NEWS: Meadows... 'master of the great ordinary'
Boot-boys are 'Big Picture' in the Observer.
The Observer's Big Picture (Sunday 12 August 2018). In celebrating the forthcoming group photography show Distinctly Britain — at the Pingyao International Photography Festival, China — Sean O'Hagan features Meadows's 'Boot-boys' picture from the Free Photographic Omnibus, Barrow-in-Furness (1974).
Distinctly Britain, curated by Tracy Marshall, features 150 photographs by twelve artists who have been making work in Britain over the last five decades. Daniel Meadows is represented with a dozen of his National Portraits: Now & Then photographs. The other photographers included are: Elaine Constantine, Ken Grant, Paul Hill, Chris Killip, Markéta Luskačová, Kirsty Mackay, Niall McDiarmid, Tish Murtha, John Myers, Paul Seawright and Martin Parr.
Boot-boys are 'Big Picture' in the Observer.
Kelly McErlean's new book, Interactive Narratives and Transmedia Storytelling, London: Routledge, pp.14-15
Daniel Meadows, part of Great Exhibition of the North at Side Gallery, Newcastle upon Tyne.
Daniel Meadows in new exhibition at The Hepworth, Wakefield, opening 13 July.
Daniel Meadows and Niall McDiarmid, walk-and-talk at the Martin Parr Foundation.
Manchester show featuring Daniel Meadows’s The Shop On Greame Street (1972) opens 19 April.
New title from Café Royal Books, Daniel Meadows’s film stills from Tony Palmer’s Testimony, 1987.
Daniel Meadows and David Hurn walk-and-talk Hurn’s ‘Swaps’ exhibition at Museum Wales in Cardiff.
Polyfoto
r/t: 2 min, 23 sec.
In the UK when we ask: "Where are you from?" we want to know a lot more than just your place of birth.
This story is about the England I come from.
James Agee and Walker Evans. Book. 1941. Let Us Now Praise Famous Men. Sent in 1936 to produce a magazine article on the poverty of white sharecroppers in Alabama, Agee and photographer Evans stretched out the assignment and made a book instead. Agee didn't have a rule book to tell him what precisely to document. So he precisely documented everything: from the depth of dust in a drawer to his passionate feelings for one of his subjects. Here he observes a family preparing to be photographed by Evans: "...looking into your eyes and seeing thus, how each of you is a creature which has never in all time existed before and which shall never in all time exist again and which is not like any other and which has the grand stature and natural warmth of every other..."