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Don McCullin: The New Definitive Edition

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Royal Photographic Society's Centenary Award". Archived from the original on 1 December 2012 . Retrieved 13 August 2012.

a b c "Entre Vues: Frank Horvat – Don McCullin (London, August 1987)". Frank Horvat Photography . Retrieved 2 September 2013. From the early 1980s increasingly he focused his foreign adventures on more peaceful matters. He travelled extensively through Indonesia, India and Africa returning with powerful essays on places and people that, in some cases, had few if any previous encounters with the Western world. In 2010 he published Southern Frontiers, a dark and at-times menacing record of the Roman Empire’s legacy in North Africa and the Middle East. Sir Donald McCullin CBE (born 9 October 1935) is a British photojournalist, particularly recognised for his war photography and images of urban strife. His career, which began in 1959, has specialised in examining the underside of society, and his photographs have depicted the unemployed, downtrodden and impoverished. Finsbury Park, when I grew up, was an unpleasant place: all violence, ignorance and stupidity. Our family lived in two rooms, below ground level, with no toilets. The gangs and fighting was inescapable. It was rather miserable. I photograph landscapes now. I’m not a man at peace. I still carry guilt and pain within me. Landscapes take my mind off all I’ve seen. It’s like therapy. It’s healing.

McCullin’s pictures can often rest upon cruel contradictions and absurdities. In a scene of horror from Beirut in 1976, a group of young Phalangist fighters, one strumming a mandolin, appear to rejoice amidst the slaughter, a singing troupe indifferent to the remains of the dead Palestinian girl before them. I found it ironic that I was reading about Don McCullin’s time in 1971 in the Bogside area of Derry in Northern Ireland, on Good Friday 2019, the day after a resurgence of serious unrest in Derry resulted in the death of a journalist, doing exactly what McCullin was doing 38 years ago… a b c Flanagan, Julian (2 November 2007). " 'I should have gone barmy' ". Financial Times . Retrieved 6 July 2020.

He lets us into his head a little. His questioning of what he's doing and why he's doing it, especially after a particularly dark incident, is continuing. He seems to be suffering from being a survivor. Or perhaps being a witness unable - except occasionally - to act on what's happening in front of him is a whole different type of guilt.

The landscapes in Britain and Southern Frontiers occupy the final rooms of the retrospective. We see them after seeing all the horrors that McCullin has photographed—an aesthetic reward, of sorts. But at the same time this turn to the pictorial, is not that far removed from what came before. Pictorial form has always been central to his photography. Hollywood types have never impressed me much. It’s doctors, aid workers and teachers who I admire. People who dedicate their lives to humanity, with dignity and kindness.

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