{"id":18601,"date":"2022-10-25T10:54:12","date_gmt":"2022-10-25T10:54:12","guid":{"rendered":"https:\/\/www.africa-press.net\/angola\/all-news\/chris-killip-retrospective-for-influential-british-photographer"},"modified":"2022-10-25T11:40:57","modified_gmt":"2022-10-25T11:40:57","slug":"chris-killip-retrospective-for-influential-british-photographer","status":"publish","type":"post","link":"https:\/\/www.africa-press.net\/angola\/all-news\/chris-killip-retrospective-for-influential-british-photographer","title":{"rendered":"Chris Killip: Retrospective for influential British photographer"},"content":{"rendered":"<p><span style=\"color: #ff6600\"><strong>Africa-Press &#8211; Angola. <\/strong><\/span><b>A retrospective of work by one of the UK&#8217;s most important and influential post-War photographers, Chris Killip, has opened in London.<\/b><\/p>\n<p>Killip was best known for documenting the lives of working-class people in post-industrial north-east England, marginalised communities and disappearing ways of life.<\/p>\n<p>Born on the Isle of Man, in 1946, Killip became a beach photographer in 1964, before working as an assistant in Chelsea.<\/p>\n<p>In the late 1970s, he co-founded Newcastle-upon-Tyne&#8217;s Side Gallery, dedicated to photography.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" width=\"976\" height=\"781\" class=\"alignnone wp-image-18589 size-full\" src=\"https:\/\/static.africa-press.net\/angola\/sites\/65\/2022\/10\/postMediaimg_52_1.jpg\" srcset=\"https:\/\/static.africa-press.net\/angola\/sites\/65\/2022\/10\/postMediaimg_52_1.jpg 976w, https:\/\/static.africa-press.net\/angola\/sites\/65\/2022\/10\/postMediaimg_52_1-300x240.jpg 300w, https:\/\/static.africa-press.net\/angola\/sites\/65\/2022\/10\/postMediaimg_52_1-768x615.jpg 768w\" sizes=\"auto, (max-width: 976px) 100vw, 976px\" \/><br \/>\nOutside Redheads Shipyard, South Shields, Tyneside, 1976<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" width=\"976\" height=\"1220\" class=\"alignnone wp-image-18590 size-full\" src=\"https:\/\/static.africa-press.net\/angola\/sites\/65\/2022\/10\/postMediaimg_52_2.jpg\" srcset=\"https:\/\/static.africa-press.net\/angola\/sites\/65\/2022\/10\/postMediaimg_52_2.jpg 976w, https:\/\/static.africa-press.net\/angola\/sites\/65\/2022\/10\/postMediaimg_52_2-240x300.jpg 240w, https:\/\/static.africa-press.net\/angola\/sites\/65\/2022\/10\/postMediaimg_52_2-819x1024.jpg 819w, https:\/\/static.africa-press.net\/angola\/sites\/65\/2022\/10\/postMediaimg_52_2-768x960.jpg 768w\" sizes=\"auto, (max-width: 976px) 100vw, 976px\" \/><br \/>\nTorso, Pelaw, Gateshead, Tyneside, 1978<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" width=\"976\" height=\"781\" class=\"alignnone wp-image-18591 size-full\" src=\"https:\/\/static.africa-press.net\/angola\/sites\/65\/2022\/10\/postMediaimg_52_3.jpg\" srcset=\"https:\/\/static.africa-press.net\/angola\/sites\/65\/2022\/10\/postMediaimg_52_3.jpg 976w, https:\/\/static.africa-press.net\/angola\/sites\/65\/2022\/10\/postMediaimg_52_3-300x240.jpg 300w, https:\/\/static.africa-press.net\/angola\/sites\/65\/2022\/10\/postMediaimg_52_3-768x615.jpg 768w\" sizes=\"auto, (max-width: 976px) 100vw, 976px\" \/><br \/>\nFamily on a Sunday walk, Skinningrove, 1982<\/p>\n<p>His stark but sympathetic observation focused attention on issues and communities often neglected or hidden.<\/p>\n<p>In his series Seacoal, he photographed men on horse-driven carts reclaiming coal discarded into the sea from a nearby mine.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" width=\"976\" height=\"781\" class=\"alignnone wp-image-18592 size-full\" src=\"https:\/\/static.africa-press.net\/angola\/sites\/65\/2022\/10\/postMediaimg_52_4.jpg\" srcset=\"https:\/\/static.africa-press.net\/angola\/sites\/65\/2022\/10\/postMediaimg_52_4.jpg 976w, https:\/\/static.africa-press.net\/angola\/sites\/65\/2022\/10\/postMediaimg_52_4-300x240.jpg 300w, https:\/\/static.africa-press.net\/angola\/sites\/65\/2022\/10\/postMediaimg_52_4-768x615.jpg 768w\" sizes=\"auto, (max-width: 976px) 100vw, 976px\" \/><br \/>\nGordon in the water, Seacoal Beach, Lynemouth, 1983<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" width=\"976\" height=\"781\" class=\"alignnone wp-image-18593 size-full\" src=\"https:\/\/static.africa-press.net\/angola\/sites\/65\/2022\/10\/postMediaimg_52_5.jpg\" srcset=\"https:\/\/static.africa-press.net\/angola\/sites\/65\/2022\/10\/postMediaimg_52_5.jpg 976w, https:\/\/static.africa-press.net\/angola\/sites\/65\/2022\/10\/postMediaimg_52_5-300x240.jpg 300w, https:\/\/static.africa-press.net\/angola\/sites\/65\/2022\/10\/postMediaimg_52_5-768x615.jpg 768w\" sizes=\"auto, (max-width: 976px) 100vw, 976px\" \/><br \/>\nUnidentified man and Brian Laidler, Seacoal Beach, Lynemouth, January, 1984<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" width=\"976\" height=\"781\" class=\"alignnone wp-image-18594 size-full\" src=\"https:\/\/static.africa-press.net\/angola\/sites\/65\/2022\/10\/postMediaimg_52_6.jpg\" srcset=\"https:\/\/static.africa-press.net\/angola\/sites\/65\/2022\/10\/postMediaimg_52_6.jpg 976w, https:\/\/static.africa-press.net\/angola\/sites\/65\/2022\/10\/postMediaimg_52_6-300x240.jpg 300w, https:\/\/static.africa-press.net\/angola\/sites\/65\/2022\/10\/postMediaimg_52_6-768x615.jpg 768w\" sizes=\"auto, (max-width: 976px) 100vw, 976px\" \/><br \/>\nBoo&#8217; on a horse, Seacoal Camp, Lynemouth, Northumbria, 1984<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" width=\"976\" height=\"781\" class=\"alignnone wp-image-18595 size-full\" src=\"https:\/\/static.africa-press.net\/angola\/sites\/65\/2022\/10\/postMediaimg_52_7.jpg\" srcset=\"https:\/\/static.africa-press.net\/angola\/sites\/65\/2022\/10\/postMediaimg_52_7.jpg 976w, https:\/\/static.africa-press.net\/angola\/sites\/65\/2022\/10\/postMediaimg_52_7-300x240.jpg 300w, https:\/\/static.africa-press.net\/angola\/sites\/65\/2022\/10\/postMediaimg_52_7-768x615.jpg 768w\" sizes=\"auto, (max-width: 976px) 100vw, 976px\" \/><br \/>\nCookie in the snow, Seacoal Camp, Lynemouth, Northumbria, 1984<\/p>\n<p>A book to accompany the exhibition draws on thousands of images, showcasing Killip&#8217;s most influential as well as the lesser known works.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" width=\"976\" height=\"805\" class=\"alignnone wp-image-18596 size-full\" src=\"https:\/\/static.africa-press.net\/angola\/sites\/65\/2022\/10\/postMediaimg_52_8.jpg\" srcset=\"https:\/\/static.africa-press.net\/angola\/sites\/65\/2022\/10\/postMediaimg_52_8.jpg 976w, https:\/\/static.africa-press.net\/angola\/sites\/65\/2022\/10\/postMediaimg_52_8-300x247.jpg 300w, https:\/\/static.africa-press.net\/angola\/sites\/65\/2022\/10\/postMediaimg_52_8-768x633.jpg 768w\" sizes=\"auto, (max-width: 976px) 100vw, 976px\" \/><br \/>\nYouth on wall, Jarrow, Tyneside, 1975<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" width=\"976\" height=\"1220\" class=\"alignnone wp-image-18597 size-full\" src=\"https:\/\/static.africa-press.net\/angola\/sites\/65\/2022\/10\/postMediaimg_52_9.jpg\" srcset=\"https:\/\/static.africa-press.net\/angola\/sites\/65\/2022\/10\/postMediaimg_52_9.jpg 976w, https:\/\/static.africa-press.net\/angola\/sites\/65\/2022\/10\/postMediaimg_52_9-240x300.jpg 240w, https:\/\/static.africa-press.net\/angola\/sites\/65\/2022\/10\/postMediaimg_52_9-819x1024.jpg 819w, https:\/\/static.africa-press.net\/angola\/sites\/65\/2022\/10\/postMediaimg_52_9-768x960.jpg 768w\" sizes=\"auto, (max-width: 976px) 100vw, 976px\" \/><br \/>\nThe Station, Gateshead, 1985<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" width=\"976\" height=\"781\" class=\"alignnone wp-image-18598 size-full\" src=\"https:\/\/static.africa-press.net\/angola\/sites\/65\/2022\/10\/postMediaimg_52_10.jpg\" srcset=\"https:\/\/static.africa-press.net\/angola\/sites\/65\/2022\/10\/postMediaimg_52_10.jpg 976w, https:\/\/static.africa-press.net\/angola\/sites\/65\/2022\/10\/postMediaimg_52_10-300x240.jpg 300w, https:\/\/static.africa-press.net\/angola\/sites\/65\/2022\/10\/postMediaimg_52_10-768x615.jpg 768w\" sizes=\"auto, (max-width: 976px) 100vw, 976px\" \/><br \/>\nBever, Skinningrove, N. Yorkshire, 1983<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" width=\"976\" height=\"781\" class=\"alignnone wp-image-18599 size-full\" src=\"https:\/\/static.africa-press.net\/angola\/sites\/65\/2022\/10\/postMediaimg_52_11.jpg\" srcset=\"https:\/\/static.africa-press.net\/angola\/sites\/65\/2022\/10\/postMediaimg_52_11.jpg 976w, https:\/\/static.africa-press.net\/angola\/sites\/65\/2022\/10\/postMediaimg_52_11-300x240.jpg 300w, https:\/\/static.africa-press.net\/angola\/sites\/65\/2022\/10\/postMediaimg_52_11-768x615.jpg 768w\" sizes=\"auto, (max-width: 976px) 100vw, 976px\" \/><br \/>\nLawrence &amp; Judith Quillam, Ballayock, Earystane, 1973<\/p>\n<p>Chris Killip runs at The Photographers&#8217; Gallery until 19 February. The accompanying book is published by Thames &amp; Hudson.<\/p>\n<p><strong>For More News And Analysis About <a href=\"https:\/\/www.africa-press.net\/angola\">Angola<\/a> Follow <a href=\"https:\/\/www.africa-press.net\/\">Africa-Press<\/a><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Africa-Press &#8211; Angola. A retrospective of work by one of the UK&#8217;s most important and influential post-War photographers, Chris Killip, has opened in London. Killip was best known for documenting the lives of working-class people in post-industrial north-east England, marginalised communities and disappearing ways of life. Born on the Isle of Man, in 1946, Killip [&hellip;]<\/p>\n","protected":false},"author":84,"featured_media":18600,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2,11],"tags":[233,337,329],"class_list":["post-18601","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-all-news","category-photo","tag-africa-press","tag-africa-press-angola","tag-angola"],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v26.1 (Yoast SEO v27.0) - https:\/\/yoast.com\/product\/yoast-seo-premium-wordpress\/ -->\n<title>Chris Killip: Retrospective for influential British photographer - Angola<\/title>\n<meta name=\"description\" content=\"A retrospective of work by one of the UK&#039;s most important and influential post-War photographers, Chris Killip, has o ...\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.africa-press.net\/angola\/all-news\/chris-killip-retrospective-for-influential-british-photographer\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Chris Killip: Retrospective for influential British photographer\" \/>\n<meta property=\"og:description\" content=\"A retrospective of work by one of the UK&#039;s most important and influential post-War photographers, Chris Killip, has o ...\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.africa-press.net\/angola\/all-news\/chris-killip-retrospective-for-influential-british-photographer\" \/>\n<meta property=\"og:site_name\" content=\"Angola\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/AfricaPressTunisiaa\" \/>\n<meta property=\"article:published_time\" content=\"2022-10-25T10:54:12+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2022-10-25T11:40:57+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/static.africa-press.net\/angola\/sites\/65\/2022\/10\/postQueueImg_52.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"976\" \/>\n\t<meta property=\"og:image:height\" content=\"781\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"cfeditoren\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"cfeditoren\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"4 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.africa-press.net\/angola\/all-news\/chris-killip-retrospective-for-influential-british-photographer#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.africa-press.net\/angola\/all-news\/chris-killip-retrospective-for-influential-british-photographer\"},\"author\":{\"name\":\"cfeditoren\",\"@id\":\"https:\/\/www.africa-press.net\/angola\/#\/schema\/person\/068c7ab4e9634ae78ec5d54ec46598bb\"},\"headline\":\"Chris Killip: Retrospective for influential British photographer\",\"datePublished\":\"2022-10-25T10:54:12+00:00\",\"dateModified\":\"2022-10-25T11:40:57+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.africa-press.net\/angola\/all-news\/chris-killip-retrospective-for-influential-british-photographer\"},\"wordCount\":238,\"commentCount\":0,\"image\":{\"@id\":\"https:\/\/www.africa-press.net\/angola\/all-news\/chris-killip-retrospective-for-influential-british-photographer#primaryimage\"},\"thumbnailUrl\":\"https:\/\/static.africa-press.net\/angola\/sites\/65\/2022\/10\/postQueueImg_52.jpg\",\"keywords\":[\"Africa Press\",\"Africa Press-Angola\",\"Angola\"],\"articleSection\":[\"all news\",\"photo\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/www.africa-press.net\/angola\/all-news\/chris-killip-retrospective-for-influential-british-photographer#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.africa-press.net\/angola\/all-news\/chris-killip-retrospective-for-influential-british-photographer\",\"url\":\"https:\/\/www.africa-press.net\/angola\/all-news\/chris-killip-retrospective-for-influential-british-photographer\",\"name\":\"Chris Killip: Retrospective for influential British photographer - 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