{"id":3012,"date":"2011-04-26T00:00:00","date_gmt":"2011-04-26T00:00:00","guid":{"rendered":"http:\/\/www.foto8.com\/live\/?p=3012"},"modified":"2013-06-04T15:05:44","modified_gmt":"2013-06-04T15:05:44","slug":"paul-graham-photographs-1981-2006","status":"publish","type":"post","link":"https:\/\/www.foto8.com\/live\/paul-graham-photographs-1981-2006\/","title":{"rendered":"Paul Graham, Photographs 1981-2006"},"content":{"rendered":"<div style=\"text-align: left;\">The revealing thing about the new Paul Graham show at The Whitechapel is   how his photographic language has evolved to incorporate the  unsayable. His early work, much-loved, of the Great North Road and the masterful Beyond Caring, were robustly political, polemical even. The very first photograph proper in the A1 book is testament to that \u2013 it\u2019s of bankers, ties flapping, and an elegant woman in a coat and neck scarf that can only be described as Thatcher blue, striding through the other shadowy figures in suits. <\/p>\n<p><img decoding=\"async\" loading=\"lazy\" alt=\"paulgraham01\" src=\"https:\/\/i0.wp.com\/www.foto8.com\/live\/wp-content\/uploads\/2011\/04\/paulgraham01.jpg?resize=560%2C449&#038;ssl=1\" height=\"449\" width=\"560\" data-recalc-dims=\"1\" \/><span class=\"photo_copyright\"><br \/>Executives, Bank of England, London November 1981<\/span><\/p>\n<p>Other photographs of people in the book \u2013 always Graham\u2019s chosen medium \u2013 are without exception working men and women. It is as though these people in the throes of traversing the country for work of one kind or another would become, thanks to Thatcherite policy, the subjects for his next book, when their jobs had evaporated into bankers\u2019 wages.<\/p>\n<p>In his next work, he studied DHSS offices across England, once more showing his penetrating insight into a strand of English society, one that he has captured so vividly that anyone who has had the misfortune ever to \u2018sign on\u2019 will be transported straight back to the prison-like ambience. Never has the word \u2018benefit\u2019 seemed like less of a boon. <\/p>\n<p><img decoding=\"async\" loading=\"lazy\" alt=\"paulgraham02\" src=\"https:\/\/i0.wp.com\/www.foto8.com\/live\/wp-content\/uploads\/2011\/04\/paulgraham02.jpg?resize=560%2C431&#038;ssl=1\" height=\"431\" width=\"560\" data-recalc-dims=\"1\" \/><span class=\"photo_copyright\"><br \/>Mother and Baby, Highgate DHSS, North London, 1984<\/span><\/p>\n<p>It\u2019s the condition of waiting Graham really understood and the poverty of the environment made for that purpose. How did people pass those hours without a phone to fiddle with or Twitter to titilate? <\/p>\n<p> It was a daring move, back then, to utilise colour photography to represent \u2018serious\u2019 subjects and this is how Graham grew to \u2018own\u2019 his style, which he described as a mix of William Eggleston and Robert Adams, a style he developed with Troubled Land, his seminal work from Northern Ireland. These are among my favourite kind of photographs, those that reward you for looking longer. Only with detailed study is it possible to absorb the rich detail that Graham\u2019s eye took in. A Union Jack in a tree, a Republican parade \u2013 pictured so minutely among the houses and the rolling grey mist that they can barely be seen \u2013 or kerbstones painted in Unionist colours, fading into a crepuscular sky.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" alt=\"paulgraham03\" src=\"https:\/\/i0.wp.com\/www.foto8.com\/live\/wp-content\/uploads\/2011\/04\/paulgraham03.jpg?resize=500%2C385&#038;ssl=1\" height=\"385\" width=\"500\" data-recalc-dims=\"1\" \/><br \/><span class=\"photo_copyright\">Union Jack Flag in Tree, County Tyrone, 1985<\/span><\/p>\n<p>Thereafter, Graham\u2019s solidity and photographic surety seemed to slip away, as he cast his net wider, photographing the \u2018new\u2019 Europe that was being delivered by the EEC. What\u2019s so wonderful about a show like this is that the connections between bodies of work suddenly materialize. Here the seeds were surely sown for Shimmer, with the poignant photograph of a one-armed man, looking across a scrubby vista to a contemporary Spanish tourism or housing development. <\/p>\n<p><img decoding=\"async\" loading=\"lazy\" alt=\"paulgraham04\" src=\"https:\/\/i0.wp.com\/www.foto8.com\/live\/wp-content\/uploads\/2011\/04\/paulgraham04.jpg?resize=560%2C211&#038;ssl=1\" height=\"211\" width=\"560\" data-recalc-dims=\"1\" \/><span class=\"photo_copyright\"><br \/>Untitled, Spain, 1988 (one armed man and window reflection)<\/span><\/p>\n<p>This image is paired with an oddly lit interior space, perhaps the lobby of a restaurant. A chandelier is reflected in the glass wall of this otherwise sterile space. Such a curious pairing is typical of the way Graham\u2019s work is exhibited. As with the fascinating sequencing of his books, Graham\u2019s musicality is not easy to explain, but its effect endures. In this instance, the photographs follow a double rhythm of hope and its opposite.<\/p>\n<p>Chronologically, his next two bodies of work, Television Portraits and Empty Heaven&nbsp; &#8211; set in Tokyo &#8211; are slight bodies of work by comparison, and Ceasefire is really only a coda to Troubled Land. The portraits from End of An Age similarly do not hold my attention for long, though his interest in looking at people looking could well have performed useful studies for his greater works. And the next great work surely arrived with American Night 1998-2002.&nbsp; Graham\u2019s most obviously conceptual work to date was also an indictment of race and class in America. <\/p>\n<p><img decoding=\"async\" loading=\"lazy\" alt=\"paulgraham05\" src=\"https:\/\/i0.wp.com\/www.foto8.com\/live\/wp-content\/uploads\/2011\/04\/paulgraham05.jpg?resize=560%2C418&#038;ssl=1\" height=\"418\" width=\"560\" data-recalc-dims=\"1\" \/><span class=\"photo_copyright\"><br \/>American Night #32 (man crossing road) Greensboro, 2002<\/span><\/p>\n<p><img decoding=\"async\" loading=\"lazy\" alt=\"paulgraham07\" src=\"https:\/\/i0.wp.com\/www.foto8.com\/live\/wp-content\/uploads\/2011\/04\/paulgraham07.jpg?resize=560%2C417&#038;ssl=1\" height=\"417\" width=\"560\" data-recalc-dims=\"1\" \/><span class=\"photo_copyright\"><br \/>American Night #30 (white SUV outside new house) California, 2002<\/span><\/p>\n<p>The vast majority of photographs are bleached out, the better to contrast with pristine mansions printed in shocking colour, and small series of images of black American men and women, who appear contingent, abject, even blind. The metaphor of blindness pervades the work and by forcing his audience to look at starkest inequality of ordinary inland America is again a deeply political act.<\/p>\n<p>With A Shimmer of Possibility, elegantly exhibited at The Whitechapel, everything comes together, like an ensemble piece of everything that ever mattered. It is excruciatingly beautiful. Graham is no longer polemical with his photographic language, but rather painstakingly observant. The title sounds hopeful, and perhaps is meant that way, but I see a mirage emanating from the very word Shimmer. His camera has alighted on random individuals going about their daily business in a host of American cities. <\/p>\n<p><img decoding=\"async\" loading=\"lazy\" alt=\"paulgraham08\" src=\"https:\/\/i0.wp.com\/www.foto8.com\/live\/wp-content\/uploads\/2011\/04\/paulgraham08.jpg?resize=560%2C418&#038;ssl=1\" height=\"418\" width=\"560\" data-recalc-dims=\"1\" \/><span class=\"photo_copyright\"><br \/>Pittsburgh (man cutting grass), 2004<\/span><\/p>\n<p>In capturing fragments of their lives in filmic sequences, the sense of people just doing their best to get by is overwhelming. Chekov is the much-quoted inspiration behind this body of work, but for me, its poignancy resides in a Bob Dylan lyric: \u2018the only thing I knew how to do was to keep on keeping on, like a bird that flew.\u2019 <\/p>\n<p>It\u2019s a joy to be able to see a photographic retrospective like this for a contemporary photographer. It\u2019s an artistic occasion on a par with any Freud or Hockney show and it is vital that such opportunities can continue, so that photography can vacate its still marginal position in the arts, and occupy centre stage as the medium par excellence of our times.<\/p>\n<p>Max Houghton<\/p>\n<p><span style=\"font-family: helvetica;\">Paul Graham, Photographs 1981-2006<br \/>is at <a target=\"_blank\" href=\"http:\/\/www.whitechapelgallery.org\/exhibitions\/paul-graham-photographs-1981-2006\">The Whitechapel Gallery, London<\/a><br \/>20 April \u2013 19 June 2011<\/p>\n<p>See also: <a target=\"_self\" href=\"https:\/\/www.foto8.com\/live\/?p=2152\">The Foto8 book review by Ken Grant: Paul Graham, published by SteidlMACK.<\/a><\/span><\/div>\n","protected":false},"excerpt":{"rendered":"<div>The revealing thing about the new Paul Graham show at The Whitechapel is  how his photographic language has evolved to incorporate the unsayable.<\/div>\n","protected":false},"author":1,"featured_media":3005,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_mi_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_newsletter_tier_id":0,"jetpack_publicize_message":"","jetpack_is_tweetstorm":false,"jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false}}},"categories":[22],"tags":[1813,1812,46,1815,1578,1814,1040,48,1816],"jetpack_publicize_connections":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v21.5 - 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