Wikipedia

Tony Ray-Jones

Tony Ray-Jones(7 June 1941 – 13 March 1972) was an English photographer.[1]

Tony Ray-Jones
Born(1941-06-07)7 June 1941
Wells,Somerset, England
Died13 March 1972(1972-03-13)(aged 30)
London
NationalityBritish
OccupationPhotographer
Known forBeachy Head boat trip, 1967
SpouseAnna Ray-Jones
ParentRaymond Ray-Jones
This article is about the English photographer born in 1941. For the English photographer born in 1962, seeAnthony Jones (photographer).For the English photographer and husband of Princess Margaret, seeAntony Armstrong-Jones, 1st Earl of Snowdon.

Life

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Born Holroyd Anthony Ray-Jones inWells, Somerset,he was the youngest son ofRaymond Ray-Jones(1886–1942), a painter andetcherwho died when Tony was only eight months old,[2]and Effie Irene Pearce, who would work as a physiotherapist. After his father's death, Tony's mother took the family toTonbridgein Kent, toLittle Baddow(nearChelmsford,Essex), and then to Hampstead in London. He was educated atChrist's Hospital(Horsham), which he hated.[3]: 7 

'Crufts Dog Show 1968' by Ray-Jones

Tony Ray-Jones studied at theLondon School of Printing,where he concentrated on graphic design. In the early 1960s he obtained a scholarship that enabled him to joinYale University School of Art[4]on the strength of photographs he had taken in north Africa from a taxi window.[3]: 8 Although only 19 on his arrival at Yale, Ray-Jones' talent was obvious, and in 1963 he was given assignments for the magazinesCar and DriverandSaturday Evening Post.[3]: 9 

Eager to use photography for more creative purposes, Ray-Jones went to the Design Lab held by theart directorAlexey Brodovitch[2]in the Manhattan studio ofRichard Avedon;[4]Brodovitch's gruff manner and high standards won respect and hard work from Ray-Jones and others.[3]: 10 Ray-Jones also got to know a number of New York "street photographers", such asJoel Meyerowitz,a fellow Brodovich student at the time. Ray-Jones graduated from Yale in 1964 and photographed the United States energetically until his departure for Britain in late 1965. From then until 1970, he lived and worked at 102Gloucester Place,Marylebone;this is now marked by a memorial plaque.[5]

On his return to Britain, he was shocked at the lack of interest in non-commercial photography, let alone in the publication of books presenting it. He was also unsure of what subject he might pursue, but the idea of a survey of the English at leisure gradually took shape. He began work on that, at the same time doing portrait and other work for theRadio Times,Sunday newspapers, and magazines.[3]: 12–13 

In the October 1968 issue ofCreative Cameramagazine, he described what he was trying to achieve:

My aim is to communicate something of the spirit and the mentality of the English, their habits and their way of life, the ironies that exist in the way they do things, partly through their traditions and partly through the nature of their environment and their mentality. For me there is something very special about the English 'way of life' and I wish to record it from my particular point of view before it becomes Americanised and disappears.

His photographs of festivals and leisure activities are full of a somewhatsurreal humour,and show the influence of photographers such asHenri Cartier-Bresson,Garry Winogrand,as well as his own collection of the work ofSir Benjamin Stone.

In 1969,Architectural Reviewmagazine commissioned photojournalists for eight themed issues calledManplan,examining the contemporary state of architecture and town planning. The photos were published between September 1969 and September 1970. Ray-Jones's work documenting people living on housing estates in Britain was published in an issue on housing in 1970,[6]and were included in his second unsuccessful submission to joinMagnum Photos.[7]

CriticSean O'Haganwrote inThe Guardian:

Ray-Jones was in many ways a social anthropologist with a camera, but it is his eye for detail and often brilliantly complex compositions that sets him apart. His images often appear cluttered... On closer inspection, though, what we are glimpsing is several small narratives contained in the bigger defining one. "[4]

Ray-Jones was both sociable and abrasive, introducing himself toBill Jay,the editor ofCreative Camera,by saying "Your magazine's shit, but I can see you're trying. You just don't know enough, so I am here to help you".[2][4]However, he impressed Jay (who later acknowledged Ray-Jones as one of the greatest influences on his view of photography), and also worked hard and successfully to have exhibitions of his works.[3]: 14–15 

He returned to the United States in January 1971 to work as a teacher at theSan Francisco Art Institute[2]– one of the few ways in which he could legally stay in the US. He disliked teaching, finding the students self-centred and lazy, but he was soon able to busy himself working on assignments for both the British and the US press.

Ray-Jones's non-assignment photographs were first published in the October 1968 issue ofCreative Camera.

In late 1971, Ray-Jones started to suffer from exhaustion. Early the next yearleukaemiawas diagnosed, and he started chemotherapy. Medical treatment in the US was too expensive, so Ray-Jones flew to London on 10 March and immediately entered theRoyal Marsden Hospital;he died there on 13 March.

Sean O'Hagan said "in his short life he helped create a way of seeing that has shaped several generations of British photography."[4]

Legacy

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Ray-Jones' book about the English, unfinished at the time of his death, was published posthumously by Thames & Hudson in 1974 asA Day Off: An English Journal.

Ray-Jones' archive has been housed at theNational Science and Media Museumin Bradford since 1993. It consists of 700 photographic prints, 1,700 negative sheets, 2,700 contact sheets, 10,000 colour transparencies and Ray-Jones' notebooks and correspondence.[8]

Publications

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  • A Day Off: An English Journal.
    • London: Thames & Hudson, 1974. HardbackISBN978-0-500-54012-1.
    • London: Thames & Hudson, 1975. PaperbackISBN978-0-500-27034-9.Second edition.
    • A Day Off: 120 Photographs.Waterbury, CT: New York Graphic Society, 1977. PaperbackISBN0-8212-0708-3.
    • Loisirs anglais: 120 photographies de Tony Ray Jones.Paris: Éditions du Chêne, 1974.OCLC26480887.
  • Tony Ray-Jones.Edited by Richard Ehrlich. Manchester: Cornerhouse, 1990.ISBN0-948797-36-3(paper);ISBN0-948797-31-2(cloth). Also New York, NY: Aperture, 1991ISBN978-0-893814-84-7.Exhibition catalogue, includes biography and photographs.
  • Tony Ray-Jones.By Russell Roberts. London:Chris Boot,2004.ISBN0-9542813-9-X.Introduction by Russell Roberts; transcript of interview betweenBill JayandMartin Parr.
  • American Colour 1962–1965.London: Mack, 2013.ISBN978-1-907-94655-4.Introduction by Liz Jobey.
  • Only in England: Photographs by Tony Ray-Jones.Bradford:National Science and Media Museum,2013.ISBN978-1-900747-67-7.OCLC870756771.Exhibition catalogue. Introductions by Hannah Redler and Greg Hobson, essays by Martin Parr, David Alan Mellor and Ian Walker. The photographs are grouped into 'The English Unseen: Tony Ray-Jones Photographs Newly Selected by Martin Parr' and 'The English Seen: Classic Tony Ray-Jones Photographs'.
  • Tony Ray-Jones.RRB/Martin Parr Foundation, 2019. With an introduction byMartin Parrand an essay by Liz Jobey.
    • French-language edition. Paris: Maison CF, 2019.

Exhibitions (incomplete)

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Commissioned magazine work

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  • "Passport to Cornwall",Sunday Times Magazine,25 September 1966 V.I. No. 29/30, 1966.
  • "The Island",Cyclemagazine, October 1967.
  • "Britten Country",Opera News,11 February 1967.
  • "Manplan 8",Architectural Review,September 1970.
  • "Happy Extremists",Sunday Times Magazine,18 October 1970.
  • "The All American Love Nest",Sunday Times Magazine,28 March 1971.
  • "The Air Conditioned Zion",Sunday Times Magazine,21 November 1971.
  • "There's thirteen hundred and fifty-two guitar-pickers in Nashville...",Sunday Times Magazine,22 February 1972.

[9]

Collections

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See also

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References

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  1. ^Adams, Tim (13 October 2019)."The big picture: Tony Ray-Jones goes in search of Englishness".The Guardian.ISSN0261-3077.Retrieved16 October2019– via theguardian.
  2. ^abcdClark, David."Tony Ray-Jones – Iconic Photographer".Amateur Photographer.Retrieved16 March2014.
  3. ^abcdefRichard Ehrlich, "Introduction",Tony Ray-Jones(Manchester: Cornerhouse, 1990)
  4. ^abcdeO'Hagan, Sean(20 September 2013)."Tony Ray-Jones and Martin Parr: English rituals of the 60s".The Guardian.Retrieved28 March2014.
  5. ^City of Westminster green plaques"Westminster City Council – Green Plaques Scheme".Archived fromthe originalon 16 July 2012.Retrieved7 July2011.
  6. ^Yao, Wilson (30 September 2013)."Focus on: Tony Ray-Jones".Royal Institute of British Architects.Retrieved9 June2015.
  7. ^Carullo, Valeria (30 April 2015)."Photograph of children at Reporton Road estate, Hammersmith, 1970".Royal Institute of British Architects.Retrieved9 June2015.
  8. ^Only in England: Photographs by Tony Ray-Jones.Bradford:National Science and Media Museum.2013. p. 9.ISBN978-1-900747-67-7.
  9. ^abcdefgRoberts, Russell (2004).Tony Ray-Jones.Chris Boot.pp. 38–44.ISBN0-9542813-9-X.
  10. ^Peter Turner,History of Photography(Twickenham: Hamlyn, 1987;ISBN978-0-600-50270-8), p.208.
  11. ^"A Gentle Madness: The Photographs of Tony Ray-Jones (1941–1972)".National Science and Media Museum.National Science and Media Museum.Retrieved4 May2020.
  12. ^"Tony Ray-Jones Biography".British Photography.The Hyman Collection.Retrieved4 May2020.
  13. ^O'Hagan, Sean (31 July 2011)."Mass Photography: Blackpool Through the Camera – review".The Guardian.Retrieved11 November2013.This week, the Grundy Art Gallery in Blackpool is hosting a group photography show entitled Mass Photography: Blackpool Through the Camera. The exhibition's title, and much of its observational reportage, nods towards Spender and Trevelyan and their fly-on-the wall approach, but it adds up to nothing less than a potted social history of Blackpool though the lens of some of Britain's greatest documentary photographers, including Bert Hardy, Tony Ray-Jones, Homer Sykes, Chris Steele-Perkins and Martin Parr.
  14. ^"Only in England: Photographs by Tony Ray-Jones and Martin Parr".National Science and Media Museum.Retrieved4 May2020.
  15. ^"Only in England: Photographs by Tony Ray-Jones and Martin Parr".Science Museum, London. 21 September 2013.Retrieved11 November2013.
  16. ^"RIBA Photographs Collection renamed in honour of curator Robert Elwall".Royal Institute of British Architects.Retrieved9 June2015.
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