Chloe Dewe Mathews has spent half a decade documenting life along the River Thames. In a new FullBleed film, produced in association with British Journal of Photography and the Museum of London, the photographer sheds light on the project
“The media still love to use grime as a buzzword but drag down the artists that keep it going”
“This trace of communication, this Derridean postcard, started me on a journey to capture the immersive and lyrical potential of London”
Shadowing a London graffiti crew for one year altered Marc Vallée’s perception of the place he calls home
London-based collectors Claire and James Hyman have donated 125 photographs to the Yale Center for British Art, gifting key works by leading figures in British photographic history – including Bill Brandt, Bert Hardy, Roger Mayne, Tony Ray-Jones, Martin Parr, Chris Killip and Anna Fox – to the 44-year-old institution in New Haven in the US. It’s a move that could be interpreted as a damning indictment of UK institutions’ commitment to collecting British photography – particularly as, the last time BJP caught up with James Hyman (our May 2015 issue), he said building such collections has been “left to private individuals, and it shouldn’t have been”. In the same interview Hyman also singled out Birmingham Library and its curator of photography collections Peter James for praise – yet in the intervening time, both the photography archive and James’ job have fallen victim to funding cuts. But Hyman says the donation should be viewed in a positive light as evidence of the growing interest in British photography abroad – an interest which may spark more commitment in the UK.
“Individually these photos represent the moment that we crossed paths, but collectively they represent my portrait of London – a confident city, a city of the future, a city I call home,” says Niall McDiarmid, who has been shooting portraits on the streets of Britain’s capital for the last six years.
Christina Broom was Britain’s first female press photographer, breaking out of the photographic studios that women in the profession were confined to. Supporting herself professionally by selling her images as picture postcards (growing rapidly in popularity at the time), she also documented London views and noteworthy events. Her images, taking in parades of First World War soldiers, Suffragette processions, royal occasions and sporting events provide a unique snapshot of life in early-20th Century London. One hundred years later, a new exhibition of her works at the Museum of London Docklands reveals the story of the self-taught novice who turned photography into a business venture to support her family. We spoke to Anna Sparham, Curator of Photographs at the Museum of London about Broom’s pioneering career. How did a civilian woman obtain the role of photographer to the Household Division of the British Army? Her role was instigated by an event in 1904 when Broom and her daughter were out photographing the streets and stumbled across a Scots Guards sports event taking place in Burton Court, Chelsea. The …