eleven industrial air conditioners are placed along the walls of the gallery

Ima-Abasi Okon, Infinite Slippage: nonRepugnant Insolvencies T!-a!-r!-r!-y!-i!-n!-g! as Hand Claps of M’s Hard’Loved’Flesh [I’M irreducibly-undone because] —Quantum Leanage-Complex-Dub (2019) Installation view, Chisenhale Gallery, 2019. Commissioned and produced by Chisenhale Gallery, London. Courtesy of the artist. Photo: Andy Keate.

Ima-Abasi Okon

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Tish Murtha, Kids jumping on to mattresses from the series ‘Youth Unemployment’  1981

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artworks in Ima-Abasi Okon

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

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artworks in Ima-Abasi Okon

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Tish Murtha, SuperMac from the series ‘Elswick Kids’  1978

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artworks in Ima-Abasi Okon

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Peter Mitchell, Plumbers. 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.

4/30
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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.

5/30
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Peter Mitchell, Kingston Racing Motors. Leeds, 1975  1975

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.

6/30
artworks in Ima-Abasi Okon

Salford

Shirley Baker, Salford  1964

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.

© Estate of Shirley Baker

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Peter Mitchell, Mr. & Mrs. Hudson. 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.

8/30
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Cornershop, Wallsend, Tyneside

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).

© Chris Killip

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9/30
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Houses with Pit Wheel in Background. Workington

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).

© Chris Killip

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10/30
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Mrs Potter in Mason Street (Byker)

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.

© Sirkka-Liisa Konttinen

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Byker Park Dominoes Club (Byker)

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.

© Sirkka-Liisa Konttinen

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12/30
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Demolished housing, Wallsend, Tyneside

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).

© Chris Killip

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13/30
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Boy outside Prize Bingo Parlor, Newcastle

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).

© Chris Killip

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14/30
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Playground with three girls

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.

© Chris Killip

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15/30
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Manchester

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.

© Estate of Shirley Baker

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16/30
artworks in Ima-Abasi Okon

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Tish Murtha, Lads with ‘Old Dears’ on bench from the series ‘Youth Unemployment’  1981

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

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

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Salford

Shirley Baker, Salford  1962

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.

© Estate of Shirley Baker

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20/30
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Manchester

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.

© Estate of Shirley Baker

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21/30
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Girl on a Spacehopper (Byker)

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.

© Sirkka-Liisa Konttinen

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Peter Mitchell, The Sir Yank Heavy Disco. Leeds, 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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Peter Mitchell, Spoon Factory. 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.

24/30
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Girls playing in the road, Wallsend, Tyneside

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).

© Chris Killip

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Kendal Street (Byker)

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.

© Sirkka-Liisa Konttinen

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Two couples at a bus stop, Wallsend, Tyneside

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).

© Chris Killip

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Isolated Tenement

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.

© Chris Killip

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28/30
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People queuing outside of bakery during flour shortage (‘the bread strike’)

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).

© Chris Killip

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W.H. Douglas - Gents Hairdresser (Byker)

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.

© Sirkka-Liisa Konttinen

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Art in this room

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Tish Murtha Kids jumping on to mattresses from the series ‘Youth Unemployment’ 1981

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

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Tish Murtha SuperMac from the series ‘Elswick Kids’ 1978

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Peter Mitchell Plumbers. Leeds, 1974 1974

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Peter Mitchell Hay Dealers. Leeds, 1974 1974

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Peter Mitchell Kingston Racing Motors. Leeds, 1975 1975

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