Fragments of Life

The page color catalog will continue to nourish readers with a vibrant portfolio of textiles and text by Goldberg and six contributing authors. There are examples of a dozen techniques with emphasis on her passion for Japanese shibori and indigo. Fragments of Life installation shot works left to right: Glory Be, Screen, Banner, and Water.

After the bindings are removed, a record of the manipulation and shape remains in the resulting imagery. Visitors to the gallery come face-to-face with Goldberg in two life-size shibori silhouettes.

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In Self-Portrait I she strides forward. In Self-Portrait II she has turned with cane in hand to face her younger self. As textiles embody her creative, expressive and generous life, it is fitting that Goldberg created self-portraits in shibori.

Footprints lovingly preserves the footprints of five grandchildren in shibori. The theme of protection echoes because textiles, family and the methodology evoke the idea of protection. Water is a serpentine channel of water-like textures that flows down a saturated indigo fabric panel that ripples in shallow waves. Goldberg loved the ocean, the watery bath of blue dye, the water-like texture of shibori.

Photo by the artist. Squared appears to be a series of 12 rectangular cloths each with variations of shibori in a 10 inch square. In fact, the series was a protest 34 years ago when fiber arts were competing to be accepted. Published in , Beyond Caring was a detailed, documentary indictment of Thatcherism, made in anger.

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When the photographs were shown at Tate Modern in , they had lost none of their power; they still felt as if they came, above all, out of a strong sense of personal disgust. In Troubled Land, published a year later, Graham used a different approach to examine the political situation in Northern Ireland.

The installation designed for Danese Milano at Fuorisalone

His photographs surveyed the everyday landscape from a distance and found tiny, telling details — soldiers running through residential streets, a union flag flying high in a distant tree, faded posters stuck on the reverse of a roadside sign — that reflected how the conflict had insinuated itself into the minutiae of ordinary life. He is constantly testing what photography is capable of.

All his books have an air of experimentation.

He has never settled into a niche, but continues to move on. And he has been amazingly, consistently productive: Photographs , which puts all his work into context.

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This year is a big one for Graham: A retrospective is on its first leg at the Folkwang Museum, Essen , and comes to the Whitechapel Gallery in London in Since the late s, as the concerns of Graham's work shifted further away from Britain to Europe, Japan and America, where he now lives, his pictures have become more meditative, more metaphorical. He has chosen to work in an area, as many contemporary writers did, between documentary realism and fiction, where the observance of an everyday occurrence might be made to stand for something more universal.

But, as the critic Russell Ferguson writes in this new book about Graham's work, photography has always encountered difficulty when attempting to transcend its representative abilities, and claim "the status of art". This book of the retrospective has nothing experimental about it. It is a solid, well-conceived, thorough examination of 25 years' work: It is beautifully designed with the minimum of fuss; the emphasis is on the colour photographs. As a useful bonus, each of his books is reproduced in miniature, spread by spread, at the back.

What it makes clear is how Graham's work developed at an oblique angle to that of his peers, and sometimes in direct reaction to it. By the end of the s, he already felt the need to escape what he describes to David Chandler, in the first of the essays, as "the juggernaut of British colour documentary".

It is a comment that shows just how far things had shifted in British photography in less than a decade. In the next 10 years he travelled: In his series of "television portraits" and his book End of an Age , he produced a sequence of close-up portraits, in the first, some of his most tender pictures, of friends watching television, that offered the rare, intense experience of looking at people looking. The second series of portraits was of young men and women in nightclubs in European cities.