For 50 years, Martin Parr’s iconic photos have perfectly captured the jubilant idiosyncrasies of British leisure time. Now based in Bristol, the photographer is in the midst of his busiest year yet, culminating in the publication of his autobiography: Utterly Lazy and Inattentive. He speaks to Isabelle Blakeney about politics, controversies and his biggest regrets… Photo of Martin Parr ©Fabrizio Spucches
This year hasn’t quite been Parr for the course for one of the world’s most legendary photographers. Because by his own admission, Martin Parr has been everywhere. Head up to the Bristol Museum and visit the Martin Parr x Bristol Pride exhibition; sit on the London Underground and see posters for his documentary I Am Martin Parr; open Vogue and catch his brilliantly jovial pictures of Mary Berry sitting snuggly beside an uber-kitsch photoshoot for YSL. And this month, topping it all off, is his latest feat: his memoir, narrating a life shaped by iconic pictures.
The autobiography, titled Utterly Lazy and Inattentive (a label given to him by his school French teacher, and one which he wears with pride), chronicles Parr’s photographic career through his bold, satirical, and often controversial images, which document British life in all its gaudy glory.
Images top to bottom: From The Last Resort, New Brighton, England, 1983-5 © Martin Parr / Magnum Photos; Playing bowls, Bristol, England, 1995-99 © Martin Parr / Magnum Photos; Shalfleet Church Fête Isle of Wight, England, 2007 © Martin Parr / Magnum Photos
Now based in Clifton, Parr’s latest obsession is the Martin Parr Foundation in Paintworks. Housing his extensive personal collection of photography books (and Saddam Hussein watches), it’s also home to a strong team of administrators and archivists who are tasked with organising his enormous back catalogue, and an exhibition space, showcasing up-and-coming photographers (currently exhibiting FIERCE: Bristol by Ajamu X until 21 September – not to be missed).
The Foundation is also where we meet to discuss this particularly fruitful time in his life. The 73-year-old is affable but famously brusque, well acquainted with the requirements of promoting his work without straying far from the laser-sharp focus of his creative connection to the lens. He puts his monomaniacal tendencies rather plainly himself: “I am picture led. My whole life is about photography. I see my relationship to the world through photography and photos, and being inspired through that.”
But for someone who has spent their life behind the lens, between the release of I Am Martin Parr in March and now Utterly Lazy and Inattentive, what’s the reason for this sudden burst of self-observation?
“The timing was actually pure coincidence – this has been one of my busiest years yet. I’m worrying I might be becoming too ubiquitous!” he tells me. “There’s only so much power we can take, and I’m slightly worried that it might be the end of the success. But I don’t mind having the camera on me – it’s part of the job.”
Images top to bottom: Bristol Pride, England, 2019 © Martin Parr / Magnum Photos; McDonald’s, Moscow, Russia, 1992 © Martin Parr / Magnum Photos; Clacton Beach, Clacton, England, 2017 © Martin Parr / Magnum Photos. Above, L-R: St Pauls Carnival, Bristol, England, 2019 © Martin Parr / Magnum Photos; Susie Parr, Anti-Brexit march, Bristol, England, 2019 © Martin Parr / Magnum Photos
Courting controversy
Both documentary and memoir examine Parr’s most critical and controversial headlines. Namely The Last Resort, a collection of photographs of the litter-strewn seaside town New Brighton, which was met with outrage when it arrived at the Serpentine in London in 1986.
“Everyone said, ‘How dare this middle-class photographer exploit the working class…’ I mean, yes – but I don’t see why I shouldn’t photograph any class I want” he explains.
“At the end of the day, my photos are entertainment – but they are also a social critique. New Brighton was politically inspired – I was showing people, ordinary families coming to the beach for a day out, but in front of this shabby background, and people didn’t like that.”
But The Last Resort also defined an iconic style that came to be cherished both at home and abroad. “I’m actually really popular in France – I think it’s because they like taking the mick out of the English. They love my photos of bad British food,” he grins.
Though not overtly political, his work has, at times, naturally ventured into that realm. In 2016, he was commissioned to photograph both the US Republican and Democratic national conventions. Given that he’s made clear his own left-leaning tendencies, with an Instagram peppered with anti-Brexit marches, Pride celebrations and Gaza protests, does his creative approach change in these different environments?
“No, not at all. I’d have the same approach with Democrats or Republicans. The Republicans were more visual as well, with all these crazy Trump things…”
And is there anywhere he’d draw a line? ‘No, not really. I’d photograph Reform – why not? Maybe I need to head down and photograph the Reform pub in Clapton.”
Images top to bottom: From Small World, Kleine Scheidegg, Switzerland, 1990 © Martin Parr / Magnum Photos; From Chew Stoke: A Year In The Life Of An English Village, Chew Stoke, England, 1992 © Martin Parr / Magnum Photos
New lenses
Parr’s photography has always gone against the grain. His colour work, which he is now renowned for, was received with disdain by other photographers who viewed it as too ‘commercial’. In fact, while applying for membership at Magnum (the prestigious photographers’ cooperative), he was accused of being ‘the spawn of Thatcher and a fascist’ by fellow member Philip Jones Griffiths. What was behind that sentiment?! “I don’t know! You’d have to ask him, but he’s dead. He did know how to throw a good insult, though.”
He states that AI doesn’t threaten him (“it’ll never understand the quirks of really good photographers”), though he has banned it from his own photography competitions; but he’s not a Luddite, either. Parr has waxed lyrical about the powers of the iPhone camera, and has been using it increasingly in his work.
“The iPhone is easier, inconspicuous and less threatening. I shoot with the iPhone at night because you can really get away with anything, even without the flash. But it does mean that Autoportrait (a 30-year series of often comical self-portraits) has probably run its course – all the analogue possibilities have gone, and I feel like the landscape has changed too much.”
The missed shot
In Utterly Lazy and Inattentive, Parr discusses his biggest regret: missing the moment the statue of Edward Colston was toppled in June 2020.
“I missed it by five minutes. Boy, I felt fed up with myself. I think about that a lot, and what a fool I was. Didn’t hear it coming down the hill – I should have anticipated it. I hadn’t twigged how controversial that statue was. You know, Marvin [Rees], before the protests, had declined to tear it down when he should have done, obviously. It was pretty significant. And then I went back the following day, there was just the pedestal left.”
Yet Bristol hasn’t historically been a focus of Parr’s lens. In fact, upon moving to the city, he swore to himself that Bristol would be a place where he would separate life from his work. Has that changed? “I definitely regret not setting off sooner. I love the open garden schemes and that sort of thing – but there are other places like St Mark’s Road and St Pauls, which are great to photograph as well. I’m grateful for the variety that we have. Bristol is home to so many great photographers as well – Pit Lad and Colin Moody, they’re two really young, great photographers – their enthusiasm is brilliant.”
Parr’s momentum is steadfast. After all, when I ask him how he switches off, Parr’s answer is simple…
“I don’t. Why would I switch off? This is my passion”.
Utterly Lazy and Inattentive is published by Particular Books on 4 September
martinparr.com | martinparrfoundation.org | Martin Parr Foundation, Paintworks, 316 Arnos Vale, BS4 3A
