21 September 2013 – 16 March 2014
(warning: this is ‘my dear diary’ sort of entry)
the whole thing was sort of a hit and run surprise for me
without of any previous research of works and lives of Ray-Jones & Parr ( everything I knew about them was exactly nothing), i had no idea what to expect from that exhibition…
can’t even say i was particularly expecting anything.
well….all that just made the moment of understanding and learning what kind of photography and subjects those two gentlemen did more enjoyable.
Tony Ray-Jones – Beachy Head boat trip, 1967
Tony Ray-Jones -Sunday Salon (sorry couldn’t find out which year)
Ray-Jones is pleasant.
he’s happy about what he sees , all that quirky culture he’s witnessing.
you can do your part of the homework and research how did he ended being a photographer and how important he is for the culture of contemporary British photography ( I do believe in you kids; use the power of google allmighty you can do it )
it’s like the pictures have a very natural harmonious contrasts and there are currents of different focuses in them.
capturing contemporary British culture in it’s full quirky glory.
just as in boatrip where Ray -Jone’s camera was apparently the only thing that paid attention to the intimate moment of love between the couple and everyone else is looking at something out of the frame…there is an immense tension created between the opposing directions of attention.
and then you have the Sunday salon which at the first glance is just beautifully absurd in it’s surreality, but there is this zen like tranquility emitting out of it.
the cattle are suggesting the meditative calmness and the couple is simply loving life
and then there came Martin Parr, whose bit of exhibition was sort of a easy evolution from Ray-Jones pictures.
apparently Parr was heavily influenced by Jones in the break between 60′s and early 70′s so, he decided to continue in his work after Jone’s premature death to leukemia.
but you can tell the difference, just for sake of Parr preffering slightly larger prints than Jones to give the spaces more opportunities to play, giving more air for geometry.
(you can tell in the third part of the exhibition when there are never seen before pieces shot by Jones exposed and developed by Parr for the first time, putting them on larger prints.)
yet not neglecting the subject. it’s like Parr is more precise, less ‘random’ than Jones, yet still able to capture infinity of magic in a moment.
Tom Greenwood cleaning 1976 by Martin Parr
Lord Savile’s Gamekeepers Burning Heather, 1975 by Martin Parr
over all….. it was an enjoyable, pleasant and enlightening little adventure ^_^
(definitely check their work out)
Tony Ray-Jones message for future generations (of not only photographers)