​A Tour of The Louvre with Martin Parr

​A Tour of The Louvre with Martin Parr

We remember and celebrate the legendary photographer Martin Parr, who sadly passed away last December, following the completion of this unique collaboration. Martin spoke to us about his work and experience at the Louvre for this remarkable project. His iconic images, known for their wit and insight, will continue to inspire and delight audiences worldwide for generations to come.

View items



Q. Thank you so much for taking the time today. I'd love to begin with the UT × Louvre project. What was the experience like?

It was very good. The main thing was that there were no crowds. I've photographed the Louvre before when it was completely packed, so having the place empty felt amazing. We could walk anywhere with the models, take our time, and it all felt very easy and enjoyable.

Q. Did working in an empty museum feel very different from your usual approach, your documentary photography?

Yes, very different. If I were photographing for myself, I'd want all the people in the frame, because that's what I'm usually interested in. But here the point was the special access-no people at all. Then you have to find the balance between the models and the space, between the clothes and the artwork, in a way that still feels dynamic. After 50+ years of photographing, those decisions happen quite naturally.

Q. You photographed in front of the Mona Lisa just as you did in your earlier work. Was that intentional?

Well, if you're in the Mona Lisa room, that's what you do. You take photographs of the painting, and I photograph the people in front of it. It's almost inevitable.

Q. How do you feel about the final images and the idea that they'll be printed on T-shirts?

I'm happy with them. And I like the idea of my photos being on T-shirts. Why not? I've said before that I'm a very promiscuous photographer. I enjoy my images being on anything: postcards, jigsaws, museum walls, and now clothing. If I saw someone wearing one on the street, I'd probably walk up and say, "I took that."

Q. Smartphones have changed how people behave. Has that changed your interest in photographing them?

Smartphones have changed everything. I've done a whole book on people using their phones, taking selfies. I take advantage of everything that's going on. I don't worry about whether someone is an amateur or a professional when it comes to photographs. I just look at whether a picture is good. Instagram, for example, is a very useful place to see new talent.

Q. How do you define a "good picture"?

I can't really define it. If I knew how to describe what a good picture is, I would have stopped being a photographer many years ago. My process is simple: I shoot, I edit, I print about 10% of the images in 20cm 30cm, and from those prints I edit again. If I get around ten really good pictures in a year, that's a lot.

Q. You have mentioned that photography feels like therapy for you. What do you mean by that?

I have a strange relationship with my country, England. I love it and hate it at the same time, and photography gives me a chance to explore that contradiction. Some parts of the country trouble me, especially the political side. But there are also things I genuinely enjoy, like having a cup of tea, going to an agricultural show, or being by the seaside. These contradictions are hard to put into words. They work better in photographs. I am a photographer, not a writer.


Q. What do you think about your responsibility as a photographer, especially in terms of recording the world and maintaining that archive?

I do feel responsibility. There is so much in the world I haven't photographed, and I know I can't cover everything, but I keep going because I want to record what I can. Over the years I have built up a large archive, around 56,000 photos, and now every image is keyworded and organized so it can be searched. It is important to me that the work is kept in a way that people can look at it in the future, which is why we have the Martin Parr Foundation in Bristol.

Q. You mentor younger photographers through your foundation. What advice do you give?

Photography is hard. People think it's easy, but it takes a lot of work to find your own voice. Most people don't work hard enough. You have to be obsessed and keep going out. When I mentor, I ask photographers which picture in their portfolio is the most interesting, and why. That tells you a lot about how they think. And when someone has done a lot of work, you can see it.

Q. This spring, you photographed Kyoto during cherry blossom season for KYOTOGRAPHIE. What was that like?

It was great. The cherry blossom madness in Japan is something I've always found fascinating. This year we had perfect weather, and the crowds were huge. You could barely move. That kind of chaos is very good for taking pictures. And the exhibition itself was fun because both KYOTOGRAPHIE visitors and general tourists wandered in.

Q. Will you wear the UT T-shirts yourself?

Very possibly. I hope they send me some extra-large ones.

Notes on Martin Parr

Martin Parr Foundation



The Martin Parr Foundation is a charitable organization dedicated to supporting emerging, established, and overlooked photographers whose work focuses on Britain and Ireland. Its mission is to preserve significant photographic works while fostering engagement with photography as a vital cultural practice. Opened in Bristol in 2017, the Foundation houses a growing collection of photographic material, including prints, book dummies, portfolios, and major archives such as those of David Hurn, Val Williams, and Chris Killip. These collections are preserved as a long-term resource for viewing and research, ensuring their accessibility for future generations. The Foundation presents a regular program of free exhibitions, alongside talks and workshops, and seeks to reflect the diversity of British and Irish culture through its activities. It also maintains a specialist photobook library. Membership supports the Foundation's work while offering priority access to its facilities and programs. The gallery is open to the public from Thursday to Sunday, 10:00 am to 5:00 pm, and welcomes visitors by appointment at other times.

316 Paintworks, Bristol BS4 3AR, United Kingdom
HP:https://martinparrfoundation.org

KYOTOGRAPHIE 2025



KYOTOGRAPHIE International Photography Festival is an annual, citywide photography event held in Kyoto each spring, presenting the work of Japanese and international artists across historic, cultural, and contemporary sites throughout the city. The 13th edition, titled humanity, was held from April 12 to May 11, 2025, and featured work by 14 artists and artist groups from around the world, exploring diverse dimensions of human experience through photography. Among the participating artists was Martin Parr, whose exhibition was staged at TIME'S, a landmark building designed by architect Tadao Ando in one of Kyoto's busiest tourist areas. His presentation brought together large-scale prints from his long-standing Small World series with a slideshow of newly produced photographs taken in Kyoto during the cherry blossom season, offering a pointed yet humorous view of mass tourism. In the interview, Parr reflected on his time in the city, noting that he was able to meet and interact with many local photography enthusiasts, an experience he described as deeply enjoyable.






All items