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I’m a large enough fan of The Beatles that I sat by way of eight hours of Peter Jackson’s meticulously restored footage of the ‘Fab Four’ engaged on their remaining studio album in Disney+ docuseries, The Beatles: Get Back. So information of a Beatles-themed pictures exhibition on the Gagosian’s Davies Street location in London was all the time going to be of curiosity. But Rearview Mirror: Liverpool–London–Paris isn’t your typical fly-on-the-wall showcase, as a result of all the photos have been captured by none aside from Paul McCartney.
It can be silly to assume {that a} man who’s spent a lifetime expressing himself by way of numerous media, be it a lyric sheet, bass guitar, piano, or paint brush, might decide up a digicam and do something however seize attractive imagery. But what I really like most about these pictures is that solely three different individuals on the earth might have come near matching the spirit of Paul’s work: John, George, and Ringo. That’s as a result of there’s an intimacy within the pictures that would solely have been captured by a fellow Beatle.
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The assortment spans December 1963 to February 1964, simply after the discharge of the band’s second album, With the Beatles. This is a pivotal second within the Yesterday hitmakers’ historical past, as a result of it marks the primary few months of ‘Beatlemania’. Rather than an outsider’s inside look into the world’s greatest band, Paul’s pictures eschews the gaze of the plenty, sheds the famous person pores and skin, and captures 4 younger lads from Liverpool, touring the UK and Paris, simply previous to their debut journey to the United States. I do not assume it is hyperbole to recommend that Rearview Mirror: Liverpool–London–Paris paperwork one of the crucial transformative durations of The Beatles’ careers, from home superheroes to the genesis of world stardom.
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Paul even makes an look as a topic himself, mirrored within the mirror of his then-girlfriend, Jane Asher’s, household dwelling. The exhibition additionally options playful portraits of the songwriting legend’s bandmates, imagery of the ogling press from the band’s viewpoint, and make contact with sheets that present frame-by-frame documentation, akin to video footage. Everything was captured on Paul’s 35mm Pentax film camera. As such, not everything is perfectly in focus or exposed and I think the imagery is all the better for it. In a world where we strive constantly to improve the technical aspects of photography, Rearview Mirror: Liverpool–London–Paris is a reminder that one element of photography trumps all else: being there, in the moment.
The prints are hand-signed by Paul McCartney and remastered from original negatives and contact sheets that were, rather remarkably, assumed lost for over half a century. Gagosian’s exhibition coincides with Paul McCartney Photographs 1963–64: Eyes of the Storm, an exhibition that opened at London’s National Portrait Gallery and is currently on tour. Rearview Mirror: Liverpool–London–Paris opened on August 28 and runs until October 4, 2025, in Gagosian’s Davies Street exhibition space, in central London.
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