History or Photographs?
This fine exhibition seems to have flown under the radar of the photographic world. It was first at the People’s History Museum in Manchester and now is at the Industrial Museum in Bradford and it takes as its subject the photographic representation of workers. Curator Ian Beesley has divided the photos into eight roughly chronological types from the early criminal portrait, images of Victorian science and technology, worker as accessory, worker as unit of scale, the WW2 worker hero, self-representation, the combined workforce photo and industrial landscapes. Only 121 photos in all but they stand as some sort of tribute to millions of forgotten souls who laboured in anonymity and who, even when being photographed, were largely doing the boss’s bidding. It is hard to categorise the exhibition: part ethnographic, part documentary, part straight historical record and part celebration. Both the commentary and the accompanying poetry of Ian McMillan implicitly invite the viewer to see the images as a record of exploitation, hard lives, unsafe work, child labour, threadbare clothes and grinding poverty and quite rightly so. But personally I prefer to see them more as celebration. They were a class but every doffer, ligger, fettler, burler, slubber, corer, stamper, tipstretcher and quencher was also an individual. Photographs may be evidence for historians but they are invitations to reverie and contemplation too. We stare at the photos and the subjects stare back at us. Who knows what they thought of it all? We may have the vantage point of history but looking at these photographs we can make an imaginative leap and discard it if we wish.