{"id":89,"date":"2007-10-28T19:17:02","date_gmt":"2007-10-28T19:17:02","guid":{"rendered":"http:\/\/www.foto8.com\/live\/?p=89"},"modified":"2007-10-28T19:17:02","modified_gmt":"2007-10-28T19:17:02","slug":"pictures-from-here-postcards-home","status":"publish","type":"post","link":"https:\/\/www.foto8.com\/live\/pictures-from-here-postcards-home\/","title":{"rendered":"Pictures From Here \/ Postcards Home"},"content":{"rendered":"<p><img decoding=\"async\" loading=\"lazy\" class=\"review_photo\" src=\"https:\/\/i0.wp.com\/www.foto8.com\/live\/wp-content\/uploads\/2007\/10\/Postcards_Home.jpg?resize=115%2C144&#038;ssl=1\" alt=\"Postcards Home\" title=\"Postcards Home\" align=\"left\" height=\"144\" vspace=\"0\" width=\"115\" data-recalc-dims=\"1\" \/>The British are currently engaged in a roaring debate about immigrants to their green and pleasant land. Or so the nation\u2019s press would have us believe.<\/p>\n<h4><\/h4>\n<p><span class=\"text\"> In studying two titles in the new series of monographs from Autograph, it has been much more illuminating to witness the experience of Ingrid Pollard, who made the transition from Georgetown, Guyana to England when still a baby, and Sunil Gupta, whose diasporic journey from India has encompassed New York, Montreal and London. <\/p>\n<p> Pollard has deployed her cinematic vision in an intensely personal, stridently political investigation of the black experience in the UK, often using landscape to express ideas of otherness. Gupta has focused on the body as primary referent to achieve an equally absorbing corpus, challenging attitudes to \u201cdifference\u201d.<\/p>\n<p> From Delaware Dykes to Birmingham Black Sisters, Pollard documented the powerful political movements of the 1980s, demanding recognition as a black woman,<br \/> as a lesbian, and certainly achieving it as a photographer in 1987, with a series of pictures called Pastoral Interlude. Using a highly stylised image of a lone black figure in the unexpected landscape of the Lake District, her intention to surprise still succeeds; we see clearly why she \u201cwandered lonely as a black face in a sea of white\u201d. To this day, the association of a black face with an urban environment persists.<\/p>\n<p> In Seaside Series, Pollard sets herself up as the subject of her pictures, appearing tiny and insignificant in the streets of Hastings, and then juxtaposing these images with cutouts of the usual tourist tat, which promotes England\u2019s matchless feudal heritage with a vulgar pride.<\/p>\n<p> The one failing is that to find the date of particular picture, we have to turn to the index, where this important information is secreted away at the back of the book. When confronted with an image of a young Maya Angelou or Alice Walker, we want to place it at once on our inbuilt historical timeline.<\/p>\n<p> This is a relatively minor quibble in a book otherwise so rich in information and ideas. Its finest moment arrives with the dream-like sequences of the series Self Evident. Here, Pollard puts a unique stamp on her work and her world, ensuring everyone knows she existed, and possibly proving it to herself.<br \/> <\/span><\/p>\n<p>Sunil Gupta grew up in India in the 1960s. The family had no television, so Gupta\u2019s visual heritage is pure Bollywood, strong on narrative, high on colour. His occasional forays into the black and white oeuvre have equal impact, as shown in his insightful series Reflections of the Black Experience. The portraits have depth and intimacy, capturing what it means to feel \u201cfear\u201d in the picture bearing that stark title, to be gay, to be an immigrant, to be elderly (in this unforgettable image, the black woman seems to be enjoying life considerably more than her white companion).<\/p>\n<div align=\"left\"><span class=\"text\"> <br \/> Embracing gay lib wholeheartedly as a student in 1970s New York, it wasn\u2019t until Gupta studied at London\u2019s Royal College of Art in the 1980s that he began to examine his sexual orientation in tandem with his race. Where were all the gay Indians? We discover them in Exiles (a commission for The Photographers\u2019 Gallery) on the peripheries of Delhi society, separated from their culture by their sexuality. Unwilling to \u201cspy\u201d on unsuspecting men, Gupta honed his skill of \u201ccreating subjective reality in a real place\u201d. Tremendous tenderness is palpable in the picture Lakshmi, where two men in dresses worthy of Bananarama embrace under a picture of Shiva. Yet Gupta sensed a lack of critical engagement with the pictures and, tellingly, when one of the images from this series reappeared in an exhibition at Tate Britain, it took its place in the black artists\u2019 room, not in an adjacent room depicting images of the body.<\/p>\n<p> In Trespass, a three part series which took years to complete, Gupta experiments with murals and photomontage to find new ways of expressing migrant culture and thoughts of love. Before completing the series, Gupta discovers he is HIV positive.<\/p>\n<p> <\/span><span class=\"text\">The final series chosen for Pictures from Here, Homelands, is an ode to youth and age, beauty and decay, doom and hope, India and the West &#8230; finally the landscape takes on the same importance as Gupta\u2019s inner life. These beautifully realised pictures trace his journey back to his father\u2019s village in Uttar Pradesh, to downtown Montreal, back to Chelsea, New York. With them comes a sense that Sunil Gupta has finally arrived.<\/span> <\/p>\n<p><strong> Max Houghton<\/strong><\/div>\n","protected":false},"excerpt":{"rendered":"<h4><a href=\"index.php?option=com_content&amp;view=article&amp;id=45:pictures-from-here--postcards-home&amp;catid=19&amp;Itemid=77\"><img decoding=\"async\" loading=\"lazy\" class=\"review_photo\" src=\"https:\/\/www.foto8.com\/live\/wp-content\/uploads\/2007\/10\/Pictures_from_Here.jpg\" alt=\"Pictures From Here\" title=\"Pictures From Here\" align=\"left\" height=\"144\" hspace=\"0\" width=\"115\" \/><\/a> <span class=\"review_author\">Sunil Gupta<\/span><br \/><span class=\"review_additional\">Published by Autograph\/Boot<br \/>\u00a319.95<\/span> <\/p>\n<p><span class=\"review_author\">Ingrid Pollard<\/span><br \/><span class=\"review_additional\">Published by Autograph\/Boot<\/span><span class=\"review_additional\"><br \/>\u00a319.95 each<\/span><\/p>\n<p><\/h4>\n","protected":false},"author":1,"featured_media":87,"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":[],"jetpack_publicize_connections":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v21.5 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Pictures From Here \/ Postcards Home - FOTO8<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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