James BarnorHon. FRPS, OV (born 6 June 1929)[2] is a Ghanaian photographer who has been based in London since the 1990s. His career spans six decades, and although for much of that period his work was not widely known, it has latterly been discovered by new audiences. In his street and studio photography, Barnor represents societies in transition in the 1950s and 1960s: Ghana moving toward independence[broken anchor], and London becoming a multicultural metropolis.[3] He has said: "I was lucky to be alive when things were happening...when Ghana was going to be independent and Ghana became independent, and when I came to England the Beatles were around. Things were happening in the 60s, so I call myself Lucky Jim."[4] He was Ghana's first full-time newspaper photographer in the 1950s, and he is credited with introducing colour processing to Ghana in the 1970s.[5][6] It has been said: "James Barnor is to Ghana and photojournalism what Ousmane Sembène was to Senegal and African cinema."[7]
Barnor has spoken of how his work was rediscovered in 2007 during the "Ghana at 50" jubilee season by curator Nana Oforiatta-Ayim, who organised the first exhibition of his photographs at Black Cultural Archives (BCA).[8][9] Appreciation of his work as a studio portraitist, photojournalist and Black lifestyle photographer[10] has been further heightened since 2010 when a major solo retrospective exhibition of his photographs, Ever Young: James Barnor, was mounted at Rivington Place, London, followed by a series of exhibitions including in the United States and South Africa. His photographs were collated by the non-profit agency Autograph ABP during a four-year project funded by the Heritage Lottery Fund and in 2011 became part of the new Archive and Research Centre for Culturally Diverse Photography.[11]
Barnor's photographs have also in recent years had showings in Ghana,[12][13][14] France (Paris Photo 2011,[15] Galerie Baudoin Lebon;[16] Galerie Clémentine de la Féronnière),[17]The Netherlands. The first monograph of his work, entitled James Barnor: Ever Young, was published in 2015, including an extensive conversation between Barnor and Margaret Busby with Francis Hodgson.[18]
Early years
Frederick Seton James Barnor was born in Accra, in what was then the Gold Coast, West Africa. Giving an insight on how he came to choose his career, he said: "Photography was in my family. My two uncles were photographers. My cousin was a photographer, and I found out later when I got into it that another cousin was also a photographer."[4]
At the age of 17, Barnor was teaching basket weaving at a missionary school and the headmaster gave him a camera "to play around with––it was a Kodak Brownie 127, made of plastic".[19] In 1947, Barnor started an apprenticeship with his cousin J. P. Dodoo, a well-known portrait photographer,[20] "mostly taking pictures of people because when you take pictures of flowers and places there's nobody to pay for them. I did that for two years but I had always wanted to be a policeman. I applied to be a police photographer and was accepted, but before I could start my training my uncle gave me the camera he used for photography."[19]
Ever Young Studio
After finishing the apprenticeship he set up his own freelance photographic practice ("I did a lot of developing and printing for friends, as well as taking photos. I called my company FS James Barnor's Quick Photo Service — FS are my initials, for Frederick Seton. If you bring me the negatives, you will get the photos the next day.")[1] in a makeshift street studio in the Jamestown area of the capital, using a backdrop outside his rented room.[4] When his landlord wanted to reclaim the room, from 1953 Barnor began to operate his Ever Young Studio.[21] Its name derives from the subject of an English comprehension extract he had studied as a schoolboy, entitled "Iduna's Grove", about a Norse goddess giving out magic apples to grant eternal youthfulness;[22] it was also an allusion to the expected practice of retouching sitters' faces to perfection — "Long before Photoshop existed you would use a pencil. I would retouch the pictures to make people look younger."[10][23]
Located close to the once-famous Seaview Hotel, the studio "soon drew a mixture of clients from families to night revellers and dignitaries".[4] Among those whom he photographed were Ghana's future first president Kwame Nkrumah (pictured kicking a football in one of Barnor's shots),[24]pan-Africanist politician J. B. Danquah,[25] Sir Charles Arden-Clarke (last British governor of the Gold Coast), the Duchess of Kent and then American Vice-President Richard Nixon (when he attended Ghana's Independence ceremony in March 1957), as well as boxing champion Roy Ankrah.[26]
At the same time as freelancing, Barnor became the first staff photographer employed by the Daily Graphic newspaper[27] when it was established in Ghana in 1950 by Cecil King of the London Daily Mirror Group.[4] Barnor also sold photographs to other publications, notably the South African magazine Drum, which covered news, politics and entertainment. Drum was founded in 1951 by Jim Bailey, with whom Barnor established an ongoing relationship, using the magazine's Fleet Street office as his base when he first went to London.[4][1]
1960s in the UK
In December 1959 he travelled to England to develop his skills, working at Colour Processing Laboratories Ltd,[20]Edenbridge, Kent, and attending evening and other part-time classes before being awarded a Ghana Cocoa Marketing Board scholarship to study full-time at Medway College of Art in Rochester, Kent, graduating in 1961.[28] Subsequent to this course, he stayed on in the UK and continued working as a photographer and technician.[21] His images from this period document Africans in Britain, notably his work as a fashion photographer with black models against London backdrops, often for the covers of Drum, then the leading magazine in Africa.[29]
1970–94
After a decade in England, Barnor went back to Ghana, where he set up the country's first colour processing facilities.[21] For the following 24 years in Ghana he worked as a professional photographer, was the official African representative for Agfa-Gevaert (at the time the leading company for imaging technology), and was also given work by the American embassy and Ghanaian government agencies under the auspices of J. J. Rawlings.[21]
Return to London: 1994–present
In 1994, Barnor returned to London, where his work latterly began to be discovered by a new wider audience, through exhibitions at venues such as Black Cultural Archives (2007),[30]Rivington Place (2010), and elsewhere.
"At the age of 79, I was recognised," he told his audience at a talk at Chelsea Theatre in 2013.[31] His 85th birthday in June 2014 was marked with a showcase of his work in the London Borough of Hounslow,[32][33] where he lives in sheltered accommodation[31] in Brentford, West London.[34] Barnor continues to exhibit and give talks on his work, including in 2016 at the V&A (as part of the Paul Strand photography and film exhibition season),[35][36] at Photonook Bristol[8] and at the October Gallery.[37] He said in a 2019 interview: "Sometimes the more you give, the more you get. That's why I'm still going at 90!"[3]
He has set up a UK-registered charity, The James Barnor Foundation, to achieve various aims that are close to his heart, including "education and training, promoting and advocating for the preservation of African cultures, and highlighting African cultural talents."[38] In 2022, the Foundation's launching initiative was a prize to promote established photographers from the African continent, and the first edition, which focused on West Africa, was won by Sènami Donoumassou.[39]
Exhibitions
In 2007, the interest taken in his work by Nana Oforiatta Ayim led to Barnor's first show; he has said: "She was the first curator/ writer to organize a show of my work, and she is the first one who suggested I should do a book."[8][40] From 24 April to 24 June 2007 the exhibition entitled Mr Barnor's Independence Diaries took place at the Black Cultural Archives (BCA), curated by Oforiatta-Ayim, as part of BCA's Ghana Jubilee Season.[41][42][43]
The first major solo retrospective exhibition of Barnor's photographs, Ever Young: James Barnor, was mounted at Rivington Place in London from September to November 2010, curated by Renée Mussai of Autograph ABP's Archive and Research Centre.[45][46] Documenting life in Ghana from the late 1940s to 1950s, and African life during London's "Swinging Sixties" (famous faces include Muhammad Ali, who defended his world heavyweight title against Brian London at Earl's Court in 1966) as well as later decades, the exhibition received wide and favourable coverage within the UK media.[4][47][48] As one reviewer noted, "The pictures have become slices of history, documenting race and modernity in the post-colonial world."[49] For art historian Kobena Mercer,
"Barnor captures the mood of a nation on the cusp of self-determination.... Cutting across the divide between periphery and metropolis, Barnor’s images suggest that 'Africa' has never been a static entity, confined to the boundaries of geography, but has always had a diasporic dimension....
The rediscovery of Barnor's images today reveals how photographs have a diasporic life of their own. By virtue of mechanical reproduction, which undercuts the distinction between the original and the copy, photographs are vulnerable to a process of decontextualisation – making them orphans, thrown into the world without a fixed 'home'. But in the research process of retrieval and reassembly that has unified Barnor’s disparate images into a holistic body of work, we have a kind of homecoming in which previously orphaned images are given a second life."[50]
In August 2012, the show Another London: International Photographers Capture London Life 1930–1980 at Tate Britain[56][57] included work by Barnor, with his 1967 photograph of BBC World Service reporter "Mike Eghan at Piccadilly Circus, London" featuring on the cover of the catalogue.[58]
Barnor is featured in the exhibition Staying Power: Photographs of Black British Experience 1950s-1990s[24] that opened in 2015, the culmination of a seven-year collaborative project between the Victoria and Albert Museum (V&A) and the Black Cultural Archives in Brixton,[59] supported by the Heritage Lottery Fund, showcasing a number of black British photographers and images of black Britain from the 1950s to the 1990s.[60][61][62]
In October 2015, Barnor's work was shown in Paris at the Galerie Clémentine de la Féronnière in an exhibition entitled Ever Young that created "a narrative of two societies in transition".[65] Sarah Preston, who initiated the production of the book about Barnor that was launched alongside the exhibition,[66] says: "When I discovered James Barnor's work for the first time — on Baudoin Lebon's stand at Paris Photo 2011 — it felt like a breath of fresh air. Saturated by French collections of West African studio photography, seeing outdoor images of every day life in Ghana in black and white, through the eyes of a Ghanaian rather than a white photographer, was a revelation. Discovering Barnor's colour work from the 70s was the icing on the cake. Why had I never seen this before? Why had it not been exhibited? The question of the importance of showing archival material comes to mind. But also one wonders: how much stuff are we missing?"[67]
In September 2016, the October Gallery hosted an exhibition of Barnor's work alongside that of Daniele Tamagni (b. 1975), an Italian photographer who trained as an art historian before travelling worldwide to document style and fashion subcultures,[68] which pairing was described as giving "a sumptuous view of the continuing legacy of African style".[69]
Barnor's 91st birthday on 6 June 2020 was celebrated with #StillEverYoung, an online exhibition of his work.[70] A major retrospective of his work at London's Serpentine Gallery was announced for 2021,[71] having been postponed from June 2020.[72] The exhibition James Barnor: Accra/London – A Retrospective took place from 30 March to 24 October 2021.[73] Discussing his Serpentine exhibition with critic Will Fenstermaker in T Magazine, Barnor noted that his brother had tossed out nearly a decade's worth of the artist's work: "If that bulk of work were available, it would show another part of me altogether."[74]
In 2023, the Detroit Institute of Arts mounted James Barnor: Accra/London – A Retrospective – an expanded form of the retrospective held at Serpentine Galleries[75] – on show between May 28 and October 15.[76]
2013: James Barnor: Ever Young, Impressions Gallery, Bradford, UK (5 July–31 August)[80]
2015: Ever Young, Galerie Clémentine de la Féronnière, Paris, France[81]
2016: Ever Young — James Barnor, Black Artists' Network in Dialogue (BAND) in partnership with Autograph, BAND Gallery, Toronto, Canada (28 April–29 May)[82]
2016: James Barnor: Ever Young, Rebuild Foundation, Stony Island Arts Bank, Chicago, US (23 June–3 September)[83]
2017–2018: La vie selon James Barnor, 11e biennale des Rencontres de Bamako, Bamako, Mali
2012: Another London: International Photographers Capture London Life 1930–1980, at Tate Britain, London, UK (27 July–18 September)[88]
2015: Swinging Sixties London - Photography in the Capital of Cool, Foam Fotografiemuseum Amsterdam, Amsterdam, the Netherlands (11 June–2 September)
2015: Staying Power: Photographs of Black British Experience 1950s-1990s, BCA (15 January–30 June) and V & A (16 February–24 May), London, UK[89][90]
2015: Work, Rest and Play: British Photography from the 1960s to Today, Photographers' Gallery, London, UK (9 May–12 July)[91]
2016: Daniele Tamagni and James Barnor, October Gallery, London, UK (8–30 September)[37]
2017–2018: It’s great to be young, photographies de James Barnor et Marc Riboud, Galerie Clémentine de la Féronnière, Paris
Published works
James Barnor: Ever Young, the first monograph of his work, was published in 2015 (Clémentine de la Féronnière / Autograph ABP, ISBN9782954226644) alongside his Paris exhibition,[17] including an extensive interview with Barnor in conversation with Margaret Busby and Francis Hodgson.[92][93]
It has been said of him: "Photographer James Barnor is to decolonizing Ghana (and later to 1960s black Britain) what Oumar Ly is to Senegal or Malick Sidibe and Seydou Keita were to Mali."[94]
In 2011, Barnor was honoured with a GUBA (Ghana UK-Based Achievement)[95] special "Lifetime Achievement" award. On receiving it, he revealed that it was the first award he had ever been given.[96]
Sir Horace Shango Ové was a Trinidadian-born British filmmaker, photographer, painter and writer based in London, England. One of the leading black independent filmmakers to emerge in Britain in the post-war period, Ové was the first black British filmmaker to direct a feature-length film, Pressure (1976). In its retrospective documentary 100 Years of Cinema, the British Film Institute (BFI) declared: "Horace Ové is undoubtedly a pioneer in Black British history and his work provides a perspective on the Black experience in Britain."
Autograph ABP, previously known as the Association of Black Photographers, is a British-based international, non-profit-making, photographic arts agency.
Ronald "Charlie" Phillips, also known by the nickname "Smokey", is a Jamaican-born restaurateur, photographer, and documenter of black London. He is now best known for his photographs of Notting Hill during the period of West Indian migration to London; however, his subject matter has also included film stars and student protests, with his photographs having appeared in Stern, Harper’s Bazaar, Life and Vogue and in Italian and Swiss journals. Notable recent shows by Phillips include How Great Thou Art, "a sensitive photographic documentary of the social and emotional traditions that surround death in London's African Caribbean community".
Dorothy Bohm was a German-born British photographer based in London, known for her portraiture, street photography, early adoption of colour, and photography of London and Paris; she is considered one of the doyennes of British photography.
Rivington Place is a purpose-built international visual arts centre in Shoreditch, London.
Oluwarotimi Adebiyi Wahab Fani-Kayode was a Nigerian-born photographer, who moved to England at the age of 12 to escape the Nigerian Civil War. The main body of his work was created between 1982 and 1989. He explored the tensions created by sexuality, race and culture through stylised portraits and compositions.
Maud Sulter was a Scottish contemporary fine artist, photographer, writer, educator, feminist, cultural historian, and curator of Ghanaian heritage. She began her career as a writer and poet, becoming a visual artist not long afterwards. By the end of 1985 she had shown her artwork in three exhibitions and her first collection of poetry had been published. Sulter was known for her collaborations with other Black feminist scholars and activists, capturing the lives of Black people in Europe. She was a champion of the African-American sculptor Edmonia Lewis, and was fascinated by the Haitian-born French performer Jeanne Duval.
Armet Francis is a Jamaican-born photographer and publisher who has lived in London since the 1950s. He has been documenting and chronicling the lives of people of the African diaspora for more than 40 years and his assignments have included work for The Times Magazine, The Sunday Times Supplement, BBC and Channel 4.
Mark Sealy is a British curator and cultural historian with a special interest in the relationship of photography to social change, identity politics and human rights. In 1991 he became the director of Autograph ABP, the Association of Black Photographers, based since 2007 at Rivington Place, a purpose-built international visual arts centre in Shoreditch, London. He has curated several major international exhibitions and is also a lecturer.
Nana Oforiatta Ayim is a Ghanaian writer, art historian and filmmaker.
Zohra Opoku is a German-born Ghanaian textile artist and photographer. She used textile patterns to inform her photographed portraits. She was born in Altdöbern, Germany, and she lives in Accra. She is known for her installations, performances, textile designs, photographs and videos.
Senyuiedzorm Awusi Adadevoh is a Ghanaian sports photographer and photojournalist based in Accra, Ghana. Her career as a photographer began in 1999, eventually transitioning into sports photography in the mid-2000s. In 2008, Adadevoh began working with the Black Stars, the senior national football team of Ghana. Adadevoh is the founder of the photography bank Solvers Ghana, the photography and photojournalism companies Sports Unlimited and Society Unlimited.
Felicia Ewuraesi Abban was Ghana's first female professional photographer. She worked as a photographer for the country's first president, Kwame Nkrumah, for a number of years during the 1960s.
Ghana Freedom was a Ghanaian art exhibition at the 2019 Venice Biennale, an international contemporary art biennial in which countries represent themselves through self-organizing national pavilions. The country's debut pavilion, also known as the Ghana pavilion, was highly anticipated and named a highlight of the overall Biennale by multiple journalists. The six participating artists—Felicia Abban, John Akomfrah, El Anatsui, Selasi Awusi Sosu, Ibrahim Mahama, and Lynette Yiadom-Boakye—represented a range of artist age, gender, locations, and prestige, selected by curator Nana Oforiatta Ayim. The show paired young and old artists across sculpture, filmmaking, and portraiture, and emphasized common threads across postcolonial Ghanaian culture in both its current inhabitants and the diaspora. Almost all of the art was commissioned specifically for the pavilion. Architect David Adjaye designed the pavilion with rusty red walls of imported soil to reflect the cylindrical, earthen dwellings of the Gurunsi within the Biennale's Arsenale exhibition space. The project was supported by the Ghana Ministry of Tourism and advised by former Biennale curator Okwui Enwezor. After the show's run, May–November 2019, works from the exhibition were set to display in Accra, Ghana's capital.
Howard Grey is a British photographer. He is known for his photographs of the arrival of the last West Indian migrants at Waterloo Station, London, before the Commonwealth Immigrants Act 1962 came into force.
Mike Eghan is a Ghanaian broadcaster, also known as "The Magnificent Emperor". In a career as a disc jockey and radio presenter spanning six decades, Eghan hosted programmes for the Ghana Broadcasting Corporation (GBC) and for the BBC World Service in London. He was the master of ceremonies for the historic concert in Ghana Soul to Soul, which took place in Black Star Square in 1971 and showcased many prominent African-American artists alongside Ghanaian musicians.
Gallery 1957 is a contemporary art gallery located in Accra, Ghana. The gallery intends to present artists of West Africa and the diaspora. It was established in March 2016 by British construction company owner Marwan Zakhem. As of 2018, the gallery has shown artists including Serge Attukwei Clottey, Gideon Appah, Modupeola Fadugba, Godfried Donkor, Yaw Owusu, and Zohra Opoku.
Eileen Perrier is a British portrait photographer, living in London. She has had solo exhibitions at Whitechapel Gallery and The Photographers' Gallery, London. Perrier's work is held in the collections of Tate, Light Work and the Parliament of the United Kingdom.
Maxine Walker is a British-Jamaican photographer and critic. Based in Handsworth and active between 1985 and 1997, Walker has been described by Rianna Jade Parker as "a force within the Black British Art movement". Her photographs emphasise the fictive nature of documentary convention, and "raise questions about the nature of identity, challenging racial stereotypes".
Gilbert Asante is a Ghanaian creative director, photographer, and a multidisciplinary artist. He is best known for his viral images of Ghanaian celebrities including Joselyn Dumas, Boxing legend Azumah Nelson, Lydia Forson, and Big Brother Nigeria Housemate, Nengi.
↑ Aarti wa Njoroge, "In Conversation with James Barnor, in Comparison with Malick Sidibé". Originally in AfricanColours, 8 May 2012. Reprinted. Archived 15 November 2017 at the Wayback Machine in Digital Photo Times.
This page is based on this Wikipedia article Text is available under the CC BY-SA 4.0 license; additional terms may apply. Images, videos and audio are available under their respective licenses.
