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It s a nice portrait, isn t it? Warm and characterful. I love all the olde-Englishy details of the room, Jane s expression, the way she s turned her roving eyes toward the light and did you notice her camera, not at the ready but nearby and handy?
I like it. A portrait worthy of the great portraitist. Of course I like
Kevin Cummins: shooting punk, Joy Division, Oasis, Blur and many more
February 2, 2021
Kevin Cummins
Kevin Cummins was born in Manchester in 1953. He spent ten years as the chief photographer for NME, he has contributed to publications wordwide and he remains one of the UK’s foremost music and portrait photographers. See his website for more
It’s little surprise that Kevin Cummins ended up as a photographer as he received a camera for his fifth birthday present and both his father and maternal grandfather had home darkrooms. After developing his own darkroom skills at a young age he studied graphic design and photography in Salford, ‘much to my parents’ annoyance… they never thought it was a real job’.
Even though it’s been nearly three decades since I joined the
Observer, if I close my eyes I can still see my colleagues from yesteryear …
Jane Bown looking at a contact sheet by the lightbox, using her monocle eyeglass. Motorcycle couriers flirting with picture researchers. Reporters massaging the egos of alpha-male photographers, vying to become the next Don McCullin, the great photojournalist whose career began here. Men in shabby suits from now-defunct picture agencies, cigarette in hand as they hawked photo-essays from battered suitcases. The picture librarian ferrying files of black and white prints to the man who was at the centre of everything, the revered picture editor, Tony McGrath.
International Times (hereafter
Yoko Ono Water Show for one week, from May 28 through June 1.
1 The next issue of
IT, however, while still listing
Water Show as continuing through June 1, lists a new exhibition,
John Lennon and Yoko Ono: Four Thoughts, opening at Arts Lab on June 2 and continuing through June 9. Although this latter exhibition marks, as I propose, Ono and Lennon s first truly collaborative exhibition, little mention of it appears in the voluminous documentation of all things Beatles or in the literature on Ono, for that matter. Its scant representation in the literature no doubt arises from the dearth of documentation of the exhibition itself, which is somewhat surprising given the amount of attention Lennon generally received from the press as a member of The Beatles, the world s most famous pop group at the time, not to mention Ono s growing reputation as an avant-garde artist. Ono caused quite a sensation with her performances of