Shirley Baker, Near Ackers Street, Manchester 1964 . Tate . © Estate of Shirley Baker

Room 7 in Spotlights

After Industry: Communities in Northern England 1960s–1980s

Sirkka-Liisa Konttinen, Byker Park Dominoes Club (Byker)  1974, printed 2012

This photograph is from the extended series Byker 1969–81 by the Finnish-born British photographer Sirkka-Liisa Konttinen. The series documents the streets, buildings and primarily the inhabitants of Byker, a working class community in the north-east of England. Byker Park Dominoes Club (Byker) shows a group of older men in a wood-panelled hut, sitting around a table laid with dominoes. The men all face the camera, with one turning in his chair, as if the photographer has interrupted the game. This work is one of a number of gelatin silver prints in Tate’s collection that Konttinen printed from the 1969–81 series between 2012 and 2014. As is customary in Konttinen’s practice, the photographs are not editioned. All of the prints are signed and inscribed in pencil on the reverse with the title of the series, Byker, and the image and print dates.

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artworks in After Industry: Communities in Northern England 1960s–1980s

Sirkka-Liisa Konttinen, Kids with Collected Junk Near Byker Bridge (Byker)  1971, printed 2012

This photograph is from the extended series Byker 1969–81 by the Finnish-born British photographer Sirkka-Liisa Konttinen. The series documents the streets, buildings and primarily the inhabitants of Byker, a working class community in the north-east of England. Kids with Collected Junk Near Byker Bridge (Byker) shows a group of young children posing for the photographer amid discarded items of household furniture and domestic goods such as old television sets and prams. This grassy setting is both a dumping ground and a makeshift play area for the children, and in the background a railway viaduct frames a distant view of the city. This work is one of a number of gelatin silver prints in Tate’s collection that Konttinen printed from the 1969–81 series between 2012 and 2014. As is customary in Konttinen’s practice, the photographs are not editioned. All of the prints are signed and inscribed in pencil on the reverse with the title of the series, Byker, and the image and print dates.

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artworks in After Industry: Communities in Northern England 1960s–1980s

Sirkka-Liisa Konttinen, Girl on a Spacehopper (Byker)  1971, printed 2012

This photograph is from the extended series Byker 1969–81 by the Finnish-born British photographer Sirkka-Liisa Konttinen. The series documents the streets, buildings and primarily the inhabitants of Byker, a working class community in the north-east of England. Girl on a Spacehopper (Byker) depicts a child in an urban street in mid-air on a hopping ball, wearing a party dress and with her hair flying out behind her. The apparently carefree image provides a poignant contrast with the changes affecting her local neighbourhood that are documented in the rest of the series. This work is one of a number of gelatin silver prints in Tate’s collection that Konttinen printed from the 1969–81 series between 2012 and 2014. As is customary in Konttinen’s practice, the photographs are not editioned. All of the prints are signed and inscribed in pencil on the reverse with the title of the series, Byker, and the image and print dates.

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artworks in After Industry: Communities in Northern England 1960s–1980s

Peter Mitchell, Hay Dealers. Leeds, 1974  1974

New Refutation of the Viking 4 Space Mission 1979 is a series comprising sixty-five colour photographic prints, taken between 1974 and 1979, which document the urban landscape and inhabitants of Leeds and other cities in the United Kingdom. Since childhood Mitchell has been interested in aviation history, and this series was inspired by the advances of the US Viking Space Missions which landed observation vehicles on the surface of Mars in 1976. Using this historical moment as a point of departure, Mitchell chose to present his images from the perspective of a Martian who has landed on earth and is experiencing Leeds, and bordering cities, for the first time. During the US Space Mission of 1976, the spacecraft Viking 1 and Viking 2 sent images of the surface of Mars back to earth for the first time. These shots documented the red-toned surface of Mars, some showing the blurry outline of the observational equipment itself. Mitchell has included five reproductions of these images within his series. He also adopted the original photographs’ black borders as a framing device for his own images, hand-drawing on his own fictitious co-ordinates.

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artworks in After Industry: Communities in Northern England 1960s–1980s

Peter Mitchell, Fred Lomas. Sheffield, 1978  1978

New Refutation of the Viking 4 Space Mission 1979 is a series comprising sixty-five colour photographic prints, taken between 1974 and 1979, which document the urban landscape and inhabitants of Leeds and other cities in the United Kingdom. Since childhood Mitchell has been interested in aviation history, and this series was inspired by the advances of the US Viking Space Missions which landed observation vehicles on the surface of Mars in 1976. Using this historical moment as a point of departure, Mitchell chose to present his images from the perspective of a Martian who has landed on earth and is experiencing Leeds, and bordering cities, for the first time. During the US Space Mission of 1976, the spacecraft Viking 1 and Viking 2 sent images of the surface of Mars back to earth for the first time. These shots documented the red-toned surface of Mars, some showing the blurry outline of the observational equipment itself. Mitchell has included five reproductions of these images within his series. He also adopted the original photographs’ black borders as a framing device for his own images, hand-drawing on his own fictitious co-ordinates.

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artworks in After Industry: Communities in Northern England 1960s–1980s

Peter Mitchell, Edna, George & Pat. Leeds, 1977  1977

New Refutation of the Viking 4 Space Mission 1979 is a series comprising sixty-five colour photographic prints, taken between 1974 and 1979, which document the urban landscape and inhabitants of Leeds and other cities in the United Kingdom. Since childhood Mitchell has been interested in aviation history, and this series was inspired by the advances of the US Viking Space Missions which landed observation vehicles on the surface of Mars in 1976. Using this historical moment as a point of departure, Mitchell chose to present his images from the perspective of a Martian who has landed on earth and is experiencing Leeds, and bordering cities, for the first time. During the US Space Mission of 1976, the spacecraft Viking 1 and Viking 2 sent images of the surface of Mars back to earth for the first time. These shots documented the red-toned surface of Mars, some showing the blurry outline of the observational equipment itself. Mitchell has included five reproductions of these images within his series. He also adopted the original photographs’ black borders as a framing device for his own images, hand-drawing on his own fictitious co-ordinates.

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artworks in After Industry: Communities in Northern England 1960s–1980s

Shirley Baker, Manchester  1967

This is one of a number of photographs in Tate’s collection by the pioneering British photographer Shirley Baker, who is thought to have been the only woman practising street photography in Britain during the post-war era (see Tate P82515–24). Her pictures of the working-class near her home in Manchester, taken between 1960 and 1981, were recognised late in her career but would come to be her most critically acclaimed works. Throughout her career, she continually photographed a range of humanist subjects, sparked by her curiosity in human behaviour and a compassion for social injustice.

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artworks in After Industry: Communities in Northern England 1960s–1980s

Chris Killip, Isolated Tenement  1974, printed 2012–13

This one of six black and white photographs in Tate’s collection from the British photographer Chris Killip’s series Huddersfield, Yorkshire 1973–4 (see Tate P81015–P81020). They were taken after Killip received an Arts Council commission to photograph Huddersfield in Yorkshire and Bury St Edmunds in Suffolk for the exhibition TWO VIEWS – TWO CITIES, which was held at Huddersfield Art Gallery and Bury St Edmunds Art Gallery in 1973. The photographs of Huddersfield present dignified images of local inhabitants, such as Whippet Fancier 1973 (Tate P81015) and Brass Band Member 1973 (Tate P81018), and carefully observed and composed shots of derelict shops and tenement buildings, as in Jimmy’s T.V. Repair Shop 1974 (Tate P81016) and Windowless Terrace 1973 (Tate P81019). Killip’s working practice is distinctive for the way he immerses himself into the communities he photographs and builds relationships with his subjects over a long period of time. This close level of involvement shows itself in the Huddersfield series through images that are sensitive to the local environment and its inhabitants.

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artworks in After Industry: Communities in Northern England 1960s–1980s

Chris Killip, Playground with three girls  1974, printed 2010

This one of six black and white photographs in Tate’s collection from the British photographer Chris Killip’s series Huddersfield, Yorkshire 1973–4 (see Tate P81015–P81020). They were taken after Killip received an Arts Council commission to photograph Huddersfield in Yorkshire and Bury St Edmunds in Suffolk for the exhibition TWO VIEWS – TWO CITIES, which was held at Huddersfield Art Gallery and Bury St Edmunds Art Gallery in 1973. The photographs of Huddersfield present dignified images of local inhabitants, such as Whippet Fancier 1973 (Tate P81015) and Brass Band Member 1973 (Tate P81018), and carefully observed and composed shots of derelict shops and tenement buildings, as in Jimmy’s T.V. Repair Shop 1974 (Tate P81016) and Windowless Terrace 1973 (Tate P81019). Killip’s working practice is distinctive for the way he immerses himself into the communities he photographs and builds relationships with his subjects over a long period of time. This close level of involvement shows itself in the Huddersfield series through images that are sensitive to the local environment and its inhabitants.

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artworks in After Industry: Communities in Northern England 1960s–1980s

Chris Killip, Houses with Pit Wheel in Background. Workington  1976, printed 2012–13

This one of a large group of black and white photographs in Tate’s collection taken in the north-east of England by the British photographer Chris Killip in the mid to late 1970s (see Tate P81021–P81037). Though born on the Isle of Man – which he also photographed (see Tate P20400–P20422) – Killip moved to Newcastle-upon-Tyne in the early 1970s and began to photograph the north-east of England extensively. Tate’s collection contains examples of his series General North East 1975–9 and Shipbuilding 1972–81, as well as the related series Huddersfield, Yorkshire 1973–4 (Tate P81015–P81020) and Seaside, Tyneside and Wearside 1975–6 (see Tate P81038–P81041).

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artworks in After Industry: Communities in Northern England 1960s–1980s

Chris Killip, Woman walking past blast furnaces, Grangetown, Teeside  1976, printed 2012–13

This one of a large group of black and white photographs in Tate’s collection taken in the north-east of England by the British photographer Chris Killip in the mid to late 1970s (see Tate P81021–P81037). Though born on the Isle of Man – which he also photographed (see Tate P20400–P20422) – Killip moved to Newcastle-upon-Tyne in the early 1970s and began to photograph the north-east of England extensively. Tate’s collection contains examples of his series General North East 1975–9 and Shipbuilding 1972–81, as well as the related series Huddersfield, Yorkshire 1973–4 (Tate P81015–P81020) and Seaside, Tyneside and Wearside 1975–6 (see Tate P81038–P81041).

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artworks in After Industry: Communities in Northern England 1960s–1980s

Chris Killip, Two couples at a bus stop, Wallsend, Tyneside  1975, printed 2012–13

This one of a large group of black and white photographs in Tate’s collection taken in the north-east of England by the British photographer Chris Killip in the mid to late 1970s (see Tate P81021–P81037). Though born on the Isle of Man – which he also photographed (see Tate P20400–P20422) – Killip moved to Newcastle-upon-Tyne in the early 1970s and began to photograph the north-east of England extensively. Tate’s collection contains examples of his series General North East 1975–9 and Shipbuilding 1972–81, as well as the related series Huddersfield, Yorkshire 1973–4 (Tate P81015–P81020) and Seaside, Tyneside and Wearside 1975–6 (see Tate P81038–P81041).

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artworks in After Industry: Communities in Northern England 1960s–1980s

Chris Killip, Boy outside Prize Bingo Parlor, Newcastle  1976, printed 2012–13

This one of a large group of black and white photographs in Tate’s collection taken in the north-east of England by the British photographer Chris Killip in the mid to late 1970s (see Tate P81021–P81037). Though born on the Isle of Man – which he also photographed (see Tate P20400–P20422) – Killip moved to Newcastle-upon-Tyne in the early 1970s and began to photograph the north-east of England extensively. Tate’s collection contains examples of his series General North East 1975–9 and Shipbuilding 1972–81, as well as the related series Huddersfield, Yorkshire 1973–4 (Tate P81015–P81020) and Seaside, Tyneside and Wearside 1975–6 (see Tate P81038–P81041).

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artworks in After Industry: Communities in Northern England 1960s–1980s

Chris Killip, People queuing outside of bakery during flour shortage (‘the bread strike’)  1977, printed 2010

This one of a large group of black and white photographs in Tate’s collection taken in the north-east of England by the British photographer Chris Killip in the mid to late 1970s (see Tate P81021–P81037). Though born on the Isle of Man – which he also photographed (see Tate P20400–P20422) – Killip moved to Newcastle-upon-Tyne in the early 1970s and began to photograph the north-east of England extensively. Tate’s collection contains examples of his series General North East 1975–9 and Shipbuilding 1972–81, as well as the related series Huddersfield, Yorkshire 1973–4 (Tate P81015–P81020) and Seaside, Tyneside and Wearside 1975–6 (see Tate P81038–P81041).

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artworks in After Industry: Communities in Northern England 1960s–1980s

Chris Killip, Cornershop, Wallsend, Tyneside  1976, printed 2012–13

This one of a large group of black and white photographs in Tate’s collection taken in the north-east of England by the British photographer Chris Killip in the mid to late 1970s (see Tate P81021–P81037). Though born on the Isle of Man – which he also photographed (see Tate P20400–P20422) – Killip moved to Newcastle-upon-Tyne in the early 1970s and began to photograph the north-east of England extensively. Tate’s collection contains examples of his series General North East 1975–9 and Shipbuilding 1972–81, as well as the related series Huddersfield, Yorkshire 1973–4 (Tate P81015–P81020) and Seaside, Tyneside and Wearside 1975–6 (see Tate P81038–P81041).

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artworks in After Industry: Communities in Northern England 1960s–1980s

Chris Killip, Launch of the supertanker, Everett F. Wells, Wallsend, Tyneside  1976, printed 2012–13

This one of a large group of black and white photographs in Tate’s collection taken in the north-east of England by the British photographer Chris Killip in the mid to late 1970s (see Tate P81021–P81037). Though born on the Isle of Man – which he also photographed (see Tate P20400–P20422) – Killip moved to Newcastle-upon-Tyne in the early 1970s and began to photograph the north-east of England extensively. Tate’s collection contains examples of his series General North East 1975–9 and Shipbuilding 1972–81, as well as the related series Huddersfield, Yorkshire 1973–4 (Tate P81015–P81020) and Seaside, Tyneside and Wearside 1975–6 (see Tate P81038–P81041).

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artworks in After Industry: Communities in Northern England 1960s–1980s

Chris Killip, Girls playing in the road, Wallsend, Tyneside  1975, printed 2012–13

This one of a large group of black and white photographs in Tate’s collection taken in the north-east of England by the British photographer Chris Killip in the mid to late 1970s (see Tate P81021–P81037). Though born on the Isle of Man – which he also photographed (see Tate P20400–P20422) – Killip moved to Newcastle-upon-Tyne in the early 1970s and began to photograph the north-east of England extensively. Tate’s collection contains examples of his series General North East 1975–9 and Shipbuilding 1972–81, as well as the related series Huddersfield, Yorkshire 1973–4 (Tate P81015–P81020) and Seaside, Tyneside and Wearside 1975–6 (see Tate P81038–P81041).

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artworks in After Industry: Communities in Northern England 1960s–1980s

Chris Killip, Demolished housing, Wallsend, Tyneside  1981, printed 2012–13

This one of a large group of black and white photographs in Tate’s collection taken in the north-east of England by the British photographer Chris Killip in the mid to late 1970s (see Tate P81021–P81037). Though born on the Isle of Man – which he also photographed (see Tate P20400–P20422) – Killip moved to Newcastle-upon-Tyne in the early 1970s and began to photograph the north-east of England extensively. Tate’s collection contains examples of his series General North East 1975–9 and Shipbuilding 1972–81, as well as the related series Huddersfield, Yorkshire 1973–4 (Tate P81015–P81020) and Seaside, Tyneside and Wearside 1975–6 (see Tate P81038–P81041).

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artworks in After Industry: Communities in Northern England 1960s–1980s

Sirkka-Liisa Konttinen, Kendal Street (Byker)  1969, printed 2012

This photograph is from the extended series Byker 1969–81 by the Finnish-born British photographer Sirkka-Liisa Konttinen. The series documents the streets, buildings and primarily the inhabitants of Byker, a working class community in the north-east of England. Kendal Street (Byker) depicts a stretch of the eponymous street, lined by terrace houses, as seen from the top of a hill. The image surveys the working class housing of the area, which is visible all the way to the edges of the frame in a symmetrical manner. The regularity of the architecture is broken only by the cars parked on the street and the dark figures walking along the pavement and across the road. However, a figure walking in the centre of the street with their back to the camera punctuates the composition. This work is one of a number of gelatin silver prints in Tate’s collection that Konttinen printed from the 1969–81 series between 2012 and 2014. As is customary in Konttinen’s practice, the photographs are not editioned. All of the prints are signed and inscribed in pencil on the reverse with the title of the series, Byker, and the image and print dates.

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artworks in After Industry: Communities in Northern England 1960s–1980s

Sirkka-Liisa Konttinen, Mrs Potter in Mason Street (Byker)  1975, printed 2012

This photograph is from the extended series Byker 1969–81 by the Finnish-born British photographer Sirkka-Liisa Konttinen. The series documents the streets, buildings and primarily the inhabitants of Byker, a working class community in the north-east of England. Mrs Potter in Mason Street (Byker) is a portrait photograph of an older woman, the eponymous Mrs Potter. The woman stands at the corner of a street at the bend of the pavement, her hand resting on the bricks of a building as if to support her. Mrs Potter wears a mid-length skirt and two cardigans, as well as a floral apron and a hair net. She looks down toward the camera, which is at waist level. This work is one of a number of gelatin silver prints in Tate’s collection that Konttinen printed from the 1969–81 series between 2012 and 2014. As is customary in Konttinen’s practice, the photographs are not editioned. All of the prints are signed and inscribed in pencil on the reverse with the title of the series, Byker, and the image and print dates.

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artworks in After Industry: Communities in Northern England 1960s–1980s

Sirkka-Liisa Konttinen, Young Couple in a Backyard (Byker)  1975, printed 2012

This photograph is from the extended series Byker 1969–81 by the Finnish-born British photographer Sirkka-Liisa Konttinen. The series documents the streets, buildings and primarily the inhabitants of Byker, a working class community in the north-east of England. Young Couple in a Backyard (Byker) shows two young adults and a child in a brick-walled exterior space, with a dartboard hanging on the wall behind the child. The couple are caught in a conversation or altercation: the man, semi-nude and with wet hair, faces away from the camera and towards a clothed woman, who appears to be mid-speech. The child, standing to the left of the couple, wears a quilted jacket with the hood up, and looks down as if bored, ashamed or saddened by the couple’s actions. This work is one of a number of gelatin silver prints in Tate’s collection that Konttinen printed from the 1969–81 series between 2012 and 2014. As is customary in Konttinen’s practice, the photographs are not editioned. All of the prints are signed and inscribed in pencil on the reverse with the title of the series, Byker, and the image and print dates.

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artworks in After Industry: Communities in Northern England 1960s–1980s

Sirkka-Liisa Konttinen, Jean Barron with Parents (Byker)  1980, printed 2012

This photograph is from the extended series Byker 1969–81 by the Finnish-born British photographer Sirkka-Liisa Konttinen. The series documents the streets, buildings and primarily the inhabitants of Byker, a working class community in the north-east of England. Jean Barron with Parents (Byker) depicts three figures in a domestic environment. A younger woman, the Jena Barron of the title, stands in the doorway of the room, in which an older man and woman, Barron’s parents, sit in a deck chair and a leather easy chair. The walls of the room are decorated with a heavily flowered paper and the floors with patterned rugs. This work is one of a number of gelatin silver prints in Tate’s collection that Konttinen printed from the 1969–81 series between 2012 and 2014. As is customary in Konttinen’s practice, the photographs are not editioned. All of the prints are signed and inscribed in pencil on the reverse with the title of the series, Byker, and the image and print dates.

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artworks in After Industry: Communities in Northern England 1960s–1980s

Sirkka-Liisa Konttinen, Jimmy Dodds, Albion Row Allotments (Byker)  1980, printed 2014

This photograph is from the extended series Byker 1969–81 by the Finnish-born British photographer Sirkka-Liisa Konttinen. The series documents the streets, buildings and primarily the inhabitants of Byker, a working class community in the north-east of England. Jimmy Dodds, Albion Row Allotments (Byker) depicts a man, the eponymous Jimmy Dodds, presenting a pigeon in his cupped hands, with his arms extended towards the camera. Dodds’s head is thrown back and his face settles into a smile, with light reflecting off the lenses of his glasses. This work is one of a number of gelatin silver prints in Tate’s collection that Konttinen printed from the 1969–81 series between 2012 and 2014. As is customary in Konttinen’s practice, the photographs are not editioned. All of the prints are signed and inscribed in pencil on the reverse with the title of the series, Byker, and the image and print dates.

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artworks in After Industry: Communities in Northern England 1960s–1980s

Sirkka-Liisa Konttinen, W.H. Douglas - Gents Hairdresser (Byker)  1974, printed 2012

This photograph is from the extended series Byker 1969–81 by the Finnish-born British photographer Sirkka-Liisa Konttinen. The series documents the streets, buildings and primarily the inhabitants of Byker, a working class community in the north-east of England. W.H. Douglas – Gents Hairdresser (Byker) depicts a wood-panelled barbershop that is populated by a number of men. A few wait around in the interior, while looking on and apparently listening to the barber, who appears to be mid-speech. The camera is almost directly in front of the barber, who is face-on, while his client, draped in a white cover, is in profile. The scene is illuminated by two shafts of light that rake diagonally across from the top left corner. This work is one of a number of gelatin silver prints in Tate’s collection that Konttinen printed from the 1969–81 series between 2012 and 2014. As is customary in Konttinen’s practice, the photographs are not editioned. All of the prints are signed and inscribed in pencil on the reverse with the title of the series, Byker, and the image and print dates.

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artworks in After Industry: Communities in Northern England 1960s–1980s

Sirkka-Liisa Konttinen, Heather Playing a Piano in a Derelict House (Byker)  1971, printed 2012

This photograph is from the extended series Byker 1969–81 by the Finnish-born British photographer Sirkka-Liisa Konttinen. The series documents the streets, buildings and primarily the inhabitants of Byker, a working class community in the north-east of England. Heather Playing a Piano in a Derelict House (Byker) depicts a girl, the eponymous Heather, dressed in pale trousers and a black overcoat and pressing the keys of an abandoned piano while gazing out of a window. Signs of dereliction are evident in the thick layer of dust visible on the surface of the piano, the dirt and scraps on the window ledge as well as the emptiness of the room. This work is one of a number of gelatin silver prints in Tate’s collection that Konttinen printed from the 1969–81 series between 2012 and 2014. As is customary in Konttinen’s practice, the photographs are not editioned. All of the prints are signed and inscribed in pencil on the reverse with the title of the series, Byker, and the image and print dates.

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artworks in After Industry: Communities in Northern England 1960s–1980s

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Tish Murtha, Judging Binchester from the series ‘Juvenile Jazz Bands’  1979

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artworks in After Industry: Communities in Northern England 1960s–1980s

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Tish Murtha, Jarrow Carnival from the series ‘Juvenile Jazz Bands’  1979

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artworks in After Industry: Communities in Northern England 1960s–1980s

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Tish Murtha, Noble Street from the series ‘Juvenile Jazz Bands’  1979

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artworks in After Industry: Communities in Northern England 1960s–1980s

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Tish Murtha, Kenilworth Road Kids, Cruddas Park from the series ‘Juvenile Jazz Bands’  1979

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artworks in After Industry: Communities in Northern England 1960s–1980s

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Tish Murtha, Alleyway, Kenilworth Road from the series ‘Juvenile Jazz Bands’  1979

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artworks in After Industry: Communities in Northern England 1960s–1980s

Art in this room

P81253: Byker Park Dominoes Club (Byker)
Sirkka-Liisa Konttinen Byker Park Dominoes Club (Byker) 1974, printed 2012
P20432: Kids with Collected Junk Near Byker Bridge (Byker)
Sirkka-Liisa Konttinen Kids with Collected Junk Near Byker Bridge (Byker) 1971, printed 2012
P20433: Girl on a Spacehopper (Byker)
Sirkka-Liisa Konttinen Girl on a Spacehopper (Byker) 1971, printed 2012
P82334: Hay Dealers. Leeds, 1974
Peter Mitchell Hay Dealers. Leeds, 1974 1974
P82359: Fred Lomas. Sheffield, 1978
Peter Mitchell Fred Lomas. Sheffield, 1978 1978
P82386: Edna, George & Pat. Leeds, 1977
Peter Mitchell Edna, George & Pat. Leeds, 1977 1977

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