Walmart by Martin Parr
Walmart is the biggest retailer in the world and as such should be documented seriously.
We would like to find out more about this large and impressive retailer. What sort of customer do they have, which is the biggest Walmart in the USA, what community initiatives do they undertake?
All these questions and more I intend to explore.
If we think about recent documentation of American society , you rarely see images from Walmart, yet they are a recent American success story and are now an integral part of American life. It is impossible now to think about contemporary America without considering this company. This should be celebrated and documented.
EDITORS NOTE:
i think Martin Parr needs no introduction….he is undoubtedly one of the most respected and popular (and imitated) photographers of our time….and a true renaissance man excelling in making a mark in the publishing world, the commercial world, the art world, and the curatorial world….
my invitation to you now is to ask Martin Parr some well thought out questions…..he will join us “live” in the next few hours, most likely 6pm GMT…..he will spend two hours answering the most thought provoking questions…..
…COMMENTING MAY BE CONTINUED….MARTIN PARR WILL JUMP IN ON THE DISCUSSION FROM TIME TO TIME
oh yes, by the way, Martin plans on shooting an extended version of his Walmart work exclusively for BURN….
-david alan harvey
Website: www.martinparr.com
Do you ever shoot specifically for a young audience? A bunch of 11 year olds (I teach digital) saw your work reckon it is pretty crappy and that you don’t know how to take a proper pitcha except for the spaniel.
I am not sure if this is where to post questions, but here goes.
In your statement you say: “If we think about recent documentation of American society , you rarely see images from Walmart,”
I think this is mainly because they almost always refuse photographers access.
As a newspaper photographer who from time to time has needed to do a photo in a walmart, and almost always being told NO by the powers that are in charge there (from the local manager to corporate), I was wondering how you are going to gain access.
Just as a note, the access our paper was asking for was usually around Christmas shopping time such as Black Friday, to do a holiday shopping story. Nothing controversial. Their refusal to allow us in was never based on the fact that is was too busy of a time. It was always wrapped around the phrase “we do not allow news media to photograph our guests.”
If you weren’t part of Magnum, how would you try to sell your upcoming Walmart series?
Hi Martin,
Many years ago (probably 20) I was up against you for a Eurostar campaign through Y&R london, needles to say you got the gig and I was relegated to obsurity……..
Now I have that off my chest.
With some of your images (the one above for example) it seems you seek the subjects permission, in such cases do you direct or let things unfurl before your eyes.
With other images you seem to snap away drawing as little attention to yourself as possible and act as a fly on the wall. For example I seem to remember a series of pics done in Dubai at some arms conference or the millionaires show.
Which is your prefered method and how do resolve the issues of model release.
Cheers
ian
Mr Parr
You are member of the magnum agency one of most famous group of photographer working for press and magazines but simultaneously your name is famous in ART world. For me there are two different worlds, the press photography and the art photography. different audience, language, values.
And my question is; don’t you feel little schizophrenic with it?
Is it two-in-one or is it one-in-two?
I’m aware of towns currently opposing Walmart construction…
even bumper stickers with the red circle with a line across Walmart….
will you shoot any of the flip side?
*
Do you see a film with this?
How do you combine your stills with your films? or do you?
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thanks in advance martin, david… anton… etc…
xox
**
Wal-Mart – some of the stores (management) either accept or bar photographers from walking around the Wal-Mart fortress. On a newspaper assignment, in a small town that has lost small businesses because of such a re-tailed monster, i was quickly swarmed by the blue coats after a few minutes inside the store with a camera. However, after they found out the situation via press credential and my purpose, they seemed agreeable to let me walk around and photo the scenes needed for the article. Since this first encounter, as long as i check in with management, everything flows easy. At times management stated not to show customers (which seems impossible and awkward not to include in the frame), other times not to show specific products or prices, etc.
So, they are simply protecting their corporate interests – but is seems once “the ok the ok the ok” to be inside with a camera (or just going renegade photo style) – there are scenes around every corner – interesting culture at the the 24hr stores.
Be aware, because you and everybody else at a Wal-Mart, inside and outside, are on camera/s also…say “cheese”.
Good composition from side to side and showing the security camera element in this burn feature photo.
Hello Martin
Which of your series has been the most difficult to photograph and edit? Have you ever found yourself giving up a project because of the complications it could bring or brought?
Thanks
#1 Norwegian fan
does a style of work that seemed to be a reaction against perceived cliches, that could be argued to have figured out a different ‘new’ way of seeing, once upon a time, still retain its value when it itself can be argued to have become a cliche?
Hi Martin, thanks for talking to us today..
The pairing of the use of your creative ability to examine idiosyncratic cultural character with your interest in society’s -isms is ideal for a documentary piece on the largest retailer in the world, and I look forward to seeing your completed piece on Wal-Mart.
I agree with you that Wal-Mart should be “documented seriously” and there are certainly many fascinating elements of Wal-Mart culture that are ripe for examination. I have personally considered photographing a piece about the people who take advantage of the Wal-Mart company policy which allows Rv’ers to “boondock” or park overnight, at the majority of its locations. One RVer who has stays in their parking lots said “Wal-Mart has figured out how to get an otherwise under-used asset (the far end of the parking lot) to produce revenue by encouraging RVers to park. They know that we’ll almost always run into the store for some goodies. Smart, very smart.”
And Wal-Mart is of course, smart, when it comes to making money and pleasing their loyal customers. But many have serious environmental and societal concerns about the impact Wal-Mart and its sprawl, which already occupy more than 75,000 acres in the U.S., have on their communities, land and economies. This dichotomy is exemplified in Jenny Mayher’s synopsis of the little film Ourtown:
“When I heard that Wal-Mart wanted to build a SuperCenter in our town, it was as though everything I love about Damariscotta was threatened.
In the fall of 2005 Wal-Mart announced plans to build a SuperCenter in a small coastal Maine town. The range of citizen responses soon created a fissure that divided the community. On one side were those who wanted convenience, jobs, increased tax revenues, and rolled back prices. On the other side were those who sought to protect the local landscape and economy from out-of-scale development and out-of-town corporate colonization. Ourtown follows the struggle of one community, challenged by the largest corporation in the world. Ultimately, the film asks the questions: what kind of town do you want to live in and who holds the power to determine the fate of your community?”
You consider yourself to be a concerned photographer in the traditional sense and I wonder how you plan to use this responsibility to inform your audience in light of your notion that Wal-Mart is “a recent American success story” that “should be celebrated.”
many thanks…
lovely, touching and inviting
Hi Martin,
I love your strategy of presenting and publishing the same photos in the context of Art Photography, in exhibitions and in art books as well as related fields of advertising and journalism, transcending the traditional separation of the different types of photography. Is this something you did conscientiously or did it materialize on its own with the work?
Dear Mr. Parr,
I heared that you make your portfolios in very short time.
Do you take pictures by instant intuition or plans that you’ve already made?
Thank you for Burn visit.
Thank you for your interest in Burn, thank you for the Walmart photo and thank you for coming in later today..no questions, will just sit and read..i admire you greatly.
sincerely
kathleen
I guess Magnum photographers get special treatment. The rest of us in the press get treated by Walmart like we have a communicable disease.
All of the above are excellent questions, I think, but the two things I would like to know are, first, how come Walmart will not employ native English speakers as cashiers, and second, where do all the mutant life forms you see shopping at Walmart at four o’clock in the morning come from and where do they stay during the daylight hours? All right, that’s three questions, not two, or even one, so please pick the most congenial and answer it. You will not be graded on this assignment.
That’s a bit harsh, isnt it? Well, let’s try again. “All right, that’s three questions, not two, or even one, so please answer the question most congenial to you.” Okay, that sounds a bit better, doesnt it?
(Jim, please do not lob softballs like that my way, it is so difficult to resist taking a swing …)
Martin, so glad to see you working on this. No question, just a comment from a Northwest American. Walmart has become the center of American society in many places which, to me, is damning. When my wife was in her masters program in Seattle many in the class would harp on Walmart, for many reasons, but a class member from the midwest didn’t understand the more, as she put it, elitist liberal Northwest view of the retail giant. She said she grew up with Walmart as an accepted and vital member of the community – it is the new mickey mouse of America, a cultural icon and center of community where you can see and talk to your neighbors. I remember when it was the post office and the corner store (which most likely closed because of Walmart). So the choice of subject is brilliant, you may just have found the heart of the new homogenized America and, for many, the embodiment of what is wrong with the country. Thanks for hanging out at Burn …
In much of your work, I have felt as though you gravitate towards moments of ‘ridiculousness’, for a lack of a better word. The herdish activities of beach going folk, the type of food we eat that we shouldn’t, and more generally, the shortcomings of western culture (one of my favorite photographs of yours is the one of the girl with a mohawk asking for money, at what seems to be a funeral). Yet, you have photographed them seemingly without regard to their sociologies, politics, or economics. With such a weighted theme (politically, economically, etc.) as Wal-Mart, I am curious how you will approach this subject. Are you inclined to let the politics shine through, or will you keep the border-line parody approach, and let the results speak for themselves as far as implications are concerned?
Thank you very much for this opportunity,
Sean Hallisey.
Hi Martin
It goes without saying that the options that a photographer has, be they emerging or established,
for publication AND compensation for their efforts are rapidly diminishing.
How do you see this unfolding and given that BURN is quietly being recognized as one potential
avenue to help turn this tide (or at least hold it at bay) how do you see your involvement here, as a
celebrity of sorts, as being something that will move BURN forward ?
Thanks for being a part of Burn I Can’t wait to see the finished project. I had the chance to see a show of yours in Chicago at the Stephen Daiter Gallery couple years back it was great to see the work up close. Color being such a big aspect of you work is there any chance you would consider working in black and white again such as you did for Bad weather ?
Mr Parr:
Please forgive my second comment..i do have a question and it´s very important to my own work..you are so innovative and refuse to be hamstrung by ¨rules¨ so you are the only person i can ask:
When you are shooting in ¨fly on the wall mode¨, and someone sees you..maybe they don´t know you are even taking a picture but notice you´re there just as the shutter goes off. How do you feel about that showing in an otherwise great photo? Do you immediately disregard the photo or do you shrug and think, ¨well that´s life, I was there, my presence was noticed¨?
Thanks sooo much!
Kathleen
Hi Martin!
Your b&w work from Yorkshire which you took in the mid 70ies in Hebden Bridge and some other places shows that you had created most of your own photographic vision or let’s say “style” at an early stage in your career. If I remember correctly, you lived in one of the villages for almost a year. Strong commitment and enthusiasm! At the time you were an emerging photographer yourself.
My question is: How do you look at your early work today and how has your work changed today? Do you feel you still have the same „edginess“ – daring, provocative and trend-setting mind?
My personal favourites of your work are from the series „The Last Resort“ and of course „Signs of the Times“.
Just had a quick look at my bookshelf and found only one of your books there: „Flowers“ from 1999 which is signed by you. I have book No. 559. A quick check and apparently it is worth some 450 $. A good investment it seems ;-)
Good luck with Wallmart!
All the best!
Reimar
dear Reimar
I look back with affection to my early work. Of course when I was working in black and white ( the town was Hebden Bridge, buy the way), the work was more a celebration than the critique of society it is now. My main challenge, is to keep fresh as it would be so easy to repeat and not take the work further. Sometimes I fail, and sometimes I succeed.
Hi, Martin. For this project, are you working with Walmart corporate HQ’s knowledge and consent or guerilla style without their permission? It’s a question not just of access but of editorial stance and your freedom to operate as you see fit. Thanks!
dear Imnants
I like the idea that my photos can be digested by all ages, and indeed Common Sense is usually liked by kids.
Sorry your particular group were so discerning. I will try harder.
Martin
dear Pete
I realise getting permission could be a problem. When I shot these pics for Fortune mag, I did get official permission. So what can be achieved once, has the potential to happen again.
Martin
dear Brian
I suppose for sales, I cannot imagine not being in Magnum.
As I am sure you know , editorial is pretty tight right now, but where there is a will, there is a way.
Martin
dear Ian
There is an unwritten law that tells you when it is OK to shoot someone , and when there is a problem.
about 1% of the population ( more if they are with kids) get angry when they see a camera. When I shoot, I have to appear very confident, as many photographers look guilty and attract problems. However I am constantly watching my back, and of course using body language to my advantage. I never bother with model releases, except in France, which s the worst place to shoot, for fear of being sued.
Martin
dear Marcin
I accept that the art world and photojournalism do not often overlap. However the great thing about photography is that it is so democratic, that it can be hi and low culture at the same time. I love to exploit this and keep a foot in both camps. However I accept I am very fortunate to have achieved this.
Martin
dear Wendy
If I get permission I would probably just do the stores as I think showing both sides is too fair. Fairness is often rather worthy. I have to work WITH Walmart if this ever to happen.
The work , though would have an element of politics running through it, but it is up to the viewer to determine what that is
Martin.
Mr. Parr,
I was part of a conversation here on burn earlier about “exotic” destinations (such as India, where I have done a lot of shooting) vs “the backyard.” It seems to me that you often take what is in the backyard and elevate it, showing that the common IS exotic (using this word to connect the previous conversation to your work.)
Could you please say something more from your experience on this topic…exotic vs common/ cliche vs original seeing. Thank you!
dear Chesham
I think all projects are difficult and easy at the same time. The Walmart project may be the one that dies before it starts, if I do not achieve permission. It is interesting though, that even on this stream, many photographers have had different reactions from the company.
Martin
dear John
I take the point, so I guess when I was once young and radical, and now I am old fart.
I do try my best to keep fresh, but sometimes it is tough. I guess at least I am still trying.
Martin
dear Ecmd
The only way I am going to get Walmart to agree to this project is to not start preaching at them. I am aware of the issues , and like everything in life there is both good and bad in this company. I especially wrote the small blurb, so that it could be read by Walmart. As I mentioned before, I imagine the response to these photos will confirm any of the set views that people bring to it.
Martin
Will Walmart soon sponsor Burn?
;-)
Jerome
dear Kyungee
We cannot photograph everything in this world, so we all have to decide what subjects or areas we want to explore through photography. One of my motivations is to try and make images that tell us about what is happening now and not get too seduced by nostalgia. It is my intuition that drives this thinking.
Martin
Hi Martin, I have no trouble seeing why you are much imitated: your work is very appealing – on many levels. It’s great you are here on Burn.
I read in an interview you gave that you were interested in photographing wealth, and obviously your work bears this out. With the contemporary attitude in some circles that it is better/about time we photographed/turn a critical eye on our own backyards which is what you are doing I think, do you see any possible merit in a western photographer working in underdeveloped countries, building stories in an environment of poverty for personal projects, or do you see that as a bankrupt approach? Do you accept that there may still be room for a western/outside gaze in such places? Could you elaborate on your attitude/thoughts towards that broad approach, which is so very different from your own.
It’s probably obvious that I ask this question because my main interest is in this domain and I note also there are still many other photographers doing the same, though of course it almost always comes across as more traditional than work such as your own. One can only strive to be more contemporary even working in these traditional locations.
dear Akaky
Wow, you obviously know more about Walmart than I do.
Can I answer this question, or at least one of them, after the project and not before.
Martin
wow – firing out answers like a ninja martin..
thanks for being here with us.
there must have been a time when you ‘aspired’ to join magnum, and then a time subsequently when you ‘believed’ you could join magnum – with enough confidence to stand against the controversy which followed… so
which project, or body of work, or personal connection lent you the confidence and self belief to apply to the agency?
who were your biggest champions?
good luck with walmart – trusting that you will find some provocative angles :o)
david
dear Sean
As this stream is quickly demonstrating to me, there is nothing as quirky or fascinating as people.
So much of what we all do is ” ridiculous” I guess I am attracted to the surreal nature of everyday life, which is so easy to miss. As mentioned before , if this works, I will let the results speak for itself.
Martin
dear Mtomalty
I have discussed the whole issue of the declining market for magazines on a pdn interview quite recently. What I said then was that I disguise my serious photography as entertainment in order to help it get published, as the magazine market does not much like serious documentary/ photojournalism at the moment. So the ball should be placed back to photographers to be more cunning in how they promote their work and the subjects they choose. It is too easy just to knock the magazines, we are guilty too.
Martin
Hi Martin.
At which point in your life did you realise that you HAD to be a photographer?
dear Andrew
Much that I love black and white, for me to deal with the modern issues, it just has to be in colour.
Martin
dear Kathleen
People looking at the camera is a nightmare as usually it ruins a photo. However like all rules in photography , just sometimes it can MAKE a picture. When I am reviewing folios this fault of allowing images in where it does NOT work, that someone is looking is quite common. Why do we not take them out , because we are too lazy and just do not shoot enough. So come you Burn people, take them out of they ruin the photo. Confront your inadequacies full on.
Martin
When photographing, do you set out to find or to prove?
dear AndreaC
I am about to publish a book called Luxury which shows wealthy people round the world, It now reads like an epitaph to the recent bubble. On your other point, I have no problem with wealthy westerners visiting and shooting anywhere. However I sometimes think that photojournalists, in particular, always look to other societies problems rather than confronting their own. It is too easy just to blame others.
Martin
Mr Parr,
Wait…I am a bit confused about your last comment. People looking at the camera ruins a photo? What are the two people in your photo above doing? What am I missing here? Do you mean someone who has the expression “Oh, I’m in this guy’s photo” in a way that’s out of character with the rest of the image?
Please explain. This sounds like something I need to understand.
Thanks!
dear Cathy
This is a fascinating question. Why are there so many books on Cuba, for example ( Sorry David!) Because it is so nostalgic, all those crumbling buildings and old American cars, photographers get seduced. Why are they seduced because there is an element of laziness, and it is so much easier to identify with a crumbling old world rather than confronting the new. This is one thing that has driven me to think of Walmart as a good subject, but shooting in Havana is a lot easier!
So in one sense I want the photos I take now to be about now, not about times that have disappeared. Having said that, I too sometimes am lazy and shoot old world, but at least am aware of this when I do it.
Martin
dear Cathy
The above photo just works with them looking, it is a hybrid between a portrait and a candid.
Martin