Manchester Photographer, Jonathan Pow

To see some of my latest work take a look at the links below

  • Editorial Photographer (My work for publications, magazines and newspapers)
  • Commercial Photographer (My work for commercial clients, from static to lifestyle product photography - My preference is lifestyle photography)
  • PR Photographer (My work for public relations and corporate sectors for small, medium and large businesses)

If you have any questions please get in touch

Also, check out my latest Photo Jobs Blog entries below

Photo Jobs Blog

The Photo Jobs Blog

Commercial Photography – Poundworld in LSA (France)

A quick update, from the archive, with some of my commercial photography published in industry magazine LSA, France.

Creating high quality commercial photography like, this is something I enjoy greatly. It has a certain art-like quality. Also, photography like this can be very useful for businesses, either as reference for future projects. PR or as with the image above, editorial use.

This particular Poundworld store was photographed in Harrogate, North Yorkshire.

For those, who are interested please find the original article here – http://www.lsa-conso.fr/ce-discount-anglais-qui-rime-avec-mono-prix,165167 [Opens in new window – NB it’s written in French]

 

Or, click here to read the article from my archive

 

Au Royaume-Uni, les supermarchés proposant « tout à une livre » ouvrent à tour de bras, pleins à ras-bord d’alimentaire et de grandes marques. Plusieurs chaînes se disputent ce créneau très en vogue, et se lancent même dans l’e-commerce. Plongée dans un univers surprenant, sans équivalent en France.

Ce n’est pas un mythe : les Anglais ne font rien comme tout le monde. De l’autre côté de la Manche, le discount adore les marques nationales et lesprix ronds. Une adoration qui a donné naissance aux pound stores, ces magasins immanquables de par leur nombre, et surtout leur concept annoncé à grand renfort d’affichage tapageur : tout – absolument tout – dans le point de vente coûte une livre sterling (la fameuse « pound »), soit 1,22 € au cours actuel. C’est précisément le credo des enseignes Poundland, Poundworld ou 99 p Stores. Et n’espérez pas y trouver des gadgets poussiéreux et des fins de série : il s’agit de véritables petits supermarchés, tant en ce qui concerne la surface, que l’offre et la clientèle qui s’y presse après les heures de bureau. À la différence du hard-discount allemand ou français, les grandes marques y sont prépondérantes, avec de l’épicerie, des produits de beauté, mais également des références pour le jardin ou la décoration. Le paquet de céréales Kellogg’s y coûte une livre, tout comme le shampoing Garnier et même la HP sauce, standard de la cuisine britannique. Difficile de résister à une barre de Toblerone vendue 1 £, quand le même produit s’affiche à 1,40 £ dans le magasin Tesco situé à peine 200 mètres plus loin.

Une croissance insolente

La sensation de faire des bonnes affaires toute l’année explique l’expansion continue de ces concepts, renforcée en période de difficultés économiques. Chaque année, des dizaines, voire des centaines de nouveaux pound stores ouvrent leurs portes. « Nos ventes et nos résultats ont atteint des niveaux records… et plus de 4,5 millions de consommateurs fréquentent nos magasins chaque semaine. Le secteur du discount fait maintenant partie intégrante du paysage britannique », soulignait récemment le PDG de Poundland, Jim Mc Carthy, ancien haut gradé de Sainsbury’s. Durant l’exercice 2013 de Poundland clos en mars, les ventes ont augmenté de 15% et, si le rythme se maintient, le chiffre d’affaires dépassera le milliard de livres en 2014. Le réseau, qui ne cesse de s’étendre, a ouvert son 500e établissement au mois de novembre dernier, et entrepris des démarches pour être côté à la Bourse de Londres. Pas mal pour une société créée en 1990 seulement. Les concurrents Poundworld et 99 p Stores (qui vend tous ses articles à 99 pence) comptent plus de 200 points de vente chacun, et tous ambitionnent de doubler leur réseau rapidement.

Les pound stores, une création récente, simple et un succès immédiat

Affectueusement surnommés « pound stores » (magasins à une livre) par les Anglais, ces discounters fourmillent d’ambitions. Trois chaînes sortent du lot, et comptent toutes doubler leur nombre d’implantations rapidement.

  • Poundland (plus de 500 magasins en Angleterre), créée en 1990, s’apprête à entrer en Bourse à Londres, et s’installe en Espagne avec sa chaîne Dealz, déjà présente en Irlande (produits vendus 1,49 €)
  • Poundworld (plus de 200 magasins), créée en 2004, vient de lancer son site d’e-commerce.
  • 99 p Stores Créé en 2001 par Nadir Lalani, ce groupe familial dépasse aujourd’hui 200 implantations, et a ouvert en 2010 une autre chaîne, Family Bargains, à l’offre plus large, dont les prix ne sont plus fixes.

Inenvisageable en Fance

Du point de vue français, ces maniaques du prix rond font figure d’ovnis. Car, dans l’Hexagone, il faut avoir une solide mémoire et remonter aux années 30 pour trouver ce type de commerce, qui n’a pas fait long feu. Les Uniprix, Prisunic et Monoprix d’alors ont vite abandonné ce concept de « tout au même prix », qui a rejailli il y a quelques années lors d’opérations promotionnelles en grande distribution, sans aller beaucoup plus loin. « Les foires à l’euro étaient populaires en hyper jusqu’à il y a dix ans, mais elles ont été abandonnées car il y a peu d’offres excitantes à ce prix-là », observe Cédric Ducrocq, consultant et PDG du groupe Dia-Mart. « Nous avons l’équivalent de ces pound stores avec GiFi, la Foirfouille. Ils marchent très bien, mais avec des modèles d’import plus que de marques, et des déstockeurs performants comme Vima ou Stokomani, avec un modèle moins rigide. »

Le Poundland de Birmingham à la loupe

Le commerce anglais se caractérise par un poids important des magasins de centres-villes. Birmingham ne fait pas exception avec trois unités Poundland à peine séparées de quelques centaines de mètres. Dès l’entrée du plus récent d’entre eux, la vocation du point de vente s’étale sur la signalétique : le symbole de la livre sterling s’affiche partout, remplaçant les étiquettes. Grandes marques alimentaires (Colgate, Oral-B, Cadbury, Mars, Belvita, Garnier, Coca- Cola), articles de jardinage (semences, accessoires), de déco ou d’alimentation animale… le choix est grand, comme le nombre de clients.

Des grandes marques comme des MDD

La différence fondamentale entre les spécialistes du bazar et ces pound stores tient à l’offre proposée en Angleterre, majoritairement composée de produits alimentaires et du quotidien. De quoi faire de ces enseignes de véritables lieux de destination, au grand dam des distributeurs classiques. « Nous vendons plus de 5 000 références. C’est un mélange de produits de grandes marques comme Ferrero et Nestlé, ainsi que des marques propres très économiques. Une part importante de notre offre est originaire de Chine, où notre bureau de Shanghai emploie une vingtaine de personnes », explique la porte-parole de Poundworld. L’impact de ces enseignes n’est ni nouveau ni négligeable. En 2009, Asda, la filiale britannique de Walmart, avait répliqué en abaissant le prix d’une sélection de produits afin de coller aux pratiques tarifaires de ces discounters aux méthodes originales. Car pour proposer un tel prix, il faut savoir être agile. Pour contourner cette contrainte de prix fixe, quelques ajustements sont effectués au coup par coup. Les canettes de Coca-Cola sont ainsi vendues par deux pour 1 £, certaines boîtes de conserve suivent ce raisonnement en étant vendues par 3. Et les petits emballages et contenants s’adaptent à la donne. Vous cherchez des piles Duracell Pour 1 £, vous pourrez vous offrir un blister de deux piles. Peu de produits frais sont disponibles, car complexes à gérer, à l’exception de quelques sandwichs. Les gains sont surtout mesurables en termes de logistique et de mise en rayon : inutile de mobiliser trop de main-d’oeuvre pour changer les étiquettes au gré des variations de prix : il n’y a pas d’étiquettes. Et en termes de comptabilité, autant dire que les additions sont simples à effectuer et la monnaie facile à rendre. Les pound stores sont tellement entrés dans les moeurs que la BBC, la télévision publique anglaise, leur consacre régulièrement des reportages, à la croisée des chemins entre l’angle économique et le divertissement. Le dernier en date s’interroge sur la pertinence de proposer un soutiengorge à 1 £… Et tout le monde s’y rend, à en croire Jim Mc Carthy : « 22% de la clientèle de Poundland font désormais partie des classes AB de la population [les classes supérieures et les classes moyennes + , NDLR] ». Signe que ces points de vente sont loin d’être à la traîne, Poundworld et Poundland viennent de se lancer dans l’e-commerce, avec un minimum d’achats (autour d’une vingtaine d’articles pour que le modèle soit viable). On imagine mal, chez nous, Netto ou Dia se lancer dans une telle aventure.

Le prix unique en France, une histoire ancienne… et révolue

Les premiers magasins à prix unique annonçaient clairement la couleur : ils s’appelaient Uniprix, Prisunic et Monoprix (ci-dessus rue Blanche à Paris), tous créés dans les années 20 et 30. Mais leur concept a rapidement évolué pour se transformer en magasins populaires, à bas prix. Aujourd’hui, les seules boutiques à prix fixe que l’on trouve en France sont le plus souvent des bazars et solderies « tout à 1 € » ou « tout à 2 € », tenues par des petits indépendants.

Un concept très puriste, dur à répliquer

Le succès des pound stores a beaucoup fait cogiter. Ancien directeur commercial d’Auchan France, André Tordjman s’est un temps demandé s’il existait un potentiel pour créer un magasin « tout à 1 € » lorsqu’il a fondé Little Extra en France, enseigne de petits cadeaux et de produits de décoration. La réponse – négative –s’est vite imposée, devant l’impossibilité d’être différenciant avec un tel prix bas (lire interview p. 9). D’ailleurs, dans le sillage anglais, d’autres magasins de discount s’affranchissent du concept « puriste » du prix unique pour proposer des bonnes affaires à petit prix, sans s’enfermer dans un carcan. C’est par exemple le cas de Family Bargains, enseigne anglaise faisant partie du même groupe familial que 99 p Stores, dont l’approche est plus représentative du discount. Et qui n’est pas sans rappeler la situation des États-Unis où il existe plusieurs milliers de dollar stores. Le maillage n’est pas aussi fort en Angleterre et en Europe, la greffe ne prenant pas vraiment sur le continent. Mais les choses changent. Début février, Poundland a annoncé son arrivée en Espagne sous la bannière Dealz (déjà présente depuis 2011 en Irlande, avec un prix de 1,49 € pour la majorité des produits). L’ambition est d’y implanter dix magasins en deux ans pour créer le socle d’un développement encore plus important. À quand la France

L’avis de…André Tordjman

Ancien directeur marketing d’Auchan France et fondateur de Little Extra

“En France, les foires à 1 € des hypermarchés assèchent le potentiel”

« En fondant Little Extra, je me suis demandé s’il y avait un potentiel pour créer un “ euro shop ”. Mais ça n’a jamais été notre objectif. En France, la concurrence du discount est forte, et les opérations “ 1 € ” des hypers assèchent le potentiel, alors que c’est un format de magasin qui n’existe pas en Angleterre. Pour vendre un produit 1 €, le prix d’achat en centrale doit atteindre 0,30 à 0,40 €. Cela limite énormément la gamme, et c’est assez paupérisant. À ce prix-là, dans le bazar, on n’est pas différenciant. Dans mes magasins, j’ai une forte proportion de produits à 1 €, mais je ne me restreins pas à ce montant. J’observe qu’en Angleterre il y a beaucoup de grandes marques dans les pound stores, et beaucoup d’alimentaire.

Des milliers de « dollar stores » occupent le terrain aux États-Unis

Les Anglo-Saxons seraient-ils fans de prix ronds On peut se poser la question compte tenu des dizaines de milliers de « dollar stores » qui ont envahi les États-Unis. « Cela correspond à du discount, mais très marketé », observe Franck Rosenthal, consultant spécialisé dans le retail. « Quand la crise de 2008 est arrivée, les dollar stores ont pris des parts de marché aux distributeurs traditionnels. Prenons Dollar Tree. C’est un puriste, dans le sens où tout est vraiment à 1 $. Ce sont des magasins de périphérie, installés sur des emplacements secondaires, généralement en face d’enseignes comme Walmart.

Ils vendent beaucoup de produits basiques sur lesquels la marque n’a pas de valeur ajoutée, sur le principe 1 besoin = 1 produit = 1 $. On y trouve même des cartes Visa prépayées à 1 $. Dès lors que le concept est moins puriste, les marques nationales sont plus présentes. Family Dollar a élargi son offre avec des produits à 2, 3 ou 4 $. Dollar General utilise même des slogans accrocheurs tels “ we are much more than a dollar store ” ou “ Great Brands, great prices ”. À l’autre bout de la chaîne, il y a 99 cents only, qui vend ses produits à 0,99 $ voire moins. L’offre, plus basique, ressemble à du discount pur.

 

If you require commercial photographer, be it for editorial or otherwise, please get in touch. My number is 07901 617571 and email is jp@jonathanpow.com.

A conversation with Lynda Benglis on Ocula

Pleased to see one of my recent shoots with artist Lynda Benglis at the Hepworth Wakefield hitting the pages of Ocula.com

The except below is from Ocula. They’re the leading contemporary art website in Asia-Pacific! Click the following link to read more on their site http://ocula.com/magazine/conversations/lynda-benglis/

“In 1974, Lynda Benglis created one of the iconic works of recent art history, Centrefold. The work was presented as an advertisement in Artforum and featured the artist naked, save for a pair of sunglasses, her body oiled, her hip thrust forward, holding an enormous dildo. Benglis has explained the work as “a study of the objectification of the self”, and it has been seen as an example of gender performativity, and as a cutting parody of the male dominated art world.

The work, which last November celebrated its 40th anniversary, is but one work of a career that spans over fifty years: a career characterised by a continuing investigation of material, media and cultural constructs to challenge the limits of painting, sculpture, eroticism, taste, feminism, and masculine hegemony.

The current exhibition at The Hepworth Wakefield Museum in Yorkshire, England is the largest ever museum survey of the Greek-American artist’s work in the United Kingdom. The show features approximately 50 works that span the entirety of Benglis’ prolific career to date: from the early brightly coloured poured latex pieces that initially earned her critical attention to the glitter-encrusted ‘knots’ of the seventies. From her radical videos that explored power, gender relations and role-playing, to her more recent ceramic and polyurethane works…”

If you need a photographer, get in touch. Be it for exhibition or art launches, or associated PR, or more general PR, I’d be happy to help. My number is 07901 617571 and email jp@jonathanpow.com

Yorkshire Dales hiking & walking stock photography

A recent submission to high end image library, Image Source, is this set of photographs showing Yorkshire Dales hiking and walking. Shot in the beautiful surroundings of Pateley Bridge, North Yorkshire, with a number of fantastic real life/outdoors models. These photographs are available here: http://www.imagesource.com/submission/UPL_13320

Yorkshire really does have phenomenal scenery for this sort of photography. People of Yorkshire, you’re spoilt!

If you’re an outdoors organisation, be it expedition or excursion operator or a clothing manufacturer, and need a photographer, please get in touch. My email is jp@jonathanpow.com and my mobile is 07901 617571

Shooting friendly Dartmoor ponies on a location reccy

No ponies were harmed in this photo shoot. Who could hurt a cute little thing like this little chap.

On the way to a job, and a little en-route reccy as a commercial photographer. I’m often travelling, looking, along the way, and spotting new places to work with for potential photo shoots. I do this for my press photography (looking for weather photos or potential news stories), for my commercial work, plus my stock work with Image Source.

As a photographer, there’s nothing like this sort of scouting and spotting, it really helps conjure up ideas for new photo shoots. One stunning location, is in the stunning Dartmoor National Park and is pictured above. It was near another location recommended by Andy, at J&A Cameras – who I used to work with almost 10 years ago before I became a professional press photographer.

I am now based in Manchester, but I do travel a lot with work. The South West, Devon, particularly is one place that is particularly close to my heart. I grew up in Devon.

I remember as a lad, I used to take off early in the morning to Dartmoor, to photograph this beautiful place.

One time, a particularly cold winter’s morning, I woke up early. Bloody early, and made my way down to the moor before sunrise. I took my Mamiya 645 Pro TL (a stunning medium format camera, now replaced with fancy modern digital technology).

Arriving early I wandered through the snow and ice on the moors for a while, capturing photographs and admiring the sunrise. The ground was pretty icy, but I was confident I’d remain unscathed. It was about this moment my foot slipped on some icy granite, and I landed on my arse.

I lay there for quite a while, knocked slightly from my dramatic fall to earth (I’m quite tall at 6’9″ (2m 5cm), so it’s more than normal people fall!)

Anyway, I remember a beautiful Dartmoor Pony coming to my assistance. Or rather, coming up to me and nibbling at my hair as I lay there, whinging. The photo set above kind of reminded me of that.

Anyway, I hope you enjoy these photographs from my reccy.

I do this for a living, and have done since I left the trusty camera shop (J&A Cameras), back in around 2005. Wow, 10 years now! And, Andy, if you’re reading, we did get to Wistman’s Wood. It really is a beautiful spot.

If you’d like a commercial photographer, perhaps even one who is pony friendly, please get in touch. My number is 07901 617571 or email is jp@jonathanpow.com

National Trust – Fountains Abbey, North Yorkshire

This photograph is currently on the National Trust’s home page here: http://www.nationaltrust.org.uk/

My client, The National Trust, wanted images to show the seasonal aspect of their fantastic site. Such as these beautiful snowdrops shot on a sunny February weekend. The images were for publicity, such as press photographs for newspapers, and also website and brochure images like the one used above.

If you haven’t been to Fountains Abbey, you really should. It’s in North Yorkshire, between Harrogate and Ripon, and is frankly stunning, and makes a great day out. If you’re that way inclined, you can even dress up as a monk and have a wander round!

You can find details about this wonderful place on the National Trust’s special website here http://www.fountainsabbey.org.uk

To see National Trust have to say about Fountains Abbey click here

Cistercian abbey, elegant Georgian water garden and medieval deer park

For centuries people have been drawn to this inspiring place.

From humble beginnings the magnificent abbey was established by devout monks seeking a simpler existence. The atmospheric ruins that remain are a window into a way of life which shaped the medieval world.

When the socially ambitious John Aislabie inherited Studley Royal, he set about creating an elegant water garden of mirror-like ponds, statues and follies, incorporating the romantic ruins into his design.

Green lawns stretch down to the riverside, a perfect spot for a picnic. Riverside paths lead to the deer park, home to Red, Fallow and Sika deer and ancient trees; limes, oaks, and sweet chestnuts.

One-of-a-kind, this special place is now recognised as a World Heritage Site.

 

If you have an attraction, historic site or indeed a World Heritage Site (like Fountains Abbey) and need a photographer, please get in touch. Contact me on 07901 617571 or email on jp@jonathanpow.com and I’d be pleased to help.

I can shoot commercial lifestyle or reportage-style photography for brochures, websites or press. You can browse my other areas of work on this website, to get an idea of what I do for businesses or organisations.

Yorkshire Post – Lynda Benglis at Hepworth Wakefield

Please see the original article on the Yorkshire Post’s website using the following link: http://www.yorkshirepost.co.uk/yorkshire-living/arts/art/lynda-benglis-off-the-wall-by-nature-1-7111021

Another one for my Press Clippings Page

Another one for my new press clippings / tearsheet archive, this time in the Yorkshire Post. 
I’ve had so much work in quite a few publications over the years, it can be hard to keep track, let alone show people a little of the diversity of my work! It’s bloody remarkable it’s taken this long for me to create this clippings archive (2015… I’ve been working for the papers since 2005!). Alas here it is, starting with some recent more published work.
Click the navigation links above to bring you ‘up’ to view other published work in this archive.

Exhibition / Gallery Photographer

Working as a gallery and exhibition photographer, I’ve been privileged to work with some wonderful galleries and artists. One of the recent artists I worked with was Lynda Benglis for the Hepworth Wakefield.These images were for the galleries’ press and PR usage. Providing coverage for the Hepworth Wakefield around the UK and beyond, online and in print.

 

If the link above isn't working, click here to see the original article from my clippings archive

Lynda Benglis: Off the wall by nature

Published on the 22 February

Occasionally shocking, always thought-provoking, Lynda Benglis has brought her art to Yorkshire for a retrospective exhibition. Words by Yvette Huddleston, pictures by Jonathan Pow.

Gutsy, confrontational, mildly shocking but with an unmistakable sense of playfulness and irony sums up the image for which Greek-American artist Lynda Benglis is best known. It’s now more than 40 years since Centrefold first appeared in Artforum magazine but it is testament to its lasting power that the image still provokes discussion. A self-portrait of the young Benglis, in the photograph she is naked (save for a pair of white-framed sunglasses), looking defiantly straight at the camera. Oh and she also happened to be holding a sex toy.

An artist of great range and versatility, over her 50-year career Benglis has worked in a variety of forms – sculpture, painting, photography, film – and in diverse materials including pigmented beeswax, polyurethane foam, fabric, glass, metal and more recently paper and ceramics.

As I wait to meet the renowned artist and creative champion of feminist politics at the Hepworth Wakefield, where the first major UK retrospective of her work opened earlier this month, I reflect upon how appropriate it is for the show to be taking place in this particular gallery. After all, like Benglis, who first made her mark in the robustly masculine New York art world of the late 1960s, Hepworth was similarly a woman forging her way in what was at the time a very male-dominated arena.

When she arrives, fresh from an enjoyable trip to the Yorkshire Sculpture Park (“I loved it,” she declares), Benglis is warm, expansive and good company. At 73, she is one of America’s most significant living artists and remains prolific, continuing to challenge the traditions of sculpture and painting and still experimenting with form and material. She is keen to talk about her latest works in ceramics (small-scale, beautifully textured and brightly coloured work) and polyurethane (tall, fluid “fountains”, full of movement) along with several delicate moulded paper works that are being exhibited publicly for the first time.

“As a student I majored in ceramics and painting,” she says. “And I started back with ceramics in the early 1990s and have been working on that pretty constantly off and on, creating experimental pieces and combining paper and ceramics. Now I am making my own paper in my studio in Santa Fe.”

Benglis has studios in four locations. As well as the aforementioned New Mexico base, she divides her time between New York, Ahmedabad in India and Kastelorizo in Greece with each place – its colours, motifs, landscapes and methods of fabrication (she often collaborates with local craftspeople) – providing inspiration for her work and exerting a subtle influence on it.

“There is a visual connection, especially with nature,” she adds. Benglis has said in the past that all her work is in some sense inspired by the natural world. “Absolutely, and nature does have to do with location and also with how you have a connection in terms of people – the socialisation of location.”

Her first experience of the importance of this link with place came when she was 11 and travelled to Greece with her paternal grandmother. “We visited her home island and I loved the landscape there,” she says. “Coming from a very flat, muddy, bayoux area in Louisiana, I was very touched by the rocks. It felt very safe there and my grandmother let me run around – I took photographs of the landscape with my little Brownie camera. There were some caves where you could swim and see the phosphorescence and there is a natural buoyancy because there is an amazing amount of salt in the water, the water feels like silk – and visually you are surrounded by this glow. There is all this sensory material around you. I began to think about what phosphorescence is and does, what the light does, how we perceive things and how we connect with them.”

Early works in the exhibition that reflect this fascination with light, colour and texture include Night Sherbert (1968) created from Day-Glo pigment, phosphorescence and poured polyurethane foam, and Rumpled Painting/Caterpillar (1968), made of poured pigmented latex. Later work features a series of glitter-encrusted “knots” such as Sparkle Knot IV (1970), one of the colourful wall-mounted “peacock series”. Zanzidae (1979), constructed from wire mesh, enamel, glass and plastic, and the brash molten glitz of the bronze and gold leaf of Ghost Dance/Pedmarks (1995-96). All Benglis’s pieces in some way highlight her constant exploration of the physical dialogue between work and viewer. And movement is a key aspect of her work which has a wonderful fluidity to it.

“Movement is so important,” she says. “That is what calls your attention to the sculpture, so it is maybe the most important thing.”

She is very pleased with the way in which the show has been installed at the Hepworth and how it suits her pieces, giving them space to breathe. “I am so impressed with how the exhibition was planned and the way the work has been placed within the space,” she says. “It tells me even more that my pieces have so much to do with weight, buoyancy and gravity. Sometimes they have no right side up, although they might have a position that works best.”

Born in Louisiana in 1941, Benglis is of the generation of artists who followed in the wake of Abstract Expressionism, Minimalism and Pop Art (she counts Andy Warhol, Sol LeWitt and Barnett Newman among her friends and was hailed in 1970 by Life magazine as “the heir to Pollack”) and much of her work could be described as “abstract”. However, she has her own personal take on that. “Abstraction may mean something a little different to me,” she says. “I am more involved with flesh and nature, bringing forth the sense of its own life. Drawing and the linear aspects of drawing in the sculpture are important to me. Our bodies and our sensory perceptions is what interest me and I feel at one with the material.”

Several of her photographic works and videos are also on display including self-portraits of Benglis dressed in Greek national costume and in masculine garb with slicked back hair and shades leaning against a sports car, as well as the sensual yet humorous film Female Sensibility(1973) featuring extreme close-up shots of Benglis kissing and licking the face of fellow artist Marilyn Lenkowsky while on the soundtrack a radio plays with the mindless chatter of (male) DJs interspersed with cheesy country and western songs. That kind of playfulness, humour, irony and intelligent questioning is present in much of her work, challenging the viewer to confront their own perceptions and preconceptions.

And, of course, there is “that” photograph, which we can’t avoid talking about, although I suspect she may be tired of it, like an actor who is still asked about a role they played many years ago – even though they have played several other equally significant ones in the meantime. So I approach it in a roundabout way, remarking that she is often referred to as a feminist icon and wondering whether this is a label she embraces or rejects.

Her response is pragmatic. “I am interested in making works that have a sense of their own presence,” she says. “The Artforum picture was about humanism – it was a humanist issue. The icon that was made is not really me but I knew what I wanted to do with that image. I wanted something that looked back at the viewer and made the viewer understand that it mocked or talked to both sexes and it was a matter of being free of the sex issue. The art looks back at you and the viewer can think what they like. I think finally it’s not saying one thing or another, but whatever it was saying it was successful.”

Before we part company we go and look at Hepworth’s work together – Benglis is more familiar with the work of the Wakefield-born sculptor’s contemporaries Henry Moore and Anthony Caro – and she is bowled over by it, particularly the iconic Winged Figure. “It is so unusual and very beautiful,” she says. “Her works are extraordinary – and I respond to their tactile quality. They are about the most elegant sculptures I have ever seen.”

Looking back over 50 years of her own work has been enlightening, says Benglis. “It makes you think about your own sense of time and what you can do. I like to keep interested and keep going. I have a sense of irony and humour about what I do but I am dead serious in terms of form and how I am doing it and why I am doing it. I like to be challenged and to challenge others but I was brought up to be very polite,” she laughs. “I am a nice Southern girl, so what appears to be confrontational is usually just an argument with myself.”

The exhibition of Lynda Benglis’s work continues at the Hepworth, Wakefield, until July 1. Admission free. www.hepworthwakefield.org

 

If you need a photographer, either specifically for exhibition or gallery photography or PR / press, please contact me, either call on 07901 617571 or email me on jp@jonathanpow.com

The Sun – Lady Eats 8st of Cheese a Year

To show how diverse work can be, especially covering editorial / press photography. Here is a story of a lady who lost a lot of weight after she dropped her diet of cheese excess! This appeared in the The Sun newspaper and was shot for Hotspot Media earlier this month.

 

Here’s an excerpt from the article, you can read the full article here >>> http://www.thesun.co.uk/sol/homepage/woman/6339545/Meet-woman-who-ate-EIGHT-stone-of-cheese-a-year-ballooning-to-28st.html

“NOTHING was more tempting for Rachel Margison, than a big block of cheese.

While many women fawn over chocolate bars or gooey caramel, her vice was a massive wedge of Cheddar, Edam or Red … Leicester.

In fact, she was scoffing an incredible 2.2lb of cheese a week — or 8st a year.

She would plaster it on toast, snack on it while watching TV and even sprinkle it on an already cheesy … phenomenal 15st 7lb.

Single Rachel, 32, says: “I couldn’t get enough cheese. My favourite snack was a big cheese sandwich. I’d scoff a massive block of Cheddar wedged between two thick slices of bread…”

 

If you need an editorial or press photographer, please get in touch. You can reach me on my mobile +44 (0) 7901 617571 or email on jp@jonathanpow.com

 

Hepworth Wakefield art gallery – Lynda Benglis

Another one for my press clippings section of my photography website. Work is diverse as a photographer, these clippings should show that! Especially with my regular mixing of editorial photography and commercial photography!

See and read the site in full on the following Hepworth Wakefield page – http://www.hepworthwakefield.org/whatson/lynda-benglis/

From for my archive of press clippings, you can also read the article, by clicking here

‘Her retrospective at the Hepworth Wakefield is a revelation.’ **** – Adrian Searle, The Guardian

‘Nothing is ever really as it seems: fanned metal seems weightless and fragile: enormous billowing piles of lead seem kinetic; and the artist herself seems to be constantly challenging us to create our own meanings regarding abstract forms.’ –It’s Nice That

EXHIBITION

The Hepworth Wakefield presents the UK’s first museum survey of work by Greek-American artist and feminist icon Lynda Benglis. This highly anticipated exhibition will be the largest presentation of Benglis’ work in the UK, featuring approximately 50 works that will span the entirety of her prolific career to date.

Aged 73, Benglis is one of America’s most significant living artists. Born in 1941 in Louisiana, USA, she was heralded as the ‘heir to Pollock’ by Life magazine in 1970, and emerged as part of a generation of artists forging new approaches to sculpture and painting in the wake of Abstract Expressionism, Minimalism and Pop Art.

Counting Andy Warhol, Sol LeWitt and Barnett Newman among her friends and peers, Benglis established her career within a male-dominated art world and became famous not only for her radical re-envisioning of sculpture and painting through her early works using wax and poured latex, but also for her works dealing with feminist politics and self-image.

BIOGRAPHY

Born in Lake Charles, Louisiana in 1941, Lynda Benglis moved to New York City in the late 1960s.  She now resides in New York and Santa Fe, Mexico and is the recipient of a Guggenheim Fellowship and two National Endowment for the Arts grants, among other commendations.  Her work is held in important public collections and has been exhibited at Tate Modern, The Museum of Modern Art and the Whitney Museum.  Benglis was the subject of a 2010-11 international retrospective that travelled to The Irish Museum of Modern Art, Dublin; The Van Abbemuseum, Eindhoven; Le Consortium, Dijon; New Museum, New York; and the Museum of Contemporary Art, Los Angeles.  Most recently, in early 2014, Benglis showcased a series of new ceramic works in a solo exhibition at Cheim & Read, New York and Thomas Dane Gallery, London.

JOIN IN THE CONVERSATION

Join in the conversation on Twitter, Facebook and Instagram using #LyndaBenglis.

Images: Lynda Benglis, Raptor, 1995 – 96 Stainless steel, wire mesh, silicone and bronze, Courtesy the artist and Cheim & Read; In the studio with Lynda Benglis & Pi, 2012. Photo Bryan Derballa; Lynda Benglis in Bowery studio. ca. 1981 Photo Credit: Hans Namuth; Lynda Benglis Untitled (Mean Green), 1992-94 ceramic.

Exhibition supported by Cheim & Read, The Henry Moore Foundation, Thomas Dane Gallery and the Lynda Benglis Exhibition Circle.

If you run an art gallery and would like to consider me for your next portrait, exhibition or gallery photographs, please get in touch. Either call on 07901 617571 or email me on jp@jonathanpow.com and I’ll be happy to discuss.

CreativeTourist.com – Lynda Benglis

Here’s a post to kick off a new section to my site, for press clippings, as previously they were thrown in with all the rest!

It’s great to see my art and exhibition photography on CreativeTourist‘s site. This of a portrait of ‘feminist icon and visionary American artist Lynda Benglis’.

Please, first go read the article on their site here, it’s full of upcoming events, interviews and other pieces in the world of arts here >>> http://www.creativetourist.com/articles/art/wakefield/lynda-benglis-at-hepworth-wakefield-sculpture-thats-hard-to-pin-up/

From for my archive of press clippings, you can also read the article, by clicking here

“Feminist icon and visionary American artist Lynda Benglis comes to the Hepworth. Here’s our preview of her defiant work.

Whether you think of it as art work or advertising, Lynda Benglis’Centrefold will get your attention. Just over 40 years since it was first printed in the pages of Artforum, this shot of Benglis – wearing only sunglasses, a lengthy dildo, heavy 70s tan lines and an “uh, what?” expression – is still arresting. Perhaps because, in the age of Tracey Emin and an artist-directed 50 Shades of Grey film, the negotiation between art and sex feels as pressing as it did four decades ago.

Benglis, with knowing irony, used her body to get noticed in a male-dominated field

Benglis’ mother apparently predicted that it was this shot her daughter would be remembered for. She was right – and wrong. Exploiting the boundaries between provocation (the artist paid for the page space in Artforum herself) and defiance, Benglis, with knowing irony, used her body to get noticed in a male-dominated field. Over subsequent years, the artist cemented her position as an important and difficult to pin down (or up), figure – as the Hepworth’s extensive new survey of her work demonstrates.

Featuring around 50 works spanning the entirety of her prolific career, this is the first major UK exhibition of Benglis’ work. Her more recent ceramic and polyurethane works have never before been exhibited publicly; they lend a first-look frisson to more iconic pieces, such as the polyurethane pour Night Sherbet A (1968). Like this dense, sensual piece, made from layered slicks of coloured plastic, much of Benglis’ work interrogates the division between painting and sculpture, with ‘fallen paintings’ such as Baby Contraband (1969) seeping across the floor.

This interest in form feels coherent with the image that brought Benglis notoriety: in Centrefold, she inhabits the realm of the female pin-up, but recruits a dominant, male stance – as well as a badassery all of her own – to subvert it. This exhibition at the Hepworth is a chance to redress the kind of residual imbalance that gave this photograph its power – and shift attention back to where it belongs.

If you run an art gallery and would like to consider me for your next portrait, exhibition or gallery photographs, please get in touch. Either call on 07901 617571 or email me on jp@jonathanpow.com and I’ll be happy to discuss.