Oct 10, 2019

NEWS: Bodleian Launch Event 3 October 2019

Jamie Proud, formerly of Welfare State International, writes.

Daniel's Photographs

Of people.
Nicely framed, good contrasts, with a sense of history but mainly a sense of
humanity; of people.
Forty odd years after the photo was taken they turn up; best suits, shiny shoes;
wouldn't look any better for their daughter's wedding.

Forty years later the two sisters still look good and they, like the pigeon boy, are nice.
Coping, just, with the Bodleian crowd, bubbling warmth for Daniel.

Daniel, bent by MS, talks of people, thanks people, is only interested in people and
their stories.
The videos are only there to illustrate the stories, to mark the people.

Don't know how future academics will cope with the archive, his life's work.
They will have to invent new multi-polysyllabic words to analyse his works.
Fear they'll struggle with his simplicity; its ordinariness; it's about people.

I'm so glad he took a photo of me.

Jamie Proud in the title role: The Loves, Lives and Murders of Lancelot Icarus Handyman Barabbas Quail. Welfare State International. October 1977. Burnley, Lancashire.


Nov 24, 2019

7pm, Wednesday 20 November 2019. How to watch on catch-up

Oct 30, 2019

Ben Smith’s podcast NOW LIVE: #116 Daniel Meadows

Oct 23, 2019

Portraits capture lives of England's great ordinary. Bodleian Library exhibition and book.

Oct 10, 2019

Jamie Proud, formerly of Welfare State International, writes.

Sep 22, 2019

Blackwell Gallery, Weston Library, The Bodleian, Oxford
4 October – 24 November 2019

Aug 11, 2019

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

Aug 13, 2018

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

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..."