{"id":791,"date":"2008-06-11T18:34:13","date_gmt":"2008-06-11T18:34:13","guid":{"rendered":"http:\/\/www.foto8.com\/live\/?p=791"},"modified":"2008-06-11T18:34:13","modified_gmt":"2008-06-11T18:34:13","slug":"method-in-his-madness","status":"publish","type":"post","link":"https:\/\/www.foto8.com\/live\/method-in-his-madness\/","title":{"rendered":"Method in his Madness: Martin Parr and Parrworld"},"content":{"rendered":"

Visitors to Munich<\/st1:place><\/st1:city>\u2019s Haus der Kunst might be surprised at the wide range of objects currently on display, including bland postcards of motorways, kitsch Spice Girls memorabilia, rare photographic books and prime examples of British documentary photography. They are all part of Parrworld<\/em>, an exhibition celebrating the work of Martin Parr and what he calls his \u201cstrong collecting gene\u201d. Before he shipped the highlights of his collections to Germany<\/st1:place><\/st1:country-region> for the show, Parr interrupted his packing to talk about obsession, collecting and his famed library of photobooks.<\/o:p><\/span><\/p>\n

<\/o:p><\/span><\/em><\/p>\n

Standing with Parr in one of the basement rooms of his restrained and sometimes sombre Bristol<\/st1:place><\/st1:city> home, we are confronted by an intimidating jumble of cases and boxes \u2013 some sealed, some labelled – that bar access to the stacked shelves beyond. The contents are the fruit of his labours as a collector. Labours which are currently attracting increased attention and acclaim, to the extent that it has even been suggested that his reputation as a collector might one day eclipse his work as a photographer.<\/o:p><\/span><\/p>\n

<\/o:p><\/span><\/p>\n

Parrrworld <\/em>is set to travel to the Netherlands<\/st1:country-region> and France<\/st1:country-region> (before arriving in the UK<\/st1:place><\/st1:country-region> in 2009), thereby consolidating an international reputation not just for his photography, but for collecting too. \u201cPeople think of me as a very English photographer, but most of my work comes from abroad\u201d he explains. After the interview he flew to Sweden<\/st1:country-region> for the opening of a retrospective; and besides the current Munich<\/st1:city> show, he has had recent exhibitions in Tokyo<\/st1:city>, Madrid<\/st1:state> and London<\/st1:place><\/st1:city>. <\/span><\/p>\n

\u00a0<\/p>\n

\"parr-moon_medallion.jpg\"<\/p>\n

Moon Medallion (from Parrworld)<\/p>\n

<\/o:p><\/span><\/p>\n

Though his library of photographic books is unquestionably Parr\u2019s greatest achievement as a collector, it has by no means been the only focus of his attentions. Evidence of rival enthusiasms is on show throughout the house: Yuri Gargarin, Sputnik and space travel memorabilia in one room; a stunning array of plates commemorating the Miners\u2019 Strike in another. An otherwise spartan, ground floor through-room houses a glass cabinet displaying varieties of political ephemera: the famous Saddam Hussein watches, even some Saddam toilet roll (\u201cWipe your crack with the man from Iraq\u201d), a Margaret Thatcher teapot, and is that a William Hague toby jug? <\/span><\/p>\n

\u00a0<\/p>\n

\"\u00a9Martin
<\/o:p><\/span><\/p>\n

Saddam Hussein Watch  \u00a9 Martin Parr  (from Parrworld)<\/p>\n

\u00a0<\/p>\n

\u201cNo Charles and Diana plates?\u201d I enquire. \u201cUgh no, they\u2019re far too obvious. Too common and just not interesting enough. I\u2019m much more interested in fading dictators\u2026and Margaret Thatcher\u201d, he muses. \u201cIt\u2019s noticeable that Tony Blair, despite his popularity, never seemed to provoke the same sort of political ephemera\u201d.<\/o:p><\/span><\/p>\n

<\/o:p><\/span><\/p>\n

Surveying it all I am reminded of a comment made by Walker Evans when asked about his own activities as a collector and photographer. They were, he replied, \u201calmost the same thing\u201d. Parr concurs,\u201d It\u2019s all about collecting sets of things, putting them together and giving them new meaning. It\u2019s like photography: you assemble sets of photographs and give them new meaning\u201d. <\/o:p><\/span><\/p>\n

<\/o:p><\/span><\/p>\n

Evans went on to say that the collector, and by extension the photographer, \u201cgets excessively conscious of a certain object and falls in love with it and then pursues it\u2026and it\u2019s compulsive and you can hardly stop.\u201d To which Parr adds,\u201d Oh I would say it\u2019s definitely compulsive\u2026I mean even as a child I was collecting. I\u2019m just a natural collector. I\u2019ve got the collecting gene\u201d <\/o:p><\/span><\/p>\n

<\/o:p><\/span><\/p>\n

\"\u00a9Martin<\/p>\n

Photographic Tray, Collection of Martin Parr \u00a9Martin Parr (from Parrworld)<\/p>\n

\u00a0<\/p>\n

He opens – ambitiously, it turns out – a cupboard to reveal some of his beloved tin trays finely balanced on yet more boxes. He thinks better of it and I watch as Parr wrestles to slam shut the door. <\/o:p><\/span><\/p>\n

<\/o:p><\/span><\/p>\n

Walking from one spacious bookshelved room to the next it is clear that Parr\u2019s passion, or obsession, for collecting  is, above all, discerning. The framed prints on display around the house are superlative. We casually pass Robert Frank\u2019s Parade, Hoboken<\/st1:city>, New Jersey<\/st1:state><\/st1:place><\/em>, the show-stopping opening image from The Americans<\/em>. Garry Winogrand\u2019s iconic New Mexico<\/em><\/st1:place><\/st1:state>, 1957<\/em> is on the stairs. Chris Killip\u2019s Watching the Parade, West-End, Newcastle<\/st1:place><\/st1:city>, 1980<\/em> presides over the office upstairs.<\/span><\/p>\n

\u00a0<\/p>\n

\"\u00a9Chris<\/p>\n

Watching the Parade, West-End, Newcastle, 1980 \u00a9 Chris Killip (from Parrworld) <\/o:p><\/p>\n

\u00a0<\/p>\n

It is, though, his reputation as a collector, historian and author of photobooks that has brought Parr most acclaim. His love affair with the genre began in the 1970\u2019s when he bought a copy of Robert Frank\u2019s The Americans<\/em>. But it was not until the early 1990\u2019s and his admission to Magnum that his collecting began to accelerate. \u201cOnce I joined Magnum it meant that I had more income for collecting books, a greater opportunity to travel and find books overseas, and also better contacts who could recommend more titles to me.\u201d With co-author Gerry Badger he has compiled the authoritative two-volume The Photobook: A History,<\/em> an unrivalled survey of over four hundred of the genre\u2019s exemplary titles, the vast majority of which can be found on the shelves around him.<\/o:p><\/span><\/p>\n

<\/o:p><\/span><\/p>\n

The field that Parr and Badger charted in The Photobook, Vols I & II<\/em> was, to an extent, unexplored terrain for which they had to establish their own criteria. \u201cFor a start we had to acknowledge that not all great photographers made great photobooks\u201d, he says. \u201cSo there were many famous photographers who we did not include. We also tended to avoid anthologies of photographs and retrospective collections in favour of more interesting examples by photographers who worked on projects\u201d.<\/o:p><\/span><\/p>\n

<\/o:p><\/span><\/p>\n

<\/span>\u201cAnd we found that a lot of books were perfectly good, perfectly adequate in themselves; but they were generic<\/em> – which means that they looked like similar work done previously by someone else. So again we excluded them. We also tried to make sure that we included books from areas not usually covered in photographic histories \u2013 South America<\/st1:city>, Australia<\/st1:country-region> and Japan<\/st1:place><\/st1:country-region> for example. The Japanese in particular produced some very exciting books in the late 1960\u2019s and early 1970\u2019s that had been completely overlooked by historians\u201d. <\/o:p><\/span><\/p>\n

<\/o:p><\/span><\/p>\n

One not-necessarily-unforeseen effect of this reassessment of the photobook has been an invigorated marketplace for a now widening circle of dealers, collectors, auctioneers and photographers. At an auction at Christie\u2019s New York<\/st1:state> earlier this year nearly $2.5m changed hands: August Sander\u2019s Antlitz der Zeit <\/em>fetched $16,000; Weegee\u2019s Naked<\/st1:placename> City<\/st1:placetype><\/st1:place><\/em> realised $30,000; and a set of Ed Ruscha\u2019s artist’s books was knocked down for $100,000. <\/span>The escalation in prices paid has lead to a certain amount of hand-wringing and professed dismay in some quarters. Parr, bookcases bulging, is considerably more serene: \u201cI accept that it is something that has happened \u2013 it is undeniably one of the consequences, but it\u2019s certainly not why<\/em> I did The Photobook<\/em>\u201d. <\/span><\/p>\n

\u00a0<\/p>\n

Given the prevailing hothouse nature of the photobook market I start to wonder whether I ought perhaps to be wearing white cotton gloves before thumbing through of the volumes on the shelves. <\/span>\u201cPlease don\u2019t ask me what the collection\u2019s worth, or how many books there are in it\u201d, Parr protests, \u201dI\u2019ve no way of calculating that any more\u201d. The incoming \u201cdaily offerings\u201d, as he calls them, include his own purchases and unsolicited work sent in by photographers and publishers. By way of a rough estimate, three years ago he guessed that he owned around 7,000 titles collectively worth \u201csomewhere in the region of a million and a half\u201d.<\/p>\n

<\/span><\/div>\n

<\/o:p><\/span><\/p>\n

He does remember, though, the most expensive purchase to date \u201cIt was \u00a340,000 for Hans Bellmer\u2019s Les Jeux de la Poupee<\/em>\u2026no, it was \u00a330,000 and its value has since gone up to about \u00a340,000.\u201d Not a bad return then. Bellmer\u2019s downright spooky book of unnerving doll photos was published in Paris<\/st1:place><\/st1:city> in 1949 in an edition of 150 and included fifteen hand\u2013coloured photographs. It is, according to The Photobook,<\/em> a \u201cmajor achievement of the pornographic imagination\u201d.<\/o:p><\/span><\/p>\n

<\/o:p><\/span><\/p>\n

Though he is loathe to single out a jewel in the crown from the library \u2013 \u201cOh I can\u2019t name a favourite; it changes from day to day\u201d- he has in the past nominated Kikuji Kawada\u2019s extraordinary Chizu -The Map<\/em> as an example of a book that is \u201ca beautiful, tactile object\u201d.<\/o:p><\/span><\/p>\n

<\/o:p><\/span><\/p>\n

Parr\u2019s recent book of his own photographs \u2013 Parking Spaces<\/em> \u2013 is further evidence of the general rise in stock of the photobook. It is available only from a select number of specialist photographic book outlets and at \u00a365 it\u2019s not cheap. But for your money you get one of a limited edition of 1000 copies, immaculately bound in white suedette, bearing a title embossed in gold lettering. The whole is encased in a correspondingly immaculate, white suedette box. Inside, the book is carefully wrapped in protective tissue and accompanied by a signed and numbered gilt-edged card. The presentation, deliberately reminiscent of a wedding album, is intended as an ironic comment on the desirability and preciousness of parking paces in a car-choked world. But at another level the bravura and panache of its execution is testimony to the elevated prestige and cachet of the photobook as a genre.<\/o:p><\/span><\/p>\n

<\/o:p><\/span><\/p>\n

Bearing in mind that he has only been collecting books in earnest for a comparatively short period – since the early 1990\u2019s – it is indicative of his commitment and focus that all, bar one, of the titles in Volume II of The Photobook<\/em> (covering the 1970\u2019s onwards) came from Parr\u2019s own collection. However, a hazard of such intense accumulation appears to be a certain difficulty keeping track of purchases: \u201cYes I do sometimes buy something, only to realise that I already own it. But,\u201d he brightens, logic surely askew, \u201cI suppose that confirms it really was worth buying in the first place\u201d. <\/o:p><\/span><\/p>\n

<\/o:p><\/span><\/p>\n

By now Parr has led me into a fourth room shelved floor-to-ceiling with books, and there are more, he says, in his London<\/st1:place><\/st1:city> office. I enquire, dubiously, whether he can find a title at will. Incredibly, he maintains he is \u201cpretty sure\u201d where everything is. <\/span>By way of a demonstration he promises to unearth Peter Mitchell\u2019s rather obscure collection of 1970\u2019s colour documentary photography, Memento Mori<\/em>, and his own study of a down-at-heel seaside town, West<\/st1:placename> Bay<\/st1:placetype><\/st1:place><\/em>. And \u2013 fair play to him \u2013 he succeeds\u2026eventually. The Mitchell is produced fairly rapidly once he establishes which side of the room to search; but his own title proves somewhat elusive at first because it is not on the \u201cParr shelf\u201d. \u201cI\u2019m looking for a deluxe edition so it will be in a different section\u201d, he explains.<\/span><\/p>\n

\u00a0<\/p>\n

\"\u00a9John<\/p>\n

Limbo! Limbo! \u00a9John Hinde (from Parrworld)<\/p>\n

\u00a0<\/p>\n

Given Parr’s energy and interests, a certain inevitability attaches to the publication of two new compendiums of his collections – Postcards<\/em> and Objects<\/em>. The former is a comprehesive historical survey of almost one hundred years in the development of the picture postcard from the end of the nineteenth century  – an account that encompasses the adoption of early techniques of photomontage; the use of postcards to record militarization and heroism during wartime; the popularity of the posed studio portrait; and the more familiar, touristic incarnation – the holiday postcard (exemplified by the colour work of John Hinde). Whilst the book is an invaluable source of information about its subject it also revelas something of its author and his fascination with the mundanities and trivialities of the photographic vernacular.<\/p>\n

\u00a0<\/p>\n

Objects meanwhile bears witness to Parr’s apparently insatiable appetite for photography in its applied forms – mugs, vases, plates, crisp packets and even the mud flap of a truck all merit inclusion because they bear the image of a world leader, an international terrorist, or -somewhat bathetically – a Spice Girl. Though the initial impression might be of random and unchecked accumulation, there is a method in his madness: in the book’s introduction Parr writes:<\/p>\n

“You may wonder what exactly it is that fuses all these items together…It all seems very obvious and logical to me. These are the items that are left behind after momentous and not-so momentous events…They are shadows of human foible.”<\/p>\n

\u00a0<\/p>\n

\u00a9 Guy Lane, 2008<\/p>\n

\u00a0<\/p>\n

An earlier draft of this interview first published in Art World magazine <\/em><\/p>\n

\u00a0<\/p>\n

Parrworld<\/em> is at Haus der Kunst, Munich until August 17, 2008.<\/p>\n

Postcards<\/em> by Martin Parr (publ Chris Boot) \u00a329.95<\/a><\/p>\n

Objects<\/em> by Martin Parr (publ Chris Boot) \u00a319.95<\/a>
Parking Spaces by Martin Parr (publ Chris Boot) \u00a365.00<\/a><\/p>\n

\u00a0<\/p>\n

<\/o:p><\/span><\/p>\n

<\/o:p><\/span><\/p>\n

<\/span><\/o:p><\/span><\/p>\n

<\/span><\/o:p><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

\"\u00a9Martin <\/p>\n

Martin Parr spoke to Guy Lane about the relationship between photography and collecting, and about his most extensive collection to date.<\/p>\n","protected":false},"author":1,"featured_media":785,"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":[19],"tags":[280],"jetpack_publicize_connections":[],"yoast_head":"\nMethod in his Madness: Martin Parr and Parrworld - FOTO8<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.foto8.com\/live\/method-in-his-madness\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Method in his Madness: Martin Parr and Parrworld - 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