When I was seeking information on the seminal 1967 photographic exhibition Modfot One I corresponded with Sir George Pollock at some length. He was most helpful and provided a wealth of photocopied information as well as many of his own recollections in response to my queries.
It seemed most appropriate to reproduce these recollections almost verbatim, as they give a concise background to the origins of the show and the climate for photography at the time. I have included my questions, followed by Sir George’s responses.
In January 2010, I watched a hugely entertaining TV programme about the photographer Duffy (1933-2010): ‘The Man Who Shot the 60s‘ (read about it on BBC iPlayer, watch it on YouTube – five sections). I’ve always been a great admirer of the work of Brian Duffy, who died later that same year.
In 1971, the late Peter Soar, a Cambridge solicitor and keen amateur photographer, set about recording the last days of the parts of Cambridge city centre destined to be demolished to make way for major redevelopment.
He also photographed the area during construction and after most of it was completed. The resulting photographs are published here for the first time in three sets. The first taken mostly before or at the start of redevelopment; the second during; and the third when it was nearing completion. Continue reading “Peter Soar – Cambridge 1970s”
This article is the text of the lecture delivered by the late Bill Jay on 3 July 1980, at the Newport Art Gallery, Newport, Gwent, under the aegis of the Documentary Photography Course at Gwent College of Higher Education, during a short visit to the UK. It is reproduced from The British Journal of Photography where it appeared in July 1980.
Jay was then Associate Professor of Art History at Arizona State University and, before leaving the UK for the USA in 1972, he was a significant catalyst in the development of the resurgence of photographic fine art and the self-expressionist movement at the beginning of the ’70s. He was, for a time, the editor of Camera Owner magazine and engineered its transformation into Creative Camera during his tenure.
Published in the January 1969 issue of Creative Camera magazine was a major portfolio of Robert Frank’s photographs from his seminal work ‘The Americans‘. This was done to mark the publication of the second edition of the book, which was already described in the magazine as “the most famous photo-essay ever produced” and “An essential book for every photographer.” Like the majority of photographers, regardless of interest in any particular genre, I was impressed by Frank’s work.Continue reading “Robert Frank in Creative Camera”
My memory is a bit vague, but the exhibition entitled ‘The Land; Twentieth Century Landscape Photographs‘, at London’s Hayward Gallery in 1975, was most likely the first major photographic exhibition that I ever visited.
It was certainly the first exhibition to leave a lasting imprint on me – and my visual awareness.
Selected by Bill Brandt, it comprised 200 photographs of landscape from which he selected 48 to be included in the accompanying catalogue published by Gordon Fraser.