tag:blogger.com,1999:blog-39663915371030530012024-03-19T04:15:14.084+00:00Julian Germain's blogJulian Germainhttp://www.blogger.com/profile/03937969837390958967noreply@blogger.comBlogger43125tag:blogger.com,1999:blog-3966391537103053001.post-55413603540856229392017-01-04T21:21:00.000+00:002017-01-04T21:21:33.355+00:00CLASSROOM PORTRAITS BOOK AVAILABLE<div class="separator" style="clear: both; text-align: center;">
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Just a heads up, for those of you still looking for an affordable copy, the Prestel edition of Classroom Portraits seems to be available from at least one <a href="https://www.amazon.co.uk/d/Books/Classroom-Portraits-Julian-Germain/3791347489/ref=sr_1_1?ie=UTF8&qid=1483564280&sr=8-1&keywords=classroom+portraits" target="_blank">Amazon</a> seller for £40 at the moment.<br />
<span id="goog_15296675"></span><span id="goog_15296676"></span><br />Julian Germainhttp://www.blogger.com/profile/03937969837390958967noreply@blogger.com0tag:blogger.com,1999:blog-3966391537103053001.post-73933270028056338992016-09-28T20:36:00.000+01:002016-09-28T20:42:38.718+01:00CHILDHOODS - SIDE GALLERY<br />
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<a href="http://www.amber-online.com/side-gallery/" target="_blank">Side Gallery</a>, 5-9 Side, Newcastle upon Tyne, NE1 3JE, UK<br />
<span style="font-size: x-small;">Saturday 1st October - Sunday 27th November, 2016. </span><br />
<span style="font-size: x-small;">Tuesday-Saturday 11- 5</span><br />
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Delighted to be part of the exhibition that is relaunching the Side Gallery after its redevelopment. The show includes a selection of the Classroom Portraits alongside work by 11 other photographers and film makers, all of which reflects upon childhood in one way or another. It's great that the Side have classic material such as Wendy Ewald's wonderful <i>Portraits and Dreams</i> and Chris Killip's <i>Seacoal</i> in their collection as well as lesser known gems such as Tish Murtha's <i>Juvenile Jazz Bands. </i>The show also features recently completed or ongoing projects (that I have yet to see) by the likes of Kai Wiedenhoefer and Liz Hingley.<br />
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<br />Julian Germainhttp://www.blogger.com/profile/03937969837390958967noreply@blogger.com0tag:blogger.com,1999:blog-3966391537103053001.post-9708591467797573842015-10-08T19:53:00.000+01:002015-10-08T19:54:03.829+01:00 THE FUTURE IS OURS - TOWNER ART GALLERY<div class="separator" style="clear: both; text-align: center;">
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The first British showing of the global Classroom Portraits series opens
tomorrow evening at Towner Gallery, Eastbourne. For opening times and information please see <a href="http://www.townereastbourne.org.uk/" target="_blank">here</a>.<br />
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The show features some
60 framed pieces while smaller scale work and research material is
displayed in vitrines. Also included are a series of Classroom Portrait
videos as well as newly commissioned video portraits of individual
pupils.<br />
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I will be giving an <a href="http://www.townereastbourne.org.uk/event/julian-germain-artist-talk/" target="_blank">illustrated talk</a> about this and other projects on Saturday 10th at 2 pm<br />
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<br />Julian Germainhttp://www.blogger.com/profile/03937969837390958967noreply@blogger.com0tag:blogger.com,1999:blog-3966391537103053001.post-79363839736821820832015-10-02T12:33:00.001+01:002015-10-02T12:35:05.545+01:00HIDDEN PRESENCE, CARDIFF.<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT8PccD2_XFkCl4w9sSUTT2j0OWmzDaUMqLXbtW4xw6v8I_jeQpbPfOJRofIQQtJW-CLG9EEsNCcS4veWrJcwwSlEzGJRZQbXCdyD4-u4IZsAseYfd-Zo1B4bB80CD4MmgYvld8HDCtGHG/s1600/%25C2%25A9Julian_Germain-02a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT8PccD2_XFkCl4w9sSUTT2j0OWmzDaUMqLXbtW4xw6v8I_jeQpbPfOJRofIQQtJW-CLG9EEsNCcS4veWrJcwwSlEzGJRZQbXCdyD4-u4IZsAseYfd-Zo1B4bB80CD4MmgYvld8HDCtGHG/s640/%25C2%25A9Julian_Germain-02a.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: Arial,Helvetica,sans-serif;">Sugar Factory Road, St Kitts, 2015. © Julian Germain</span></span></td></tr>
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;">Customs House, Bute Street, Cardiff. </span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">October 1- 31. Open Tues - Sat 11-5</span></span> </span></span><br />
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">In 2014 Julian Germain was commissioned to respond to the life story of Nathaniel Wells (1779 - 1852) who was born into slavery on the island of St Kitts in the Caribbean, the illegitimate child of a slave woman and sugar plantation owner. Extraordinarily, </span></span><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">at the age of 9, </span></span>Nathaniel was sent to Britain to be educated and he subsequently inherited his father’s fortune, along with the sugar plantations and slaves, including his own mother. In 1802, at the age of only 23 and a ‘black’ man of African descent, he purchased one of the finest houses in Wales, Piercefield House near Chepstow. From there, he lived the life of a country gentleman and became a magistrate, deputy lieutenant and County Sheriff.<br /><br />Germain has retraced the steps of Nathaniel Wells from his now derelict estate at Piercefield to his birthplace in the West Indies. The images reflect upon the sugar industry, slavery and colonialism - the ongoing significance of the deep historical links between the two locations, as well as how the social and economic landscape continues to necessitate migration and how this movement of people affects everyday life in Wales.</span></span><br />
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">The exhibition is sited in the near derelict Custom's House in the Cardiff Bay / port area of the city. In the 1950's and 60's, new immigrants </span></span><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">from the West Indies </span></span>would disembark from their passenger ship and be directed to the building for registration.<br /><br /><span style="font-size: x-small;">Hidden Presence is part of <a href="http://diffusionfestival.org/" target="_blank">DIFFUSION, <i>the </i></a></span></span></span><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: x-small;"><a href="http://diffusionfestival.org/" target="_blank"><i><span class="st">Cardiff International <i>Festival</i> of Photography</span></i> </a></span></span></span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: Arial,Helvetica,sans-serif;">Sugar Factory Road, St Kitts, 2015. © Julian Germain</span></span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: Arial,Helvetica,sans-serif;">Remains of the Vambelles Sugar Estate, St Kitts, 2015. © Julian Germain </span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8oSmuqrgXjP6t2sjAC6kd5DRY1Jsi84Gtgn3mt_sdsJWxCrmedjWojw6p9WdfRJRFjpWgFFmNbEHd049ibfjcvPDJodI71V7mj_zzsLHhM1nA31V5WnQoYnzKQLtQJAjAUXf1Hju5QFau/s1600/%25C2%25A9Julian_Germain-04.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8oSmuqrgXjP6t2sjAC6kd5DRY1Jsi84Gtgn3mt_sdsJWxCrmedjWojw6p9WdfRJRFjpWgFFmNbEHd049ibfjcvPDJodI71V7mj_zzsLHhM1nA31V5WnQoYnzKQLtQJAjAUXf1Hju5QFau/s640/%25C2%25A9Julian_Germain-04.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: Arial,Helvetica,sans-serif;">Brilliant Car Wash, Cwmbran, 2015. © Julian Germain</span></span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Hidden Presence, Custom's House, Cardiff, 2015. © Julian Germain</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: x-small;"><span style="font-size: xx-small;"><span style="font-family: Arial,Helvetica,sans-serif;">Piercefield House, Chepstow, 2015. © Julian Germain</span></span></span></span></span></td></tr>
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<br />Julian Germainhttp://www.blogger.com/profile/03937969837390958967noreply@blogger.com0tag:blogger.com,1999:blog-3966391537103053001.post-47584231637227227582015-08-06T01:16:00.002+01:002015-08-06T01:16:58.278+01:00NO OLHO DA RUA, Rio de Janeiro, BrazilCentro Municipal de Arte Hélio Oiticica<br /> Hélio Oiticica Municipal Art Centre, August 1st - 19th September.<br />
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The No Olho da Rua Collective, that last surfaced at the Photo Bienial
in Brighton nearly 3 years ago, is participating in the group show
Album de Familia curated by Daniella Geo at the Centro Municipal de Arte Hélio Oiticica in Rio de Janeiro. A brand new, 16 page large
format No Olho da Rua newspaper is featured and is available free to
gallery visitors and NODR flyposters are posted in the surrounding streets.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoXvJCZpVdDsIRReOwahMwtd1mc32G-9cgtEJo0KQeH_G7QgFNA7Mmbc5xC5kI5icgbbRocnH1ELNnZyPls96pkOtW8mUZJ0tP9A9Nh4gDsVoBwmNr6THnU17MVKva4AHYzl72AwAZeuMi/s1600/Untitled-1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoXvJCZpVdDsIRReOwahMwtd1mc32G-9cgtEJo0KQeH_G7QgFNA7Mmbc5xC5kI5icgbbRocnH1ELNnZyPls96pkOtW8mUZJ0tP9A9Nh4gDsVoBwmNr6THnU17MVKva4AHYzl72AwAZeuMi/s640/Untitled-1.jpg" width="440" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Front and back cover of the new newspaper (top). NODR flyposters on walls in the surrounding area</td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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The rest of the exhibition features a host of well known artists including, Candice Breitz, Bill Viola, Gillian Wearing,
Rosangela Renno and Richard Billingham, to name but a few, and I believe a catalogue will be published soon.Julian Germainhttp://www.blogger.com/profile/03937969837390958967noreply@blogger.com0tag:blogger.com,1999:blog-3966391537103053001.post-11592807659702426042015-05-20T10:15:00.000+01:002015-05-20T10:17:01.371+01:00BOOK SIGNINGS - PHOTO LONDON / OFFPRINT<u>This Saturday 23rd May:</u><br />
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I'll be signing 3rd edition of <i>For every minute you are angry you lose sixty seconds of happiness</i>: <br />
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<a href="http://photolondon.org/programme/?filter=signing" target="_blank">Photo London</a> 3 - 4 pm. MACK / Booth P5, Great Arch Hall, Embankment Level, Somerset House, Strand, WC2R 1LA
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<a href="http://offprintlondon.com/" target="_blank">Offprint</a> 5 - 6 pm. MACK / Turbine Hall, Tate Modern, SE1 9TG.<br />
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Offprint is free, just wander in. You need to buy tickets for Photo London.Julian Germainhttp://www.blogger.com/profile/03937969837390958967noreply@blogger.com5tag:blogger.com,1999:blog-3966391537103053001.post-375400119583113972015-04-16T12:01:00.001+01:002015-04-16T12:01:46.231+01:00The Curves of the Needle @ Baltic 39 until May 17th<div class="separator" style="clear: both; text-align: center;">
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: Arial,Helvetica,sans-serif;">by Julian Germain from The Curves of the Needle - photo © Colin Davison</span></span></td></tr>
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<span style="font-family: Arial,Helvetica,sans-serif;">The Curves of the Needle
is a group exhibition of contemporary art inspired by the unexpected resurgence of
interest in the vinyl record.The show features a fascinating range of
material, from album cover artwork to installations, videos,
photographic works etc that explore the cultural significance of the era
of vinyl, as well as the actual physical nature of analogue sound
emanating from the grooves of a record.</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">alt.vinyl, Sam Belinfante, The Basement Group, David Blandy, Ralf Brög,
Rutherford Chang, Rhodri Davies, Dj78, Graham Dolphin, Benedict Drew,
Julian Germain, Rodney Graham, Bruce Haack, Jandek, Philip Jeck/Lol
Sargent, Jim Lambie, Locus+, Christian Marclay, Jonathan Monk, Elizabeth
Price, Eliane Radigue, Sun Ra, Lathe Revival, Jonty Semper, David Toop,
Bartholomäus Traubeck, Michael Wilkinson, X-Ray Audio and a commissioned text on record sleeves by writer
Harry Pearson. </span><br />
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<a href="http://baltic39.co.uk/2015/02/the-curves-of-the-needle-opens-3-april/" target="_blank">The Curves of the Needle</a><br />
<a href="http://baltic39.co.uk/2015/02/the-curves-of-the-needle-opens-3-april/" target="_blank">Baltic 39</a><br />
<span style="font-family: Arial,Helvetica,sans-serif;">31-39 High Bridge Street </span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">Newcastle Upon Tyne</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: Arial,Helvetica,sans-serif;">by Graham Dolphin from The Curves of the Needle - photo © Colin Davison</span></span></td></tr>
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Julian Germainhttp://www.blogger.com/profile/03937969837390958967noreply@blogger.com0tag:blogger.com,1999:blog-3966391537103053001.post-29313871101155847322015-02-13T13:33:00.000+00:002015-02-13T16:22:39.323+00:00February EventsThere's something in the air. Collaborative art is on the agenda!<br />
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Saturday 14th February I will be working on a photographic version of Fred Laidler's painting, <a href="http://www.bbc.co.uk/arts/yourpaintings/paintings/fish-and-chips-56331" target="_blank">'Fish and Chips'</a>, from 1948. He was one of the now famed <a href="http://en.wikipedia.org/wiki/Ashington_Group" target="_blank">Ashington Group of Northumbrian 'pitmen painters' </a>who explored their everyday lives, their surroundings and their culture through art. Amongst the participants will be Fred's granddaughter and great granddaughter! If the photo is good it will be published alongside the painting in the next issue of the <a href="https://www.facebook.com/AshingtonStar" target="_blank">Ashington District Star</a>, a new local newspaper / photographic journal being produced with people who live or work in the area.<br />
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Wednesday February 18th I'll be participating in an event at Plymouth University, <a href="https://www.plymouth.ac.uk/whats-on/photography-and-society-1" target="_blank">'Community Engagement: The Observer and the Observed'</a>. A line up of very interesting people Wendy Ewald, Mark Neville, Noni Stacey, Matteo Balduzzi and Oliver Udy. I'll be there to talk mostly about the <a href="http://www.juliangermain.com/projects/no-olho.php" target="_blank">No Olho da Rua</a> project.<br />
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Saturday 21st February I'll be in Utrecht giving a talk at the opening of <a href="http://fotodok.org/" target="_blank">Fotodok's</a> new exhibition, 'Do You Hear Me?', which features the work of 7 artists, Laia Abril, Simone Engelen, Eric Gottesman, Monica Haller, Jan Hoek, Lucia Nimcova and Julika Rudelius, all of whom make work where the subject has a role in the direction and form of the story in one way or another.<br />
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<br />Julian Germainhttp://www.blogger.com/profile/03937969837390958967noreply@blogger.com2tag:blogger.com,1999:blog-3966391537103053001.post-5368208653134113782014-10-01T11:02:00.001+01:002014-10-01T12:01:13.527+01:00Age and Experience<span style="font-family: Arial,Helvetica,sans-serif;">The exhibition I had at the National Media Museum in Bradford nearly 10 years ago featured a selection of works from several portrait series; <a href="http://www.juliangermain.com/projects/thefaceofcentury.php" target="_blank">‘Face of the Century’</a>, <a href="http://www.juliangermain.com/projects/generations.php" target="_blank">‘Generations’</a>, <a href="http://www.juliangermain.com/projects/babybabybaby.php" target="_blank">‘Babybabybaby’</a>, <a href="http://www.juliangermain.com/projects/foreveryminute.php" target="_blank">‘For every minute....’</a> as well as some of the early Classroom Portraits. I remember being a bit disappointed that I ended up calling the show ‘Lifetimes’ because it’s just seems a bit of a dull title really, but on the other hand, it so clearly describes one of my overriding preoccupations: Life and time, as recorded by photography.</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">One of my favourite portraits featured in that show is of Mildred Harrison, aged 99, who I met on a visit to a care home in Northumberland in 1999. She was a tiny, hunched figure, almost bent double in her chair. There were a few other people around but she wasn’t in conversation or attempting to watch the TV. I thought she might be asleep but when I spoke she answered immediately and clearly. She was expecting me and she said she had just been “waiting to have her picture taken.” As I set up my camera and tripod I told her about my Face of the Century project and that I’d been searching for someone born in 1900 for months. She understood exactly her place in the chronology of the series. When I asked if she could please look up and in to my camera she did so, but not enough. Her eyes were looking up but she was facing down. “I’m sorry Mildred, but I really want to see your face properly. Do you think you can lift your head a little more?....Just a bit more please?....Just a tiny bit more.....?” Gradually, with considerable effort, she managed to do it for a few seconds. </span><br />
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<tr><td class="tr-caption" style="text-align: center;">Mildred Harrison, aged 99, 1999. From 'The Face of the Century'</td></tr>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: Arial,Helvetica,sans-serif;">As I was there and made the picture, I cannot see this image as just an image, my feelings about it being inextricably linked to the whole experience of meeting as well as photographing her. But I am sure there is something very profound evident in the portrait. On the surface, there is the realisation that I cannot imagine anyone looking older than her and I am drawn in to considering her as she is and imagining her as she has been in the past. Then there is the physical and psychical commitment she makes to the process of being photographed. The strain and concentration of both looking up and presenting herself to camera, looking so directly into the lens and at the same moment into the extraordinary complexity of her 99 year old inner self.</span></span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">I keep coming back to these existential themes. I seem to be drawn to making connections between the young and the old. Very elderly people fascinate me as do children and especially newborn babies. Lives that have only just begun and others which are in their twilight months and years. </span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">A few weeks ago, on September 10th, William Cameron and Alexander Ramm, both from the Ashington area (also in Northumberland) had birthdays, Bill reaching the landmark age of 100 and Alex being born. In the grand scheme of things there is nothing particularly unusual about either event as there are now about 14,000 centurians in Britain and nearly 1000 babies get born every day. But for the individuals and their families (and simply in human terms) these are truly momentous occasions and by making portraits of them both I am searching for added meaning by their association. Two people at opposite ends of life’s spectrum. I am contemplating the gulf between their experience, Bill having outlived every one of his contemporaries, Alex being perhaps the ultimate enigma, so new to the world and so newly formed that it seems impossible to imagine the life behind his gaze.</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif;">Alexander Ramm, born September 10th 2014</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif;">William Cameron, born September 10th 1914</span></td></tr>
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Julian Germainhttp://www.blogger.com/profile/03937969837390958967noreply@blogger.com0tag:blogger.com,1999:blog-3966391537103053001.post-11576739211971592732014-09-09T10:59:00.000+01:002014-09-09T15:25:54.958+01:00"For every minute you are angry you lose sixty seconds of happiness" at the PhotoBookMuseum, Cologne. August 19th - October 3rd<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZFreov75iAyrsSnFsyh6J4-FxrZJejYrmBRtXaKrCHS-G-gRz0BL7KCNEnSIRKlCH9m5YO6OddA7Sg8xZh6rM81jihMUSLxxxGVy8SKKk5AZ9kPT5XkD2B1UpZaSDvzasa-fJegJftPdi/s1600/The_PBM_by_Daniel_Zakharov_016.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZFreov75iAyrsSnFsyh6J4-FxrZJejYrmBRtXaKrCHS-G-gRz0BL7KCNEnSIRKlCH9m5YO6OddA7Sg8xZh6rM81jihMUSLxxxGVy8SKKk5AZ9kPT5XkD2B1UpZaSDvzasa-fJegJftPdi/s1600/The_PBM_by_Daniel_Zakharov_016.jpg" height="440" width="640" /></a></td></tr>
<tr align="center"><td class="tr-caption">Launch of the PhotobookMuseum, Cologne © Daniel Zakharov </td></tr>
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<span style="font-family: Arial,Helvetica,sans-serif;">The ongoing elevation of the photobook from it's lowly perch on the margins of art (admired and collected by a relatively small group of enthusiasts) to being widely accepted and even fashionable, has received another boost thanks to this summer's launch of the <a href="http://thephotobookmuseum.com/" target="_blank">PhotoBookMuseum</a> in Cologne, Germany. At the moment it’s actually a large scale temporary exhibition in a vast industrial space, but the organizers have serious ambitions to establish a permanent institution dedicated to the appreciation of artist's photobooks. </span><br />
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<tr><td class="tr-caption" style="text-align: center;">The PhotobookMuseum, Cologne © Daniel Zakharov </td></tr>
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<span style="font-family: Arial,Helvetica,sans-serif;"><br />Photographs and books were made for each other. <a href="http://en.wikipedia.org/wiki/The_Pencil_of_Nature" target="_blank"><i>The Pencil of Nature</i> by William Henry Fox Talbot</a> was published as early as 1844, only 5 years after the birth of the medium. Photos are generally modest in size, inherently and easily reproducible and they naturally lend themselves to story telling by assembling images into series’ and sequences. Careful placement within the pages of books enhances this potential and <a href="http://www.gerrybadger.com/biog/" target="_blank">Gerry Badger’s </a>now famous proposition that the photobook sits somewhere between the novel and the film as a means of expression, perfectly describes the enormous creative possibilities that are offered by the form.</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><br />Photographs somehow retain their integrity in the transition from darkroom (or digital) print to being rendered in ink on a commercial printing press. This affinity with the original material can never be true of books of paintings, sculptures, installations, and so on. So while it is possible to produce a beautiful book featuring illustrations of paintings, it is not really possible for that book to actually <u>be</u> the work of art. This is precisely the status the photobook has achieved - an authentic work of art for the price of a book, that ordinary people can afford to buy and keep on their shelves to view at their leisure. </span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><br />Despite this, until the end of the 20th century, printing and production costs for a high quality book of photographs were so prohibitive that relatively few were produced. When I was a student at Trent Poly (1981-4) the library’s photography section was a revelation and an inspiration to me - in fact it was probably the most important element of my photographic education - yet there were still only a hundred or so proper photobooks in their catalogue. In those days, a couple of visits per year to the Photographer's Gallery and Creative Camera bookshops in London was all that was required to keep abreast of just about all of the relevant publications from Europe and the US. </span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_La_ezNZaAGgx-4PWx1LYGGh2d2lr9t0qWCuPYMJoWBVe6z0rhxswiwRwmx-37IcFFyZGaclvQa9Y8ypTWXiO5RbKCoFBcLVkGTb3zGp8aY90PLMJblA3LMp9dDT8aNXgOQ_sQd_rT1V5/s1600/The_PBM_by_Daniel_Zakharov_030-2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_La_ezNZaAGgx-4PWx1LYGGh2d2lr9t0qWCuPYMJoWBVe6z0rhxswiwRwmx-37IcFFyZGaclvQa9Y8ypTWXiO5RbKCoFBcLVkGTb3zGp8aY90PLMJblA3LMp9dDT8aNXgOQ_sQd_rT1V5/s1600/The_PBM_by_Daniel_Zakharov_030-2.jpg" height="426" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The PhotobookMuseum, Cologne © Daniel Zakharov </td></tr>
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<span style="font-family: Arial,Helvetica,sans-serif;">Computer aided design (1990‘s), digital printing (2000’s), increased connectivity, a huge expansion of photographic art education as well as other factors, have altered this landscape so completely that the book form is now available to just about anyone and new books by photo artists are released on a daily basis. At this years photofestival in Arles there were several hundred entries for the <a href="http://www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARLO62_3&VBID=2UNJA4YB07&IID=2UN7A2BV8MU&PN=3&LANGSWI=1&LANG=English" target="_blank">annual book prize</a>, all of them laid out on a line of tables at least 100 metres long. Books, books and more books snaking their way through the enormous old railway factory exhibition space. It was an impressive and indeed a daunting sight.</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><br />Books about photobooks are now amongst the books we want to have. Martin Parr and Gerry Badger have produced <a href="http://uk.phaidon.com/store/search/?q=The+photobook" target="_blank">3 hefty volumes since 2004</a> and there are also impressive publications about the history of the South American, Dutch, Japanese and Spanish photobook as well as books about private collections and critics choices. There is also the excellent <a href="http://www.errataeditions.com/" target="_blank">Errata Editions</a>, a publishing house dedicated to re-presenting “rare photography books which are unavailable to students and new generations of photographers”.</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><br />I’ve already seen a few survey exhibitions of photobooks and, enjoyable as they have been, the challenge is always the paradox between the fact that the primary joy of a book is the one to one intimacy between the object and its reader (the whole work sitting within your hands for you to explore in your own time and space) and the reality of being presented with an array of unreachable objects, displayed behind protective perspex or on screens and monitors. Nowadays, it’s not just the historical books that are too rare and valuable to be touched. If any contemporary book is considered worthy to be included in such an exhibition it will almost certainly have rapidly sold out and be extremely difficult and / or very expensive to acquire, which to me is a shame and somehow against the true spirit of the form.</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><br />It’s therefore very pleasing to report that <a href="http://www.mackbooks.co.uk/books/16-For-every-minute-you-are-angry-you-lose-sixty-seconds-of-happiness.html" target="_blank">“For every minute you are angry you lose sixty seconds of happiness”</a> is going to be back in print in the next couple of months and that it’s included in the show in Cologne. As well as the original book and maquette (in perspex vitrines) there are some other bookworks from the project as well as several framed prints, set against large scale backdrops of Charlie’s photo albums blown up to fill entire walls. It is a pity that these two events won’t coincide but you can’t have everything!</span><br />
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<tr><td class="tr-caption" style="text-align: center;">The PhotobookMuseum, Cologne © Daniel Zakharov </td><td class="tr-caption" style="text-align: center;"></td></tr>
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<br />Julian Germainhttp://www.blogger.com/profile/03937969837390958967noreply@blogger.com1tag:blogger.com,1999:blog-3966391537103053001.post-88967422641243070182014-09-01T16:23:00.000+01:002014-09-01T16:23:13.057+01:00Mothers and Babies<div class="separator" style="clear: both; text-align: center;">
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif;">Julie and Leanne Patten, 21st January, 1981</span></td></tr>
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<span style="font-family: Arial,Helvetica,sans-serif;">Earlier this summer I was invited to participate in <a href="http://dresdenpublicartview.tumblr.com/" target="_blank">Dresden Public Art View</a> and took the opportunity of showing this 'found' portrait, a faded snapshot I borrowed from the Patten family of Sunderland. It portrays Julie Patten, aged just 16, holding her newly born daughter Leanne, on 21st January, 1981. Originally, I included this picture in a slide show of family pictures of Leanne I put together for a video work called Mother's Grief - commissioned for a BBC event around the Easter Passion story by the <a href="http://www.northeastphoto.net/" target="_blank">North East Photography Network</a>. The link to grief, is that Leanne died in 2009, aged 28, from cancer. The video work featured a film portrait of Julie responding to my chronological selection of pictures of Leanne that were being simultaneously displayed on an adjacent monitor. None of the pictures feature the illness at all, but Leanne's death is obviously a haunting presence and it makes for a particularly emotive piece, although ultimately, the work is about the way personal photographs have the capacity to connect us all with real past experiences and evoke powerful memories.</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">But for me, this one particular photograph has developed a life of its own, apart from the video project and from everything that happened after the shutter was released. It's an image that has become etched in my mind like no other I have come across all year.</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">Composition and pictorial elements seem irrelevant. I believe its strength lies in the lack of any artistic purpose or ambition. It is just so direct and simple, an utterly unpretentious statement about existence, the most honest record of the most fundamental human experience - giving birth - which I, a father, can only begin to comprehend. </span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><br />The acclaimed Dutch artist <a href="http://en.wikipedia.org/wiki/Rineke_Dijkstra" target="_blank">Rineke Dijkstra</a> has produced a series of portraits of mothers with newborns including, coincidentally, one of another woman named Julie entitled, <a href="http://www.tate.org.uk/art/artworks/dijkstra-julie-den-haag-netherlands-february-29-1994-p78097" target="_blank"><i>Julie, Den Haag, Netherlands, February 29, 1994</i></a>, which is held in the Tate’s collection. They are hugely impressive, highly detailed and physical works and extremely revealing, yet any sense of intimacy is curtailed, probably because they have been methodically planned and are very skillfully and rather systemically produced. Dijkstra’s presence and her intent as an artist is palpable. </span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">Julie of Den Haag is facing Rineke and her large format camera while it seems to me that Julie Patten’s youthful gaze reaches way beyond the lens. She is looking at me just as much as I am looking at her and I find myself transfixed. I feel I can read everything and nothing in her expression and I am floundering in the complexity and meaning of it all. Such a beautiful thing, the way </span><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: Arial,Helvetica,sans-serif;">that sometimes, a humble snapshot photograph somehow manages to express feelings that can’t be put into words.</span></span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: Arial,Helvetica,sans-serif;">Needless to say, I have now started actively collecting amateur photographs of mothers and newborn babies so please do contact <span style="color: black;"><a href="mailto:mail@juliangermain.com" target="_blank">me</a></span> about any pictures you feel may be of interest!</span></span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif;">© Dresden Public Art View, July 27th - August 7th, 2014</span></td></tr>
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Julian Germainhttp://www.blogger.com/profile/03937969837390958967noreply@blogger.com3United Kingdom55.378051 -3.4359729999999912.1996745 -86.05316049999999 90 79.18121450000001tag:blogger.com,1999:blog-3966391537103053001.post-19004584412795667002013-10-17T16:47:00.002+01:002014-09-01T22:51:46.047+01:00Exhibitions | Magazines<h1 class="page-title">
<span style="font-family: Arial, Helvetica, sans-serif; font-weight: normal;">You Are The Company In Which You Keep</span></h1>
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<span style="font-family: Arial, Helvetica, sans-serif;">Craig Ames, Ulf Aminde, Haley Austin, Natasha Caruana, Nick Crowe
& Ian Rawlinson, Melanie Friend, Gilbert & George, Julian
Germain, Paul Graham, Chris Harrison, Nigel Henderson, Jeremy Hutchison,
Yee I-Lann, Bob Jardine, James O Jenkins, Linder, Melanie Manchot,
Daniel Meadows, Gustav Metzger, Tim Mitchell, Martin Parr, Reynold
Reynolds, Patrick Jolley, Simon Roberts, Thiago
Rocha Pitta, Daniele Sambo, Jo Spence, John Stezaker, Homer Sykes,
Stuart Whipps.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">This is an interesting looking show across 2 venues in Sunderland, the Northern Gallery of Contemporary Art and the Sunderland Museum and Art Gallery. "Many of the artists might be described as working in anthropological or
ethnographic ways, observing how our experience of the world is mediated
through the camera lens, and asking how far photographic images
structure our imagination."</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">This show is part of a month long 'photography' event; <a href="http://www.thesocialnepn.co.uk/" target="_blank">The Social, Encountering Photography</a><i>. </i>Lots of other shows + talks and <a href="http://us5.campaign-archive1.com/?u=cf2a2a3e3b8a2d8cb060c3619&id=bcb9f10daa&e=6760fc0048" target="_blank">events</a> etc going on from 18th October - 16th November, although the show in Sunderland Museum (where there are a series of synched Classroom Video Portraits on 4 large monitors) will continue until 23rd February.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-large;">6 Mois</span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.6mois.fr/?lang=fr" target="_blank">6 Mois Magazine</a> </span><span style="font-family: Arial, Helvetica, sans-serif;">has recently published 16 pages of Classroom Portraits.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The latest issue of </span><a href="http://www.gupmagazine.com/" style="font-family: Arial, Helvetica, sans-serif;" target="_blank">GUP Magazine</a><span style="font-family: Arial, Helvetica, sans-serif;"> features 12 pages from the <a href="http://www.juliangermain.com/projects/no-olho.php" target="_blank">No Olho da Rua Collective</a>.</span></div>
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Julian Germainhttp://www.blogger.com/profile/03937969837390958967noreply@blogger.com1tag:blogger.com,1999:blog-3966391537103053001.post-49892225469753963142013-10-02T20:18:00.002+01:002013-10-02T20:18:41.353+01:00The Guardian, October 3rdThe Guardian are running a short feature about this picture of Charlie from 'For every minute you are angry you lose sixty seconds of happiness' in tomorrow's edition. Or, to see it online click <a href="http://www.theguardian.com/artanddesign/2013/oct/02/julian-germain-best-photograph"> here</a>.<br />
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<span class="text"><br /></span>Julian Germainhttp://www.blogger.com/profile/03937969837390958967noreply@blogger.com0tag:blogger.com,1999:blog-3966391537103053001.post-81258014029221610162013-09-26T18:36:00.000+01:002013-09-26T18:36:32.553+01:00USEFUL PHOTOGRAPHY 11In 2010 in the UK, roughly one person got killed by a gunshot for each million of the population. In the US the equivalent figure was 32 people per million. Apparently, as many as 55 million households in the US own at least one gun.<br />
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Fear is doubtless one of the primary drivers in this particular arms race, but the 'right to bear arms' is enshrined in America's constitution and there can be little doubt that many Americans love their guns.<br />
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The latest issue of Useful Photography magazine features a large selection of portraits specifically produced for US gun enthusiasts to shoot at.<br /><br />Perhaps these carefully choreographed images of terrorists, hijackers, armed robbers, psychopaths and other assorted crazies offer us a glimpse into the mindset of the National Rifle Association and their friends ("food, fellowship, fun and firearms") whose grand mission is "to preserve the 2nd Amendment and surround its' blessings with impenetrable protection in perpetuity".<br />
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Yet again, Useful Photography Magazine has collected a series of photographs that were produced with little or no artistic ambition and for a singular practical purpose and presents them in an alternative context, offering us new insights into the modern world.<br />
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EXHIBITION<br />
963 Chung King Rd, Chinatown, Los Angeles, CA 90012, USA<br />
<br />Julian Germainhttp://www.blogger.com/profile/03937969837390958967noreply@blogger.com0tag:blogger.com,1999:blog-3966391537103053001.post-8866715368257810812013-09-13T15:11:00.000+01:002013-09-13T15:11:59.203+01:00CURRENT EVENTS<div class="p1">
<span style="font-family: Verdana, sans-serif;">As ever, I give plenty of advance notice about what's going on - NOT!! Apologies, but </span><span style="font-family: Verdana, sans-serif;">herewith news about a show that closes on Sunday and another event that is happening just over this weekend. If you can get to Prishtina in Kosovo, you have a bit more time!</span></div>
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<span style="font-family: Verdana, sans-serif;">Work from the Classroom Portraits series is showing in 2 group exhibitions and in a special event at the Ministry of Education in Paris:</span></div>
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<span style="font-family: Verdana, sans-serif;">I SEE EUROPE</span></div>
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<span style="font-family: Verdana, sans-serif;">Gallery Kunstbezirk Gustav-Siegle-Haus</span></div>
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<span style="font-family: Verdana, sans-serif;">Leonhardsplatz 28</span></div>
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<span style="font-family: Verdana, sans-serif;">70182</span></div>
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<span style="font-family: Verdana, sans-serif;">Stuttgart</span></div>
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<span style="font-family: Verdana, sans-serif;">16 August - 15 September</span></div>
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<span style="font-family: Verdana, sans-serif;">ALONE TOGETHER:</span></div>
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<span style="font-family: Verdana, sans-serif;">PHOTOGRAPHY AND THE OTHER</span></div>
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<span style="font-family: Verdana, sans-serif;">The National Gallery of Kosovo, Pristina</span></div>
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<span style="font-family: Verdana, sans-serif;">13 September - 13 October 2014</span></div>
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<span style="font-family: Verdana, sans-serif;">PORTRAITS DE CLASSE </span></div>
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<span style="font-family: Verdana, sans-serif;">The Ministry of Education in Paris </span><span style="font-family: Verdana, sans-serif;">is opening it's doors to the general public this weekend, 14th and 15th September and is exhibiting a selection of Classroom Portraits throughout the building.</span></div>
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<span style="font-family: Verdana, sans-serif;">Ministry of Education</span></div>
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<span style="font-family: Verdana, sans-serif;">110, rue de Grenelle, Paris </span></div>
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<span style="font-family: Verdana, sans-serif;">14 - 15 September</span></div>
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Julian Germainhttp://www.blogger.com/profile/03937969837390958967noreply@blogger.com0tag:blogger.com,1999:blog-3966391537103053001.post-69094669932063345612013-02-06T18:22:00.000+00:002013-02-06T18:37:28.922+00:00Classroom Portraits at In Camera Galerie, Paris<div class="separator" style="clear: both; text-align: center;">
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A selection of work from the Classroom Portraits series is being shown at In Camera Galerie, Paris, from February 14th (vernissage 6 - 9pm) until March 23rd.<br />
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21 rue Las Cases, 75007, Paris<br />
Gallery opening hours, Tuesday - Saturday, 2 - 7pm, or by appointment.<br />
www.incamera.fr / contact@incamera.fr / +33(0)1 47 05 51 77Julian Germainhttp://www.blogger.com/profile/03937969837390958967noreply@blogger.com0tag:blogger.com,1999:blog-3966391537103053001.post-87448671821323903282012-11-14T13:18:00.004+00:002012-11-14T13:23:05.200+00:00News<h3>
<span style="font-family: Arial,Helvetica,sans-serif;">Classroom Portraits Book Signing</span></h3>
<span style="font-family: Arial,Helvetica,sans-serif;">Paris Photo, Grand Palais, Avenue du Général Eisenhower, Paris.</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: Arial,Helvetica,sans-serif;">Stand D39 (In Camera Gallery), </span>6pm, November 15th</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://www.parisphoto.com/home.html" target="_blank">Paris Photo 2012</a></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVtU5NicViULGHz6jWIafYscEO_H9Dn9iCLY7thxxUXN4YzAlRwB1FkLltlFZ6TA8n7CS4agHs09VbTtdgojIzxBmg0VBXKqW-dB5lKqCW8gd0VmyiQY6-pOkfLtWcKIQWqC2DnbowuEiO/s1600/Classroom+Portraits+Book.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="124" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVtU5NicViULGHz6jWIafYscEO_H9Dn9iCLY7thxxUXN4YzAlRwB1FkLltlFZ6TA8n7CS4agHs09VbTtdgojIzxBmg0VBXKqW-dB5lKqCW8gd0VmyiQY6-pOkfLtWcKIQWqC2DnbowuEiO/s320/Classroom+Portraits+Book.jpg" width="320" /></a></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"></span><span style="font-family: Arial,Helvetica,sans-serif;">Roads to Wigan Pier</span></h3>
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: Arial,Helvetica,sans-serif;">Impressions Gallery, Bradford, until 5th January, 2013</span></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: Arial,Helvetica,sans-serif;">Russell Boyce, Huw Davies, Julian Germain, Graham Hall, John Kemp, Tim Smith </span></span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://www.impressions-gallery.com/index.php" target="_blank">Impressions Gallery</a> </span></span><br />
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">"In the summer of 1984, taking as their starting point George Orwell’s seminal 1937 publication <i>The Road to Wigan Pier</i>,
a sociological investigation into the bleak living conditions of the
working class in Yorkshire and Lancashire, six newly graduated students
of photography were commissioned by Impressions to record and document
social aspects of the North of England. Each worked independently and
each took a personal viewpoint. These non-judgemental, yet sometimes shocking, photographs show us a way
of life that was in terminal decline. This picture of Orwellian
dystopia acts as an elegy of the northern urban landscape and its
people, on the brink of irrevocable social and cultural change. Today,
in-post industrial Britain, we are perhaps inclined to forget the recent
past as many of the symbols of poverty and neglect have been replaced
by regeneration." </span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijpjRYg59mZ9zaa-ptG4xYbFqwN5WzI5j7zBEClM_av1BK1NchPZlvDaDlkFTtetEWtQ6wiyPnRYq76TRaeRNQfifMWJ-nCM7WDqRkSilE2wRCVUu4vbixIfKOmDMU_ZtJK1gHnoT4Marj/s1600/%C2%A9JulianGermain.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijpjRYg59mZ9zaa-ptG4xYbFqwN5WzI5j7zBEClM_av1BK1NchPZlvDaDlkFTtetEWtQ6wiyPnRYq76TRaeRNQfifMWJ-nCM7WDqRkSilE2wRCVUu4vbixIfKOmDMU_ZtJK1gHnoT4Marj/s320/%C2%A9JulianGermain.jpg" width="320" /></a></div>
<span style="font-family: Arial,Helvetica,sans-serif;"> <span style="font-size: xx-small;"> © Julian Germain, 1984 </span> </span> <br />
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<span style="font-family: Arial,Helvetica,sans-serif;">Big Meetings </span></h3>
<span style="font-family: Arial,Helvetica,sans-serif;">Woodhorn Museum, Ashington, Northumberland, until December 23rd</span><br />
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">Big Meetings is a new
series of photographs and films by Julian Germain in response to the annual
Durham Miners Gala, commissioned by Durham County Council.</span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">Attended by up to 100,000
people, the Gala is one of the largest political gatherings in Europe. As well
as photographing the main event: the parade, speeches and the banner blessings
in the Cathedral, Germain has explored some of the deeper stories behind it.</span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">He records the communities
and landscapes of former pit villages such as Chopwell, Trimdon Grange and
Ferryhill, showing the local residents as they prepare their banners for the
Gala. He has visited band rooms, clubs and community centres to portray the
brass bands in the places where they practice every week and he has also attended
gatherings and meetings of some of the political or campaigning groups who use
the Gala as a platform to promote their ideas.</span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">The 2 synchronised video
portraits feature a 77 year old man and a 9 year old boy performing the protest
song and socialist anthem <i>The Red Flag</i>, encouraging us to consider the dramatic changes that have happened
to industry, culture, society and politics during the last 3 generations.</span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">The exhibition is about
the significance of working class identity and cultural traditions and their
ties to a set of political beliefs at a time when only fragments remain of the
industries that framed them. While documenting both the spectacle and the
spirit of the Gala, Germain is also implicitly asking questions about the
nature of politics now, as capitalism appears to falter and socialist ideals
are widely believed to have been marginalised by the rush to consumerism.</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: xx-small;">© Julian Germain, 2012<span style="font-size: xx-small;"> / </span></span><span style="font-family: Arial,Helvetica,sans-serif; font-size: xx-small;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: xx-small;">Stills from The Red Flag </span> </span><span style="font-size: xx-small;"> </span> <br />
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: Arial,Helvetica,sans-serif;"> </span><u> </u></span>Julian Germainhttp://www.blogger.com/profile/03937969837390958967noreply@blogger.com0tag:blogger.com,1999:blog-3966391537103053001.post-58465380893487654972012-10-21T10:35:00.001+01:002012-10-21T10:35:11.271+01:00Exhibition - The Beautiful Horizon<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-weight: normal;">The Beautiful Horizon, the first UK exhibition of the work of the No Olho da Rua Collective, made up of approximately 75 young people living on the streets of Belo Horizonte, Brazil, Julian Germain, Patricia Azevedo and Murilo Godoy. The collective has been functioning on a sporadic basis since 1995. The show is at Fabrica Gallery, Brighton, 6 October - 25 November. It features flyposters, newspapers, video portraits, flyers, exhibition prints and, most importantly, the first phase of the new project archive in the form of more than 125 boxed sets of enprints, enabling gallery visitors to explore the narratives in entire rolls of film. </span></span></h3>
<h3>
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-weight: normal;">For more information and to download interview of Julian Germain, Patricia Azevedo and Murilo Godoy by Mark Sealey: http://fabrica.org.uk/exhibitions/ </span></span></h3>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-weight: normal;">For more information about the Brighton Photo Biennial: http://www.bpb.org.uk/2012/</span></span></h3>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-weight: normal;"><u>Julian Germain Talk</u> - Fabrica, Brighton. Monday 22nd October, 6.30 pm</span></span></h3>
Julian Germainhttp://www.blogger.com/profile/03937969837390958967noreply@blogger.com0tag:blogger.com,1999:blog-3966391537103053001.post-43934227843118358342012-08-14T14:48:00.002+01:002012-08-14T17:34:58.642+01:00No Olho da Rua 13/08/2012<div class="separator" style="clear: both; text-align: center;">
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<br />
<u>Photo Albums</u><br />
<br />
We've known Biui since 1995. In recent years he's been a bit crazy and scary. He's big and fast and very strong, in much better physical shape than most of the street kids of his age. He's always been around but hasn't wanted to make pictures for years and he hasn't wanted to be photographed either. But today he told us he had photos he wanted to show us and out of an old rucksack came two albums. They contain photographs spanning the entire project, from 1995 till last year, flyposters, newspapers, everything is there. We were astonished. It's so difficult for them to look after things. For these pictures to survive for so long, on the streets, is incredible.<br />
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He talked about a photo he doesn't have but which he clearly remembers. It's of him and Edna, his lover and the mother of his kids, who died of Aids a few years ago. They are kissing on a bus, on their way to the party we organised for the launch of the flyposter exhibition in 1997. We have to go back and look for this picture, try to find it for him.<br />
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He also asked us if he could have a camera to make some new pictures.<br />
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<u>Licaõ's lost camera </u><br />
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We found Licaõ on Sunday. He has left Patricia, his lover of many years, at least for the time being. He says he needs a break. He is taking a lot of crack. Elisangela is with him, not in her house, but on the street. We gave him a camera but when when we went to collect it yesterday he explained he had finished the film but had a row with his crack dealer who threw the camera over a steep bank into some bushes. We went off to look for it. Seemed like an impossible task and it was quite a funny situation - we were like kids who'd lost their ball. Amazingly, after 10 minutes or so, there it was, Licaõ spied it nestling in the rubbish and scrub....be interesting to see the pictures...Julian Germainhttp://www.blogger.com/profile/03937969837390958967noreply@blogger.com0tag:blogger.com,1999:blog-3966391537103053001.post-30396932762612956942012-08-12T15:39:00.003+01:002012-08-12T15:47:36.831+01:00No Olho da Rua 12/08/2012Looking for Licaõ<br />
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I am finally back in Belo Horizonte. it's some 18 months since I was last here. Patricia and Murilo keep in contact with the street kids (this could be a strange term for them as most are in their thirties now, but that's what they call themselves). Yesterday, we set out to look for them. We started at the soup kitchen they generally visit on a Saturday. It wasn't busy but we did see Reginaldo, Licaõs' uncle. He confirmed that most people are still around here and there but that Miguel has been in hospital since he was run over by a motorbike. He asks for a camera.<br />
Next we went to the shopping street in Gameleira where Sandro used to live. The last time we saw him he was in a terrible state but thankfully, there he was, sitting outside the same moderately smart ladies clothes shop, not exactly enhancing their window display. He's not a pretty sight, battered, bruised, fat lipped, bleeding gummed and his clothes are filthy. He can't use his left arm or hand at all and struggles to walk, but in the scheme of things he is quite organised, with a shopping trolley to wheel his stuff around. The people around him, the ladies in the clothes shop, the guys in the bar next door, obviously know Sandro well and they must look out for him, otherwise we can't imagine he could be there. He wants a camera and a pair of shorts. The camera we have and luckily we have one with autowind because with one hand he can't manually wind the film on.<br />
There are no kids under the Gameleira tree and there's obviously been a big clean up. No litter means no kids. A guy washing cars there says there haven't been kids there for a while. We drive on and soon see a group under some trees on a patch of land encircled by busy traffic. We park the car and look for a way to get across the roads. It's no wonder so many of them get hit, stoned on crack or thinner, weaving their way through this traffic. We find Preto, Silvana and Vinicius sitting on a sofa under a tree and numerous other boys and girls are there too. They have a couple of small tables, some broken office chairs, a tatty Brazilian flag flutters from a branch. They are relaxing and really pleased to see us and Patricia digs out some photographs to give them. Preto is better than before, much more calm. He is listening to the Brazil v Mexico Olympic football final on a tiny transistor radio. They are losing 1 - 0. Another boy is wearing a cool looking pink headphone radio but it doesn't work. Vinicius is also in better shape. The last time we saw him he was on crutches after being run over. Silvana is happy and pregnant and we leave them with three cameras. The others want to play as well and we agree to bring them cameras today.<br />
Next we go looking for Patricia and Licaõ. The last year has been traumatic for them. They had a baby last April and they were allocated an apartment from a government social programme. They had a cooker and a fridge, Patricia and Murilo got them an old TV and a double bed and other bits and pieces. It was an exciting moment, full of promise, but it didn't last. The baby got sick and tragically died and it wasn't long before they were back on the streets. Worse, they then lost their other two kids into the care system. First, we find a group that includes Celia, Buiu and Sueli, none of them photographers but we have known them for years. They are friendly but anxious to start smoking crack so we leave them to get on with it. Patricia is not far away, living in quite an organised place under a road bridge and she's upset a) because her leg got burned in a fire and b) Licaõ has disappeared and she is worried he might be with another girl. She gets in the car and we go looking for him. We drive around and then she takes us to a pleasant stretch of wasteland with trees and bushes and lots of pretty lilac flowers and a nice elevated view. There are quite a few street people here and there but not Licaõ and nobody has seen him. Eventually, Patricia asks us to take her to her mothers house. She packs two bags with her belongings and leaves the street. Her mother collapsed last week and is back from hospital, sick in bed, unable to walk at the moment. We leave her a few $R and Patricia takes a camera. We head for home.<br />
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Julian Germainhttp://www.blogger.com/profile/03937969837390958967noreply@blogger.com0tag:blogger.com,1999:blog-3966391537103053001.post-77727521701740837722012-06-02T12:58:00.000+01:002012-06-02T12:58:46.214+01:00CLASSROOM PORTRAITS 2004 - 2012<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Arial,Helvetica,sans-serif;">EXHIBITION</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">The Future is Ours, Classroom Portraits, 2004 - 2012</span><span style="font-family: Arial,Helvetica,sans-serif;"></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">Nederlands Fotomuseum, Rotterdam</span><span style="font-family: Arial,Helvetica,sans-serif;">, June 2 - September 2, 2012</span><u><span style="font-family: Arial,Helvetica,sans-serif;"></span></u><br />
<u><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></u><br />
<span style="font-family: Arial,Helvetica,sans-serif;">BOOK</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">Classroom Portraits, 2004 - 2012</span><br />
<br />
<span style="font-family: Arial,Helvetica,sans-serif;">Hardback, 30.5 X 23.5, Dustjacket, 208 pages, 87 colour photographs, Essay by Dr Leonid Illyushin, Design by Why Not Associates, Statistics, Archive directory.<br />Classroom Portraits from UK, Argentina, Brazil, Peru, Cuba, Netherlands, Spain, Germany, Hungary, Russia, Bangladesh, Yemen, Bahrain, Qatar, Ethiopia, Nigeria, USA, Taiwan, Japan. </span><br />
<br />
<span style="font-family: Arial,Helvetica,sans-serif;">Published by Prestel £40 / €49.50 / $60 </span><br />
<br />Julian Germainhttp://www.blogger.com/profile/03937969837390958967noreply@blogger.com2tag:blogger.com,1999:blog-3966391537103053001.post-33436197324506383902011-11-09T13:33:00.000+00:002011-11-09T14:12:15.011+00:00Second edition now available !<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgevVqlOz_m5Nu0ZLWccIzwdNscaFVy72_KyfzwsDt21H3Y60ooHqsPP84A8mPVEqHI7xVO6lkIWs2-45AcA1mF0xrOB37yHycGMdI0DDXCrYaQbxorUNwHg559MIsXvcsJsOnRX-Dab163/s1600/book+image.tiff"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 170px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgevVqlOz_m5Nu0ZLWccIzwdNscaFVy72_KyfzwsDt21H3Y60ooHqsPP84A8mPVEqHI7xVO6lkIWs2-45AcA1mF0xrOB37yHycGMdI0DDXCrYaQbxorUNwHg559MIsXvcsJsOnRX-Dab163/s400/book+image.tiff" alt="" id="BLOGGER_PHOTO_ID_5672998483031360610" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXFF8BOfkv4kMIpTt7PiJ12qQ76tGyCj_7Zz14FNpmPKa3U0lccd8dkBrFxOHXM7xlgl0XY-9SLmvhYKaiHMVEK9xD4AsQS2TPftNQIlreKUtaqfPBtPwXwtAgoD7uRBiNmgyS-AN2lQj-/s1600/driving.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 306px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXFF8BOfkv4kMIpTt7PiJ12qQ76tGyCj_7Zz14FNpmPKa3U0lccd8dkBrFxOHXM7xlgl0XY-9SLmvhYKaiHMVEK9xD4AsQS2TPftNQIlreKUtaqfPBtPwXwtAgoD7uRBiNmgyS-AN2lQj-/s400/driving.jpg" alt="" id="BLOGGER_PHOTO_ID_5672998320175567858" border="0" /></a><br />I am very happy to report that the second edition of 'For every minute you are angry you lose sixty seconds of happiness' has been published by MACK. It will be launched this week in Paris at Offprint and at the Steidl / MACK stand at Paris Photo. Limited edition C-type prints from the series will also be featured at the In Camera Gallery space (Stand D55) at the Grand Palais.<br /><br />80 Pages, 42 colour plates, 23.5 X 28cm, hardcover with printed cloth<br /><br />Designed by Julian Germain and David Ellis at Why Not Associates<br /><br />€35 / £30 / $45<br /><br />ISBN 978-1-907946-13-4<br /><br />Available from the usual outlets and direct from www.mackbooks.co.uk<br /><br />www.incamera.fr<br />www.offprintparis.com<br />www.parisphoto.frJulian Germainhttp://www.blogger.com/profile/03937969837390958967noreply@blogger.com1tag:blogger.com,1999:blog-3966391537103053001.post-6229402507796861192011-09-21T15:16:00.000+01:002011-09-21T17:32:58.921+01:00Nothing in the World but Youth<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPifxOhIAapQxe_M_I2FxVqAGkNe6JbfV-jE5YsGMU5277uIVgz0B1XUIjoW2tgxQRYHocJ3jdIxeyXmQ2RS_U61BfAaRXsLq9LUIz49ugAC1RRQ5y_q9GzKW6Ocr6qusvtOnlai9AHpoT/s1600/tn7y_NITWBYlogoshort600px.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 214px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPifxOhIAapQxe_M_I2FxVqAGkNe6JbfV-jE5YsGMU5277uIVgz0B1XUIjoW2tgxQRYHocJ3jdIxeyXmQ2RS_U61BfAaRXsLq9LUIz49ugAC1RRQ5y_q9GzKW6Ocr6qusvtOnlai9AHpoT/s400/tn7y_NITWBYlogoshort600px.jpg" alt="" id="BLOGGER_PHOTO_ID_5654849384731383538" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtBfnR4qTyHSbNs-zqsk0wcv6Mhh52VX0gOFbA1Cor24dMGn6KKruJSBsRSh8bp9svUzTbo9ej1u7dh-BZYgC_dcIg_0RCsg3KoAp7BX6Cm0ReAirMSLopj2pIRsmUNqsq06UAZacT5lCx/s1600/HartsdownTechnical_Margate-DramaYr8.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 305px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtBfnR4qTyHSbNs-zqsk0wcv6Mhh52VX0gOFbA1Cor24dMGn6KKruJSBsRSh8bp9svUzTbo9ej1u7dh-BZYgC_dcIg_0RCsg3KoAp7BX6Cm0ReAirMSLopj2pIRsmUNqsq06UAZacT5lCx/s400/HartsdownTechnical_Margate-DramaYr8.jpg" alt="" id="BLOGGER_PHOTO_ID_5654849171124483122" border="0" /></a><br />Two pieces from the series 'Classroom Portraits' are currently being exhibited in this vast exhibition (over 90 artists; more than 200 works) at Turner Contemporary in Margate. One of the pieces - Hartsdown Technical College, Margate. Year 8, Drama - was specially commissioned for the show.<br />There's much too much to see in the time and space I had to look (the opening event was pleasingly crowded and the following morning was just as busy) but the self portrait by the 16 year old Richard Hamilton was rather moving given that he died last week, aged 89. JMW Turner's young teenage sketches are also astonishing for their skill and extraordinarily fine detail. Also enjoyed Phil Collins' video of Indonesian kids singing the Smiths, Graham Dolphin's fan drawings, S Mark Gubb's school desk with homage to Iron Maiden and Glenn Brown's 'Teen Age Riot' desk smothered in a tidal wave of paint, George Shaw's gloomy yet glowing painting of council estate garages; Toby Mott's fantastic collection of political and pop/punk ephemera from the Thatcher years. Lots of photography; Rineke Dijkstra, Craig Aimes, Mark Cohen, Corrine Day, Toby Glanville, Juergen Teller, Santiago Mostyn to name but a few....<br />The catalogue is interesting and probably more coherent than the exhibition; it features many illustrations as well as various texts including essay length excerpts from novels such as 'Absolute Beginners' and surveys such as 'The Problem of Childhood' from 1974 by John Holt.<br />There are also 3 large 20 page sections set aside for individual artists - Santiago Mostyn, Toby Mott and myself - who have all created large bodies of work where youth is a fundamental theme.<br /><br /><br /><br />Nothing in the World but Youth runs until January 8th, 2012<br /><strong>Turner Contemporary</strong><br />Rendezvous<br />Margate<br />Kent CT9 1HG<br /><br />www.turnercontemporary.orgJulian Germainhttp://www.blogger.com/profile/03937969837390958967noreply@blogger.com0tag:blogger.com,1999:blog-3966391537103053001.post-58563954569285645452011-03-10T22:36:00.000+00:002011-03-14T12:11:23.234+00:00Michael Whiteley United<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDahvuC5c2KoygCe8_OL1WrWbFpcItFD_gZpWaB83QdknJOd8VnswN-J0XiGQxpoiGQE7_AmFVK1dBlJ0GfNFHDV8WMlqVLKHJDrLlQ0-6gB1SzYieZq-CnbOrkuDzHQ3y4VBFDr9hKRn7/s1600/Michael+Whiteleyemail02.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 400px; height: 398px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDahvuC5c2KoygCe8_OL1WrWbFpcItFD_gZpWaB83QdknJOd8VnswN-J0XiGQxpoiGQE7_AmFVK1dBlJ0GfNFHDV8WMlqVLKHJDrLlQ0-6gB1SzYieZq-CnbOrkuDzHQ3y4VBFDr9hKRn7/s400/Michael+Whiteleyemail02.jpg" alt="" id="BLOGGER_PHOTO_ID_5583906814879364994" border="0" /></a><br />My friend Michael Whiteley died last Sunday morning and I want to pay tribute here over the next few days, to the contribution he made to my work and my life over the years. We were introduced by Gerald the haircutter (who cut my hair at the Royal College of Art and Mike's in the back of an old ambulance at Greenwich Market, cheaply, cheerfully and perfectly well) because we were both ludicrously obsessed by football and making art about it. Michael was a graduate from Goldsmiths and he did textiley things. Most impressively he made torpedo sculptures out of Subbuteo football pitches. We met, exchanged <span style="font-style: italic;">Panini</span> stickers, drooled over each others collections of football 'tat', played <span style="font-style: italic;">Subbuteo</span>, <span style="font-style: italic;">Tomy Super Cup Football</span> and occasionally even had real kickabouts with a real ball with jumpers for goals. He was such a good laugh I was able to put his enthusiasm for Leeds United to one side.<br /><br />I was very busy with <span style="font-style: italic;">In Soccer Wonderland</span> and Mike became a close comrade. He came with me to games where I could wangle 2 press cards. He'd shoot some Super 8 from pitchside and I'd be in the crowd somewhere with my Plaubel 67. The 1992 FA Cup Semi-final replay between Liverpool and Portsmouth at Villa Park was amazing but simply traveling with and talking to Mike was a joy. He was at least half bonkers and I never knew what he'd come up with next except that it could be sublime or ridiculous or both. He also came to the Cup Final where he couldn't get in, but he had loads more fun outside the stadium watching the match on a little portable tv with fans who didn't have tickets, than I did inside.<br /><br />Later that summer I was teaching on a summer school at Sunderland Poly and Mike and I spent a weekend in the studio making portraits of me for <span style="font-style: italic;">In Soccer Wonderland</span>. We ran and dived about outside in 60's/70's Ipswich / Leeds kits to get authentically sweaty and muddy, then dashed up to the studio. This was of course long before photoshop and we used a back projection machine to create the enormous crowds in the background. Michael pressed the button for me and then me for him. I don't think he ever saw more than the contact sheets of him, as everything was buried in the chaos of the build up to the exhibition and publication and then by ongoing laziness, busyness and eventually the mists of time .....I dug these out a couple of days ago, hugely relieved that I could find them.<br /><br />Michael also contributed to various other parts of the project, introducing me to Kevin Ealand, the Barnsley 'supporter of the year' and orchestrating the shoot of the kids doing diving headers and flying saves, all pupils of his at Wombwell School, where he was doing his teacher training. We also had great days interviewing and photographing other characters for the book, especially Dr Hugh Simons, a fantastic 77 year old gentleman we went to play football with in the park. Afterwards Hugh opened a couple of bottles of wine (good for the circulation after exercise) and we all talked for about 4 hours.<br /><br />Mike also wrote the introduction for the catologue of the exhibition at the Photographer's Gallery in London (a <span style="font-style: italic;">Panini</span> style sticker album) and was there with many of his excellent friends at the opening night. I realise now with enormous regret, that a copy of that catalogue, <span>with his signature,</span> would be a wonderful thing to have.Julian Germainhttp://www.blogger.com/profile/03937969837390958967noreply@blogger.com2tag:blogger.com,1999:blog-3966391537103053001.post-43724782998111487892010-12-20T18:40:00.000+00:002010-12-21T14:04:14.996+00:00No Olho da Rua 20/12/2010<span style="font-weight: bold;">The Book</span><br /><br />The 22 hour journey home from Belo Horizonte always offers ample time for reflection. After 2 and a half weeks of 18 hour working days I am exhausted and in equal measure exhilerated and troubled by everything that has happened and may happen in the future. Saying goodbye to Landia, Licaõ, Haidé, Patricia et al gives me an extraordinary feeling. They know I will go back to another life and they so genuinely wish me, my family and kids well - it's extremely touching and humbling. I ask them to take good care of themselves and each other. Licaõ asks me to throw him a message from the aeroplane as I fly overhead....<br /><br />They have asked to have cameras for christmas and Patricia A and Murilo will organise this, as well as making sure Licaõ has a camera for the birth of his and Patricia's baby in January. Otherwise, contact will be only occasional for the next few months. Patricia A and Murilo will do what they can re Elisangela's situation and will help Celia visit Piriquito and can be contacted by phone for help if necessary. Our experience though, is that when the project is not 'live' they very rarely contact us. Also, there seems to be an invisible line on both sides of this relationship which isn't crossed. From our side, we never press them about what 'crimes' they have committed, 'why' they have been in prison, about the bad things they must inevitably have done. From their side, they have a clear understanding of a boundary that is our home lives. Not one of the many people involved has ever even asked which area of the city Patricia and Murilo live in.<br /><br />So as I leave Belo Horizonte the objective of the next 12 months is to finally publish this book. We all want this to happen, everyone who has been involved. We have agreed to try and self-publish it and to raise the money to do so by selling full sets of enprints from entire rolls of film. Any roll of film in the archive (from 1995 - 2010) containing a photograph classed as 'A' (which means it's in the 1st edit) may be printed only 3 times. One set is with the photographer, one set is with the archive, and only one set will be available for sale. When viewing all the images from a roll of film - not just the good one - you are seeing a broader vision, what came before and after, sometimes ideas or actions evolve, time moves on. Some pictures are destroyed by fingers, camera straps or faulty wind-on mechanisms. There will be approximately 200 sets of prints available, most with approximately 24 enprints, each 10 x 15cm. We just feel that this approach offers a real insight into the <span style="font-style: italic;">process</span> of the project and avoids celebrating only great images.<br /><br />In order to set this in motion we agreed a 'contract' with the participants:<br /><br /><span style="font-style: italic;">It is agreed that the authors of the project "No Olho da Rua" will respect the integrity of the archive and credit individual participants wherever appropriate. Royalties and profits from possible sales, publications or exhibitions shall be distributed to projects, organisations or activities that bring pleasure or practical assistance to people who live on the streets of Belo Horizonte. If the book of the "No Olho da Rua" project is finally realised, all participants will receive a copy.</span><br /><br />It is interesting that they aren't interested in money. They freely acknowledge they can't keep it or use it wisely. Neither are we, nor have we ever been, interested in receiving fees from this project. We all want the book so initially <span style="font-style: italic;">all</span> revenue will go to producing the book and subsequently to other projects which fulfill the above criteria.Julian Germainhttp://www.blogger.com/profile/03937969837390958967noreply@blogger.com3