Low-down on Stand-Up: A Peak Through the Lens of a Renowned Comedic Photographer

In a collection of imagery pulled straight from the archive of British photographer Andy Hollingworth, The Art of Stand-Up exhibit at the Southeast Museum of Photography highlights over two decades of portraits and live candids of famed comedians. 

Hollingworth’s American exhibition debut landed at our very own campus, with over 100 photographs that capture the individuality and charisma of legends in the stand-up profession from Steve Martin to Bo Burnham. Similarly, the Southeast Museum of Photography also showcased Michael Grecco’s Days of Punk for the first time in the United States late last year, both exciting opportunities for international art to be displayed right over in building 1200. How we got the privilege of showcasing Hollingworth’s acclaimed work is “serendipity at work,” said curator Christina Katsolis. 

Katsolis, the Southeast Museum of Photography lead technician and avid photographer, explained how one of her work study students (In Motion’s former editor-in-chief, Tim Blalock) was able to fortuitously create the opportunity for Hollingworth’s work to be shown. An aspiring comedian himself, Blalock got to talking with a visitor, the photographer’s good friend, and showed Blalock imagery of British comedian Eddie Izzard. “It was readily apparent that this was not taken in the back of an arena with a point-shoot camera; these were stunning portraits taken five inches from Eddie Izzard’s face,” Katsolis said. She described Hollingworth’s unique “sensibility,” and how several weeks later, he delightfully agreed to have his work featured in the next exhibit. 

Having attended university for photography, Hollingworth has been shooting for 35 years since. “When I first started out, I was very shy,” he says. “So, I didn’t photograph people.” His main subjects in his early career were dogs. Legendary photographer and one of Hollingworth’s idols, Elliot Erwitt, had been shooting dogs for 40 years, and ultimately, his impressive array of work discouraged him from continuing to capture canines. 

Hollingworth always loved comedy, and one particularly “magical” anecdote from his childhood kickstarted his collection of comedic portraiture. His grandfather, having a stern demeanor and who would seldom smile, tuned in Saturday nights to watch Charlie Williams quiz shows. Young Hollingworth would sit mesmerized by his grandfather’s laughter. In his twenties, he wrote to Williams simply to “shake his hand and say thank you.” The meeting that followed would be the first page in Hollingworth’s journey of photographing comedians from around the world.

Since then, Hollingworth has shot legends in the industry to young comedians just dipping their toes in the vast sea of comedy. “I love that journey of meeting someone who’s fresh and starting out and going with them on that journey,” he said. Regardless of fame, his process and sources of inspiration are similar for each comic. Like a “sponge,” Hollingworth absorbs as much knowledge as possible, from film, music and poetry. Going to comedy shows and scouring less famed comedians’ social media profiles helps him to attain a feel for their persona, which gives him an idea of where to shoot them and how to produce engaging and eye-catching imagery that they are pleased with. “He stays in the studio until he is happy and the comedian is happy,” Katsolis said. 

In a particularly lengthy and iconic shoot, Hollingworth spent three hours taking over 700 pictures of Rowan Atkinson, identified by most as Mr. Bean. “It’s because Rowan Atkinson knows exactly how he looks,” Hollingworth explained. “He knows exactly how funny he is.” Mr. Bean, amongst other comedians, has confidence, unique facial expressions and knows how to hold himself. Having a “mutual trust” with the photographer, as Katsolis puts it, makes the results that much more intimate and individual.  

As a “true aficionado” of photography who is “respectful of the pioneers,” Hollingworth not only captures the icons themselves, but centuries old props and memorabilia. Having photographed around 19,000 comedy tickets from the late 1800s to now, The Art of Stand-Up merely scratches the surface. “He’s concerned with preserving the history of the genre,” Katsolis said. A particularly interesting history of Charlie Chaplin tokens that he captured, explained to me by Katsolis, describes how publicists would toss them into the street to promote his shows, creating an influx of people, accidents and injuries to occur. But at the end of the day, it worked. 

Upon entering The Art of Standup exhibit, visitors aren’t meant to simply stroll the gallery. “A show is always more successful if there is an interactive component,” Katsolis said. Museumgoers are encouraged to engage with the props available to them and have some fun with the faux comedy club near the entrance. In fact, until October 13, you have the chance to submit a joke, comedy routine or selfie within the museum for a chance to win a shoot with Andy Hollingworth himself. Tag @southeastmuseumofphotography on Instagram or message them your joke. 

There’s something profound to be said about the relationship between comedy and photography. Katsolis compared the two professions in that both require versatility, quick-thinking and the ability to observe and work with the audience. “A lot of the qualities he admires in each of the comedians he also possesses,” she said. Hollingworth is funny himself, with a quick wit and improvisational and adaptive ability. 

The Art of Standup is open to the public until October 28, with the reception being held on October 24 from 6-8 p.m. Students are also encouraged to witness comedy classics on the big screen in several upcoming film screenings at the museum: a double feature of the fully digitally restored Sons of the Desert and Way Out West, October 3 at 6 p.m. and City Lights, a beloved Charlie Chaplin silent film, October 19 at 6 p.m. And don’t miss out on the newest exhibition, Fact/Fiction: Constructed Images, on display from September 26, 2023 to March 23, 2024.