“What struck me about these images, beyond their obvious historical value, was McCartney’s sensitivity to his subjects,” said Erik Neil, Macon and Joan Brock Director of the Chrysler Museum of Art.
“The empathy that is at the center of his music is equally evident in his photographs.” (x)
I: Airport workers [Miami Airport, 1964]
II: Peter Asher
III: Mal Evans
IV: Unknown woman and Michael Braun, journalist, backstage [Liverpool, 1963]
V: George Martin [1964]
VI: George Martin & Judy Lockhart Smith [Miami, 1964]
At the weekend I went to the Paul McCartney exhibition at London's National Portrait Gallery.
I'd seen some of the pictures, but I still wasn't prepared for just how fond it is. Tumblr is enchanted by Soft John, and yes, absolutely - but the whole exhibition has this warmth and freshness to it. I'm sure some of it's smart curation and hindsight, but the observation and attention and choice of subjects is so full of affection.
Some of the earliest shots are at a London gig. There are portraits of George's mum and dad, visiting their boy, looking alert and intelligent and bursting with pride. Because of course they are, and of course Paul took pictures of them.
It's late 1963, but the Finsbury Park Astoria looks stuck in the 1950s, all post-war austerity and support acts with towering teddy boy hair. Backstage looks cramped and freezing and dark: no wonder they went to the pub to try to do a photoshot. Then they go to Paris and the world opens up around them.
And Paul is so thrilled by it all. He's trying arty camera angles (some don't work). He's putting little crosses on his contact sheets, using a special pencil like he's seen the proper photographers do, because he's a complete nerd. And of course they were all arty nerds, trying out techniques and watching other artists (in whatever medium), getting excited and doing their art projects and trying to be cool.
Some are technically not-very-good photographs: Brian laughing right into the camera, George trying to waterski, both out of focus and both radiant with joy. Some are genuinely good portraits (Ringo particularly).
By the time they get to America, he's more confident and some of the on-the-hoof pics are striking: photographing the photographers, alarmed by armed police (with like. real guns. and ammunition. right there, on the other side of the car window, right there).
And so much people-watching. He watches them, and they watch back, looking up as the Beatle circus goes past. Airport workers with their hands over their ears because the screaming's so loud, or catching Paul's eye to mime playing the guitar. A lovely one of a railroad worker smiling back at him, another of a girl in a headscarf, absorbed in her own thoughts. One of their security falling asleep on the job (it's on a boat, they're probably fine). Mal, and Neil, and George Martin with Judy, and Cynthia. He's interested in people. He's amazed by sunlight. He's happy.
My favourite photo of John at the Eyes of the Storm exhibition:
And my favourite quote:
»This shot of John with his guitar: that's how we worked and that's how I knew him. Looking back at it, they're so special for me because they're like family snapshots.«
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