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Entries in Deutsche Börse Photography Prize (2)

Monday
Apr082013

This was England: the photographs of Chris Killip

Written by Lucy Davies, Content shared via The Telegraph 

Chris Killip's study of the communities that bore the brunt of industrail decline in the North East (of England) have earned him a nomination for the Deutsche Börse Photography Prize 

Boo and his rabbit, Lynemouth, 1983 Photo: Chris Killip

Chris Killip, 66, was a cycling enthusiast earning a living as the manager of the Isle of Man’s only four-star hotel when he came across the photograph that would alter the course of his life. Taken by Henri Cartier-Bresson in 1954, it depicted a small boy carrying two bottles of wine, and it caught Killip’s eye while he was hunting for photographs of the Tour de France in a battered copy of Paris Match. ‘I was mesmerised by the photograph, and slightly tortured, too,’ he recalls. ‘I knew it wasn’t a snapshot, but I wasn’t sure what it was and that puzzled me greatly.’ Two years later, in 1964, Killip, who had left school with no qualifications, had a new vocation as a photographer, and had earned enough money to send himself to London to attempt to learn from the best. He made a list of the 50 best photographers working in Britain. Top came the triumvirate known as ‘the terrible trio’ – David Bailey, Terence Donovan and Brian Duffy – but Killip’s nerve failed him and instead he knocked at the door of number four, the advertising photographer Adrian Flowers.

Killip became his assistant and, in between throwing parties for the conductor Daniel Barenboim and the cellist Jacqueline Du Pré, learnt his craft diligently. By the mid-1970s he was ensconced in Newcastle upon Tyne on a two-year photo­graphy fellowship, sponsored by Northern Gas, which gave him the freedom to photograph to his heart’s content.

The project for which Killip has been nominated for this year’s Deutsche Börse Photography Prize is a retrospective of the work he began making at around this time. It traces the two decades he spent living in the struggling industrial communities of the North East, immersing himself in the region’s landscape and culture. ‘You didn’t have to be a genius to realise how important it was to get in and photograph it before it all fell apart,’ he says. ‘The strange thing is, I didn’t realise how quickly it would go.’


Housing and Swan Hunters Shipyard, Wallsend, 1975

For Killip ‘photography was a good way to try to get inside things, to get intimate.’ Infiltrating was ‘always hard, but it depended how much you wanted to do it.’ His work often put him in danger – he was hit around the head with an iron bar at an illegal horse race – but most of the time the locals wanted him to succeed. ‘At the Pirelli tyre factory, one of the workers said, “If your pictures could convey what it’s really like to work here, that would be something.” And I knew exactly what he meant. I was always trying to make photography with that responsibility. I wanted it to be more than a document, to be something that is as close as you could possibly be to the subject.’

 

To via the article in its original form, click here

 

 


We're the New York Institute of Photographya distance education school teaching photography since 1910 - over 100 years of knowledge and experience. Listen to the following podcast to learn more about who we are and what we do.

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Wednesday
Sep192012

Conceptual Artist John Stezaker Awarded 2012 Deutsche Börse Photography Prize

Britain's John Stezaker beat out fellow nominees Pieter Hugo of South Africa, Rinko Kawauchi of Japan, and Christopher Williams of the U.S. to claim this prestigious award, the first by an artist who doesn't take photographs. Instead, Stezaker creates contextual collages out of movie stills, book illustrations, found photographs, and vintage postcards to magnificent effect.

The competition commemorates the work of the artists who, either through exhibition or publication, contributed to the field of photography in Europe over the course of the previous year. Each artist's nominated work is put on display in the Photographer's Gallery in London where it is judged by a panel of competition organizers. The annual winner is granted £30,000. Stezaker's exhibition at London's Whitechapel Gallery in 2011 was deemed to be deserving of such a prize. I can't find fault with the decision.

I have provided a sample of Stezaker's fascinating work below. To read more, click the link to the Photo District News article. Enjoy.  

Muse (Film Portrait Collage) XIII - 2012 - 27.7 x 22.8

Fold X (Detail) - 2009 - 29.5 x 37 cmShe (Film Portrait Collage) III - 2008 - 26.1 x 27.5 cmOld Mask VIII - 2006 - 24.5 x 19.5 cm

 

We're the New York Institute of Photographya distance education school teaching photography since 1910 - over 100 years of knowledge and experience. Listen to the following podcast to learn more about who we are and what we do.

AUDIO LINK: WHAT IS THE NEW YORK INSTITUTE OF PHOTOGRAPHY? [20:58M]