49 photographs of Chris Killip acquired by the Getty
49 photographs of Chris Killip acquired by the Getty
Posted on October 02, 2014 - By J. Paul Getty Museum
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The J. Paul Getty Museum announced today the acquisition of 49 photographs by documentary photographer Chris Killip (British, born 1946). Combined with one photograph already in the collection, the Museum now owns the complete set of 50 images found in Killip's landmark book In Flagrante (Secker & Warburg, 1988). This gives the Getty the most significant group of vintage Killip prints in an American institution. The acquisition was made possible through the collective assistance of the Getty Museum Photographs Council, along with individual contributions from several members that allowed the Museum to purchase the complete body of Killip's work.
Made between 1973 and 1985, Killip's photographs document the social landscape of Northern England during the economic downturn that plagued the region. The images primarily feature working-class people and areas affected by the deindustrialization of Britain, and subjects range from derelict landscapes and council estates to parades and benefit concerts organized around the miners' strikes of 1984. The scenes evoke the social tensions and economic upheaval of the period in British history known as the Thatcher era, named after Margaret Thatcher, Prime Minister of the United Kingdom from 1979-1990. The photographs were compiled and reproduced in In Flagrante, considered by the artist to be a distinct and highly personal project.
Chris Killip's work offers an intimate and highly personal portrayal of the social impact of England's industrial decline in the politically fraught years of Thatcher's fight against the unions, says Timothy Potts, director of the J. Paul Getty Museum. This acquisition greatly expands our holdings of Killip's most important work, as well as strengthening the Department's collection of postwar documentary photographs from the 1970s and 1980s. Our holdings of Killip will now have an important place beside those of Bill Brandt, Josef Koudelka, Martin Parr, and Graham Smith.
Killip is considered one of the most influential documentary photographers of the postwar generation. Born and raised on the Isle of Man, he has made a career of documenting the people of Great Britain and the environments in which they live. As a result of his intensive approach, which frequently involves his immersion in the communities he photographs, Killip often forms strong relationships with his subjects and achieves an unparalleled intimacy in his work.
Killip's work has been exhibited internationally, and in 2012 the Museum Folkwang in Essen organized a retrospective which traveled to Le Bal in Paris and the Reina Sofia in Madrid. Publications released during the last fifteen years include Pirelli Work (2006), Here Comes Everybody (2009), Seacoal (2011), and arbeit/work (2012).
Anastasia Samoylova: Atlantic Coast opens a vast, quietly unsettling portrait of the American East Coast — one in which nostalgia, dislocation and transformation are sewn into the landscape itself. In this new monograph, Samoylova retraces the route pioneered by Berenice Abbott in 1954, journeying from Florida to Maine to revisit the places Abbott once documented, and to observe what has become of them decades later. Her images — in vivid color and stark black and white — reveal the tension between myth and reality, between promises of progress and the traces of decay or displacement.
Where once small towns and coastal communities had a certain stillness, Samoylova finds change carved into facades and roadside signs, into suburban sprawl and shuttered shopfronts. She frames these scenes with a photographer’s patience and a poet’s sensitivity — capturing abandoned diners, empty motels, decaying houses, ghostly intersections. At the same time, there is stubborn life: occasional portraits of people, wildlife, reminders that behind every sign of decline, someone, something endures.
Her book does not simply document physical places. It traces the shifting contours of identity, belonging and memory in a nation where the open road has long symbolized freedom — and where that ideal has become tangled with consumerism, environmental degradation, and socio-economic upheaval. Through Atlantic Coast, Samoylova asks whether the “American Dream” remains intact, or if it has fractured along with the towns her car passes through.
Reading this volume is to experience a slow, attentive journey — as a witness, as a traveller, as someone invited to reconsider what America has become. Her photographs linger, subtly unsettling the viewer’s assumptions about beauty, progress and decline. In its silence and restraint, the book whispers that memory, identity and place are fragile — and that every road carries stories worth listening to.
Coreen Simpson: A Monograph is the first major book dedicated to the influential photographer and jewelry designer whose career spans more than fifty years. As the second volume in the Vision & Justice Book Series—a groundbreaking initiative created by Dr. Sarah Lewis and coedited with Drs. Leigh Raiford and Deborah Willis—the monograph celebrates Simpson’s enduring impact on visual culture.
Simpson began her career as a journalist before turning to photography, capturing the richness of Black life, fashion, and identity. Her portraits of icons such as Grace Jones, Muhammad Ali, and Toni Morrison, as well as her iconic B-Boys series from the 1980s, showcase her eye for style, pride, and self-expression. The book also features her later work with collage and overpainting, alongside the story of her celebrated jewelry line, including the iconic Black Cameo worn by Rosa Parks and Rihanna.
Featuring original essays by leading voices such as Bridget R. Cooks, Rujeko Hockley, Awol Erizku, and Doreen St. Félix, as well as an in-depth interview by Deborah Willis, Coreen Simpson: A Monograph offers a multifaceted portrait of an artist whose work continues to shape the worlds of photography, fashion, and Black cultural history.
Explore the groundbreaking early work of Daido Moriyama, one of Japan’s most radical photographers, with this collectible, slipcased photobook.
Daido Moriyama (b. 1938) is one of Japan’s most renowned and prolific photographers. His diverse projects often focus on urban landscapes, exploring light and shadow, and form and abstraction. Using a handheld camera and high-contrast black-and-white film, Moriyama captures Tokyo’s chaotic streets and clandestine underbelly, revealing the darkness and strangeness beneath the surface.
Daido Moriyama: Quartet is a vital anthology of the four seminal photobooks that form the foundation of Moriyama’s career as a photographer: Japan: A Photo Theater, A Hunter, Farewell Photography, and Light and Shadow. Spanning the fifteen years during which he honed his techniques and unveiled his distinctive vision, these photobooks were originally released as limited editions in Japan and represent some of the most daring ventures in photographic publishing history. Edited by Mark Holborn, this compilation includes excerpts from Moriyama’s diaries, journals, and memoranda, offering intimate glimpses into the core of his creative process. Presented in a slipcase, this volume is essential for all Moriyama fans and anyone passionate about photography and visual culture.
An essential introduction to the complexities of visual representation, this book offers a critical new framework for understanding and practicing photojournalism in a global digital context.
Critical Photojournalism guides readers through a variety of ethical, technical and business skills, plus the mental health, self-care and safety considerations necessary to thrive in the field. Drawing on their extensive industry and teaching experience, the authors provide real-world advice on how to navigate the demands of the profession while addressing the impact that photojournalism has on society and ways that photojournalists can mitigate harm. Consideration is given to understanding and disrupting implicit bias and power structures in newsrooms, as well as issues around access, working in breaking news environments and balancing informed consent with varying media laws around the world. In accessible language, this book highlights the importance of collaboration and community engagement in contemporary photojournalism and encourages students to adopt a decolonial approach to their work. Readers will learn to balance the needs for accuracy and thoughtfulness with the priorities of a global, social-media-engaged audience.
This is a key textbook for those seeking a nuanced introduction to visual journalism and/or a fresh approach to their craft. This book is supported by a website which can be accessed at www.criticalphotojournalism.com. The website includes a full-length bonus chapter on video and photojournalism, interviews with professional visual journalists, further tips and tools, and a glossary of key terms.
