|Dates: ||1935, 9 October - |
|Born: ||Great Britain, London|
|Active: ||England / Cyprus / Vietnam|
Photojournalist and war photography. More recently concentrated on still-lifes and landscapes.
Don McCullin is recognised as one of the greatest war photographers, and throughout the 1960's and 1970's he covered events of global importance for the Sunday Times Magazine including the Vietnam war. His first published story in 1958 concerned his own street gang in North London, and his subsequent images in Britain have looked at the unemployed and the destitute. Abroad, McCullin has covered ecological disasters and the war-torn regions of the world, documenting events normally hidden from view. His work proved so painful and memorable that in 1982 he was forbidden to cover the Falklands war by the British government of the time.
This biography is courtesy and copyright of the Victoria & Albert Museum and is included here with permission.
Date last updated: 11 Nov 2011.
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Biography provided by Focal Press
McCullin studied painting for two years before joining the Royal Air Force in 1954 where he became a photo assistant for aerial reconnaissance. By 1959 he began reportage with his camera and had pictures of a London youth gang published in The Observer. He won acclaim for 1961 images of the building of the Berlin Wall. As a conscientious believer in the power of photography to effect change, McCullin decided to try to curtail war and brutality by documenting conflict to reveal the true horror of violence. He covered the war in Cyprus in 1964 and later the Vietnam War (graphic images of the Tet offensive of 1968). He has been on the front lines of wars and human disasters (famine, genocide) around the world — Congo, Israel, Biafra, Cambodia, Lebanon, Pakistan, Northern Ireland, and India. For a time he was a member of Magnum. Book publications include The Destruction Business (1971) also published in the United States as Is Anyone Taking Any Notice? (1973). After many years on staff with The Sunday Times he went back to freelance assignments in 1985. In the early 1990s he had gone into seclusion in England, trying to force himself to make more lyrical "art" photographs of still life and landscape, often utilizing antique photo processes. Self-assessment of this activity as a non-fulfilling pursuit brought him back to the forefront of social activism. Since 2000 he has worked in Africa for the Christian Aid Society and has been active in AIDS awareness campaigns.
(Author: Ken White - Rochester Institute of Technology)
Michael Peres (Editor-in-Chief), 2007, Focal Encyclopedia of Photography, 4th edition, (Focal Press) [ISBN-10: 0240807405, ISBN-13: 978-0240807409]
(Used with permission)
Readings on, or by, individual photographers
McCullin, Don, 1971, The Destruction Business, (Macmillan) isbn-10: 0333130227 isbn-13: 978-0333130223 [Δ]
McCullin, Don, 1973, Is Anyone Taking Any Notice?, (The MIT Press) isbn-10: 026213084X isbn-13: 978-0262130844 [Twice Photographer of the Year and winner of both the Warsaw Gold Medal and the World Press Photographer Award, Donald McCullin is Britain's best and most famous war photographer. For more than a decade he has had an absolute compulsion to search out and photograph destitution and destruction, in Cyprus, Biafra, the Congo, Vietnam, Bangladesh, Northern Ireland, and, most recently, Uganda. He was wounded in Vietnam and says that his ten closest photographer friends have been killed.In this collection of his photographs, McCullin takes an unblinking look at war and the horrors it visits--with such absolute equality, with no distinction of race or religion--on men throughout the world. He also faces with a comparable steadiness of eye and hand the manifestations of suffering caused by agents more pervasive even than warfare, such as hunger. But joined to these almost unbearable shots of death and desolation are contrasting views of lyrical and nostalgic modes that affirm the enduring and undefeated life of humanity. The book in its wholeness is a poignant testimony to man's incredible capacity to survive his own inhumanity and even, sometimes, to triumph over it.The photographs are reproduced in duotone on high-quality paper, and the large format of the book (12 by 11 inches) allows for great flexibility in their display. The book is organized by locale--there are separate groups of pictures that were taken in England, Chicago, Cyprus, Bangladesh, India (including a series from the "House of Death" in Calcutta), Biafra, the Congo, Londonderry, and Hue (during Tet). An introductory group is designed to show how all of these, divergent as their subjects are, converge in McCullen's eye: it allows us to look at mankind from his personal point of view.Excerpts from the address Aleksandr Solzhenitsyn wrote for the occasion of his acceptance of the Nobel Prize--entitled "Art--for Man's Sake"--serve as an overture that states full-voiced the themes implicit in the pictures."(Note: " The MIT Press will publish this title instead of the previously announced American edition of "The Destruction Business, " since this new volume contains most of the photographs found in "The Destruction Business, " as well as some 50 additional photographs integrated into a new and larger format.)] [Δ]
McCullin, Don, 1979, Homecoming, (St. Martin's Press) [Δ]
McCullin, Don, 1981, Hearts of Darkness, (Random House Inc) [Δ]
McCullin, Don, 1981, Hearts of Darkness: Photographs by Don McCullin, (New York: Alfred A. Knopf) [Introduction by John Le Carré] [Δ]
McCullin, Don, 1983, Beirut: A City in Crisis, (New English Library Ltd) [Δ]
McCullin, Don, 1989, Open Skies, (Harmony) isbn-10: 0517574454 isbn-13: 978-0517574454 [Δ]
McCullin, Don, 1992, Unreasonable Behaviour: An Autobiography, (Knopf) [1st American edition, A new edition was published by Vintage in 2002] [Δ]
McCullin, Don, 1996, Sleeping With Ghosts: A Life's Work in Photography, (Aperture) [Introduction by Mark Haworth-Booth] [Δ]
McCullin, Don, 2001, Don McCullin, (London: Jonathan Cape) [Δ]
McCullin, Don, 2005, Don McCullin in Africa, (London: Jonathan Cape) [Δ]
McCullin, Don, 2008, In England, (Random House UK) [Δ]
McCullin, Don, 2010, Shaped By War, (Jonathan Cape) isbn-10: 0224090267 isbn-13: 978-0224090261 [Δ]
McCullin,Don, 2013, Don McCullin, (Archive of Modern Conflict in association with the National Gallery of Canada) isbn-13: 978-0957049000 [Δ]
If you feel this list is missing a significant book or article please let me know - Alan - firstname.lastname@example.org
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Exhibitions on this website
|Don McCullin: War: Books|| |
All photographs by this photographer
|Wikipedia has a biography of this photographer.||Show on this site||Go to website|
|Getty Research, Los Angeles, USA has an ULAN (Union List of Artists Names Online) entry for this photographer. This is useful for checking names and they frequently provide a brief biography.|| ||Go to website|
|Grove Art Online (www.groveart.com) has a biography of this artist. |
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The following books are useful starting points to obtain brief biographies but they are not substitutes for the monographs on individual photographers.
|• Beaton, Cecil & Buckland, Gail 1975 The Magic Eye: The Genius of Photography from 1839 to the Present Day (Boston and Toronto: Little, Brown & Company) p.260 [Useful short biographies with personal asides and one or more example images.] |
• Capa, Cornell (ed.) 1984 The International Center of Photography: Encyclopedia of Photography (New York, Crown Publishers, Inc. - A Pound Press Book) p.322-323
• Evans, Martin Marix (Executive ed.) 1995 Contemporary Photographers [Third Edition] (St. James Press - An International Thomson Publishing Company) [Expensive reference work but highly informative.]
• International Center of Photography 1999 Reflections in a Glass Eye: Works from the International Center of Photography Collection (New York: A Bulfinch Press Book) p.221 [Includes a well written short biography on Don McCullin with example plate(s) earlier in book.]
• Lenman, Robin (ed.) 2005 The Oxford Companion to the Photograph (Oxford: Oxford University Press) [Includes a short biography on Don McCullin.]
• Weaver, Mike (ed.) 1989 The Art of Photography 1839-1989 (New Haven and London: Yale University Press) p.460-461 [This exhibition catalogue is for the travelling exhibition that went to Houston, Canberra and London in 1989.]
|"Although I take my work seriously I cannot take myself seriously. When you think of it, everything has happened by accident. I have always believed that I don‘t own my photography, rather that it owns me. It gave me a life, an extraordinary life which could never be repeated. I feel as if the gift of seeing what is really going on in the world is mine only so long as I put it to proper use. There is nothing to be claimed and nothing to regret, except that we go on treating our fellow human beings so badly."|
|"For me to take those pictures, I had to stand up. I offered myself. I believe to this day that a sniper must have seen me, but seen me not carrying a weapon or not wearing a weapon….It seems uncanny that I got away with it. [Speaking about the Battle for Hue, Vietnam, 1968]"|
|"I am sometimes accused by my peers of printing my pictures too dark. All I can say is that it goes with the mood of melancholy that is induced by witnessing at close quarters such intractable situations of conflict and joylessness."|
|"I knew I had an amazing picture, but what a terrible way of earning a living. [Speaking about Bangladesh, 1971]"|
|"I know I was slightly insane on the helicopter back to Da Nang [but] I had 28 rolls of the most powerful film. [Speaking about the Battle for Hue, Vietnam, 1968]"|
|"I only use a camera like I use a toothbrush. It does the job."|
|"I realized that you could shoot photographs until the cows came home but they have nothing to do with real humanity, real memories, real feelings."|
|"I saw two other men killed right next to me and thought, "This is what you are. This is what you do. Do it." When you're afraid, doing what you do best takes your mind off of your fear. I would be a liar if I said I wasn't afraid. There was always fear in my makeup. [Speaking about the Battle for Hue, Vietnam, 1968]"|
|"I suspect I was suffering a kind of mental breakdown in a way,…I was actually basically nothing less than a kind of war junkie really."|
|"I was devastated by the sight of 900 children living in one camp in utter squalor at the point of death. I lost all interest in photographing soldiers in action. [Speaking about Biafra, 1959]"|
|"I will never believe my photography hasn't still got something to teach me."|
|"If I wasn?t in war, I was at home and unhappy."|
|"It was often at my own suggestion that I would go to these events. After all, if you were a picture editor and you were sending someone to a war, there's every likelihood that you'd be sending him to his death really."|
|"Like all my generation in London, I am a product of Hitler. I was born in the thirties and bombed in the forties."|
|"Occasionally I used colour – I can use it quite well if it comes to it. But I thought that black and white images in war were much more powerful."|
|"Photography for me is not looking, it‘s feeling. If you can‘t feel what you‘re looking at, then you‘re never going to get others to feel anything when they look at your pictures."|
|"Photography for me is not looking, it’s feeling. If you can’t feel what you’re looking at, then you’re never going to get others to feel anything when they look at your pictures."|
|"So I had my own code of conduct [as a photojournalist] and I've kept that to this day. And it was about being a decent human being."|
|"There seemed to be an empty or vacant seat. I thought it had my name on it. But I never wanted to be described as a &quo;war photographer". [Speaking about the Vietnam War]"|
|"… I want you to look at my photographs. I don't want you to reject and say: "No, I can't do that. I can't look at those pictures. They are atrocity pictures." Of course, they are. But I want to become the voices of the people in those pictures."|