Under the theme of “Photography as you don’t know it,” the Pictures section in the Winter 2013 issue of Aperture magazine presents the work of ten photographers who have been overlooked and undervalued. The curators, historians, writers, and publishers who introduce these photographers give various reasons as to why they have been insufficiently acknowledged: geography, gender, illness, politics, debates about photographic style or representation, lack of self-promotional savvy, or simply fading from the limelight. Among these photographers is Paul Trevor.
“The work is wonderful; why didn’t he print it before? Because, he told me, he was in no rush, and busy with other things”—Chris Boot, executive director of Aperture Foundation
Paul Trevor began making pictures in the early 1970s, teaming up with photographers Chris Steele-Perkins and Nicholas Battye to form Exit, a group dedicated to documenting the social problems of British cities in photographs and interviews.
Paul Trevor has continually positioned himself as a storyteller rather than an artist, and he has only recently begun printing a body of work made over thirty years. In 1975, he spent six months in Liverpool, capturing photographs such as Haigh Street, Everton, Liverpool, 1975. The image depicts a bird’s-eye view of yards behind Liverpudlian buildings, locating a bright spot of humanity—in the circle of playing children—in an otherwise somber cityscape.
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Sad-eyed model in this street of merry-making, 1962