{"id":43634,"date":"2022-03-08T23:45:37","date_gmt":"2022-03-09T04:45:37","guid":{"rendered":"https:\/\/www.nearbycafe.com\/artandphoto\/photocritic\/?p=43634"},"modified":"2023-05-17T10:02:28","modified_gmt":"2023-05-17T14:02:28","slug":"guest-post-33-dennis-low-on-the-gian-butturini-martin-parr-controversy-d","status":"publish","type":"post","link":"https:\/\/www.nearbycafe.com\/artandphoto\/photocritic\/2022\/03\/08\/guest-post-33-dennis-low-on-the-gian-butturini-martin-parr-controversy-d\/","title":{"rendered":"Guest Post 33: Dennis Low on the Gian Butturini\/Martin Parr Controversy (d)"},"content":{"rendered":"

[Toward the end of September 2021 I received an email from one Dr. Dennis Low, a London-based photographer<\/a> and researcher on the niche subject of historic zoo photography.<\/em><\/p>\n

Dr. Low contacted me because I serve on the advisory board of the European Society for the History of Photography (ESHPh)<\/a>, with which he found himself in contention over an article recently published in its semiannual journal, <\/em>PhotoResearcher. Dr. Low had drafted an extensive response thereto, which the ESHPh had refused to publish. Given my connection to the organization, he asked, how would I suggest he proceed?<\/em><\/p>\n

\"ESHPh

ESHPh logo<\/p><\/div>\n

I concluded that I could best serve the interests of Dr. Low, the ESHPh, and “the discourse” on photography by making space available here at <\/em>Photocritic International for him to present his argument in full. <\/em> (Click here to download a PDF of the original article to which he responds.<\/a>)
\n<\/em><\/p>\n

Due to its length, I have divided Dr. Low’s paper into installments. Part 4 appears below. Click here for Part 1<\/a>, here for part 2<\/a>, and here for part 3<\/a>, and here for part 5<\/a>. When the series concludes, a PDF download of Low’s complete article will become available.<\/em> \u2014 A.D.C.]<\/em><\/p>\n

\u2022<\/p>\n

A Reply to Moritz Neum\u00fcller’s ‘”A Stone Thrown At My Head”:<\/strong><\/p>\n

London<\/em> by Gian Butturini \u2014 A Reception History, 1969-2021′ (d)
\n<\/strong><\/p>\n

by Dennis Low<\/strong><\/p>\n

… If 2011 had been a year of disappointment for Paul Halliday, with his exclusion from LSPF [the London Street Photography Festival<\/a> \u2014 Ed.]<\/em>, Arles, and the 150-year history of London street photography, there was more to follow. [See previous installment<\/a> for details. \u2014 Ed.]<\/em> Under the auspices of Martin Parr, that same history of London street photography would soon explode in a profusion of hitherto unknown names, diluting ever further whatever residual value Halliday’s Urban Detours <\/em>had, as a geographically-bound, photographic archive.<\/p>\n

\"Martin

Martin Parr at PhotoLondon 2018 with original LONDON edition, still from video by Butturini Estate<\/p><\/div>\n

Parr showcased his collection of London-based photobooks at the Barbican with an exhibition called Strange and Familiar: Britain as Revealed by International Photographers<\/em>. In its vitrines lay Gian Butturini\u2019s London<\/em> which, interestingly, was shown again in Photobook Phenomenon<\/em>, curated by Moritz Neum\u00fcller (2021, p.140n).<\/p>\n

Predictably, Neum\u00fcller takes care to elide his own, far from insignificant role in Butturini\u2019s contemporary exhibition history, presenting London<\/em>, as he did, at two separate venues in Barcelona in 2017, before restaging it at Museo San Telmo in San Sebasti\u00e1n the following year (2021, p.140n).[1]<\/sup><\/a> If Parr \u2018should have picked up on the spread\u2019 (quoted in Neum\u00fcller, 2021, p.136) \u2013 and Neumuller seems in full agreement that he should have \u2013 Neum\u00fcller himself should, too, have done the same.<\/p>\n

Halliday attended the Strange and Familiar<\/em> exhibition, and, by his own account, clocked Butturini\u2019s London<\/em>.[2]<\/sup><\/a> His decline into photographic obscurity was, I would suggest, effectively finalised by that show; and, nor, by this time, did university\u2019s academe provide any sort of consolatory solace. By one account, at least, Halliday cut an acerbic and detestable figure on the academic stage: \u2018You are fucking bullying Paul\u2019, tweeted Jenny Thatcher (@JennyAThatcher) in 2019, \u2018You trolled the event bullying several women. I\u2019ve never met you, never spoken to you, never worked at Goldsmiths. We all put complaints in about you & your behaviour towards women\u2019[3]<\/sup><\/a>. The comment comes after \u2018Paul who I\u2019ve never met decided to screen shot my chest to make a point [about] racism\u2019[4]<\/sup><\/a>.<\/p>\n

\"Jenny

Jenny Thatcher, Paul Halliday tweet, 6-21-19<\/p><\/div>\n

\u2022<\/p>\n

Halliday\u2019s response was to call the police: \u2018I contacted the police and it\u2019s now been investigated as a crime\u2019[5]<\/a>; \u2018That \u201ccomplaint\u201d was investigated by the Met Police and now has a crime number\u2019[6]<\/a>. By July 2021, the police seem to have decided not to pursue any investigation, much to Halliday\u2019s chagrin: \u2018Well there are parallel institutional track-lines here\u2019, he complained to Twitter at large, \u2018The Met Police failed to investigate that racist attack and #LeedsUniversity<\/a> where the sociologist is based, also failed to investigate a complaint around the #sociologist<\/a>\u2019s racist abuse\u2019.[7]<\/a><\/p>\n

\"Paul

Paul T Halliday, Dekho, Youtube, 2020-09-23, screenshot<\/p><\/div>\n

Halliday switched targets and trained his sights onto the Metropolitan Police themselves, demanding to know why they\u2019d ignored him when he sustained an injury to the throat, following the Euro 96 England vs Germany football match, twenty-five years earlier: \u2018I nearly died that night, and the @metpoliceuk did nothing to assist me, took no statement, failed to investigate\u2019[8]<\/a>. Reminiscent of the grandiose posturing found in the earlier <www.critiqueofstreetphotography.org> interview, a totalising self-mythology, with a baffling logic of its own, soon materialised to bind the two events together: ‘I\u2019ve had PTSD counselling in relation to this and also the utter clusterf*ck that is systemic racism in #UKHigherEducation<\/a>\u2019 Halliday told Twitter, \u2018Sometimes, I\u2019m not sure which is actually worse\u2019[9]<\/a>.<\/p>\n

And, true to form, this irrepressible self-mythologising would soon be pressed into service for the work; the Metropolitan Police\u2019s inaction would itself become a delicious opportunity for self-promotion. \u2018My response to what the @metpoliceuk did that day, was to survive and make a massive body of work about London\u2019s streets\u2019, tweeted Halliday, \u2018And anyone that has an issue with the idea of a personal urban \u2018project\u2019, can go get a frigging life\u2019[10]<\/a>. All this, however, was two years on and yet to come.<\/p>\n

\u2022<\/p>\n

Whatever the precise circumstances of the original altercation, it remains apparent that, by mid-2019, a malcontent Halliday was gunning for a fight. Half-heartedly, he tweeted a petulant quip about the cost of tickets and snacks at Parr\u2019s exhibition at the National Portrait Gallery.[11]<\/a> Acquiring a copy of Butturini\u2019s re-released London<\/em>, however, he found himself an opportunity with a bit more bite.<\/p>\n

\"PhotoResearcher,

PhotoResearcher, Issue 35 (2021), cover<\/p><\/div>\n

Masterminded from the start by Halliday, the Parr-Butturini scandal can be usefully read as one individual photographer\u2019s attempt to vent his frustration at his life\u2019s work being overlooked; to cut the competition down to size; to finally draw a line in the sand and say, \u201cThis far, and no further\u201d. In September 2020, to little fanfare, Halliday presented Urban Detours<\/em> on YouTube in an online interview with Chitr Sanstha. As he did so, he quietly seized the book-title of the now-disgraced Butturini for himself, renaming his own project \u2018London\u2019. No-one in the world, except the American journalist, Andrew Molitor, stopped to notice:<\/p>\n

It must have been crushing for Paul to see Butturini’s book. The latter is focused, intense. It has a powerful sense of time and place. The framing is consistently good. The edit is tight. The time it was shot was visually interesting. I don’t think Butturini’s “London” is really all that, it’s not my favorite book, but it is astronomically better than Paul’s efforts, and this damned Italian knocked it out in a summer. Paul’s 120,000 negative archive might as well go in the bin now, and he probably shouldn’t have started.<\/em>[12]<\/sup><\/a><\/p>\n

\u2022<\/p>\n

Neum\u00fcller\u2019s active suppression, in his article, of the public complaints levied at Halliday reinforces the Mercedes narrative and, in doing so, obscures the fact that a deep-seated and long-standing professional jealousy, and a concomitant battle over the psycho-geography of London, lay at the heart of Halliday\u2019s entire campaign against Butturini. Neum\u00fcller would, however, reserve his most elaborate rhetorical illusion for long-time PhotoIreland colleague, Jennie Ricketts.<\/p>\n

Neum\u00fcller and Ricketts crossed paths no later than 2015, when Neum\u00fcller was curatorial advisor and chair of board of directors, and Ricketts \u2013 former picture editor of the Observer<\/em> \u2013 took up a role on the advisory board to PhotoIreland. They would go on to reprise the same roles annually, right up until the present day.[13]<\/sup><\/a> It\u2019s a working relationship that crossed over onto social media, too, with Ricketts regularly reposting call-outs and news from Neum\u00fcller\u2019s @TheCuratorship account on both Twitter and Instagram, from 2017 until the start of 2021, when Neum\u00fcller closed his account, ahead of his article\u2019s publication.[14]<\/sup><\/a><\/p>\n

Curiously, while Neum\u00fcller leveraged PhotoIreland artists Jorge Luis \u00c1lvarez Pupo, and Azu Nwagbogu for substantial contributions to his article \u2013 interviews reproduced in full \u2013 Ricketts barely features. She\u2019s mentioned in passing, and on just a couple of occasions. Early on, in Neum\u00fcller\u2019s article, we learn that \u2018In an apology tweeted six months after the beginning of the protest, and in reaction to a critical post by Jennie Ricketts, Martin Parr clarified that he had merely supplied an introduction to a facsimile edition\u2019 (2021, p.136).<\/p>\n

Twenty pages on, in the footnotes, the circumstances of that apology are recapitulated in only a little more detail: the apology was, explains Neum\u00fcller, \u2018a direct reply to a tweet from Jennie Ricketts, of 17 November 2019, and hidden from the general timeline of his studio\u2019s account\u2019 (2021, p.156n).<\/p>\n

Ricketts gets one more mention from Neum\u00fcller and, for reasons that will soon become apparent, it\u2019s worth quoting in full:<\/p>\n

One of the first reactions to the image was Jennie Ricketts\u2019 one-word post on 28 May 2019: \u201cSpeechless!\u201d However, after seeing the double page in the context of the book, her perception changed: \u201cMy initial reaction to the juxtaposition of a black woman and a gorilla was an emotional response based entirely on the optic presented via social media. Having had time to properly review the context of the imagery and text from the book, I realise it was the wrong conclusion.\u201d At this point, blogger Ben Chesterton (@duckrabbitblog) still stated that he \u201cwould want to see the original before coming to any conclusions\u201d and \u201cdecided not to share\u201d the image, a cautious posture that he would soon give up […] (2021, p.153)<\/em><\/p>\n

This seemingly unremarkable passage achieves three important aims. Firstly, it conceals any pre-existing relationship between Ricketts and Benjamin Chesterton; secondly, it reduces Ricketts\u2019 significant contribution to the Parr-Butturini scandal to a one-word \u2018Speechless!\u2019 tweet; and, thirdly, Ricketts\u2019 apparently instantaneous change of heart concertinas the timeline, effectively obliterating the events that took place between her \u2018Speechless\u2019 tweet of 27 May 2019 (which Neum\u00fcller misattributes, in his text, as 28 May; and, in his footnotes, as \u2018published 2 December 2020\u2019 (2021, p.153n)) and her volte-face<\/em>, delivered in an email to Neum\u00fcller, on 3 December 2020 (2021, p.153n).<\/p>\n

Just as he has to obscure the relationship between Day and Halliday, that had proved so crucial in gaining media traction for the Mercedes narrative, Neum\u00fcller has to elide the close relationship that Ricketts and Chesterton enjoyed, in order to conceal her role as Butturini\u2019s most vociferous and influential detractor. Ricketts\u2019 close relationship with Chesterton dates as far back as 2011, brought together by a mutual interest in the representation of marginalised social groups in photography.[15]<\/sup><\/a><\/p>\n

\"Ben

Ben Chesterton – Jennie Ricketts tweets, 11-8-2011<\/p><\/div>\n

\u2022<\/p>\n

Over the following decade, Ricketts and Chesterton would regularly exchange tweets. In 2012, when Chesterton\u2019s film company, Duckrabbit, was hiring a documentary producer, Ricketts pushed the job to her followers, tweeting \u2018Great job opportunity\u2019[16]<\/sup><\/a>. She\u2019d promote his company blog posts too. When Chesterton was outraged by the death of a Libyan driver, working for New York Times<\/em> journalists, Ricketts promoted his post, adding vehemently, \u2018It seems humanism bows to capitalism when mammon is God\u2019[17]<\/sup><\/a>.<\/p>\n

Other times, as when Chesterton blogged about a film concerning children working on a rubbish tip, the conversation became extended, earnest, and existential: \u2018There is nothing ‘Romantic’ in working on a rubbish dump\u2019 wrote Ricketts, \u2018This film is heart-rending\u2019[18]<\/sup><\/a>; \u2018Voice over aesthetic triumphs\u2019[19]<\/sup><\/a>, Chesterton would reply; \u2018Agree there too\u2019, Ricketts would write back, \u2018But the aesthetic voice of the photographer is more often louder than that of the subject in the frame\u2019[20]<\/sup><\/a>. There\u2019d be more familiar interactions too: a friendly natter about Nina Simone[21]<\/sup><\/a>, an ebullient \u2018Happy Birthday!\u2019 message when, in December 2018, Duckrabbit turned ten[22]<\/sup><\/a>.<\/p>\n

\"RoyalAnd nor were these regular, transactional strokes ever solely one-way. When Ricketts, in August 2019, stood for election at the Royal Photographic Society (RPS), Chesterton quote-tweeted her, adding: \u2018Members. You know what to do\u2019[23]<\/sup><\/a>. And, the following month, when Ricketts announced her sudden resignation from the RPS, writing: \u2018With regret, I have resigned as an @The_RPS Trustee due to personal reasons. Thanks and apologies to all those who supported me\u2019[24]<\/sup><\/a>, Chesterton would offer his condolences. \u2018Damn. Best to you Jennie\u2019[25]<\/sup><\/a>.<\/p>\n

Although this relationship is entirely suppressed in Neum\u00fcller\u2019s article, the cosy rapport that Ricketts and Chesterton evidently enjoyed would form the backdrop against which Ricketts was first introduced to Butturini, Halliday, and the @LTHDebate account:<\/p>\n

\"Ben

Ben Chesterton-Jennie Ricketts, Butturini tweets 5-27-2019<\/p><\/div>\n

\u2022<\/p>\n

\u2018It\u2019s beyond comprehension that someone would think it\u2019s a good idea to juxtapose an image of an elderly Black woman with a caged gorilla\u2019, wrote Halliday, retweeting @LTHDebate, \u2018What the hell is wrong with #BritishPhotography and the institutions that support such practices?\u2019[26]<\/sup><\/a>; \u2018Jesus Christ\u2019, replies Chesterton, \u2018I decided not to share. Shaking my head\u2019[27]<\/sup><\/a>;\u00a0 \u2018Speechless!\u2019[28]<\/sup><\/a> replies Ricketts.<\/p>\n

\u2022<\/p>\n

If Ricketts was ever speechless, she did not remain so for long, and soon chimed in on iterations of the same thread. \u2018You want to give people the benefit of the doubt,\u2019 tweeted the American historian, John Edwin Mason, \u2018but can anyone, who’s in a position to be asked to photo edit a book, actually be that clueless?\u2019[29]<\/sup><\/a> \u2018Believe me\u2019, replied Ricketts, \u2018ppl are absolutely that clueless! The phrase “lack of empathy” springs to mind.\u2019[30]<\/sup><\/a> \u2018I can imagine the hurt this has caused. No parent wants to inadvertantly [sic] expose their child to harm\u2019, she tweeted, empathising with Halliday\u2019s role as father in the Mercedes narrative,\u00a0 \u2018[…] The problem is the perpetrator\u2019s not yours\u2019[31]<\/a>.<\/p>\n

\"Martin

Martin Parr Foundation logo<\/p><\/div>\n

After a flurry of activity, Ricketts fell silent on the subject, as she concentrated her social media efforts on raising the profile of the RPS\u2019s Hundred Heroines: Women in Photography<\/em> project that she had been heavily involved in.[32]<\/sup><\/a> She was, it seems, happy enough to retweet details of the RPS\u2019s Decisive Moment<\/em> exhibition that featured Parr[33]<\/sup><\/a>; and Mark\u00e9ta Luska\u010dov\u00e1\u2019s exhibition at the Martin Parr Foundation in August[34]<\/sup><\/a>, as well as notices from the Martin Parr Foundation regarding Bristol\u2019s new Books on Photography Festival, in July[35]<\/sup><\/a> and September[36]<\/sup><\/a>.<\/p>\n

By November, however, Ricketts\u2019 tone altered radically: having been told that Cold War Steve (a photographer whom she had described as \u2018Brilliant\u2019[37]<\/sup><\/a>) had an event at the Martin Parr Foundation, Ricketts, suddenly became curt and defiant: \u2018Unfortunately I have a problem with this @royal_wales<\/a>. Martin Parr has still yet to respond on the subject of black “woman\/ape” image. Until then from today I refuse to RT anything to do with @martinparrfdn<\/a> or the man himself.\u2019[38]<\/sup><\/a><\/p>\n

\"Jennie

Jennie Ricketts, Martin Parr tweet, 11-17-19<\/p><\/div>\n

\u2022<\/p>\n

It is, of course, in response to this tweet that Parr wrote an apology (Neum\u00fcller, 2021, p.136), except neither Ricketts nor Chesterton were aware of its existence until February 2020. \u2018What bullshit\u2019[39]<\/sup><\/a>, tweeted Chesterton, \u2018Over 6 months after the issue was raised\u2019[40]<\/sup><\/a>. \u2018Likewise, I’ve not seen an apology\u2019, tweeted Ricketts, \u2018Where can we find it please?\u2019[41]<\/sup><\/a> Seven weeks later, Ricketts became a trustee of Autograph, a high-profile, London-based charity, headed by Mark Sealy, that champions \u2018photography that explores issues of race, identity, representation, human rights and social justice\u2019[42]<\/sup><\/a> [43]<\/sup><\/a>. …<\/p>\n

(Part 1<\/a> I 2<\/a> I\u00a03<\/a> I 4 I 5<\/a>)<\/p>\n

\u2022<\/p>\n

Notes:<\/strong><\/p>\n

[1]<\/sup><\/a> See: [online] Butturini estate. (2020). [online] Available at: https:\/\/m.facebook.com\/gianbutturini\/posts\/1834342203481956\/?locale=zh_CN<\/a> [Accessed 7 Jul. 2021].<\/p>\n

[2]<\/sup><\/a> Twitter. (2021). [online] Available at: https:\/\/twitter.com\/PaulTHalliday\/status\/1280632885171585025<\/a> [Accessed 1 Jul. 2021].<\/p>\n

[3]<\/sup><\/a> Twitter. (2021). [online] Available at: https:\/\/twitter.com\/JennyAThatcher\/status\/1142054117361311745<\/a> [Accessed 7 Jul. 2021].<\/p>\n

[4]<\/sup><\/a> Twitter. (2021). [online] Available at: https:\/\/twitter.com\/JennyAThatcher\/status\/1142053670131048453<\/a> [Accessed 1 Jul. 2021].<\/p>\n

[5]<\/a> Twitter. (2021). [online] Available at: https:\/\/twitter.com\/PaulTHalliday\/status\/1177320664384049157<\/a> [Accessed 1 Jul. 2021].<\/p>\n

[6]<\/a> Twitter. (2021). [online] Available at: https:\/\/twitter.com\/PaulTHalliday\/status\/1177329481192747008<\/a> [Accessed 1 Jul. 2021].<\/p>\n

[7]<\/a> Twitter. (2021). [online] Available at: https:\/\/twitter.com\/PaulTHalliday\/status\/1410973229515218945<\/a> [Accessed 7 Jul. 2021].<\/p>\n

[8]<\/a> Twitter. (2021). [online] Available at: https:\/\/twitter.com\/PaulTHalliday\/status\/1410952157067624450<\/a> [Accessed 7 Jul. 2021].<\/p>\n

[9]<\/a> Twitter. (2021). [online] Available at: https:\/\/twitter.com\/PaulTHalliday\/status\/1410966018348945408<\/a> [Accessed 7 Jul. 2021].<\/p>\n

[10]<\/a> Twitter. (2021). [online] Available at: https:\/\/twitter.com\/PaulTHalliday\/status\/1411385318410948609<\/a> [Accessed 7 Jul. 2021].<\/p>\n

[11]<\/a> Twitter. (2021). [online] Available at: https:\/\/twitter.com\/PaulTHalliday\/status\/1105883313913413633<\/a> [Accessed 1 Jul. 2021].<\/p>\n

[12]<\/sup><\/a> A. Molitor. (2021). Crit: “London” by Paul Halliday. [online] Available at: http:\/\/photothunk.blogspot.com\/2020\/09\/crit-london-by-paul-halliday.html<\/a> [Accessed 7 Jul. 2021].<\/p>\n

[13]<\/sup><\/a> See: Angel (2014). PhotoIreland Festival 2015 Team + Thanks – PhotoIreland Festival 2015. [online] Photoireland.org. Available at: http:\/\/2015.photoireland.org\/festival\/pif15\/<\/a> [Accessed 22 Jun. 2021]; PhotoIreland. (2016). Catalogue. [online] Available at: http:\/\/2016.photoireland.org\/wp-content\/uploads\/2016\/07\/PIF16_Catalogue_s.pdf<\/a> [Accessed 7 Jul. 2021]; PhotoIreland. (2018). Catalogue. [online] Available at: http:\/\/2018.photoireland.org\/wp-content\/uploads\/2018\/04\/PIF18_Catalogue.pdf<\/a> [Accessed 7 Jul. 2021]; PhotoIreland. (2019). Spreads. [online] Available at: http:\/\/2019.photoireland.org\/wp-content\/uploads\/2019\/04\/PhotoIreland_Festival_2019_spreads.pdf<\/a> [Accessed 7 Jul. 2021].<\/p>\n

[14]<\/sup><\/a> Twitter. (2021). [online] Available at: https:\/\/twitter.com\/jennieric\/status\/916314049696161794<\/a> [Accessed 22 Jun. 2021]; Twitter. (2021). [online] Available at: https:\/\/twitter.com\/jennieric\/status\/1354504210247778305<\/a> [Accessed 22 Jun. 2021].<\/p>\n

[15]<\/sup><\/a> Twitter. (2021). [online] Available at: https:\/\/twitter.com\/jennieric\/status\/133912527548583936<\/a> [Accessed 24 Jun. 2021].<\/p>\n

[16]<\/sup><\/a> Twitter. (2021). [online] Available at: https:\/\/twitter.com\/jennieric\/status\/277350818196365312<\/a> [Accessed 24 Jun. 2021].<\/p>\n

[17]<\/sup><\/a> Twitter. (2021). [online] Available at: https:\/\/twitter.com\/jennieric\/status\/449553087867682816<\/a> [Accessed 24 Jun. 2021].<\/p>\n

[18]<\/sup><\/a> Twitter. (2021). [online] Available at: https:\/\/twitter.com\/jennieric\/status\/450597112611622913<\/a> [Accessed 24 Jun. 2021].<\/p>\n

[19]<\/sup><\/a> Twitter. (2021). [online] Available at: https:\/\/twitter.com\/duckrabbitblog\/status\/450597326042976257<\/a> [Accessed 24 Jun. 2021].<\/p>\n

[20]<\/sup><\/a> Twitter. (2021). [online] Available at: https:\/\/twitter.com\/jennieric\/status\/450598789842083840<\/a> [Accessed 24 Jun. 2021].<\/p>\n

[21]<\/sup><\/a> Twitter. (2021). [online] Available at: https:\/\/twitter.com\/duckrabbitblog\/status\/993952831907524609<\/a> [Accessed 24 Jun. 2021].<\/p>\n

[22]<\/sup><\/a> Twitter. (2021). [online] Available at: https:\/\/twitter.com\/jennieric\/status\/1068833207955701761<\/a> [Accessed 24 Jun. 2021].<\/p>\n

[23]<\/sup><\/a> Twitter. (2021). [online] Available at: https:\/\/twitter.com\/duckrabbitblog\/status\/1158421176009601024<\/a> [Accessed 24 Jun. 2021].<\/p>\n

[24]<\/sup><\/a> Twitter. (2021). [online] Available at: https:\/\/twitter.com\/jennieric\/status\/1174260741282680835<\/a> [Accessed 24 Jun. 2021].<\/p>\n

[25]<\/sup><\/a> Twitter. (2021). [online] Available at: https:\/\/twitter.com\/duckrabbitblog\/status\/1174286531533639680<\/a> [Accessed 24 Jun. 2021].<\/p>\n

[26]<\/sup><\/a> Twitter. (2021). [online] Available at: https:\/\/twitter.com\/PaulTHalliday\/status\/1133094767900995584<\/a> [Accessed 24 Jun. 2021].<\/p>\n

[27]<\/sup><\/a> Twitter. (2021). [online] Available at: https:\/\/twitter.com\/duckrabbitblog\/status\/1133131280911085570<\/a> [Accessed 24 Jun. 2021].<\/p>\n

[28]<\/sup><\/a> Twitter. (2021). [online] Available at: https:\/\/twitter.com\/jennieric\/status\/1133142014143471616<\/a> [Accessed 24 Jun. 2021].<\/p>\n

[29]<\/sup><\/a> Twitter. (2021). [online] Available at: https:\/\/twitter.com\/jennieric\/status\/1133142014143471616<\/a> [Accessed 25 Jun. 2021].<\/p>\n

[30]<\/sup><\/a> Twitter. (2021). [online] Available at: https:\/\/twitter.com\/jennieric\/status\/1133641110725779456<\/a> [Accessed 25 Jun. 2021].<\/p>\n

See also: Twitter. (2021). [online] Available at: https:\/\/twitter.com\/jennieric\/status\/1133642415787712512<\/a> [Accessed 25 Jun. 2021].<\/p>\n

[31]<\/a> Twitter. (2021). [online] Available at: https:\/\/twitter.com\/jennieric\/status\/1133645232015335424<\/a> [Accessed 7 Jul. 2021]<\/p>\n

[32]<\/sup><\/a> Twitter. (2021). [online] Available at: https:\/\/twitter.com\/jennieric\/status\/1165251905792221184<\/a> [Accessed 25 Jun. 2021].<\/p>\n

[33]<\/sup><\/a> Twitter. (2021). [online] Available at: https:\/\/twitter.com\/jennieric\/status\/1162812629255147522<\/a> [Accessed 25 Jun. 2021].<\/p>\n

[34]<\/sup><\/a> Twitter. (2021). [online] Available at: https:\/\/twitter.com\/jennieric\/status\/1165251905792221184<\/a> [Accessed 25 Jun. 2021].<\/p>\n

[35]<\/sup><\/a> Twitter. (2021). [online] Available at: https:\/\/twitter.com\/jennieric\/status\/1151115033633533952<\/a> [Accessed 25 Jun. 2021].<\/p>\n

[36]<\/sup><\/a> Twitter. (2021). [online] Available at: https:\/\/twitter.com\/jennieric\/status\/1169628576947331072<\/a> [Accessed 25 Jun. 2021].<\/p>\n

[37]<\/sup><\/a> Twitter. (2021). [online] Available at: https:\/\/twitter.com\/jennieric\/status\/1196144972648656896<\/a> [Accessed 25 Jun. 2021].<\/p>\n

[38]<\/sup><\/a> Twitter. (2021). [online] Available at: https:\/\/twitter.com\/jennieric\/status\/1196150076755849216<\/a> [Accessed 25 Jun. 2021].<\/p>\n

[39]<\/sup><\/a> Twitter. (2021). [online] Available at: https:\/\/twitter.com\/duckrabbitblog\/status\/1228026544100122628<\/a> [Accessed 25 Jun. 2021].<\/p>\n

[40]<\/sup><\/a> Twitter. (2021). [online] Available at: https:\/\/twitter.com\/duckrabbitblog\/status\/1228028859473420288<\/a> [Accessed 25 Jun. 2021].<\/p>\n

[41]<\/sup><\/a> Twitter. (2021). [online] Available at: https:\/\/twitter.com\/jennieric\/status\/1228030897049481216<\/a> [Accessed 25 Jun. 2021].<\/p>\n

[42]<\/sup><\/a> Autograph (2021). Autograph | Mission. [online] Autograph.org.uk. Available at: https:\/\/autograph.org.uk\/about-us\/mission<\/a> [Accessed 25 Jun. 2021].<\/p>\n

[43]<\/sup><\/a> Twitter. (2021). [online] Available at: https:\/\/twitter.com\/jennieric\/status\/1246116522726166529<\/a> [Accessed 25 Jun. 2021].<\/p>\n

\u2022<\/p>\n

\u00a9 Copyright 2021 by Dennis Low. All rights reserved. For reprint permissions, other usages, and questions, please contact the author: dennis(at)takemetothekittens(dot)com.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Moritz Neum\u00fcller\u2019s active suppression, in his article, of the public complaints levied at Halliday … obscures the fact that a deep-seated and long-standing professional jealousy, and a concomitant battle over the psycho-geography of London, lay at the heart of Halliday\u2019s entire campaign against Butturini. […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"nf_dc_page":"","footnotes":""},"categories":[3,4,12,945],"tags":[2084,2100,2099,2103,2085,2086,2098],"class_list":["post-43634","post","type-post","status-publish","format-standard","hentry","category-book-reviews-book-notes","category-censorship-of-photography","category-guest-post","category-photo-history","tag-azu-nwagbogu","tag-ben-chesterton","tag-jennie-ricketts","tag-jenny-thatcher","tag-jorge-luis-alvarez-pupo","tag-paul-halliday","tag-photoireland","odd"],"_links":{"self":[{"href":"https:\/\/www.nearbycafe.com\/artandphoto\/photocritic\/wp-json\/wp\/v2\/posts\/43634","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.nearbycafe.com\/artandphoto\/photocritic\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.nearbycafe.com\/artandphoto\/photocritic\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.nearbycafe.com\/artandphoto\/photocritic\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.nearbycafe.com\/artandphoto\/photocritic\/wp-json\/wp\/v2\/comments?post=43634"}],"version-history":[{"count":0,"href":"https:\/\/www.nearbycafe.com\/artandphoto\/photocritic\/wp-json\/wp\/v2\/posts\/43634\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.nearbycafe.com\/artandphoto\/photocritic\/wp-json\/wp\/v2\/media?parent=43634"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.nearbycafe.com\/artandphoto\/photocritic\/wp-json\/wp\/v2\/categories?post=43634"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.nearbycafe.com\/artandphoto\/photocritic\/wp-json\/wp\/v2\/tags?post=43634"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}