"Adult Females Attack Without Provocation"

Bob Carlos Clarke: Wall To Wall
8th May to 3rd July 2009

It’s a bit late in the day for me to be talking about this exhibition, I confess. I first learned of the existence of The Little Black Gallery, The Bob Carlos Clarke Foundation and this exhibition about two weeks ago, almost by accident. If I’m honest, I felt a little hurt and a little cheated that nobody had thought to tell me, what with me being Bob’s biggest fan. Then I sat down to write this article and realized the reality is that, in spite of my claim to be a huge, HUGE fan, I actually know very little about Bob Carlos Clarke.

I first became aware of his work back in the 80s when I opened a magazine and was knocked sideways by this magnificent full-page advert, which I believe was for Russell & Bromley. It was black and white, a rear view of two gorgeous models dressed completely inappropriately for the location (apparently a London street) and with their hands provocatively placed on each other’s backsides. I can’t swear that I have all the elements of this spot on (it was a long time ago!) but I can tell you this; I was completely blown away by the image. The photograph was supposed to be an advertisement, but what I saw was art, pure and simple. Shortly after this, Bob’s work was featured in a photography magazine article and I realized that I had seen quite a few of his images without knowing his name.

The magazine article promoted his new/forthcoming book, “The Dark Summer”, so I’m guessing this was around 1984/85. I headed into town (several towns, in fact) to see if I could buy a copy, without luck. Eventually, I found a book shop with one member of staff who had actually heard of Bob Carlos Clarke and I decided to order the book. Of all my photography-related books (I have about 60), “The Dark Summer” is still my favourite. No-one and nothing has excited me or inspired me (photographically speaking) like the creations of Bob Carlos Clarke.

“To qualify as a legend, get famous young, die tragically and dramatically and never underestimate the importance of your iconic photographs.”

Bob Carlos Clarke

His images have often been quite challenging for the viewer; my wife (who is very open-minded) recently gave me a copy of “Shooting Sex” for my birthday and her face was the very definition of “confusion” when she opened the book to browse. I like to think that Bob would like that. I remember reading that he was fed up with people telling him how great his photos were and he wanted to push the boundaries to see if people would ask him what the hell he was thinking!

“Bob Carlos Clarke: Wall to Wall” is the first retrospective of his work, three years after his death, featuring pictures from his 30 year career, including some which have never been seen or made available for sale before. The exhibition also coincides with the publication of the biography “Exposure: The Unusual Life and Violent Death of Bob Carlos Clarke” written by award winning writer Simon Garfield (Ebury Press, 14 May 2009).

Reading an extract from the book is one of the reasons I have not tried to fill this article with “facts” – most of what I thought I knew, I don’t. And what I have learnt over the last few weeks can best be told by those who really know.

Held at The Little Black Gallery and put on in association with The Bob Carlos Clarke Foundation, the exhibition runs until the 3rd July 2009 (like I said, a bit late for me to be covering it!). If you can get there, do. If not, I’m making it my personal goal to bring news of the gallery’s future exhibitions to the attention of as many people as possible, so be warned!

During my first contact with Ghislain Pascal, Bob’s long-term agent and friend, I have to admit to a small amount of fawning and sycophancy. I couldn’t help it, but I feel a bit embarrassed now; I mean, I’m not exactly a star-struck teenager (I wasn’t exactly a teenager in 1985 either, for that matter!). But we got past that, I’ve pulled myself together and we managed to have a proper chat.

“I first met Bob in 1996 when he photographed one of my clients, Tamara Beckwith, on the roof of Whiteleys shopping centre for an editorial shoot.  I became friends with him and Lindsey and have been ever since.

Tamara and Bob and Lindsey had been friends for years… in fact ever since Tamara was about 17/18 when Bob was the only photographer that all the London girls wanted to be photographed by!  At the time of Bob’s death they were neighbours on the same street in Chelsea.

We remained friends for years and he photographed all of my clients, as I owned a celebrity management company.  Bob naturally became our photographer of choice for all shoots!  Then years later Bob and I set up a picture agency together (Panic Pictures) to syndicate all his images.  I then became his agent.

Lindsey and Bob had talked about owning a gallery for years.  After Bob’s death, Lindsey and I got fed up with dealing with other galleries and dealers around the world to sell Bob’s work and decided to open our own gallery.

The primary aim of the foundation is to promote the work of Bob.  But the secondary aim is to support young photographers through an annual photographic competition with the winning entries being exhibited in the gallery.  Once the gallery is more established we will do this.”

I struggled, searching for a good title for this article. I wanted to get across just how big an influence Bob has been on me. So why only “possibly my ultimate photographic hero”? Because something tells me Bob Carlos Clarke would have thought me a complete tosser for saying it.

I’d like to thank Ghislain for taking the time to answer my questions and for granting permission to show Bob’s pictures on TDM.

The Little Black Gallery

The Little Black Gallery was opened in November 2008 by Lindsey Carlos Clarke, Ghislain Pascal and Tamara Beckwith and has had several critically acclaimed exhibitions. These shows have exhibited a diverse range of photographers including both well known and up and coming photographers. The gallery also has a “Bob Carlos Clarke” room holding a rotating exhibition of the legend’s work.

The Bob Carlos Clarke Foundation

The Bob Carlos Clarke Foundation was set up following Bob’s death in 2006 by his wife Lindsey, daughter Scarlett, and agent Ghislain Pascal. Its primary objective is to promote the work and memory of Bob Carlos Clarke. One of its other aims is to support young photographers by holding an annual photographic competition in association with The Little Black Gallery. All profits from this catalogue will be donated to The Bob Carlos Clarke Foundation.

Philip Townsend by Kate Cross

Words such as “awesome” and “genius” are, in my opinion, used a little too freely. So I have given much careful consideration before using the word “genius” to describe Philip Townsend. For the moment you are going to have to trust me on this, but I intend to back it up – the man is pure genius!

As a child of the Sixties and the youngest of four siblings, I recognize many of Philip’s images and recall the excitement they brought about; my sister going all dizzy over The Beatles; my elder brothers getting all rebellious and growing their hair like the Rolling Stones. Having been fortunate enough to be invited to the launch party of Philip’s new book “Sorry You Missed the Sixties” at the Photographers Lounge in Swanage, I relished the opportunity to study some of these original prints up close. I spent a lot of time (and money!) honing my own darkroom skills, but it still gives me the shivers to see the product of a true master.

I converted to digital quite a few years ago and confess to being completely happy with the qualty I can achieve (although I didn’t confess that to Philip when we were chatting – sorry). However, there is undoubtedly a quality, a warmth and a depth to silver gelatin prints from film that just isn’t there with digital. Digital is, perhaps, a little too perfect sometimes; a little too clinical. Philip’s prints are not all technically perfect (it’s okay, this is something we did discuss!) and I feel this is a big part of what makes them so brilliant; they are real and warm and deep and fascinating and packed with charm, life and character.

Then there is the man himself. As Kate Cross of the Photographers Lounge put it:

“And what an incredible man he his… full of the most unbelievable anecdotes… we are trying to persuade him to write his autobiography, it would be one of the most informative, entertaining and colourful memoirs ever..! Was there really anyone he didn’t meet/photograph in the 60′s?! “

I couldn’t agree more. I only got to speak to Philip for quarter of an hour or so, but what a privilege. My favourite moment was when I asked him how it feels to have photographed the Rolling Stones before they made it big:

“It was interesting. I had to drive them everywhere in my car. And buy them chickens.”

All without a hint of irony.

I am really pleased that Kate managed to secure the book launch – on the surface it would seem surprising that a small, ordinary gallery in a little seaside town in the south of England should be able to host such an event. However, spend ten minutes in the gallery talking to Kate and you will know that it may indeed be small, but it is in no way ordinary.

I believe there are still some signed first editions of Philip’s book at the Photographers Lounge so get along there and get one if you can.

Best of all is that Philip and I discussed the possibility of an exclusive interview for The Decisive Moment and he agreed it should happen. I really, really can’t wait.

I managed to sneak away from the beach during Easter’s family visit to Swanage and popped round to the Photographers Lounge. After fifteen minutes or so of chatting with Kate, apart from leaving with the usual inspiration to grab the camera and go be creative, I also learned some exciting news…

The Philip Townsend Archive, a collection of photographs taken by celebrated 60s photographer Philip Townsend, documenting Sixties London in full swing and capturing some of the most iconic faces of the era, will make a rare public appearance at the Photographers Lounge in Dorset throughout June and July 2009. His unique collection of shots includes rock stars, society darlings, models and the political movers and shakers of the day. The rescued works, hidden for forty years, are now being sought by magazines and newspapers throughout the world, by galleries like the National Portrait Gallery, and by collectors. The reason is simple: Philip Townsend’s pictures are the Sixties.

While other photographers took portraits, often closely cropped, Townsend instinctively widened his frame to include backgrounds, landscapes and the sheer feel of the period. A fine example is his portfolio of the fledgling Rolling Stones, including their first ever photo sessions in March 1963, when they were broke and hungry, without a recording contract: a band not yet on the run. Townsend bought the young band barbecued chicken and set about fostering the semi-delinquent image which they still cultivate today: through his percipient lens, we see the Stones slouching in an underpass, unsmiling and menacingly backlit, or tilted at a surreal angle against a wall, or inhabiting beer benches outside a pub in Earls Court.

As the Sixties swung and Britain subverted the old order, Townsend continued to record all the prime people of the time. He moved effortlessly into this nascent world, photographing the Beatles many times, most memorably their first encounter with the Maharishi Mahesh Yogi in 1967. He documented the peacock gear they wore, the sleek cars they drove, and the aeroplanes that flew them to fresh horizons.

At the age of 20, based in the South of France, Townsend photographed the beautiful people who wintered and watered on the Riviera: Prince Rainier and his Hollywood wife, Princess Grace; a rare photo of Sir Winston Churchill with Aristotle Onassis; Marlon Brando and Joan Fontaine. Years later, when the sixties were losing their swing, he returned to capture a memorable shot of a visibly out-of-love Richard Burton at a party with Elizabeth Taylor. Other celebrities of the era who received the Townsend treatment were Twiggy, then a very young ingenue model in the hands of her manager and boyfriend Justin de Villeneuve; Charlotte Rampling, cool and miniskirted; Princess Alexandra dancing with Marlon Brando; comedian Frankie Howard on a skateboard, and Yuri Gagarin, the first man in space.

The exhibition of limited edition silver gelatin prints is also timed to co-incide with the release of Townsend’s first published book, ‘Sorry You Missed the Sixties: A Collection of Limited Edition Photographs from The Philip Townsend Archive 1960 – 1970′. The book chronicles much of Townsend’s archive, and is an impressive reflection of not just his work but an observation on the 60′s pioneering optimism.

The photographer will be present from 12.00 noon at The Photographers Lounge on Saturday May 23rd for the launch of the exhibition and book-signing.

The exhibition reinforces the growing reputation of the Photographers Lounge, a commercial gallery situated on the Dorset coast in Swanage. The Photographers Lounge is established as one of the UK’s foremost photography galleries, and it exhibits work by both emerging and established photographers, as well as stocking a wide range of photographic prints, cards and books. It also curates and hosts the Open Shutter competition, where upcoming photographers can win the opportunity to have their work exhibited in the Photographers Lounge gallery.

For further information view the website at www.photographerslounge.co.uk or email info@photographerslounge.co.uk.

“A treasure trove of rock history” The London Times

“An amazing archive of evocative images that have been hidden for 40 years” Sunday Express

“One of the World’s most celebrated showbiz photographers”
The Daily Mirror

“Philip Townsend, one of the era’s most acclaimed photographers” Yorkshire Post

“Philip Townsend, world class portrait photographer” GQ

Acquisition and exhibition of a leading name in the Swedish history of photography.

From 15 January to 30 August 2009 the Nationalmuseum in Stockholm will be exhibiting portraits by Hans Hammarskiöld. Born in 1925, Hammarskiöld is one of the leading names in Swedenâ??s photographic history and his work is internationally recognized. During his lifetime he has undertaken varied roles and has worked in most genres of photography. In the 1950s, for example, he contributed to the fashion magazine Vogue. In conjunction with the coming exhibition, the Swedish National Portrait Gallery has acquired a number of Hammarskiöldâ??s photographic portraits and, accordingly, the focus of the exhibition is on portraiture.

A survey of Hammarskiöldâ??s oeuvre testifies to his range as a photographer with a diversity of artistic expression. There are examples both of a conventional approach and of an experimental bent. The portraits in the exhibition include royalty and noted figures from the arts, all the subject being Swedes with the exception of his American photographic colleagues.

The exhibition will be shown in the Prints and Drawings Gallery on the ground floor. Admission is free.

Exhibition curator:
Eva-Lena Karlsson, elk@nationalmuseum.se, +46 (0)8-5195 4430
Exhibition producer:
Magnus Olausson, mon@nationalmuseum.se. +46 (0)8-5195 4371
Further information:
Anna Jansson, ajn@nationalmuseum.se, +46 (0)8-5195 4452

Picture credits:
Self portrait, Hans Hammarskiöld. 1956/1995. © Nationalmuseum.
Rudolf Nurejev (1938-1993), dancer, choreographer. Hans Hammarskiöld, 1967. © Nationalmuseum.

Editor’s Comment

I love the dark, grittiness of these portraits. His portraits are not always flattering to his subjects (in my opinion), but I get a strong feeling that he captured more than a little of the essence that made that person who they were. If I could get to Sweden to see the real thing I would be there like a shot!

Apparently Hans is still actively taking photographs, mainly working with film rather than digital.

My thanks to Anna Jansson for bring this work to my attention.

One of the best ever Internet inventions, for me at least, has to be StumbleUpon. Recently whilst using StumbleUpon, I have become aware of an increasing number of Russian photographers and photographic sites. Unfortunately, much of the content of the sites is fairly inaccessible to me (I don’t read Russian), but a lot of the images are monochrome which is of particular interest to me.

Today I found myself browsing the site of Michael Tarasov. I have never heard of him before and I don’t know whether he is professional or enthusiast, whether he is well known or virtually undiscovered. His website asserts copyright for 2006, so he would appear to have been around for a while, but whether he is still active, I couldn’t say. His site provides little information, other than it being the “official website of the Russian beauty photographer, Michael Tarasov”.

Anyway, have a look at some of Michael’s photographs and see what you think. Personally, I love it. If you know or find out anything about him please let me know.

I often spend hours studying his photographs and love to read about how he achieved his awe inspiring photos.

I can’t tell you how excited I am to have found an interactive presentation of a selection of his Yosemite photographs with narration supplied by his former assistant Andrea Stillman. Itâ??s enlightening, very entertaining and if youâ??re even the slightest bit interested in Anselâ??s work you should head on over and take a look:

Ansel Adams’s Yosemite – by The New York Times.

Be inspired.

In 1954, Robert Capa died still believing that the negatives he left behind in his Paris studio when he fled the Nazi invasion had been lost forever.

The New York Times has published the story of how Capa’s negatives resurfaced and the implications of the discovery. One of the most intriguing elements of the story is the question of whether Capa’s arguably most famous photograph (Death of a Loyalist Soldier) was actually “faked” and the hope that these negatives may answer this once and for all.

It is a fascinating story.

Okay, so this is not actually a book review, on account of the book not yet being published. But I’m really excited with the anticipation of getting my hands on a copy the second it is available. I’m hoping I can pass the excitement on to a few more people.

Karsh was (in my humble opinion) a true master of the art of portrait photography. His images of such icons as Churchill (Karsh took away his cigar!) and Einstein (in a sweater!) are sublime. I choose these two examples because the photographs are icons in their own right, making them almost icon squared, if you see what I mean.

I’m always a little envious of those who have the opportunity to photograph such universally recognizable people, but I don’t believe that makes it any easier to take a brilliant portrait. If anything, it probably makes it even harder, with expectations being that much higher.

Anyway, Karsh – right at the top of the heap (with a few other heroes), so do yourself a favour and get hold of this book as soon as you can. And someone, somewhere, put on an exhibition of his work and let me know about it.