Yoko Ono by Andrew Maclear

© Andrew Maclear

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Edition: Open Edition

Method: Archival Pigment Print / Premium Cotton Photo Paper

Signed by Andrew Mclear (on front) and captioned in his own handwritting 

Certificate of Authenticity issued by TMPG and the artist

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This photograph is an original reproduction made from the negative by the photographer. 

 

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Yoko Ono by Andrew Maclear

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  • At the time the photographer wasn´t really a photographer.   He was a teenager with a camera, a messenger by trade, intimately familiar with the labyrinth of roads and alleys and cut throughs that composed the centre of London.   Thus, images of after hours drinking clubs in Soho, run down housing projects and dishevelled children, eccentric persons on the Charing Cross Road stand alongside pictures of Jean Luc Godard at work, Jim Morrison on stage, and John Lennon with his newly adopted partner releasing balloons into the warm evening sky,

    July, 1968.  Sixties London was an open canvas and anyone could paint or play or record on it.  "No" was not a word in the general vernacular.    London was characterized by a psychedelic diversity of activities, low rents, infinite possibilities and a cultural landscape which resonates, loudly, half a century later.   And for a teenager with a Nikon, a reasonable eye and a pocketful of Tri-X, the obvious thing to do was photograph it.  Not with any particular objective.  Objectives weren't high on the agenda in the swinging sixties.   Just doing it would do.   A picture did not have to be sold ... it just had to be taken.   These pictures are not classic music pictures, nor is there much performance material.   They are singular moments from an emblematic decade caught by an untrained but intuitive eye.  An accidental photographer.   The pictures are principally portraits, or "close work".   The Revolution Night Club is faces and cigarettes.  Barbra Streisand in the Dorchester Hotel is just Barbra Streisand in a chair.   Jimi Hendrix rehearsing in the Royal Albert Hall is Jimi Hendrix, hands and fretboard.   These pictures are principally in black and white - an economic necessity in those days rather than a stylistic decision.  "Shoot six or ten frames and leave" was the maxim.   Then head for the darkroom.   Fifty years later the photographer says; "The pictures were really just given to you.  You just put a frame around who or what was in front of you".   You just have to know where that frame should be.