Nov 25, 2018

NEWS: June Street, Salford, 1973


Martin Parr: Return to Manchester includes June Street, Salford 1973, a collaborative project with Daniel Meadows

Martin Parr's huge new exhibition at Manchester Art Gallery features work from the early 'seventies done while studying photography at Manchester Polytechnic, including June Street, Salford 1973, made in conjunction with fellow student Daniel Meadows.

June Street in Salford, twenty houses awaiting demolition, had been used in the filming of ITV’s Coronation Street. June street was alive on TV, but in reality it was about to be erased from the map. The photography students were curious: which version was the true version?

My photography stories, no. 4: June Street, Salford by Daniel Meadows from Daniel Meadows on Vimeo.

Jun 19, 2019

Daniel Meadows’ photograph John Payne and friends with pigeon Chequer: Portsmouth, April 1974 is on display this summer on Sheffield railway station, six feet high.

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”

Apr 4, 2019

OUT TODAY: This Searing Light, the Sun and Everything Else: Joy Division: The Oral History by Jon Savage

Nov 25, 2018

Martin Parr: Return to Manchester includes June Street, Salford 1973, a collaborative project with Daniel Meadows

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.

<< Agee and Evans >>
Inspirations: 1 of 10

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..."