Aug 13, 2018

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.  

Oct 10, 2019

Jamie Proud, formerly of Welfare State International, writes.

Sep 22, 2019

Williamson Art Gallery & Museum, Wirrall, opening 27 September, 6-8 pm

Sep 22, 2019

Blackwell Gallery, Weston Library, The Bodleian, Oxford
4 October – 27 November 2019

Aug 11, 2019

Daniel Meadows:
"A true storyteller and and extremely wise chap."

Jun 7, 2019

Elaine Constantine on Daniel Meadows: “It’s the work of a person who has tirelessly tried to communicate the stories of ordinary people, their motivations and triumphs as well as their humble and changing circumstances”

Aug 13, 2018

Boot-boys are 'Big Picture' in the Observer.

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.

<< Roland Barthes >>
Inspirations: 3 of 10

Book. 1981. Camera Lucida, reflections on photography. After years of dispassionate analysis Barthes comes across a photograph of his mother as a child, the "winter garden photograph". He lets his feelings in and suddenly the ideas start bouncing off the page: "I had discovered this photograph by moving back through Time? I worked back through a life, not my own, but the life of someone I love. Starting from her latest image, taken the summer before her death (so tired, so noble, sitting in front of the door of our house, surrounded by my friends), I arrived, traversing three quarters of a century, at the image of a child: I stare intensely at the Sovereign Good of childhood, of the mother, of the mother-as-child. Of course I was then losing her twice over, in her final fatigue and in her first photograph, for me the last; but it was also at this moment that everything turned around and I discovered her as unto herself. "