From blitz victims to dust-coated miners and the rocks of Stonehenge, the affinities between German photographer and British sculptor are shown in works of sepulchral beauty
By: Hepworth Wakefield
Bill Brandt and Henry Moore met for the first time in 1942, when the German-born photographer was commissioned by Lilliput magazine to shoot the quintessentially British sculptor in his studio. The resulting portrait appeared in a spread devoted to the two artists’ shelter pictures – both had made extended series of sleeping Londoners huddled in platforms and tunnels on the underground during the blitz. Their meeting, and the shared subject matter that prompted it, is the conceptual starting point for this fascinating exhibition, which traces their parallel paths and overlapping interests.
In 1977, the National Portrait Gallery staged a landmark exhibition, featuring 90 portraits of eminent British women photographed by Mayotte Magnus. The gallery is now updating the project with Illuminating Women, which runs until 24 March [ . . . ]
A new exhibition marks the release of a documentary about the Swinging Sixties in London as seen through the eyes of Sir Michael Caine. The film, My Generation —presented and produced by the actor, 84, and directed by David Batty — is out next week. The exhibition, curated by Zelda Cheatle, has opened in Carnaby Street and has photographs, prints and previously unseen archive footage from the era.
The exhibition, curated by Zelda Cheatle, has opened in Carnaby Street and has photographs, prints and previously unseen archive footage from the era.
Contributors to the documentary who feature in the show include Roger Daltrey, Vidal Sassoon, Jean Shrimpton, Lulu, Paul McCartney, The Rolling Stones and Mary Quant.
‘A sexual revolution was happening – but it seemed to be taking place somewhere else’ – Paddy Summerfield
“I came across this girl in the Oxford University parks, lying in the summer sun reading a book. It was in the late-60s, not a laptop in sight. It was surprising to find an unshaven armpit, almost as shocking as pubic hair. It’s from The Oxford Pictures, my first photographic essay. It was very much a young man’s vision: anxiety, desire and sexual guilt run right through it, maybe because of my strict upbringing with Sunday school lessons and Christian teaching”.[ . . . ] Read More: Paddy Summerfield’s best photograph: a girl reading a Christian book in the swinging 60s | Art and design | The Guardian