Flak Photo in association with Aperture Foundation are offering members of their facebook page the chance to win the excellent monograph Zwelethu Mthethwa.

For your chance to win click the image below and follow the instructions.

Since Apartheid’s fall in 1994, South African photography has exploded from the grip of censorship onto the world stage. A key figure in this movement is Zwelethu Mthethwa, whose portraits powerfully frame black South Africans as dignified and defiant individuals, even under the duress of social and economic hardship. Photographing in urban and rural industrial landscapes, Mthethwa documents a range of aspects in present-day South Africa, from domestic life and the environment to landscape and labor issues. His stunning portraits often portray rural immigrants on the margins of South African cities, revealing the efforts of his subjects to maintain thir cultural identities through their choices in clothing, and the decoration of their dwellings. His singular oeuvre challenges traditional conventions of African commercial studio photography and Western documentary work, moving away from the exoticized images that encapsulate what curator Okwui Enwezor describes as “afro pessimism.”


For those of you that are interested, the 63rd issue of Source Photographic review is now available to buy. This issue is of particular interest to me as it features portraits from my Blackpool Gun Club series Our Aim is to Survive.

The reproduction on the images is excellent as is the accompanying piece of writing by British Sports historian Mike Huggins.

My thanks go to John Duncan and the rest of the team at Source for both selecting the work to be shown and choosing it to represent the magazine in the form of two flyers.

“Step right in folks to witness the most amazing things your eyes balls have ever witnessed, ponder in awe at the horrors that behold the tent of visual culture”

There are many things that piss me off about the world and society in general so I have decided to isolate one specific thing for the purpose of this blog post. What really irritates me is how many visual practitioners use ancient techniques  harping back to ye olde times by exploiting civilizations voyeuristic nature in order to gain some form of notoriety. Television is easily the biggest culprit, from Channel 4′s seemingly innocuous embarrassing bodies to the Extreme humans season it ran last year; Television will wheel out the oddest and most unfortunate human beings on the planet to be gawped at by millions supping on tea and biscuits and declaring “Oh that’s disgusting” or “How terrible”. It’s nothing more than a 1900′s freak show. The only difference is the tents have been replaced by square boxes in the corner of peoples living rooms.

Photographers are not immune to this either, however they are slightly more subtle in their approach (which doesn’t make it any better). I will not get into the Pieter Hugo debate as so much has been said about it on line previously, but I will mention the work of Morten Nilsson, and his piece Dancers as it is what initially sparked this half hearted rant. I spotted Dancers whilst browsing some photo blogs and initially I didn’t really think much about it. Interesting looking people… dancers, high key light, blah blah. However the more I flicked through each image the more I realised that this is just another fucking freak show.

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There is no comment on the time and effort these dancers who, most likely, have devoted their lives to something they care about and wish to succeed in. No comment on the physically demanding nature of dancing, no comment on the trials and tribulation of competing. All I see in this work is a bunch of mannequin-esq humans beings placed in front of a super strong ring flash to emphasize every last plastic looking detail on the subjects face. Sure there is an artificial nature to what these people do and of course there is a ridiculousness to it all when put in context of wider issues, but so what. It’s just like pointing out that it’s all a bit camp. Everybody knows that! I just feel that as photographers we need to work harder to make work less about “oh look at that thing/person/freak” and more about “shit, I hadn’t thought about it like that”.


RANTS!

We all know that Martin Parr receives a lot of criticism, if it’s not for his work coming across as patronizing, it’s for his “fakery” or even his obsessive compulsion to create work, make books and attend book signings. “I have a really rare Martin Parr book….. It’s not signed”

For the most part I have defended Parr’s work and his work ethic. He was an influential factor in changing contemporary British photography and that cannot be denied, nor can my admiration for his endless work rate. Certainly I think there are issues with much of his work. From the first set of colour work he created up until the recent dip into Guardian Photojournalist hey has created debate, but isn’t that the point of photography/art. It’s all a debate, unanswered questions, arguments and banter so surely if that is the case Parr is the most successful “creator of debate” in modern photography. One may say that the biggest problem Parr faces is his lack of adaptation to social changes, he seems -on the surface at least- to be “banging out the same old shit”.

All that aside I have a bone to pick with Mr Parr. The University of Falmouth -To which Parr was a student and Lecture- is selling a “Cook Book” of photography as an attempt to raise money for there end of year show. Due to Falmouth’s connections with the photo art world they have pulled in some big hitters such as Alec Soth, Rineke Dijkstra and of Course Martin Parr. This is amazing I could only dream of getting something like this organized for my own end of year show, so my hat goes off to the Students and Lecturers at Falmouth.

However, I resent the fact that Mr Parr as seen it as an opportunity to not only “bang out the same old shit” but -in my opinion “bang out somebody else’s old shit”. Take a look at the image below.

Classic Parr?

So, classic Parr aesthetic and dubious credentials… has this been staged etc. So far so familiar. However doesn’t this picture strike you as a little more familiar than just a Martin Parr-esq image? Sophie Calle anyone? The Chromatic diet is not something that belongs to Sophie Calle but the ideologies attached to it offer so many connotations and Calles work is a perfect example of how peculiar social habits can be both exploited and examined. This “snap” however seems to lack any real gumption on any level. Sure it’s only for a student catalog and sure it was something he might have had to whip up, but surely Parr could have throw more than a few milliseconds of thought into the shot. I know first year degree students that would be torn apart for creating an image so lack luster.

Anyway that’s my Tuesday rant over. All that said I have no doubt the book will be an interesting read. You can check out all the information here….

With all that has been going on recently I totally forgot to write up anything about my recent two man show exhibition in Blackpool. There is no Blood was a collaborative show with fellow Chemical Tea Room member and good friend Graham Hallam. The show was brought together by curator and director of the Supercolider, Tom Ireland, Blackpool. Supercolider is an independently run space offering emerging local artists the opportunity to showcase some work. Tom spotted our work in an open submissions week at the Grundy gallery -Blackpool- and asked us if we would like to put on a show, we happily agreed.

We decided on 6 pieces each from our current work “Our aim is to survive” and “Heel” I have discussed in length my work on this blog previously so I will not go through it all again. Heel however is an examination into the relationship between humans and animals, in particular the varying relationships we have with dogs. I’ll let Graham’s artist statement say the rest….

“Heel is a developed study of the relationship between canine and humans. It examines how this complex relationship allows for perfect training and breeding. These images explore the partnerships between a set of Hound Trailers and Gun Dogs handlers.”

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The exhibition culminated in the opening night and as is usually the way with these things, very little happens after that. However the experience of getting the work printed, mounted and laminated -in a matter of days by the way- and the initial build up was all invaluable experience. We managed to secure a few contacts and everybody who came enjoyed the work and enjoyed the night so you can’t ask for much more really.

Next step, hopefully a collaborative Chemical Tea Room exhibition in Preston.