Minneapois Institute of Arts
New Pictures at the Minneapolis Institute of Arts

ENTRY POSTED Mar 26, 2012

New Pictures 6: Martin Parr

Alec Soth, who wrote an article last month on Martin Parr’s recent sojourn to Minnesota, also wrote a piece in late 2011 speculating on photographers’ peak creative years.  Martin came across the blog and responded, in part:

“You need that raw energy and excitement that feeds into new and exciting work, associated with the 20s and early 30s. Very few achieve even that , let alone sustain this into their long careers. I once said in an interview that I thought my best work was probably behind me, and this now is quoted back to me everytime I do another interview. [...] OK we keep going , trying to be fresh, but we know too much, are too comfortable, even if you fight laziness by working hard. It doesn’t mean you cannot make a useful contribution later on, but it ain’t going to have the edge that the early work , so often delivers.”

Martin also said there are exceptions.

New Pictures 6: Martin Parr opens in a few weeks.  If you missed it, here’s a taste of the new work Parr made in Minnesota over a long January weekend, as reviewed by Curt Brown of the Star Tribune:  Frozen Face of Minnesota.

 

 

New Pictures 6: Martin Parr runs April 19th-August 5th

Category: Around Town, New Pictures, New Pictures 6: Martin Parr

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2 Responses

  1. I am excited to see the exhibit of Martin’s Minnesota images later in the year.

  2. Kazem says:

    David – Some interesting ideas on your blog; nakths for linking it (particularly keen to see Eyal Weizman’s work linked). I think the whole B/W or de-saturated versus over-saturated colour debate folds back onto a lamentably classical equation of austerity with authority. Certainly these arguments have the ring of anti-daguerrotypist fanatics seeking to defend painting along similarly rigid lines. What I find strange (and this could just be me) is that the underlying concept that informs the preference for B/W versus colour in a ‘truth-telling’ sense is that the idea retains very widespread credibility (at least in North-Western Europe, and perhaps because of the way daily news and weekend magazines use photographs)…I suppose there is a question of the theatricality of over-saturated colour (or highly saturated, like Eggleston) as against B/W. This obviously plays into notions of decorum in the face of hardship/suffering, and consequently feels like a very British complaint… Oddly though, I would have thought that an out and out sepia-toned documentary/photo-journalist image would be considered equally ‘purple’.- stanley.