On examining the photographers and images suggested for researching the Square Mile project I noted that although all of them show some linking in their thoughts to an area that is clearly important to them the actual thought processes and end results are very different. They can be broadly divided into a group that use photographs of people to show the identity of the place, and a group where the focus is on the place itself.
Barney, Dearden and Knorr focus on using people to give identity to the area of interest. Tina Barney (Artic.edu, 2006) took images of her family and friends in New York. These images show details of family life and the tension that can occur, thus exploring the place though the people that inhabit it and whom she knows well. Cotton says ‘there is a compelling blend of a photographically distant perspective with a subject that is intimately known’ (Cotton,2015).
Venetia Dearden’s series ‘Somerset Stories, Fivepenny Dreams’ is set in the area where she grew up. She says ‘My passion and curiosity for Somerset has been fuelled by my long-term connection with this area where I spent my childhood. I am compelled to return again and again to explore my relationship with the landscape and the people living here……… I witness a sense of belonging and identity within these rich bonds of family and community’ (Dearden, 2014). Dearden looks at the lives and activities of the families’ resident in Somerset at present to explore a place she knew well in the past.
Karen Knorr (Karenknorr.com, 2014) uses portraits to show the ideas that were prevalent in a very wealthy area of London during the 1970’s.
Horn, Hunter, Taylor and Barnard have focused on the place itself to explain their sense of connection with an area. Romi Horn (Tate.org.uk, 2009) has published a series called ‘To Place’ where she looks at the identity of a specific place, Iceland, in detail though photographs, drawings and text. Interestingly, this is far from where she grew up in New York, however, has become an area that she has studied intensively.
Tom Hunter’s ‘Living in Hell and Other Stories’ (Purdyhicks.com, 2017) investigates the history of his local area in East London, re-staging stories which paint an unsettling picture of the area.
Jodie Taylor (Taylor, 2013) for her OCA project focused on the area she lived in as a child, and the memories of that place which have been revived by returning there as an adult.
Gawain Barnard investigates the wildfire burning in Wales which occurs yearly in ‘Boredom for Burning’. He focuses on small details of the remains after the fires, bringing back memories of his youth. He says ‘The landscape of youth is laden with memories………our place of youth, our ‘home’ and the memories created during this period, for better or worse can create an embedded sense of place and can go some way in self-defining our later life attitude.’ (Barnard, 2013).
Keith Arnatt has utilised ideas from both these of groups with two series that are linked to his local area. The series ‘Walking a Dog’ (Tate, 2010b) is a collection of 40 out of 200 photos taken in his local area of people and their dogs in a standard pose taken in 1976 -1979. The number of images form a work that makes a comment on society and people and points up the oft remarked similarities between dogs and their owners. He later showed a further series based in his local area ‘Pictures from a Rubbish Tip’ (Tate, 2010 a) 1988–9. This shows close-ups of rubbish from a local tip. Although these are factual images the way they are taken gives the series a feeling of an abstract composition.
John MacLean has taken a fascinating twist on this approach in photographing the hometowns of artists and photographers that he is inspired by, looking for what has, in turn, inspired their work. He says ‘It’s about escaping the hometown to spending all our time exploring, only to find ourselves back there once again’ (Pantell, 2017).
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Barnard, G. (2013). Boredom to Burn. [online] Gawainbarnard.com. Available at: http://gawainbarnard.com/photo_13162026.html [Accessed 25 Mar. 2017].
Cotton, C. (2015). The photograph as contemporary art. London: Thames & Hudson.
Dearden, V. (2014). Welcome to Venetia Dearden’s Website – Somerset Stories Fivepenny Dreams. [online] Venetiadearden.com. Available at: http://www.venetiadearden.com/en/somerset_stories_fivepenny_dreams.html [Accessed 25 Mar. 2017].
Karenknorr.com. (2014). Belgravia | Karen Knorr. [online] Available at: http://karenknorr.com/photography/belgravia/ [Accessed 25 Mar. 2017].
Pantell, C. (2017). Hometowns. British Journal of Photography, (7857), pp.60-74.
Purdyhicks.com. (2017). Tom Hunter Porfolio at Purdyhicks Gallery. [online] Available at: http://www.purdyhicks.com/display.php?aID=10 [Accessed 25 Mar. 2017].
Tate. (2010). Pictures from a Rubbish Tip, Keith Arnatt 1988 -9 | Tate. [online] Available at: http://www.tate.org.uk/art/artworks/arnatt-pictures-from-a-rubbish-tip-t13169 [Accessed 25 Mar. 2017].
Tate. (2010). Walking the Dog, Keith Arnatt 1976 -9 | Tate. [online] Available at: http://www.tate.org.uk/art/artworks/arnatt-walking-the-dog-t13064 [Accessed 25 Mar. 2017].
Tate.org.uk. (2009). Roni Horn aka Roni Horn: explore the exhibition, room guide, room 10. [online] Available at: http://www.tate.org.uk/whats-on/tate-modern/exhibition/roni-horn-aka-roni-horn/roni-horn-aka-roni-horn-explore-exhibitio-22 [Accessed 25 Mar. 2017].
Taylor, J. (2013). Photography and Nostalgia – WeAreOCA. [online] WeAreOCA. Available at: https://weareoca.com/photography/photography-and-nostalgia/ [Accessed 25 Mar. 2017].