When Paul Reas was studying photography with David Hurn, the Magnum great advised him on what exactly he’d need to sustain a long and fruitful career: a decent pair of shoes.
“Of course he didn’t mean a fashionable pair, but a comfortable pair,“ he says, recalling the tip. “A pair which would allow you to walk and stand for long periods of time without discomfort. As much of my work, and the kinds of photography I admire, requires patience, effort and an investment of time, I still think his advice is valid today.”
While the chosen footwear has invariably changed over the years, the 63-year-old’s commitment to documenting British life has remained the same. Born into a working class family in ’50s Bradford, Reas’ sharp, unique observations on class and culture have placed him alongside the likes of Martin Parr, Anna Fox and Paul Graham.
From ‘Flogging a Dead Horse’, 1989 © Paul Reas
From ‘Flogging a Dead Horse’, 1989 © Paul Reas
Now, in a retrospective titled Fables of Faubus, 30 years of his work has been brought together for the first time. Featuring photos taken between 1982 and 2012, the book – published by GOST – maps Britain’s modern social history, from Thatcher right through to the Cameron years, where the early rumblings of Brexit lurk around the corner.
“In many ways, the conditions which delivered the Leave vote in 2016 forms the meta narrative for the book – conditions which resulted in the marginalisation of working class communities,” Reas explains.
“These conditions would be the collapse of the countries manufacturing industries, subsequent unemployment, the promise of rebirth via free market economics and entrepreneurialism, the shift from ‘we’ to ‘me’ culture, the idealisation and repackaging of working lives by the Heritage Industry, the shift of mainstream politics towards the centre right. All of which left many communities feeling isolated and unrepresented.”
From ‘I Can Help’, 1984 © Paul Reas
From ‘Penrhys Estate’, 1984 © Paul Reas
The book takes its title from the Charles Mingus composition of 1959, which was written as a direct protest against Arkansas Governor Orval Faubus who, in 1957, despatched the National Guard to prevent nine black students attending Little Rock Central High School. (“The term ‘Faubus’ came to represent any controlling force – be it racism or political ideology.”)
Ranging from life in Welsh mining towns to redevelopment in London’s Elephant and Castle area, Reas’ work covers a number of different themes and subjects. Consistent throughout, however, is his commitment to exploring the relationship between industry and identity, as well as the manner in which political decisions on a national scale impact small communities.
“We are clearly a divided nation, but this division did not happen overnight,” he says. “We all have to find a way of reconnecting in such a way that no one individual or community feels overlooked or unrepresented because what fills that vacuum of disenchantment is hate and intolerance.”
From ‘From a Distance’, 2012 © Paul Reas
From ‘Penrhys Estate’, 1984 © Paul Reas
From ‘I Can Help’, 1984 © Paul Reas
From ‘The Valleys Project’, 1984 © Paul Reas
From ‘I Can Help’, 1984 © Paul Reas
From ‘The Valleys Project’, 1984 © Paul Reas
From ‘Flogging a Dead Horse’, 1989 © Paul Reas
From ‘The Dance Class’, 1984 © Paul Reas
Fables of Faubus is available now from GOST.
Enjoyed this article? Like Huck on Facebook or follow us on Twitter.
You might like
In photos: Euphoric joy at the UK’s biggest ever anti-racism march
Together — 500,000 people marched through central London on Saturday to protest the far right and racism, followed by a packed House Against Hate rave taking place in Trafalgar Square.
Written by: Isaac Muk
Louis Theroux’s ‘Manosphere’ shows men aren’t the problem, platforms are
No Ws for Good Men — The journalist’s new documentary sees him dive headfirst into the toxicities and machinations of the male influencer economy. But when young creators are monetarily incentivised to make more and more outrageous content, who really is to blame?
Written by: Emma Garland
In the 1960s, African photographers recaptured their own image
Ideas of Africa — An exhibition at the Museum of Modern Art explores the 20th century’s most important lensers, including Seydou Keïta, Malick Sidibé and Kwame Brathwaite, and their impact on challenging dominant European narratives.
Written by: Miss Rosen
Reynaldo Rivera’s intimate portrait of queer Latino love
Propiedad Privada — Growing up during the AIDS pandemic, the photographer entered a world where his love was not only taboo, but dangerous. His new monograph presents inward-looking shots made over four decades, which reclaim the power of desire.
Written by: Miss Rosen
In photos: The newsagents keeping print alive
Save the stands — With Huck 83 hitting shelves around the world, we met a few people who continue to stock print magazines, defying an enduringly tough climate for physical media and the high street.
Written by: Ella Glossop
Inside Bombay Beach, California’s ‘Rotting Riviera’
Man-made decay — The Salton Sea was created by accident after a failed attempt to divert the Colorado River in the early 20th century. Jack Burke reports from its post-apocalyptic shores, where DIY art and ecological collapse meet.
Written by: Jack Burke
