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.

Nov 25, 2018

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

Sep 24, 2018

New Order: Decades broadcast Saturday 22 September 2018.

Aug 13, 2018

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

Jul 10, 2018

Kelly McErlean's new book, Interactive Narratives and Transmedia Storytelling, London: Routledge, pp.14-15

Jun 25, 2018

Daniel Meadows in new exhibition at The Hepworth, Wakefield, opening 13 July.

Jan 31, 2018

New title from Café Royal Books, Daniel Meadows’s film stills from Tony Palmer’s Testimony, 1987.

Jan 1, 2018

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.

<< 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. "