Childhood, Utter Journal Issue 2

I've been getting to grips with the next issue of Utter Journal which comes out on the 6th July and focuses on childhood. It's a body of work taken over a twenty year period between 1991-2011. Under the working title of ALLABOUTME, the images concentrate on my own children as they grow up and my own response to that process, in the full knowledge that childhood is an adult construct built around memory, desire and loss. In many ways the time frame is too big, I'm left to pour over a vast archive of photographs, making editing decisions which force the dynamic of childhood in to a smaller and smaller paradigm, with the question of meaning and essence becoming the hardest element. Mark Cator,

Isabel and Ben

"Placing the Romantic child under the aegis of the mother altered its meanings. The best and most important example of that transformation is what happened in the late eighteenth and nineteenth centuries to Renaissance Madonna and Child paintings. In a superbly researched catalogue, David Alan Brown has shown how almost all Catholic theological significance was drained from Madonna and Child paintings and replaced by the meanings of a universal, non-denominational, maternity." Anne Higonnet, Pictures of Innocence, The History and Crisis of Ideal Childhood, Thames & Hudson, 1998. Mark Cator, Isabel & Ben 1991

Alesandra Sanguinetti

I saw the work of Argentinian born Alesandra Sanguinetti at The Body Observed exhibition, showing at the Sainsbury Centre for Visual Arts, in Norwich, until 30th June 2019. "Featuring around 130 works from the 1930s to the contemporary, The Body Observed explores how Magnum photographers have turned their lens to the body, presenting works that examine a range of subjects from identity, intimacy, sexuality and ritual, to voyeurism and performance, among others." Alesandra Sanguinetti's best known long-term work is a documentary photography project about two cousins, Guillermina and Belinda, growing up in the countryside of Buenos Aires, Argentina. Sanguinetti began in the late 1990's, collab

Anna Claren

"We photograph everything for our photo albums: family images that take on a central importance in our lives ... The pictures become proof of love, friends and family and are part of the creation of our own identity. Within the history of photography, photo albums have never played an important role and the images have been regarded more as depictive than artistic. In art today, however, the private image has acquired an increasingly prominent role. It is the personal, the individual life that is depicted and presented, and the boundary between the private and public is erased more and more. "At first glance, Anna Clarén’s photographs appear frighteningly beautiful but underneath that surfac

Francesco Paulo Michetti

With photography, "I stole from nature more than a secret," as Michetti put it, so much so that it gave me "a new vision of art and life." A trove of photos by Michetti and his artist friends came to light in 1966, discovered in a former convent turned studio. For Michetti, his archive of photos provided a sense of authenticity and naturalness that he was not able to achieve any other way. Francesco Paolo Michetti (October 2, 1851 – March 5, 1929) was an Italian painter known especially for his genre works. After 1900 Michetti seems to have abandoned painting in favour of photography, becoming one of the first artistic practitioners of the new medium in Italy. In fact, by the early 1880’s M