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transmediale Artistic Director Kristoffer Gansing Looks Back Ocula Conversation transmediale Artistic Director Kristoffer Gansing Looks Back Terence Sharpe, Berlin

Since 2012, Kristoffer Gansing has worked as the artistic director of transmediale—a festival at the forefront of digital media and culture that analyses the current moment through self-reflection and anticipation of rapidly oscillating futures. Explorations into moving image, online culture, and the socio-political landscape of digital...

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Taipei Lowdown: Shows to See Ocula Report Taipei Lowdown: Shows to See Tessa Moldan, Taipei

As Taipei Dangdai returns for its second edition between 17 and 19 January 2020 at the Nangang Exhibition Center, a selection of exhibitions across the city confirm Taipei as one of the region's most exciting art hubs. Yahon Chang: Cursive OUR Museum, National Taiwan University of Arts (NTUA), No. 59, Section 1, Daguan Road, Banqiao...

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Images from Abroad: Lada Nakonechna at Galerie EIGEN + ART Ocula Insight Images from Abroad: Lada Nakonechna at Galerie EIGEN + ART Phoebe Blatton, Berlin

Lada Nakonechna's solo exhibition, Images from abroad at Galerie EIGEN + ART (9 January–20 February 2020) ostensibly takes place on an end wall of the gallery. The wall bears markings hand-drawn in graphite that evoke shadows once cast by pictures, since removed, their fixtures also left in situ. Serving as a framework of variable...

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HomePage Artists

b. 1935, United Kingdom

Don McCullin Biography

One of the world's best known 20th century photographers, Don McCullin has shot some of the most recognisable photographs in history throughout his 50-year career. His most famous image is perhaps Shell Shocked Marine, Hue, Vietnam (1968), in which the titular soldier stares, eyes glazed, somewhere just beyond the camera. Having grown up in North London during the Nazi bombing of England, McCullin would go on to shoot poignant images of conflicts in locales including Lebanon, Iran, Afghanistan, Uganda, Biafra, Vietnam and Cambodia. In the course of his photographic career, McCullin has found himself in some of the world's most dangerous conflict zones: in 1968 in Cambodia, his camera stopped a bullet that was meant for him; he also had a bounty on his head in Lebanon and was imprisoned in dictator Idi Amin's Uganda for four days. As well as his war photography, McCullin is known for his sensitive photos of his Somerset home and his insightful recordings of working-class life in and around London.

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McCullin got his start when he submitted photographs he had taken of the Guv'nors (a London gang) to the Observer. The Guv'nors in their Sunday Suits, Finsbury Park, London (1958) was one of McCullin's first published images, showing a group of the young boys hanging out inside a gutted and abandoned building. Images of industrialised Britain's working class would continue to hold an important place in his practice throughout his life. Later images of this theme became more atmospheric, exemplified in A man walking towards his work at the Steel Foundry (1963), where a lone figure walks through a decrepit landscape towards dramatically billowing smokestacks. Boys boxing (c. 1960s), on the other hand, shows two youths fighting on the street in the distance, but the image of the pair is foregrounded by a pile of trash in the gutter. Such images show the intimate and dangerous relationship between industrialisation and the vulnerable populations used to fuel it.

McCullin's first major assignment was the war in Cyprus in 1964, for which he won a World Press Photo Award. However, his photos of the Vietnam War are perhaps his best known. On a hill in Da Nang a priest hears soldiers' confessions (1969) exemplifies McCullin's skilful depiction of the atmosphere of war; in the image, a soldier kneels as a priest sitting on a metal chair leans over and blesses him. Three other soldiers wait a respectful distance behind. Beyond them, smoke swirls ominously, as if the soldiers are waiting to ask forgiveness for a crime they have just committed. In another startling image of war—this time in Beirut—titled A Palestinian Woman Returning to the Ruins of her House, Sabra, Beirut (1982), a woman stands stricken with grief inside what is left of her home. Though these photographs successfully elicit a strong emotional reaction from the viewer, throughout his career McCullin has maintained that he does not perceive his photographs as artful, and he does not consider himself an artist. Rather, he sees his photographs as a mode of communication.

Though the public will best recognise McCullin for his field work in locations of crisis, from the early 1980s he decided to find a voice for himself outside of war. During this period, he turned to landscapes and still-lifes around his home for subject matter. In one work from the early 1980s, titled Flowers & Fruits, early attempts at still life, photographed at my home in Somerset, we see a much more peaceful aspect of the photographer's oeuvre: flowers and fruits sit quietly side by side, delicately framed by a textured wall. This body of work stands in stark contrast to his standard subject matter, but his skilful eye for composition and effective command of highlights and shadows remains ever-present.

McCullin was the first photojournalist awarded a CBE (1993). In 2016, he released a limited edition three-volume box-set publication titled Irreconcilable Truths, spanning his life's work.

Casey Carsel | Ocula | 2018

Don McCullin Featured Artworks

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Batcombe Vale by Don McCullin contemporary artwork
Don McCullinBatcombe Vale, 1992–1993Gelatin silver print
40.5 x 50.3 cm
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The River Alham that runs through my village in Somerset by Don McCullin contemporary artwork
Don McCullinThe River Alham that runs through my village in Somerset, Mid 1990sGelatin silver print
49.7 x 61 cm
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The Somerset levels at dusk by Don McCullin contemporary artwork
Don McCullinThe Somerset levels at dusk, 1998Gelatin silver print
48.2 x 60.8 cm
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The extreme Arctic, Norway by Don McCullin contemporary artwork
Don McCullinThe extreme Arctic, Norway, 2019Gelatin silver print
49.3 x 61 cm
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The Road to the Somme, France by Don McCullin contemporary artwork
Don McCullinThe Road to the Somme, France, 1999Gelatin silver print
49.5 x 61 cm
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Liverpool, Slum clearance by Don McCullin contemporary artwork
Don McCullinLiverpool, Slum clearance, 1970sGelatin silver print
48 x 60.8 cm
Hauser & Wirth Enquire about this work
Meroë, the east bank of the Nile, Sudan by Don McCullin contemporary artwork
Don McCullinMeroë, the east bank of the Nile, Sudan, 2012Gelatin silver print
49.3 x 60.8 cm
Hauser & Wirth Enquire about this work

Don McCullin Current & Recent Exhibitions

Contemporary art exhibition, Don McCullin, The Stillness of Life at Hauser & Wirth, Somerset
Opening Soon
25 January–4 May 2020 Don McCullin The Stillness of Life Hauser & Wirth, Somerset
Contemporary art exhibition, Don McCullin, Don McCullin at Hauser & Wirth, Los Angeles
Closed
23 June–23 September 2018 Don McCullin Hauser & Wirth, Los Angeles

Don McCullin Represented By

Don McCullin In Related Press

Don McCullin: A retrospective at the Tate Britain Related Press Don McCullin: A retrospective at the Tate Britain 2 April 2019, The Brooklyn Rail

Few photographers have taken as many iconic photographs as Don McCullin (b. 1935). Think of the Vietnam War, and Shellshocked US Marine , The Battle of Hue (1968) will very likely pop up. Think of the Northern Ireland Conflict, and Northern Ireland, Londonderry (1971) will probably do the same. As to the lesser-known conflicts, in the case of...

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The darkness of photojournalist Don McCullin explored in Tate Britain retrospective Related Press The darkness of photojournalist Don McCullin explored in Tate Britain retrospective 6 February 2019, Wallpaper*

I grew up angry,' says Sir Don McCullin, as a new retrospective of his work – including some of his earliest photographs – goes on show at Tate Britain. He was born in Finsbury Park, north London, in 1935, and spent his childhood sleeping in the same room as his brothers, his mother and his chronically ill father. 'The way I grew up shaped my...

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