Martin Parr, whose prolific body of work is identifiable by its caustic, kitschy colors and the grotesquerie of the situations, has taken pains to photograph proletarian culture in order to bring out the alleged excesses of Western society with all its opulence and ennui. For Parr, as for William Eggleston and Stephen Shore (both whom he admires), color plays an essential role in this critical language.
This article is reserved for subscribed members only. If you are already a member, you can log in here below.
Subscribe for full access to The Eye of Photography archives!
That’s thousands of images and articles, documenting the history of the medium of photography and its evolution during the last decade, through a unique daily journal. Explore how photography, as an art and as a social phenomenon, continue to define our experience of the world. Two offers are available.
Subscribe either monthly for $5 or annually for $50 (2 months offered).