22 July 2014

Chris Killip

"MA: Your work often has a political undercurrent - if not an explicit acknowledgment of the political situation.

CK: Well, it would, wouldn't it? I mean, I was living in the industrial community of Newcastle, starting in the mid-1970s. I remember the editor of the Saturday magazine of the Sunday Telegraph asking me to photograph the men from the miners' strike. I didn't want to do the story for them because it is such a right-wing newspaper. He asked me which side was I on? I was quite shocked by the question. It had never occurred to me that I could be on anything other than the side I was on!

MA: But including political elements in your work is not about picking sides; it's about openly saying that your work, your worldview, is conditioned by historical forces.

CK: It was natural. I had no wish to deny it. I was also influenced by John Berger's TV program Ways of Seeing. I was so excited by that. I was just trying to understand then that no matter what you did, you inevitably had a political position. How declared it was was up to you, but it was going to be inherent in the work, and it was something you should think about as a maker. I never worried about my position in the art world. I thought time and history would ultimately judge me, that my job was to get on with it, to make the work and to make it wholeheartedly from what had informed me."*
 In The NYRB this week is this brief notice about a new short film - Skinningrove (2013) - made by Michael Almereyda about his friend photographer Chris Killip and his work. You can find the movie in its entirety (approximately 15 minutes) here. I have posted on Killip here several times before. The exchange above, from a 2012 interview Almereyda did with Killip will offer some insight into why I so much like his work.
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* From: "The Past and Other Countries: Chris Killip in Conversation with Michael Almereyda,' Aperture  (Fall 2012, Issue 208) [Link].

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