#soniaboyce

Martin Parr

Today at the Manchester City Art Gallery, I saw numerous exhibits and interesting pieces of art. I found the Martin Parr exhibition very interesting, it surrounded his photography throughout his life, beginning with his photography from the 1970’s on wards.

He begun by displaying photographs of social meetups such as pubs in Manchester, showing a somewhat Flaneur approach, merely observing his subjects. It displayed his work in various series’ o the walls, to represent Parr’s transgression through different styles and techniques. Also presented was his series photographing the families of June Street, or ‘Coronation Street’. Parr humanised the families to show them as more than just the houses they lived in, as they were subject to being knocked down soon after. Seeing his collection of ordinary families gave me an insight to how people of the era lived, all photographed in their living rooms, perhaps chosen by Parr as it is sometimes regarded as the most social area of the house. His work is crucial in ensuring significance behind photography, successful in carrying underlying meaning throughout his work. As an addition to this, Parr also made a series reflecting the inside of a Mental Hospital, a taboo subject of the time. This would help in challenging society's view of not only the hospital, but also it’s patents, as Parr depicts them as ordinary people within his images.

Parr’s work continues to the present day, currently aged 66, the photographer continues to push boundaries with his work. As some of which was also show in his exhibition. I found that seeing this exhibition gave me a greater appreciation for photography, witnessing first hand its significance in revealing parts of life not often shown to the public eye, and how this can affect societal views.

Sonya Boyce

I was also lucky enough to have a guide through Manchester City Art Galleries other art works, which held a less contemporary edge. Holding numerous Victorian, Pre-Raphaelite and Renaissance paintings, one particularly shone out as it has recently gained a new modern identity.

The piece titled ‘Hylas and the Nymphs’, John William Waterhouse, 1896 depicts seven prepubescent girls enticing ‘Hylas’ (who, according to some greek Mythology, was in fact Hercules’ companion and lover) into a pond, and ultimately, to his death. The piece was removed from the Gallery on the 26th January 2018 without explanation. It was then revealed that the removal of the painting was in fact a political performance piece, by OBE RA British Afro-Caribbean artist Sonia Boyce. The whole point of doing this was to create conversations debating the lack of diversity within the piece, and also questions surrounding a feminist position, most importantly “It was about giving people a say in what’s on show” [Boyce, 2018].

When reading the painting critically, we would have to separate our views to both a modern perspective, and one from the late 19th century. When reflecting on the piece as if in the 1890’s, it could be argued that the modern day challenges of the painting wouldn’t be considered as significant or problematic. However, it is key that the concept of the painting is analysed, and questions surrounding Waterhouses intentions arise.