{"id":53450,"date":"2018-06-29T10:53:19","date_gmt":"2018-06-29T09:53:19","guid":{"rendered":"http:\/\/centmagazine.co.uk\/?p=53450"},"modified":"2018-07-03T11:37:31","modified_gmt":"2018-07-03T10:37:31","slug":"barebones-observations","status":"publish","type":"post","link":"https:\/\/staging.centmagazine.co.uk\/?p=53450","title":{"rendered":"Barebones; Bearing Witness"},"content":{"rendered":"

\"Little<\/a>Shirley Baker: Personal Collection, Image 5, Manchester, 1966\u00a0<\/span>
\n\u00a9 Estate of Shirley Baker, Courtesy of The Photographers\u2019 Gallery<\/p>\n

\"07_Press
\n<\/a>Shirley Baker: Personal Collection, Image 7,\u00a0Salford, 1962\u00a0\u00a0<\/span>
\n\u00a9 Estate of Shirley Baker, Courtesy of The Photographers\u2019 Gallery<\/p>\n

What is left after a war? Is it barren land stretching as far as the eyes could see? Or is\u00a0endless piles of rubbles of bunkers and buildings?<\/p>\n

But no matter what it is, life in Britain after the war had to go on. There may not have been a lot left, but the British spirit lingered; be it drinking tea or attending the Royal Ascot. And who better to depict a most earnest post-war Britain than our very own Jane Brown (The Observer Collection, Proud Central,\u00a028th June \u2013 12th August 2018)\u00a0<\/span>and Shirley Baker? These great female photographers can be said to have British DNA running even throughout their works. Thought to be the only woman practising street photography in such a male-dominated industry at the time, Shirley Baker is known to focus more on the community and collective shots, whereas Jane Brown\u00a0\u2014<\/span> who epitomises being an observer \u2014\u00a0<\/span>is celebrated for her individual portraits and occasional crowd photography, and can be noted for her work as a photographer for The Observer from 1949 for almost half a century. So, what do you get when you put these two together? Only the most perfect ensemble to depict the idiosyncrasies of daily British life using \u201cdecisive moment\u201d photography; pioneered by Henri Cartier-Bresson, it is a technique described as the split-second during which the photographer instinctively realises that a photograph must be captured.<\/p>\n

Between them, the two photographers achieve a balance in the portrayal of the rich and the poor, the famous and the unknown. Various cultural figures that Jane Brown photographed included the likes of Samuel Beckett and Mick Jagger, whereas Shirley Baker concentrated on communities in North-East England, placing more importance on the working class. Both of their humanist documentaries exhibit this British artistic legacy to portray a simple and honest image using black and white film photography and the candidness achieved in the lack of gimmicks and tricks undoubtedly makes the result all the more poignant. It seems that the aftermath of World War Two in Britain, as interpreted by these two women, was not just about capturing the last traces of war-scars and the lingering hints of fear. Rather, their observation was of the present time, the perseverance of the people as they allow\u00a0the tragic past to fade and disappear, while simultaneously striving to face head-on to challenges ahead as Britain prepares for other cultural and social battles.<\/p>\n

\"Pensioners<\/a>Jane Brown: The Observer, Pensioners protesting outside Thatcher’s home, 1980
\n\u00a9 Jane Brown Estate,\u00a0Courtesy of Proud Galleries<\/p>\n

\"Mick<\/a>
\nJane Brown: The Observer, Mick Jagger, 1977
\n\u00a9 Jane Brown Estate,\u00a0Courtesy of Proud Galleries<\/p>\n

The collection, Jane Brown: The Observer is now on at Proud Central in London from\u00a028th June until\u00a012th August 2018\u00a0 \u00a0https:\/\/www.proudonline.co.uk\/exhibitions<\/a>.\u00a0<\/em><\/p>\n

The Shirley Baker Personal Collection is now on at The Photographer’s Gallery in London from 21st June until 28th July 2018, and is available for acquisition at The Photographers\u2019 Gallery<\/a>, London. For sales enquiries contact their Print Sales Gallery.<\/em><\/div>\n
<\/div>\n
<\/div>\n

 <\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Shirley Baker: Personal Collection, Image 5, Manchester, 1966\u00a0 \u00a9 Estate of Shirley Baker, Courtesy of The Photographers\u2019 Gallery Shirley Baker:…<\/p>\n","protected":false},"author":1,"featured_media":53489,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[11],"tags":[],"features_issues":[],"featured_themes":[],"ppma_author":[16671],"class_list":["post-53450","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art"],"yoast_head":"\nBarebones; Bearing Witness | Cent Magazine<\/title>\n<meta name=\"robots\" content=\"noindex, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Barebones; 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