Paul Reas Explained

Paul Reas (born 1955) is a British social documentary photographer and university lecturer. He is best known for photographing consumerism in Britain in the 1980s and 1990s.

Reas has produced the books I Can Help (1988), Flogging a Dead Horse: Heritage Culture and Its Role in Post-industrial Britain (1993) and Fables of Faubus (2018). He has had solo exhibitions at The Photographers' Gallery and London College of Communication, London; Cornerhouse, Manchester; and Impressions Gallery, Bradford. His work is held in the collection of the British Council.

Life and work

Reas grew up in a working class family on the Buttershaw council estate in Bradford.[1] He was born and lived with four siblings in a house on Brafferton Arbor (since demolished) and was mostly raised by his mother, who also worked at Baird Television Ltd. assembling televisions, or as a cleaner.[2] (He would later remember his father as "Only ever there on Sundays and even then a sleeping, silent figure in an armchair.") He left Buttershaw Comprehensive aged fifteen and spent five years as an apprentice bricklayer with the firm of Roy W Parkin in Clayton.

He left Bradford to study documentary photography at the University of Wales, Newport from 1982 to 1984.[3] David Hurn was course head and among his tutors were Daniel Meadows, John Benton-Harris and Martin Parr. After six years as an undergraduate and then a college photography technician, he became a freelance photographer.

Impressed first by Parr's photography of Hebden Bridge and the work of the Exit group (Chris Steele-Perkins, Paul Trevor and Nicholas Battye) in Survival Programmes,[4] Reas began with humanistic, fly on the wall, documentary photography in black-and-white using a 35 mm camera. He photographed working people, taking inspiration from both August Sander and Lee Friedlander's portrayal of working people, that he considered gave them the grace and dignity he experienced working in industry.[5] [6] He soon moved into more subjective photography and in colour. He was aware of the colour photography of Paul Graham and Martin Parr, Charlie Meecham and Bob Phillips, but it was seeing the work of North American colour photographers William Eggleston, Joel Sternfeld, Stephen Shore and Joel Meyerowitz that convinced him to change to colour for his own work and put him into an influential group of British colour documentarists including Graham and Anna Fox. He changed to a larger format camera, which allowed smaller details to be easily read and understood, not requiring the bold graphic statements he considered necessary with 35 mm;[7] and to using a flashgun.

As influences and inspirations, Reas has also cited David Byrne and Talking Heads, and northern soul.

In 1985 he and Ron McCormick were the first photographers commissioned by Ffotogallery in Wales as part of its Valleys Project to each produce a body of work which "focussed on the changing topographic landscape and the partial introduction of new technology into a latter day industrial wasteland". Other photographers commissioned were David Bailey, Mike Berry, John Davies, Peter Fraser, Francesca Odell, Roger Tiley and William Tsui.[8] [9]

Reas's first book, I Can Help, shows supermarkets, superstores and the like, photographed from 1985 to 1988. Val Williams writes that "The people who Reas photographed emerged from its pages . . . as lost souls, modern Ancient Mariners adrift in an ocean of endless choices." The photographs (1989–1993) in his second book, Flogging a Dead Horse, "explored the rise of the heritage business, taking issue with what he judged to be the cynical re-writing of the past of British working people by the leisure industry"; they are "edgy, viciously satirical comments on our appetite for vicarious experience."

Reas worked commercially as an editorial photographer for The Sunday Times Magazine, The Observer and the BBC.[10] For a period he worked as an advertising photographer for clients such as BT and Volkswagen.

He taught at the Faculty of Arts, University of Brighton, from 1993 to 1998.[11] [12] He is course leader of documentary photography at the University of Wales, Newport.

In 2011/2012 Reas completed From a Distance, a year-long commission on the regeneration of the Elephant and Castle in South London, part of The Elephant Vanishes project, directed by Patrick Sutherland, for London College of Communication. He photographed people candidly, showing fraught and tense emotions (with the aid of an assistant with a boom mounted flashgun); portraits; cans of incense intended to provide help under specific social pressures; and discarded furniture. The photographs were exhibited in 2012 and published by Photography and the Archive Research Centre (PARC) in Fieldstudy 16: From a Distance.[13] [14]

Reas has said of his work that "I would say I photograph people but I think the pictures are more about systems people find themselves in, people shopping in supermarkets, but it’s about consumerism and how we are caught up in that. I never set anything up. Everything I photograph is as it happens".

As well as consumerism, Reas has also been concerned with politics, Americanisation, the heritage industry, gender politics and how northern working-class people are historically represented. His work is usually biographical.

In 1993, Reas began a series, Portrait of an Invisible Man, that examined the mystery of his distant and mostly absent father "by photographing the microcosm which a child observes in the macrocosm of home". The curators of an exhibition at the Barbican wrote of this series: "Paul Reas's meticulously constructed descriptions of domestic life may perhaps exorcise demons, the ghouls and goblins which inhabit a child's imagination; they are photography as remedy, as exhumation and a personal adventure on a grand scale."

Williams writes that Reas's work of the early 1990s "assume a documentary stance, but they are essentially polemical." Robert Clark writes in The Guardian:

Reas has an eye for themes that reveal a prevailing air of social disillusionment and cultural vacuity. As traditional industry disappears, we see the emergence of assembly-line technologies. The architectural identity of towns dissolve to make way for out-of-town shopping malls. Heritage-industry theme parks indulge in a politically dubious nostalgia as the London property boom explodes. On the face of it it’s unrelentingly grim. Yet Reas populates such scenes with real characters, replete with poker-faced humour and shrugging defiance."[15]

Publications

Publications by Reas

Publications with contributions by Reas

Exhibitions

Solo exhibitions

Joint exhibitions

Awards

Collections

Reas's work is held in the following public collection:

Notes

  1. News: Bradfordian returns with his own exhibition. 28 November 2013 . 24 April 2014 . Jim . Greenhalf . .
  2. [Val Williams]
  3. News: Paul Reas's best shot: a dad buying army wallpaper for his son. 12 March 2014 . 24 April 2014 . Karin . Andreasson . .
  4. [Val Williams]
  5. As seen in Sander's People of the 20th Century series and Friedlander's Lee Friedlander at Work (2002). Reas in particular cites Sander's photograph of a hod carrier (a bricklayer) from 1928.
  6. http://www.impressions-gallery.com/_lib/_user_files/Paul%20Reas%20Info%20Pack%281%29.pdf Paul Reas "Day Dreaming About The Good Times?"
  7. Web site: Paul Reas Impressions Gallery Talk. 14 February 2014 . 24 April 2014 . Paul . Reas . Paul Reas .
  8. Web site: The Valleys Archive. 24 April 2014 . .
  9. A resource on the Valleys Project is available here (PDF) within Ffotogallery's website.
  10. News: Liz'll Fix It. 1 April 1995 . 27 April 2014 . Amanda . Mitchison . .
  11. News: Paddy Considine: ‘I was always portrayed as angry, but I was just ill’ . 7 September 2014 . 8 September 2014 . Tim . Lewis . . "Considine left for Brighton University to study photography, under the social documentarian Paul Reas".
  12. Web site: Paul Reas . 24 April 2014 . . Reas taught at the Faculty of Arts from 1993-1998 . dead . https://web.archive.org/web/20131208211725/http://arts.brighton.ac.uk/faculty-of-arts-brighton/alumni-and-associates/associates-and-alumni/photography/paul-rees . 8 December 2013 . dmy-all .
  13. Fieldstudy 16 is available here (PDF) within the UAL Research Online website.
  14. News: Because it sees us from a distance, utilitarianism will always fail. 19 October 2012 . 26 April 2014 . Giles . Fraser . .
  15. News: Paul Paul Reas, Edward Chell, Sislej Xhafa: this week's art shows in pictures. 13 December 2013 . 24 April 2014 . Skye . Sherwin . Robert . Clark . .
  16. Web site: From Talbot to Fox. 150 Years of British Social Photography. 24 April 2014 . James Hyman .
  17. Potted biography of Reas; in Gerry Badger and John Benton-Harris (eds), Through the looking glass: Photographic art in Britain 1945–1989 (London: Barbican Art Gallery, 1989;), p.194.
  18. Potted biography of Reas; in Val Williams, Carol Brown and Brigitte Lardinois, eds, Who's Looking at the Family? (London: Barbican Art Gallery, 1994), p. 120.
  19. "Paul Reas", Photographie . Accessed 30 April 2014.
  20. Web site: Exhibitions at The Photographers’ Gallery 1971-Present . 29 April 2014 . . https://web.archive.org/web/20160304055107/http://thephotographersgallery.org.uk/images/The_Photographers__Gallery_Exhibitions_1971_2012_510a7ccdb712d.pdf . 4 March 2016 . dead .
  21. http://newsevents.arts.ac.uk/event/from-a-distance-an-exhibition-of-photography-by-paul-reas/ Exhibition notice
  22. Web site: Day Dreaming about the Good Times?. 24 April 2014 . Impressions Gallery .
  23. Web site: Paul Reas – "Day Dreaming about the Good Times?". 24 April 2014 . .
  24. http://www.cefvigo.com/ingles/expos_bienais_03.htm Description
  25. Potted biography of Reas, p.219 of Val Williams and Susan Bright, How We Are: Photographing Britain from the 1840s to the Present (London: Tate Publishing, 2007;).
  26. http://www.cefvigo.com/ingles/expos_bienais_04.htm Description
  27. Web site: Pivot: sixteen artists using photography in Wales and Philadelphia. 28 April 2014 . .
  28. Web site: Documentary Dilemmas . 24 April 2014 . . dead . https://web.archive.org/web/20140426214802/http://collection.britishcouncil.org/whats_on/exhibition/11/14136 . 26 April 2014 . dmy-all .
  29. Holly Walsh, "The House in the Middle ", Frieze, March 2005. Accessed 27 April 2014.
  30. "From Brighton Exposition collective ", Photographie, 6 May 2006. Accessed 28 April 2014.
  31. https://e-cultura.sapo.pt/AgendaCulturalDisplay.aspx?ID=10668 Encontros da Imagem 2006 schedule
  32. Booklet about the festival, available here within the website of Krystyna Ziach. Accessed 30 April 2014.
  33. Web site: How We Are: Photographing Britain: Room 5. 24 April 2014 . .
  34. News: Martin Parr: Parrworld. 25 October 2009 . 23 March 2014 . Carole . Cadwalladr . .
  35. "Nothing is in the place: Curatorial project by Jason Evans", Photomonth. Archived by the Wayback Machine, 14 August 2010; accessed 27 April 2014.
  36. "Cockroach Diary appears in Nothing is in the Place at Brighton Fringe", Anna Fox, 25 September 2010. Accessed 11 September 2020.
  37. http://www.gnration.pt/ficheiros/pdf/GNRATION-ON_PROGRAMA-OFICIAL_WEB.pdf Festival schedule
  38. "GNRation com muitas exposições durante o mês de Maio ", TV do Minho, 8 May 2013. Accessed 17 June 2014.
  39. Web site: Campaign Press Advertising Awards 1999: The OK! Magazine Award - Best Use of Photography. 26 March 1999 . 28 April 2014 . Hatfield. Stefano . Brand Republic .
  40. Web site: Campaign Press Advertising Awards 1999: The Guardian Award - Best Advertisement in National Newspapers. 26 March 1999 . 28 April 2014 . Hatfield. Stefano . Campaign .
  41. Web site: Campaign Press Advertising Awards 1999: The Northcliffe Newspapers Award - Best Advertisement in Regional Newspapers . 26 March 1999 . 28 April 2014 . Hatfield. Stefano . Campaign .
  42. Web site: Campaign Press Advertising Awards 1999: The Management Today Award - Best Motor Advertisement. 26 March 1999 . 28 April 2014 . Hatfield. Stefano . Campaign .
  43. Web site: Campaign Press Advertising Awards 1999: Campaign Gold Award - Best Press Advertising Campaign. 26 March 1999 . 28 April 2014 . Hatfield. Stefano . Campaign .
  44. Web site: Campaign Press Advertising Awards 1999: The Reader’s Digest Association Award - Best Advertisement in Consumer Magazines. 26 March 1999 . 28 April 2014 . Hatfield. Stefano . Brand Republic .
  45. Web site: Bronze Honours 2004. 29 April 2014 . .
  46. Web site: Flogging a Dead Horse . 24 April 2014 . . dead . http://webarchive.nationalarchives.gov.uk/20140304140907/http%3A//collection.britishcouncil.org/collection/portfolio/7/81 . 4 March 2014 . dmy-all .

External links

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