Philip Ray-Jones and Edward Mackenzie
Media
Space at the Science Museum London 7th March 2014
Talk by
Edward Mackenzie on
TONY
RAY-JONES
Introduction
My thanks to Fiona Parry, curator of Media Space here at the
Science Museum; Thank you to the
audience. I am delighted to talk about
my late friend Tony Ray-Jones and enthuse over his photographs.
I am Edward Mackenzie artist, recently moved from America
and I now live and have a studio in Stoke-on-Trent.
Body
We met in New York City in 1966 and hit it off - we spoke
the same language if you will, two different personalities – he akin to Prince
Hal, myself leaning towards Richard III. We shared two important influences as
artists: firstly, as living outside our countries for an extended period of
time, we were better able to observe our native lands. Without his time in America, I doubt Tony
would have made such potent statements about the English. The second influence was Alexey Brodovitch,
the iconic Russian designer and mentor of photographers. Enough of history, I don’t just want
to trip down memory lane. I’m here to
talk about and ponder the work of Tony Ray-Jones artist to artist, not letting
personal history skew my view.
I markedly say artist.
I admit that I do not consider most photography as art - it not being
more than a wonderful recording device.
Unlike say painting, or sculpture, photography leaves little room for
creativity – a small aperture through which a photographer becomes an artist
taking photographs. Consequently more power to photographers recognized as artists. Tony was one of these.
As to Tony’s product - these Exhibited photos: I’ve seen these photos again and again - so
many times - in all formats, from contact sheets to prints to posters etc. But, you know what? I keep coming back for
more. Entertained, informed and inspired yes, but more so intrigued by the
mystery of why this work works and continues to captivate and move me.
Process
As an artist myself, I’m fascinated by process, including my
own, of how to get from A to B (I don’t mean how to mix egg tempera or the
application of gesso). Tony achieved
worthy results via a process more of the mind than the Leica and darkroom. Not to dismiss his technical process, but
unlike some other photographers, he did not get stuck with apparatus and the
mechanics of photography - rather, having done that apprenticeship, it acted as
a primer to the ‘real stuff’. Tony’s
real process as an artist was mental – not how to photograph, but of what, and
why.
These exhibited photos are collectively the point of
departure for us seeking an understanding of what lay behind the eyes behind
the camera; which begs the question – What was this man all about? The metaphysician would say – we don’t really
see with these (eyes) – we see what we want to see determined by what is in our
head – what was in Tony’s? What is it
that makes Tony worthy of inclusion in the pantheon of revered English
photographers?
Edward
Mackenzie’s Personal Take
My personal take on what these images represent and what
Tony was about I see as theatre – English theatre! The photos are filled with enticing theatrical
content: happenings and ‘business’, not to mention a splendid cast of characters
large and small (in both senses of large and small). I include the dogs; if you saw the film
Billy Elliot you might remember the dog running up the incline behind the miners’
terrace. In the accompanying text of
this exhibition, someone alluded to the viewer being drawn beyond left and
right of frame - curious to know what is happening there – stage left and stage
right if you will, pre and post the moment recorded.
Ray-Jones photos tell a story – a drama, but incompletely,
leaving the audience (us) wondering what we missed in Act I, Scene 2, or what
is going to happen in Act III. What about that silent figure tucked in to the
side of the caravan in Morecambe 1967
- what is he up to? We want to know -
and what about the dog? We are talking
ENGLAND as seen by an English photographer – perhaps an artistic cousin of
Harold Pinter, or Arnold Wesker, or dare I suggest Arnold Bennett (a favourite
son of Stoke where EM lives). It’s a
drama - leaving us to our own devices this side of the footlights– no going
back stage to see the actors of this very English drama taking their make-up off.
We are drawn in, only so far. The mystery and speculation are the enticing
stuff of art. In the incompleteness of
this drama the observers (audience) are free to speculate and thus join in,
making a contribution – becoming participants in the play. No less than as participants at the National,
MOMA or Tate Galleries. The photos are
as stills in a moving picture rich enough to stand alone. See Ramsgate
1968 – Walls Ice-cream! Evocative of sticky fingers on leatherette cinema
seats – there’s another dog!
I have no definite answer for what makes Tony’s work worthy
and esteemed. I like not knowing. I want the R. C. Sheriff play not to
end. It is something to do with a kind
of power inherent in the incompleteness of story, encouraging query and wonder,
the more meaningful minus completeness and closure, as was the life of Tony
Ray-Jones, tragically snuffed out at the age of 30.
End
So, try it on – have another look see at Tony’s evocative
photographs. We are left to question and
ponder – no glib explanation will do. I
like the question ‘What was this man about?’
Again, I offer no clear answer, except to say whatever Tony was about it
is good enough for us to return again and again for another sip at the fountain
of his mind. Here’s to you Tony,
wherever your spirit resides, thanks for the black and white memories.
[Ed Mackenzie and Tony Ray-Jones were fellow students at Alexey Brodovitch's now-famous Design Laboratory some time after me, Tony at Yale the year following me and Ed later. The two met when Tony went to work in New York. My thanks to Ed Mackenzie for letting me post his talk here. J B-H]
