WE all have fond memories of the faces and places that influenced our lives. Some of them remain with us for many years, and our earliest ones are often as fresh and sharp as ever.

The arrival of the Box Brownie in thousands of 20th century households made it possible to fix those memories in a more permanent format. By the 1950s they had become an affordable, easy way to capture the real lives of the nation.

So, over the years, “taking a snap” of holidays or family events became second nature. Cameras became more professional and processing and printing could be inexpensively achieved through the post. With the advent of digital photography and mobile phones, the taking and sharing of images is now a ubiquitous part of everyday life. 

Along the way, photography has become generally accepted as an art form in its own right and, thus, deserves corresponding recognition since the photographer relies on individual artistic skills for initial framing, composition and finished result. Elements such as documentary, archival and personally significant moments are also important. 

These themes run strongly throughout Mike McCartney's Luvs exhibition, a man with a keen eye not simply for those captured moments but a deep regard for the grand civic architecture of his home town.

 


Here comes the equestrian statue...and Mike McCartneyHere comes the equestrian statue...and Mike McCartney

It features 60 fascinating images depicting Liverpool landmarks from the 1960s through to the present day.  These include various early publicity photos of the Merseybeat era, which played a huge role in the life of the Beatle's younger sibling - one third of 1960s band Scaffold, alongside Roger McGough and John Gorman.

McCartney said: "When I was asked to do an exhibition for Liverpool's prestigious St George's Hall, I had to ask myself 'an exhibition of what?'

"Initially I was planning a Liverpool-based number of images with a few of the hall thrown in, but when I searched through my vast repertoire of scouse pics, I was amazed at how long I had loved and photographed this magnificent building. In fact I've been snapping her and things appertaining her from the 1960s, right up to now."

A selfie from the sixtiesA selfie from the sixties

And he went on to list some: "The Scaffold's first black and white press photo in a Codman's Punch & Judy Show frame... St George's ace organ and magnificent Minton Tiles... Marilyn Monroe in the Great Hall… The launch of our European Capital of Culture, with Ringo on the roof. Plus John Conteh, Les Dennis, Sue Johno, Doddy, etc inside... the start of Liverpool Gay Pride parade… the hall's various implements of torture... Santa Claus with my grandsons... plus a few secrets...to name but one. I hope you enjoy the show”.

These, among many others, explore the gradual evolution of McCartney’s life with a camera, spanning the years from silver nitrate prints to pixelated digital images. It’s still very rare that he ever goes anywhere without one. That’s why this exhibition is significant not only because of his self-deprecating local status but that he’s captured the essence of Liverpool’s pre-eminent place in both popular culture and civic amenity of the highest order. McCartney's work celebrates these strands with a great deal of affection.

McCartney has staged exhibitions across the world, including Japan, America and Canada. His photographs resulted in the National Trust restoring and opening 20 Forthlin Road, which he grew up in with his older brother Paul, as a tourist attraction. His work has been featured in Q Magazine’s Greatest Rock and Roll Photographs of All Time, and have been shown worldwide on MTV’s Rolling Stone 100 Greatest Pop Songs programme. Eleven of his photographs were exhibited at the National Portrait Gallery in London.

So, it’s been quite a journey. In fact, many years ago, Reg Cox (photography lecturer at Liverpool Art College) used to justify photography as a craft in terms of  “In the land of the blind, the one-eyed is king”.

Well, maybe not king but McCartney's self-appointed role as cultural ambassador for Wirral will do for now and, paying homage to Professor Codman’s Punch and Judy escapades, it would be fair to say "that’s the way he did it". 

*Mike McCartney Luvs Exhibition, St George’s Hall, St George’s Place, Liverpool, L1 1JJ , North Entrance via Heritage Centre), Running until Sunday 18th October 10am-5pm Daily Entrance fee: £2.50 payable on the door.