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Choosing a story here also changes the pictures in the gallery below:

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National Portraits 1973-4

RECENT EXHIBITIONS FEATURING THE PHOTOGRAPHS OF DANIEL MEADOWS

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2010
The Other Britain Revisited: Photographs from New Society
London, 14 May - 26 September. V&A (Victoria and Albert Museum). Documentary photographs from 1962 to 1982, originally published in the pioneering magazine New Society. The show features 49 pictures by 23 photographers who captured the diversity of life in Britain and pivotal social issues in the late twentieth century.


Picture: Millworker on lunch break at Moderna blanket factory at Mytholmroyd, West Yorkshire, published New Society, 3.2.1977, pp.221-222, The End of a Mill by Tom Forester, photo: Daniel Meadows.


Projections of Reality
ПРОЕКЦИИ РЕАЛЬНОСТИ
Moscow, 6 March - 4 April, 2010. An exhibition of multimedia projections based on documentary material. Curated by Liza Faktor and Jamie Wellford. Red October (the old chocolate factory), Bersenevskaya Embankment.

The exhibition, soon to go on tour, features work by more than 20 photographers who use multimedia production techniques including multi-channel video installations, web-based projects, and interactive documentaries. Among those taking part:

Christopher Anderson of Magnum: Silicon Forest,
Samuel Bolendorff: Journey to the End of Coal,
Todd Heisler and the New York Times: One in Eight Million,
Henrik Kastenskov: The Afghan Diaries,
Brenda Ann Kenneally: The Raw File,
Paolo Pellegrin of Magnum: Wall Street.
Tim Hetherington's work Sleeping Soldiers is also in the show. Hetherington who, as a post-graduate studied under Meadows and Colin Jacobson at Cardiff in the 1990s, has reported on conflict for over ten years, most notably in Liberia and Afghanistan. He is the recipient of four World Press Photo prizes, including World Press Photo of the year 2008. With Sebastian Junger he made the film Restrepo - One Platoon, One Year, One Valley which won the 2010 Sundance Film Festival Grand Jury Prize for Best Documentary.

Daniel Meadows's The Bus is included as a pioneering example of the value system which informs all the multimedia narratives in this show having, as they do, a 'concern for social issues based in the values of humanism'.

See the installation
Read the reviews


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2008-2010
No Such Thing As Society: Photography in Britain 1967-1987
An international Hayward Gallery Touring exhibition curated by David Alan Mellor, Professor of Art History at the University of Sussex, from the collections of the Arts Council and the British Council.


The show's poster and the jacket design of the accompanying book revisit the Arts Council's 1975 publication British Image 1 with a group portrait I took in Portsmouth on 26 April 1974 of John Payne, aged 12, two friends and his pigeon, Chequer.


To listen to a recording of my 1974 meeting with the three lads in this picture, click on the player (r/t: 2 min, 50 sec):



The exhibition opened at Aberystwyth Arts Centre on 15th March 2008 and included 130 works by 34 photographers.

Visit Guardian.co.uk to read Jon Savage's review...


...and see a selection of pictures from the show.

No Such Thing As Society toured in the UK and on the continent of Europe. In spring 2009, when it was in Sweden (see newspaper report) I gave a gallery talk at the Arbetets museum in Norrköping.

In the summer of 2009, when it was in Cardiff National Museum Wales it was seen by 20,683 visitors.

Its tour ended in February 2010.


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2007
How We Are - Photographing Britain from the 1840s to the Present
Tate Britain, summer 2007. Curated by Val Williams and Susan Bright.

This was the first time Tate had addressed Britain's photographic history. The work of more than 130 photographers was included. My contribution was the forty-one portraits which appear in the viewer at the top of this page. They were projected in sequence on a large, high-definition, plasma screen. 100,000 visitors attended.

Reviewing the Tate show for BBC Radio 4's Front Row, novelist Esther Freud chose this work as her "stand out" piece. She said: "It was incredibly moving... [Daniel Meadows] took these incredible very straight-forward photographs of people in their 'seventies clothes and, at the time after he'd done it, no one felt that they were particularly interesting or strange enough but now, looking at them, they're fascinating and they are certainly strange."