Exhibition: ‘Peter Mitchell: Nothing Lasts Forever’ at The Photographers’ Gallery, London

Exhibition dates: 7th March – 15th June, 2025

Peter Mitchell (British, b. 1943) 'Opticians, London, 1975' 1975 from the exhibition 'Peter Mitchell: Nothing Lasts Forever' at the Photographers' Gallery, London, March - June, 2025

Peter Mitchell (British, b. 1943)
Opticians, London, 1975
1975
C-print
© Peter Mitchell

I absolutely adore these Peter Mitchell 1970s colour photographs made from Hasselblad two and a quarter square negatives.

There is something so …. well, British about them.

The wit, the humour (pigeons sitting outside the racing pigeon shop), the stiff upper lip, the carry on regardless, the working class pantomime of life and death – the public commission flats where people formed caring communities that were destroyed through redevelopment – the integrity of an existence that has largely come and gone pictured with warmth and empathy.

The people, growing up during the Second World War the privations of which lasted well into the 1950s, now during a period of change in the 1970s standing behind the fish ‘n chip counter wondering where their lives had gone and how they had got there, but still with that British sense of spirit and grit.

Peter Mitchell, “a chaser of a disappearing world” pictures these “goners” – buildings, people (and a way of life) near the end of existence soon to be demolished – in an almost painterly manner.

His use of colour, perspective and form is very fine. Witness, the flow of the photograph ‘Edna, George & Pat, H.E. Greenwood Butcher, Waterloo Road, Leeds, 1977’ (below) as, in the shot, the camera allows the eye to pan from one vanishing point at left to the other at right, with the patchwork of colours and panels of the building creating an almost Mondrian-like texture – blue to black to beige to white sign to pale blue to yellow to green to pale green, surmounted by the dark blue of the threatening sky highlighting the jagged form of the building. Superb.

My favourite photograph in the posting is The Chair, Priestly House Interior, Quarry Hill Flats, Leeds, 1978 (below). This photograph is from what I believe to be Mitchell’s strongest body of work on the demolition of the Quarry Hill Flats in Leeds. ‘One of those doomed deserts was Quarry Hill flats, irresistible both as a symbol of the fate of all architecture and of the great clock in the heavens signalling everybody’s life span’ (Peter Mitchell quoted on The Guardian website)

A drab, beige, wallpapered room with double aspect window, an art deco chair with mirror reflecting nothing, an electrical socket, a ceiling light sprouting malignant plant and trapped in the window panes, little birds fluttering against their capture, trapped forever inside an abandoned flat, this abandoned life.

Yes, there’s a sense of nostalgia and melancholy in these photographs but their restrained, formal, representation of life does much to ennoble the people and buildings contained within them which, through osmosis, ennobles the mind of the viewer.

As I myself sense the great clock in the heavens signalling my life span, the pleasure and comfort I get from feeling the spirit of Peter Mitchell’s photographs is immeasurable.

Dr Marcus Bunyan

Many thankx to the Photographers’ Gallery for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

Peter Mitchell (British, b. 1943) 'Mrs Clayton and Mrs Collins, summer 1974' 1974 from the exhibition 'Peter Mitchell: Nothing Lasts Forever' at the Photographers' Gallery, London, March - June, 2025

Peter Mitchell (British, b. 1943)
Mrs Clayton and Mrs Collins, summer 1974
1974
C-print
© Peter Mitchell

Peter Mitchell (British, b. 1943) 'Mr and Mrs Hudson, Newsagents, Seacroft, Leeds, 1974' 1974 from the exhibition 'Peter Mitchell: Nothing Lasts Forever' at the Photographers' Gallery, London, March - June, 2025

Peter Mitchell (British, b. 1943)
Mr and Mrs Hudson, Newsagents, Seacroft, Leeds, 1974
1974
C-print
© Peter Mitchell

‘Mr and Mrs Hudson in Seacroft Green, Leeds. I took this photograph on the 14 August 1974 at about 11am. I like the way the ladder is propping up the shop. They had just moved into a new shop on the same spot, with the church getting a facelift to match’

Peter Mitchell quoted on The Guardian website

Peter Mitchell (British, b. 1943)
Mrs. McArthy & her daughter, Sangley Road, Catford, London, 1975
1975
C-print
© Peter Mitchell

Peter Mitchell (British, b. 1943)
Kingston Racing Motors, Olinda Terrace, Leeds 1975
1975
C-print
© Peter Mitchell

Is the man with the wrench a mechanic? Why is the woman with the clapped-out Porsche looking so naughty? Will James C Gallagher, whose business it is, always have his back to the camera? And after painting the wall, why did Barry have to leave Leeds? The council demolished the lot shortly after this snap.

Text from The Guardian website

Peter Mitchell (British, b. 1943)
Two anonymous ladies, Tivoli Cinema, Acre Road from Sisson’s Lane, Leeds, 1976
1976
C-print
© Peter Mitchell

Peter Mitchell (British, b. 1943)
Sir Yank’s Records (& Heavy Disco), Gathorne Street, Leeds 1976
1976
C-print
© Peter Mitchell

Peter Mitchell (British, b. 1943)
Concorde Wallpaper, Devon Road, 1970s
1970s
C-print
© Peter Mitchell

Peter Mitchell (British, b. 1943)
Alea Stony Rock, Westlock Grove, 1970s
1970s
C-print
© Peter Mitchell

Peter Mitchell (British, b. 1943)
Beetham’s, Church Street, Leeds, 1970s
1970s
C-print
© Peter Mitchell

A retrospective of work by one of the leading early colour photographers of the 20th century opens this March at The Photographers’ Gallery.

Peter Mitchell (b. 1943, UK) is widely regarded as one of the most important early colour photographers of the 1970s and 1980s. A powerful storyteller and social historian, Mitchell’s photography unfolds a longstanding and poetic connection with Leeds. He has chronicled the people and fortunes of the city with warmth and familiarity for over 40 years.

Described as ‘a narrator of who we were, a chaser of a disappearing world’ (Val Williams), his work reveals his love, and at times quirky, off-beat vision, of the people and changing face of Leeds.

The retrospective explores the breadth of Mitchell’s photographic practice. It brings together his famous series ‘A New Refutation of the Viking 4 Space Mission’, which imagines England as seen through the eyes of an alien from Mars, demolished flats, shopkeepers and their shops, and boarded-up and disused buildings, as well as his portraits of scarecrows. The exhibition marks a return to The Photographers’ Gallery for Mitchell – he first exhibited at the Gallery in 1984.

A chronicler of a changing city, he said of his work photographing the demise of the iconic Quarry Hills Estate in Leeds, ‘I know there was no point in keeping Quarry Hill flats. But what it stood for might have been worth keeping.’

Calling himself ‘a man of the pavement’, Mitchell continues to regularly walk the streets of Leeds to photograph his beloved hometown today.

Peter Mitchell: Nothing Lasts Forever will include rarely seen works from Mitchell’s own collection, personal ephemera and found objects.

Peter Mitchell: Nothing Lasts Forever is in collaboration with Leeds Art Gallery. Nothing Lasts Forever, published by RRB Photobooks, is available now.

Peter Mitchell

Peter Mitchell was born in Manchester in 1943. He studied at Hornsey College of Art in London, then moved north to look for work and never left. Living and working in Leeds for much of his life, Mitchell treats his surrounding with a unique sense of care. An essential part of the colour documentary scene in the 1970s and 80s, Mitchell’s landmark show A New Refutation of the Space Viking 4 Mission at Impressions Gallery in York in 1979 was the first colour photography show in the UK.

Press release from The Photographers’ Gallery

Peter Mitchell (British, b. 1943)
Ready mixed Concrete Ltd., Elland Road, Leeds, 1977
1977
C-print
© Peter Mitchell

Peter Mitchell (British, b. 1943)
Edna, George & Pat, H.E. Greenwood Butcher, Waterloo Road, Leeds, 1977
1977
C-print
© Peter Mitchell

Peter Mitchell (British, b. 1943)
‘How many Aunties?’, Back Hares Mount, Leeds, 1978
1978
C-print
© Peter Mitchell

Peter Mitchell (British, b. 1943)
The Sir Yank’s Heavy Disco, Harehills Avenue, Leeds, 1978
1978
C-print
© Peter Mitchell

Peter Mitchell (British, b. 1943)
Priestly House, Quarry Hill Flats, 1978
1978
C-print
© Peter Mitchell

Peter Mitchell (British, b. 1943)
The Kitson House telephone, Quarry Hill Flats, 1978
1978
C-print
© Peter Mitchell

‘It was obvious to me that they were something special. York House was one side of the football pitch, Thoresby House opposite’

Peter Mitchell quoted on The Guardian website

Peter Mitchell (British, b. 1943)
The Garden of Rest, Quarry Hill Flats, Leeds, 1978
1978
C-print
© Peter Mitchell

Peter Mitchell (British, b. 1943)
Thoresby House, Quarry Hill Flats, Leeds, 1978
1978
C-print
© Peter Mitchell

‘I photograph dying buildings and Quarry Hill was terminal by the time I got to it. Times change and I know there was no point in keeping Quarry Hill flats. But what it stood for might have been worth keeping’

Peter Mitchell quoted on The Guardian website

Peter Mitchell (British, b. 1943)
Nielson House interior, Quarry Hill Flats, Leeds, 1978
1978
C-print
© Peter Mitchell

Peter Mitchell (British, b. 1943)
The Chair, Priestly House Interior, Quarry Hill Flats, Leeds, 1978
1978
C-print
© Peter Mitchell

‘One of those doomed deserts was Quarry Hill flats, irresistible both as a symbol of the fate of all architecture and of the great clock in the heavens signalling everybody’s life span’

Peter Mitchell quoted on The Guardian website

Peter Mitchell (British, b. 1943)
Abandoned car, Wright House, Quarry Hill Flats, Leeds, 1978
1978
C-print
© Peter Mitchell

Peter Mitchell (British, b. 1943)
Frances Gaven. Leeds, 1979
1979
From A New Refutation of the Viking 4 Space Mission
C-print
© Peter Mitchell

Francis Craven on Woodhouse Moor, Leeds in April 1979. He’d built this apparition himself but was having trouble with its arms – the pulleys had given out

Text from the Guardian website

Peter Mitchell’s A New Refutation of the Viking 4 Space Mission features photos and portraits, taken in Leeds in the 1970s. The pictures show the traditional urban landscape presented on a background of space charts, the concept being that an alien has landed from Mars and is wandering around Leeds with a degree of surprise and puzzlement.

In the Earthly vernacular these photographs are of Nowheresville. Yet, for some people, they are the centre of the universe. Usually they call it Home.

Text from the Martin Parr Foundation website [Online] Cited 25/05/2025

Mitchell’s series documents backstreets, corner shops, factories, churches and cemeteries in Leeds and Sheffield, as well as other locations in Cumbria and London, building a compelling picture of these cities during the late 1970s. Many of the portraits show the city inhabitants standing outside their homes or places of work. Equal attention is paid to the entirety of the setting, the figures often appearing dwarfed in the composition by their surroundings. The majority of the subjects gaze directly at the camera adopting stiff, frontal poses giving the images a formal impression and sense of stillness. Describing the distinctive style and subject matter of the photographs, historian David Mellor has commented, ‘it is as if Alan Bennett had met Diane Arbus in an urban picaresque’ (Mellor 2005, accessed 12 June 2017).

Ruins, crumbling facades, abandoned shops and cemeteries punctuate the series, pointing to themes of life, death, memory and loss. For example, Mitchell’s pictures includes shots of Mrs Lee’s dress shop – which burnt down the day after closure – a decayed synagogue and a defunct station in Sheffield, where the trains pass through but never stop. The 1970s were a time of great change in Britain as it struggled with widespread social unrest as well as the collapse of heavy industries. Commenting on this aspect of the series, Mellor noted, ‘NASA’s 1976 Viking Landers were a triumph of robotics, of remote sensing and imaging – that very culture of digitised information which was to supplant the manual world of industrial era Leeds.’ (Ibid.)

Text is a crucial element in Mitchell’s work, and each image in this series is accompanied by a caption to be displayed alongside. These idiosyncratic snippets of text are excerpted from Mitchell’s diary, and range from deadpan descriptions of place, to short anecdotes and humorous musings. Historian Val Williams has likened the artist’s distinctive combination of photography and text across his different bodies of work to the Situationist writing of the French theorist Guy Debord. …

Mitchell’s work occupies an important position within the history of colour photography specifically. He was photographing in colour at a time when black and white was the predominate medium for documentary photography in Britain, and before colour photography was fully embraced by museum collections. His work thus evidences an alternate history of colour photography distinct from the predominant narrative of the emergence of colour photography in the United States in the work of photographers such as William Eggleston (born 1939) and Stephen Shore (born 1947).

Sarah Allen
June 2016

Collection text on the Tate website [Online] Cited 24/05/2025

Peter Mitchell (British, b. 1943) 'Max Babbin, Vulcan Street, Leeds, 1979' 1979

Peter Mitchell (British, b. 1943)
ABC (Aerated Bread Company offices), Camden Road, London, 1979
1979
C-print
© Peter Mitchell

Peter Mitchell (British, b. 1943) 'Old Kent Road, London, 1979' 1979

His early photographs were made in the 1970s and 80s, when he was working as a truck driver. His vantage point removed him from the immediacy of the street, and he developed his distinctive graphic framing of the buildings and landscapes, which reveal the layers of urban and social history

Text from The Guardian website