In recent weeks I’ve visited three photographic exhibitions. Each had people at its core. All were very different, stimulating and provocative in their own way. As the sum of all three exceeded the parts, it’s interesting to reflect on the bigger picture, so to speak.
The first, ‘Performing for the Camera’ at Tate Modern, provided an extended exploration of the relationship between the subject and the photographer. Through the work of internationally renowned photographers, and of practitioners scarcely known outside their immediate circle, three key interactions between subject and camera emerged.
Put simply:
- the subject is unaware of the photographer, or aware but not influenced by the presence of the camera;
- in a situation which would have happened anyway, the subject is aware of and influenced by the camera;
- the entire image arises from a collaboration between subject and photographer, whether a simple portrait or an elaborate staged image.
‘Vogue 100 - A Century of Style’ at the National Portrait Gallery definitely fell into the third category. Iconic, provocative, pioneering, the exhibition told the story of a century of British Vogue through its covers. Proving beyond doubt that what might be thought of as a fashion m agazine has had an astounding influence on photography, the exhibition was a well-curated display of fine imagery. It was particularly interesting to see how Vogue encouraged the development of new photographic talent as well as regularly publishing the work of very big names.
It was also clear how, at its editorial best, Vogue was years ahead of its time. In the 1970s Vogue commissioned novelist J G Ballard to provide a glimpse of a future ‘where people will never meet at all, except on the TV screen’.
And now we have social media....
Social commentary was at the heart of ‘Strange and Familiar’ at the Barbican, in which curator Martin Parr presented images of Britain captured by international photographers.
It’s often constructive to appreciate how others see us, and this exhibition was no exception, with reportage, street photography, collaborative efforts and formal portraits all playing their part.
For me the overwhelming impression - especially of photographs from the 1960s and 1970s - was one of identifying with the gritty, dark images. I had been there, with those people and in some of those places. Grey wet days. Old buildings and new concrete structures. Strong personalities. And everybody thinner than they are today.