Chris Killip: 1946-2020

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David Alan Mellor, No such thing as society: Photography in Britain 1967–87: From the British Council and the Arts Council collection. Can memory ever be made real or is a photograph sometimes the closest we can come to making our memories seem real. There’s no filter, there’s no posing, there’s none of that, ‘Let’s prepare for the moment to be photographed.

Stunning North East photographs celebrate the work of the Stunning North East photographs celebrate the work of the

The following year he was given a two-year fellowship by Northern Arts to photograph the north-east. For the next few years, Killip worked at night in his father’s pub and, by day, travelled the island shooting his first series of landscapes and portraits. Killip’s first monograph was Isle of Man (published by Zwemmer in 1980, and republished in a much-expanded edition as Isle of Man Revisited by Steidl in 2005), a series of portraits that drew on his intimate knowledge of the island where he himself grew up, photographing its people, and its fast-vanishing traditional life.Shortlisted, Deutsche Börse Photography Foundation Prize, for his exhibition What Happened – Great Britain 1970–1990 at Le Bal in Paris. Miranda, " Seven photos, seven stories: Chris Killip on capturing the declining industrial towns of England in the '70s and '80s", Los Angeles Times, 21 July 2017. In the early 80s, for instance, he got to know several young men in the isolated village of Skinningrove on the North Yorkshire coast before he photographed them passing time by mending their small fishing boats or staring out to sea.

Chris Killip’s Enduring Connection With the People he Chris Killip’s Enduring Connection With the People he

He was very particular about who he allowed to exhibit or publish his work’ he was reluctant to hand it over to just anyone.

Réhahn discusses his groundbreaking new photographic series ''Memories of Impressionism,'' his artistic journey during and after Covid, and how modernity can draw inspiration from the past.