Seldom do people get to see the tentative works of artistic heavyweights, those made while learning their chosen craft, especially if they were born in the pre-social media era. We fear that these early experiments will be crude, naïve, immature or unrepresentative, and that they will shatter the image we’ve conjured of the mastermind behind them.
Yet that’s for the better. It reminds us that renowned artists have journeyed to be where they now are, that their work is the sum of unique experiences.
This, at least, is how Martin Parr views the photographs he made in the 1970s as a student at Manchester Polytechnic (now Manchester Metropolitan University) and, after three years of training, as a recent graduate. He looks back at them “with affection,” he said. “It helps me remember the times and places I lived through.” However, because he’s become so well-known, they are more than images from a curious 20-year-old. Displayed in “Martin Parr: Return to Manchester” at the Manchester Art Gallery, these early projects, mostly in black and white, speak to both the transformation of the northern English city and the evolution of the photographer who took them.
“Sometimes an old photograph, an old friend, an old letter will remind you that you are not who you once were, for the person who dwelt among them, valued this, chose that, wrote thus, no longer exists,” Rebecca Solnit wrote in “A Field Guide to Getting Lost,” an ode to uncertainty. “Without noticing that you have traversed a great distance, the strange has become familiar and the familiar if not strange, at least awkward or uncomfortable.”
The series Mr. Parr made in Prestwich Mental Hospital in 1972 relates since it stands as an outlier, even though he saw it as the moment when his photography “really took off.” The images of the patients, both playful and perturbed, are endearing thanks to the rapport he established with them to better understand those often shunted to the margins.
He could have become a humanist photographer, dedicated to social justice. Instead, as we now know, he has been consumed with the absurdities of British life. There are inklings of what would become his signature, like the image of Miss Prestwich 1971 and 1972, both wearing a garland necklace and Christmas ornaments for earrings, and compositions that are as much about the people as they are about the décor.
His fascination for the quirky and kitschy is clear in other works from the same time. In “June Street,” in which he collaborated with his classmate Daniel Meadows, he made portraits of families living along the road that resembled the one from the British sitcom “Coronation Street.” Taken in each household’s front room, with their patterned walls and carpets, ceramic fireplaces and assortment of pictures and knickknacks, they are relics of a bygone style.
Along those same lines, “Love Cube” and “Bopper Girls” lightheartedly examine how clothing expresses identity. The former was conceived as a game: Nine couples were photographed, apart and together, with the goal being to match each individual to their partner relying on cues from their attire. Frankly, it is more challenging than expected. The man in a three-piece suit with long bushy sideburns is dating the woman with polka dot bell-bottoms. The demure lady in a pristine white coat is going steady with a chap with long hair and a leather jacket. Apparently, the key, Mr. Parr reveals, is to look at how wet the pavement is in the photos. The rain was letting up as he was shooting.
Did he feel free to explore a range of subjects and genres as a student? “All these ideas just came to me; it was just intuitive,” he said. This attitude is perhaps why, although they were made almost 50 years ago, most of the images feel consistent with what Mr. Parr is known for, profound social commentary hidden behind ebullient scenes.
Over the years, he’s gone back to his old home to report on the changes. It started in 1986, when the Documentary Photography Archive asked him to look at consumer culture in nearby Salford, where supermarkets and shopping centers went head-to-head with mom-and-pop stores. The color images are quintessential Parr: where hues, gestures and expressions collide to highlight the farcical. He returned in 2008 and 2018, ahead of the current exhibition, both times focusing on expressions of the city’s economic shifts.
As a whole, his work traces an industrial town’s transformation into a 21st-century hub. An early set, made in 1982-83, documents social rituals at an all-day pub: men in suits reading the paper, a jolly senior woman raising her skirt, a younger one playing a song on the jukebox. The pub still exists, but it doesn’t appear in any subsequent series. “They are a mere shadow of their previous selves,” Mr. Parr said.
Speaking about the value of documentary photography given the ephemeral nature of the mundane, he said, “I’ve always believed in this concept, but probably more so as I have got older.” Here’s where Ms. Solnit’s reflections again ring true, albeit in a different direction. Toward the end of the book, she mused: “Some ideas are new, but most are only the recognition of what has been there all along.” Looking back at Mr. Parr’s early work reveals just how much has been there all along, how he’s always been dedicated to making us contemplate the strange in what we assume is ordinary.
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今晚04期出什么生肖【燕】【娇】【娇】【的】【婢】【女】【骂】【道】：“【你】【们】【简】【直】【大】【胆】，【我】【家】【贵】【人】【好】【心】【好】【意】【过】【来】【看】【月】【贵】【人】，【你】【们】【还】【敢】【拦】【着】，【要】【是】【顶】【撞】【了】【我】【家】【贵】【人】，【龙】【嗣】【有】【个】【什】【么】【闪】【失】，【到】【时】【候】【你】【们】【担】【当】【得】【起】【吗】！” 【楚】【月】【带】【着】【琥】【珀】【跟】【喜】【鹊】【出】【来】【的】【时】【候】，【就】【刚】【好】【听】【到】【这】【话】。 “【燕】【贵】【人】【现】【在】【倒】【是】【好】【本】【事】，【怀】【上】【龙】【嗣】【就】【来】【我】【未】【央】【宫】【耀】【武】【扬】【威】【了】。”【楚】【月】【晲】【着】【她】【说】【道】。 【燕】
【李】【想】【顿】【住】【了】【脚】【步】，【倒】【不】【是】【因】【为】【那】【份】【众】【魔】【套】【装】【的】【部】【件】，【而】【是】【他】【异】【常】【反】【感】【别】【人】【调】【查】【他】【的】【底】【细】。 【从】【玩】【家】【大】【楼】【离】【开】【到】【这】【里】，【他】【还】【没】【使】【用】【众】【魔】【右】【臂】【战】【斗】【过】，【消】【息】【就】【已】【经】【传】【递】【到】【了】【别】【人】【这】【边】，【果】【然】【在】【这】【个】【世】【界】，【就】【没】【有】【任】【何】【隐】【私】。 “【不】【敢】【打】【么】？”【威】【廉】【一】【声】【爆】【喝】，【身】【上】【的】【肌】【肉】【不】【断】【坟】【起】，【整】【个】【人】【又】【庞】【大】【了】【一】【圈】。 【难】【以】【相】【信】
【于】【白】【不】【易】【而】【言】，【这】【件】【事】【情】【成】【了】【他】【人】【生】【的】【一】【次】【分】【水】【岭】。【经】【过】【几】【个】【昼】【夜】【闭】【关】【施】【法】【之】【后】，【白】【谨】【言】【等】【人】【终】【于】【从】【祖】【坛】【走】【了】【出】【来】。【那】【原】【本】【红】【润】【的】【脸】【庞】、【挺】【拔】【的】【身】【材】【仿】【佛】【一】【下】【子】【苍】【老】【了】【很】【多】，【白】【净】【的】【脸】【上】【还】【挂】【着】【一】【丝】【不】【易】【察】【觉】【的】【悲】【容】，【同】【时】【更】【多】【了】【一】【些】【杀】【伐】【之】【意】，【表】【情】【果】【决】。 “【爷】【爷】【查】【到】【了】【我】【父】【亲】【的】【下】【落】【没】【有】？” 【白】【不】【易】
【很】【多】【女】【生】【都】【会】【问】【为】【什】【么】【明】【明】【在】【谈】【恋】【爱】【之】【前】【我】【觉】【得】【我】【是】【一】【个】【特】【别】【理】【智】、【洒】【脱】【的】【人】。【但】【是】【谈】【恋】【爱】【之】【后】【我】【就】【变】【成】【了】【一】【个】【易】【燃】【易】【爆】【炸】【的】【女】【孩】【子】【呢】？【单】【身】【的】【时】【候】【看】【到】【别】【的】【女】【孩】【子】【谈】【恋】【爱】【感】【觉】【她】【们】【特】【别】【作】，【可】【是】【到】【了】【自】【己】【的】【时】【候】【也】【是】【变】【得】【特】【别】【矫】【情】。【难】【道】【爱】【情】【对】【一】【个】【女】【孩】【子】【的】【影】【响】【真】【的】【有】【这】【么】【大】【吗】？【恋】【爱】【密】【室】【在】【这】【里】【为】【您】【分】【析】：【在】【感】【情】【中】【女】【生】【都】【是】【特】【别】【感】【性】【的】【动】【物】，【而】【男】【生】【则】【特】【别】【理】【性】。【所】【以】【女】【生】【相】【对】【于】【男】【生】【来】【说】【异】【常】【的】【容】【易】【被】【情】【绪】【所】【控】【制】。【所】【以】，【在】【恋】【爱】【的】【过】【程】【中】，【女】【生】【需】【要】【明】【白】【这】【些】【事】。今晚04期出什么生肖“【还】【好】，【有】【吃】【有】【穿】【的】，【饿】【不】【着】。”【四】【爷】【笑】【笑】，【长】【途】【奔】【波】，【又】【在】【宫】【里】【呆】【了】【几】【日】，【现】【在】【的】【四】【爷】，【疲】【惫】【的】【很】，【眼】【下】【都】【是】【青】【黑】【色】。 【如】【果】【不】【是】【心】【里】【念】【着】【眼】【前】【的】【人】，【也】【不】【会】【撑】【到】【现】【在】。 【说】【了】【几】【句】【话】，【站】【着】【就】【给】【睡】【着】【了】。 【叶】【眉】【一】【惊】，【扶】【着】【四】【爷】【把】【人】【安】【置】【床】【榻】【上】，【拿】【着】【毛】【巾】【擦】【拭】【一】【下】【四】【爷】【的】【脸】。 【轻】【轻】【的】【胡】【茬】【冒】【出】【来】，【已】【经】
【德】【思】【礼】【一】【家】【目】【光】【呆】【滞】【地】【坐】【在】【那】【里】，【尤】【其】【是】【弗】【农】，【一】【脸】【的】【颓】【然】。 【不】【得】【不】【说】，【似】【乎】【老】【天】【注】【定】【德】【思】【礼】【一】【家】【没】【法】【离】【开】【女】【贞】【路】【四】【号】—— 【即】【使】【脾】【气】【再】【好】【的】【人】，【被】【莫】【名】【其】【妙】【地】【糊】【了】【一】【身】【奶】【油】【蛋】【糕】，【也】【不】【会】【无】【动】【于】【衷】，【更】【何】【况】【梅】【森】【夫】【妇】【这】【样】【明】【显】【身】【居】【高】【位】【惯】【了】【的】。 【多】【比】【被】【认】【为】【是】【德】【思】【礼】【一】【家】【准】【备】【的】【即】【兴】【节】【目】，【但】【显】【然】，“【节】【目】
【没】【在】【说】【话】，【现】【在】【的】【他】【已】【经】【不】【知】【道】【该】【说】【什】【么】，【对】【于】【系】【统】【的】【监】【视】，【林】【雷】【只】【能】【认】【同】，【毕】【竟】【已】【经】【接】【受】【任】【务】【若】【是】【将】【任】【务】【推】【掉】，【还】【不】【知】【道】【会】【发】【生】【什】【么】【事】【儿】【呢】。 “【算】【了】。” 【猛】【的】【摇】【头】，【好】【似】【想】【要】【将】【那】【些】【烦】【恼】【的】【事】【情】【全】【都】【抛】【掉】【似】【得】。 【目】【光】【重】【新】【凝】【聚】，【抬】【头】【看】【向】【台】【上】，【林】【雷】【隐】【约】【感】【觉】【道】，【在】【那】【块】【黑】【布】【之】【下】，【一】【个】【心】【跳】【声】【隐】【约】【在】【整】