.afinebeginning.com

Twitter: @afinebeginning

 

© Gawain Barnard, all rights reserved.

© Gawain Barnard, all rights reserved.

 

© James A. Hudson, all rights reserved.

© James A. Hudson, all rights reserved.

 

© Mark Griffiths, all rights reserved.

© Mark Griffiths, all rights reserved.

 

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Methil – by Gregor Schmatz

From the series Methil © Gregor Schmatz 2015

From the series Methil © Gregor Schmatz 2015

 

Gregor Schmatz has recently finished a BA Photography at Edinburgh Napier University. Document Scotland caught up with him and had a chat about his ongoing degree show project about Methil in Fife, Scotland.

 

DS: Tell us a little about yourself Gregor, and why you decided to make this particular project.

GS: I was born in Germany but grew up most of my life in Luxembourg. After a brief year in Australia I moved to Edinburgh where I completed a degree in Photography at Edinburgh Napier University.
Currently I am pursuing a career as a freelance editorial photographer.

I thought about doing a project about Methil or the area for a while and then I had to decide on my final year project for University. Since it became a project for University I had enough time to drive up there on a regular basis.

DS: What were your original hopes, objectives and ambitions for shooting the work? Why make this project?

GS: I knew that there was a lot to explore visually, just interesting photos to be found. But I also liked the project because it is of contemporary interest on a national and UK wide basis, I could sell this project in different ways.
But the subject matter was different from what I have done before, so I also had to adjust and think things through a bit more. Plus after 4 years in Edinburgh I am very happy I ended  the course with a particularly Scottish project.

The Windmill construction plant by SHI, who recently announced that they will pull out of the country. From the series Methil © Gregor Schmatz 2015

The Windmill construction plant by SHI, who recently announced that they will pull out of the country. From the series Methil © Gregor Schmatz 2015

 

DS: Why did you decide to shoot it in the way you did?

GS: I thought the project through more because it was a new subject matter for me, but I still shoot everything more or less instinctively. Currently I shoot everything medium format, it just works for me.

DS: Did you know Methil before? Why there?

GS: I drove through Methil with friends from Fife, that’s how I came across the area first. I knew I could shoot there pretty much immediately.

From the series Methil © Gregor Schmatz 2015

From the series Methil © Gregor Schmatz 2015

 

DS: What do you think these photographs say about Methil?

I tried to portray it in a way that people can make up their own mind but at the same time I was also aware that Methil had a overly bad reputation already and I wanted to focus on the everyday there, not the extreme.

From the series Methil © Gregor Schmatz 2015

From the series Methil © Gregor Schmatz 2015

 

DS: In your introduction you call Methil “an overlooked Scottish town.” What do you mean by that?

GS: Simply that most people never heard of it, or if they did, it was something bad. And there are many places like this; unknown towns, which actually have a huge history but lost their industry and slowly became increasingly desolate.

DS: Have people in the images, from Methil seen the work and if so what feedback, thoughts do they have on the work?

GS: Only one pair have seen them and they liked the images, but they were also surprised of the images. I think it was just a bit strange for them to see a series of images about their town, places they see everyday. All the other people in the photos were short encounters, I have no contact details.

From the series Methil © Gregor Schmatz 2015

From the series Methil © Gregor Schmatz 2015

 

DS: You’ve been studying at Napier for the last few years, how did you get started in photography and can you tell us a little about your journey to where you are now as a photographer?

GS: I think I first bought a SLR before travelling, that’s when I started seeing all the possibilities and just started taking photos and never got bored of it. My project “Amerikanare” was a project I started at the end of the first year at University. It was my first serious project and I went back last summer to finish it and the final project was exhibited in Boston and published in a couple of magazines. This is the project where learning curves were the most obvious and I learned a lot from doing it. Looking back I definitely feel more secure in my image making and more defined, but it just took time. I think I always had certain tendencies or preferences in photography but the course at Napier gave me the chance to explore many different styles and get better at taking photos through many many small projects. But I am far from settled, there are exciting times ahead.

From the series Methil © Gregor Schmatz 2015

From the series Methil © Gregor Schmatz 2015

 

DS: You mention that this project is still on going – what plans do you have to continue?

GS: I just learned that the Windmill plant will actually shut, so this is a bit a sad ending, however I will try and expand the series to the Levenmouth area.

DS: What are you up to right now? How are things since graduating and what are your future plans?

GS: Very good! I had a great exhibition in Boston as part of the Flash Forward Festival and some nice magazine and online features, creating some important contacts for the future, so I feel pretty lucky!

 

Thanks Gregor – to see more of Gregor’s work visit his website www.gregorschmatz.co.uk

 

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Paul Strand – print acquisition by SNPG

We were very excited to hear of the Scottish National Portrait Gallery’s latest photography acquisition, great to hear that nine images from South Uist, in the Outer Hebrides, by Paul Strand have been acquired for the nations’s photography collection. Great news indeed. Below, you can read about the acquisition and see the images, but we recommend going to see them in the flesh so to speak!

The nine photographs will be on show as part of Collecting Now at the Scottish National Portrait Gallery, from 20 June to 20 September 2015.

 

Paul Strand

Nine photographs by Paul Strand (1890-1976), one of the greatest photographers of the twentieth century, have been acquired by the Scottish National Portrait Gallery, where they will go on public display until 20 September. Taken from Strand’s series of Hebridean photographs from South Uist in 1954, the works are the first examples of his Scottish work to enter into a public collection in Scotland.

This major acquisition, supported by the Art Fund, is composed of nine vintage black and white portraits of Scottish lives and landscapes in South Uist, an island in the Outer Hebrides off the west coast of Scotland. The works will be hung in the current exhibition Collecting Now, which focuses on the Gallery’s growing collection.

 

Paul Strand (1890-1976). Croft, Locarnon, South Uist, Hebrides, 1954 Photograph (gelatine silver print): 11.4 x 14.6 cm Scottish National Portrait Gallery © Aperture Foundation Inc., Paul Strand Archive

Paul Strand (1890-1976).
Croft, Locarnon, South Uist, Hebrides, 1954
Photograph (gelatine silver print): 11.4 x 14.6 cm
Scottish National Portrait Gallery © Aperture Foundation Inc., Paul Strand Archive

 

The American photographer Paul Strand is ranked among the most important artists within the history of photography, and his work has influenced generations of photographers. In 1954, upon hearing a radio programme on the Gaelic songs of South Uist, he decided to travel there along with his wife, Hazel Kingsbury Strand. Having been introduced to the islanders by the local doctor, Strand spent three months taking over a hundred photographs of the island and its people for his book, Tìr a’ Mhurain (1962). Taken from a traditional Gaelic song, the title translates as ‘Land of Bent Grass’.

Strand photographed many of the people in and around their homes, often posing them before a weathered wall. Within the group of nine works going on display, there are four striking portraits that show the sitters looking directly at the camera, exuding strength and dignity. Strand was keen to understand his subjects, their environments and the forces that shaped their lives, and spent his first few weeks on the island observing the people he would photograph – fishermen, crofters, their wives and children. Nine years after the end of the WWII, South Uist was still an impoverished community and the vast majority of families depended on the produce from the land and sea. The remaining five photographs within the new acquisition group show the evocative landscapes of South Uist, for instance a loch and lilies, a croft, and ropes and a buoy used by the local fishermen.

Paul Strand (1890-1976). Norman Douglas, South Uist, Hebrides, 1954 Photograph (gelatine silver print): 14.6 x 11.4 cm Scottish National Portrait Gallery © Aperture Foundation Inc., Paul Strand Archive

Paul Strand (1890-1976).
Norman Douglas, South Uist, Hebrides, 1954
Photograph (gelatine silver print): 14.6 x 11.4 cm
Scottish National Portrait Gallery © Aperture Foundation Inc., Paul Strand Archive

 

Paul Strand (1890-1976). John Angus MacDonald, South Uist, Hebrides, 1954 Photograph (gelatine silver print): 14.6 x 11.4 cm Scottish National Portrait Gallery © Aperture Foundation Inc., Paul Strand Archive

Paul Strand (1890-1976).
John Angus MacDonald, South Uist, Hebrides, 1954
Photograph (gelatine silver print): 14.6 x 11.4 cm
Scottish National Portrait Gallery © Aperture Foundation Inc., Paul Strand Archive

 

In the 1950s, during the Cold War, Uist was announced as the future site for a rocket launch facility, and many of the photos Strand took during his time on the island reflect a concern amongst many artists and folklorists to ‘salvage’ oral Gaelic culture amid the thread of a militarised modernity. He believed these islanders represented the universal struggle of humanity and sequenced the images within Tìr a Mhurain in such a way as to evoke the heroic, yet remote lives of the dwindling population: when he visited South Uist in the mid-1950s the population was 3764; at the last census in 2011 it was 1754.

The completed publication came out in 1962 and featured an introductory essay by British historian Basil Davidson, who explained the precarious existence of the islanders against a backdrop of history, geography and social anthropology.

Paul Strand (1890-1976) Peggy MacDonald, South Uist, Hebrides, 1954 Photograph (gelatine silver print): 11.4 x 14.6 cm Scottish National Portrait Gallery © Aperture Foundation Inc., Paul Strand Archive

Paul Strand (1890-1976)
Peggy MacDonald, South Uist, Hebrides, 1954
Photograph (gelatine silver print): 11.4 x 14.6 cm
Scottish National Portrait Gallery © Aperture Foundation Inc., Paul Strand Archive

 

Paul Strand (1890-1976) Loch and Lilies, South Uist, Hebrides, 1954 Photograph (gelatine silver print): 11.4 x 14.6 cm Scottish National Portrait Gallery © Aperture Foundation Inc., Paul Strand Archive

Paul Strand (1890-1976)
Loch and Lilies, South Uist, Hebrides, 1954
Photograph (gelatine silver print): 11.4 x 14.6 cm
Scottish National Portrait Gallery © Aperture Foundation Inc., Paul Strand Archive

 

Paul Strand (1890-1976) Ropes and Buoy, South Uist, Hebrides, 1954 Photograph (gelatine silver print): 24.1 x 19.3 cm Scottish National Portrait Gallery © Aperture Foundation Inc., Paul Strand Archive

Paul Strand (1890-1976)
Ropes and Buoy, South Uist, Hebrides, 1954
Photograph (gelatine silver print): 24.1 x 19.3 cm
Scottish National Portrait Gallery © Aperture Foundation Inc., Paul Strand Archive

 

One of the greatest photographers of the twentieth century, with a career that spanned sixty years, Paul Strand was born in New York in 1890 and received his first camera at the age of 12. Whilst a student of renowned documentary photographer Lewis W. Hine in New York, from 1904-08, Strand visited the 291 Gallery which promoted pioneering photographers and introduced some of the most avant-garde European artists to American audiences. By 1916, Strand had a solo show at 291 Gallery, whose owner Stieglitz declared the images “pure” and “direct”. In 1945 Strand was given a solo show at the Museum of Modern Art, New York, but having become more political he now came under scrutiny as McCarthyism swept America, and he went into exile in France. During this time period he began working on a series of photo essays in search of an ideal community or village that espoused certain moral values he wanted to record with the camera, which eventually led to his visit to South Uist in 1954. His breakthrough, abstract experiments in the 1910s heralded photography’s importance as a modern art form, but it was his portraits of ordinary people that increased his popular appeal. Strand died in 1976 at Orgeval, France.

 

Paul Strand (1890-1976) Rock by the Sea, South Uist, Hebrides, 1954 Photograph (gelatine silver print): 24.1 x 19.3 cm Scottish National Portrait Gallery © Aperture Foundation Inc., Paul Strand Archive

Paul Strand (1890-1976)
Rock by the Sea, South Uist, Hebrides, 1954
Photograph (gelatine silver print): 24.1 x 19.3 cm
Scottish National Portrait Gallery © Aperture Foundation Inc., Paul Strand Archive

 

Speaking of the acquisition, Christopher Baker, Director of the Scottish National Portrait Gallery said: “These works are an important contribution to broadening our international holdings of photography, while the distinct Scottish subject matter relates to the larger mission for the Scottish National Portrait Gallery in representing the people and topography of Scotland.”

Paul Strand (1890-1976) Mrs. Archie MacDonald, South Uist, Hebrides, 1954 Photograph (gelatine silver print): 11.4 x 14.6 cm Scottish National Portrait Gallery © Aperture Foundation Inc., Paul Strand Archive

Paul Strand (1890-1976)
Mrs. Archie MacDonald, South Uist, Hebrides, 1954
Photograph (gelatine silver print): 11.4 x 14.6 cm
Scottish National Portrait Gallery © Aperture Foundation Inc., Paul Strand Archive

 

Paul Strand (1890-1976) House, Kilpheder, South Uist, Hebrides, 1954 Photograph (gelatine silver print): 19.3 x 24.1 cm Scottish National Portrait Gallery © Aperture Foundation Inc., Paul Strand Archive

Paul Strand (1890-1976)
House, Kilpheder, South Uist, Hebrides, 1954
Photograph (gelatine silver print): 19.3 x 24.1 cm
Scottish National Portrait Gallery © Aperture Foundation Inc., Paul Strand Archive

 

Stephen Deuchar, director of the Art Fund, said: “Paul Strand was a photographic pioneer but he is under-represented in UK collections and not at all in Scotland, so we are very pleased to support this acquisition for the Scottish National Portrait Gallery. This series of remarkable images from the Hebrides has an especially important resonance for the Gallery’s collections, and furthermore will sit well alongside works in the permanent collection by photographers influenced by Strand.”

 

The Art Fund

The Art Fund is the national fundraising charity for art. In the past five years the Art Fund has given £34 million to help museums and galleries acquire works of art for their collections. The Art Fund also helps museums share their collections with wider audiences by supporting a range of tours and exhibitions, including ARTIST ROOMS and the 2013-18 Aspire tour of Tate’s Salisbury Cathedral from the Meadows by John Constable, and makes additional grants to support the training and professional development of curators.

The Art Fund is independently funded, with the core its income provided by 117,000 members who receive the National Art Pass and enjoy free entry to over 230 museums, galleries and historic places across the UK, as well as 50% off entry to major exhibition. In addition to grant-giving, the Art Fund’s support for museums includes the annual Art Fund Prize for Museum of the Year, a publications programme and a range of digital platforms.

Find out more about the Art Fund and the National Art Pass at www.artfund.org

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Donnie Maclean’s ‘A Glasgow Kiss’

We caught up recently with Donnie MacLean, whose work we have featured previously, to see what he has been up to on the streets and we were pleased to hear that he’s just about to launch new work in a new photography show along with a book, ‘A Glasgow Kiss’. Below we share some of Donnie’s new work, and the details of the show and further events at the same gallery. – Jeremy Sutton-Hibbert.

 

From 'A Glasgow Kiss' book, ©Donnie Maclean 2015, all rights reserved.

From ‘A Glasgow Kiss’ book, ©Donnie Maclean 2015, all rights reserved.

From 'A Glasgow Kiss' book, ©Donnie Maclean 2015, all rights reserved.

From ‘A Glasgow Kiss’ book, ©Donnie Maclean 2015, all rights reserved.

 

Donnie tells us more, “During May 2015 Six Foot Gallery, in Glasgow, will be hosting it’s first ever Month of Photography! Presenting three shows across 4 weeks, SFG aims to bring together a showcase of work from a diverse range of practitioners from across Scotland.

1st // ‘4/4’ // The Forgotten Collective take on the dual roles of photographer and curator as they each invite one photographer to join the group and create 4/4 as part of Six Foot Gallery’s Photo Month. Designed to highlight the individual, but also to celebrate the wider photographic world “4/4’ seeks to understand how the natural comparisons and contrasts found within any group can influence the work of the individual and how the individual can change the face of the group. Forgotten Collective member Donald John MacLean will be launching his latest book of images “A Glasgow Kiss” during the opening of 4/4 on Friday 1st May.

From 'A Glasgow Kiss' book, ©Donnie Maclean 2015, all rights reserved.

From ‘A Glasgow Kiss’ book, ©Donnie Maclean 2015, all rights reserved.

From 'A Glasgow Kiss' book, ©Donnie Maclean 2015, all rights reserved.

From ‘A Glasgow Kiss’ book, ©Donnie Maclean 2015, all rights reserved.

 

11th // ‘A GLASS EXPANSE’ // A Glass Expanse brings together 10 female photographic graduates from across the discipline who have assembled to create a body of self portraiture work that explores their concerns and subject matter as practitioners and as women. The work aims to create an image of the ‘Female Landscape’ as it is viewed by their lens, an impression from source of what role gender plays in the narrative of these landscapes and the relevance of lense based media as the vehicle for these communications. Curated by Alice Gordon.

21st // SFG OPEN RESIDENCY //
The artist chosen in the SFG artist residency programme, supported by Street Level Photoworks & Menzies Hotels.

As well as this we also have some absolute gems lined up for an instagram takeover, the launch of ‪#‎EverydayGlasgow‬ and a very special Talk See Photography panel ‘Female Landscapes’, with Aileen Campbell, Gillian Gilbert, and TalkSee’s very own Nina Bacos.”

From 'A Glasgow Kiss' book, ©Donnie Maclean 2015, all rights reserved.

From ‘A Glasgow Kiss’ book, ©Donnie Maclean 2015, all rights reserved.

From 'A Glasgow Kiss' book, ©Donnie Maclean 2015, all rights reserved.

From ‘A Glasgow Kiss’ book, ©Donnie Maclean 2015, all rights reserved.

 

Donnie also has plans for a new book of his Glasgow street photography work,” A Glasgow Kiss”,  launching during the opening of 4/4 on Friday 1st May.

 

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