The Northern Photography Consortium (NPC) is a group of 6 organisations funded by Arts Council England’s Catalyst programme: Impressions Gallery, Open Eye Gallery, Amber Side, Redeye, Look Festival and North East Photography Network. A key aim of the Catalyst programme is to support arts organisations to diversify their income streams and to build robust business models.

Three of these organisations, Impressions Gallery, Open Eye Gallery and Redeye: The Photography Network, wish to capitalise on their directional influence and knowledge of contemporary photography to explore the possibility of establishing a print sales business of original, limited edition photographs whose profits would support public programmes of the participating organisations. This group of three partners is seeking to appoint a consultant who can provide comprehensive research into establishing this print sales business.

Note that the successful candidate must have a substantial knowledge and operational experience of the photographic print or broader fine art sales market in the UK. This research is to be submitted by the end of November 2014.

For further information please see the attached pdf document or contact Anna Taylor |anna@redeye.org.uk

BPH reported in July about the project to put art in to public spaces. Julia Margaret Cameron's Iago is one of the artworks to be featured (see: http://britishphotohistory.ning.com/profiles/blogs/art-everywhere-to-feature-cameron-s-iago. Sophie Gordon Goodchild has spotted Iago across the tracks at Pinner station. 

If you spot him elsewhere please take a photo for BPH 

Image courtesy: Sophie Gordon Goodchild

Morphets of Harrogate is offering at an album of seventy albumen prints by Oscar Gustav Rejlander from the former estate of Surgeon Commander Herbert Ackland Browning RN on 11 September. The album is estimated at a modest £7000-10,000 and the complete album is to be re-created as a page turner pdf book on the Morphets website shortly, see:  www.morphets.co.uk. 

Details of the album are below: 

REJLANDER (OSCAR), AN ALBUM OF SEVENTY ALBUMEN PRINTS, CIRCA 1865-66

A rare and interesting folio of seventy portrait and figurative photographs by this pioneer, the albumen prints mounted on gilt-edged card leaves in a single volume with gilt and tooled black morocco bindings, the sitters including Rejlander himself, Mary Rejlander (nee Bull), Sir Henry Taylor, Hallam Tennyson (son of Lord Alfred Tennyson), John and Minnie Constable, the youngest of Lord Hawarden's children, possibly including Elphinstone 'Eppy' Maud and other unidentified subjects, album 30cm x 25cm, prints varying in size from 12cm oval up to 21cm x 15cm, some with titles or annotations in pencil. 

Provenance: This album was part of the estate of Surgeon Commander Herbert Ackland Browning RN and thence by descent to the vendor.  Commander Browning served throughout the First World War, never married and died at the family home in Dawlish in 1955.  Herbert's father, Captain George Browning RN, was a naval hydrographer and married Elizabeth (nee) Kendal, daughter of Dr Marsters Kendal of Kings Lynne, honorary surgeon to the Prince of Wales, later King Edward VII, at Sandringham.  It is possible that the album belonged to him and was thus lent to the Prince of Wales and others as annotations indicate. 

Footnote: Oscar Gustav Rejlander (1813-1875), known as the Father of Art Photography, was born in Sweden and studied art in Rome, settling in England in the 1840s.  He lived in Lincoln and later Wolverhampton, working as an artist and portrait miniaturist.  He took an active interest in photography, seeing its potential for assisting artists and in 1853 attended lessons in the London studio of Nicholas Henneman.  This inspired him to develop his own techniques experimenting with portraiture although it is his pioneering work in photo-montage, combining several negatives to form one image, that brought him to wider renown.   His best known work The Two Ways of Life comprised thirty-two negatives and took six weeks to produce.  Following its exhibition in Manchester in 1857 a copy was ordered by Queen Victoria for Prince Albert.  Rejlander became a member of the Royal Photographic Society, regularly lecturing and publishing on the subject and in 1862 he moved to London where he built a photographic studio designed to make the best use of natural light for his subjects.  During his work he came into contact with Julia Margaret Cameron, Charles Dodgson (aka Lewis Carroll), Lady Clementina (Maud) Hawarden and Charles Darwin.  In the early 1870s he worked with Darwin on illustrations for his treatise on The Expression of the Emotions in Man and Animals.

Although Rejlander sold volumes of his photography through book shops and art dealers it is unknown if the album in this lot was obtained thus by Captain Browning.  One pencil annotation suggests it may have been bought directly from the photographer as it reads 'Rejlander had refused to sell this copy (the only one obtained from the negative taken) at any price: but the offer of £2.2.0 for the Swedish poor was too much for his nerves and I obtained it DEO GRATIAS'.

A further annotation inside the front cover reads 'This album has the honour of being submitted in 1866 to HRH The Prince of Wales by Colonel Teesdale (3 weeks), in 1870 at the request of Cardinal Antorelli to HH Pope Pius IXth by Monsignor Pacca (1 week), into 1871 to Her Majesty by Lady Elgin (several weeks)'.  

Some of the prints herein are well known examples also held in the collections of the Royal Photographic Society, the Victoria and Albert Museum and the Metropolitan Museum of Art, New York.

For more information contact: Fran Hazlewood on 01423 530030 or email enquiries@morphets.co.uk.

Images: courtesy Morphets of Harrogate

BPH recently previewed the Linnaeus Tripe exhibition which opens in Washington DC in September and comes to the UK in June 2015. The book of the exhibition by Professor Emeritus Roger Taylor and Crispin Branfoot is now available. Listed at £40 it is being offered on Amazon as low as £22 including postage. Needless to say, the book is superbly produced with essays from Taylor, Branfoot, Sarah Greenough and Malcolm Daniel and it is extensively illustrated. High recommended.  

Read more about the exhibition here: http://britishphotohistory.ning.com/profiles/blogs/exhibition-captain-linnaeus-tripe-photographer-of-india-and-burma

Running from 1 November 2014–11 January 2015, Modern Times. Photography in the 20th Century will be Amsterdam's Rijksmuseum’s first ever photography exhibition to showcase the outstanding collection of 20,000 20th-century works that it has amassed since deciding in 1994 to extend its photographic holdings beyond the 19th century.

In a display of more than 400 images, the exhibition will trace photography’s key developments during the 20th century, including the introduction of colour, the growth of documentary and news photography, and photography as a pure art form. A wide-ranging overview, it will also explore photography’s role in fashion and advertising and will feature some amateur works.

Rare photographs by Brassaï, Ed van der Elsken, John Gutmann, Lewis Hine, William Klein, Jacques-Henri Lartigue, Joel Meyerowitz, László Moholy-Nagy, Eadweard Muybridge, Man Ray and W. Eugene Smith will be displayed as part of the exhibition Modern Times. Photography in the 20th Century. This major photographic survey will inaugurate the Rijksmuseum’s newly renovated Philips Wing, the final stage in the museum’s recent acclaimed transformation.

The exhibition and its accompanying publication, Modern Times. Photography in the 20th Century, have been made possible thanks to the long-standing sponsorship of Baker & McKenzie.

The Rijksmuseum in Amsterdam is the Netherlands national museum dedicated to arts and history. The Museum’s Philips Wing, newly renovated by Spanish architects Cruz y Ortiz, will open its doors for the first time on 1 November 2014 with the launch of Modern Times. Photography in the 20th Century, the inaugural exhibition, which will occupy all nine of the Wing’s new exhibition rooms.

A richly illustrated publication will be released for the exhibition. Also entitled Modern Times. Photography in the 20th Century, it will be available in the Rijksshop, through the webshop and in bookstores.

Responsible for both the exhibition and its accompanying publication are Mattie Boom and Hans Rooseboom, Curators of Photography at the Rijksmuseum.

Modern Times. Photography in the 20th Century 
1 November 2014 – 11 January 2015
Rijksmuseum, Museumstraat 1, 1071 XX Amsterdam, Netherlands

Image: Modeportret van Rita Loonen, Paul Huf, 1961. 

There has been a photography studio in Midland Road, Derby since at least 1857. This was owned by Monsieur Emmanuel Nicholas Charles who employed our founder, Walter William Winter. Winter eventually took over the business and in 1867, he opened his new purpose built studio directly across the road. The business has been here ever since. In 1896, William Henry King joined the business as a photographic assistant and by 1910, he and Henry Bernard Sheppard formed a partnership buying the business. The company is still in the King family to this day. What this means is that W W Winter is a photo studio with a rather exciting past.

Join us to peak behind the scenes at a history of photography and photographic ephemera. A must for the photo enthusiast and fans of local history.

Book and see more here: http://www.heritageopendays.org.uk/directory/w.-w.-winter-photographers

More about Winters here: http://www.wwwinter.co.uk/historyandheritage.html

This is the first book to study the history of photography via international exhibitions. The foremost historians of the medium describe the most important shows and set them in the context of their times: London’s Great Exhibition of 1851, the South Kensington Museum (later the Victoria and Albert Museum) in the 1850s, the magnificent Vienna International Exhibition of 1891, and Film und Foto in Stuttgart in 1929, organized by the Deutscher Werkbund, feature in a wide-ranging global survey.

In the United States, the Museum of Modern Art took a lead in the 1930s; in the postwar period, The Family of Man toured over sixty countries and drew nine million visitors, and as the twentieth century drew to a close, curators began to make formal links between photography and contemporary art. In this century, the photographic aftermath of 9/11 is marked here by an interview with Charles Traub, co-founder of Here is New York; dubbed ‘a democracy of photographs’, it remains possibly ‘the most seen exhibition in history’. In the age of Flickr and other internet hosting services, curating photography is one of the most dynamic activities in our visual culture.

Edited by Alessandra Mauro, with contributions by and interviews with Quentin Bajac, Gerry Badger, Paul-Louis Roubert, David Spencer, Francesco Zanot, Michel Frizot, Alessia Tagliaventi, Charles Traub, and based on conversations with Robert Delpire, Sebastião Salgado and Gilles Peress, among many others, this is the most important history of photography from its earliest days up to the present, told via a tour of the most significant photography shows that have ever taken place. It will be required reading for anyone with a serious interest in photography and curating, and provides the most informative and wide-ranging survey available of the era’s defining medium.

• Hardcover: 276 pages
• Publisher: Thames & Hudson Ltd (Published October 6, 2014)
• Language: English
• ISBN-10: 0500544425
• ISBN-13: 978-0500544426

William Henry Fox Talbot (1800–1877) was a British pioneer in photography, yet he also embraced the wider preoccupations of the Victorian Age—a time that saw many political, social, intellectual, technical, and industrial changes. His manuscripts, now in the archive of the British Library, reveal the connections and contrasts between his photographic innovations and his investigations into optics, mathematics, botany, archaeology, and classical studies.

Drawing on Talbot’s fascinating letters, diaries, research notebooks, botanical specimens, and photographic prints, distinguished scholars from a range of disciplines, including historians of science, art, and photography, broaden our understanding of Talbot as a Victorian intellectual and a man of science.

Edited by Mirjam Brusius, Katrina Dean, and Chitra Ramalingam; With essays by Katrina Dean, Eleanor Robson, Mirjam Brusius, Graham Smith, Larry J. Schaaf, Simon Schaffer, Herta Wolf, Vered Maimon, Anne Secord, Chitra Ramalingam, and June Barrow-Green.

A book launch and drinks reception will follow a lecture on 5 October (See: http://britishphotohistory.ning.com/profiles/blogs/event-lecture-the-work-of-henry-fox-talbot) at the Divinity School, Bodleian Library. Tickets can be booked for the lecture at the link above.  If you wish to attend the book reception only please contact: mirjam.brusius@history.ox.ac.uk

See: http://yalepress.yale.edu/book.asp?isbn=9780300179347

Mirjam Brusius is postdoctoral fellow at the Max Planck Institute for the History of Science, Harvard University.Katrina Dean is a university archivist at Melbourne University. Chitra Ramalingam is postdoctoral fellow in the Department of History and Philosophy of Science at the University of Cambridge.

Sir Benjamin Stone: Observations in Brazil 1893 presents 50 previously unpublished photographs by the noted Victorian photographer taken during his journey to Brazil in 1893.

Curated by Rodrigo Orrantia and Pete James from the Stone archive at the Library of Birmingham the exhibition tells the notable Englishman’s journey as part of a Royal Astronomical Society scientific mission to view and record a full solar eclipse.  In addition to recording the natural phenomenon, Stone also made a large series of photographs documenting his journey by sea to Brazil and the people, places and sites which greeted him throughout the expedition. 

A keen observer of people and customs in England, Stone’s images convey the different stories of Brazil on the eve of industrialisation. A land of extreme contrasts, this exhibition reveals recently freed African slaves, indigenous tribes of the Amazon, European settlers, the wealthy and dispossessed, and those venturing to this land in search of a promising future.  In many of these images his subject’s quizzical gaze make it evident that Stone was as much the observed as the observer.

This exhibition is an invitation to travel back in time and witness a nation in the eve of modernisation, a unique contrast between the untouched wilderness of the Amazon, and the relentless pace of industrialization, flourishing in cities like Manaus, capital of the rubber trade at the start of the Twentieth Century.

Sir Benjamin Stone: Observations in Brazil 1893
Venue: Sala Brasil, Embassy of Brazil, 14-16 Cockspur Street, London SW1Y 5BL
Dates: 11 September - 7 November, 2014

Image: Sir Benjamin Stone, Solar Eclipse Station, Paracuru, Brazil, 1893

The Oxford Photography Festival 14 is presenting a lecture and panel discussion on The work of Henry Fox Talbot.  The discussion will include Richard Ovenden, Professor Larry Schaaf and Dr Mirjam Brusius and comes after the Bodleian Library secured Talbot's personal archive.

Tickets costs £5 and the event will take place on Sunday, 5 October 2014 from 1130-1400 at the Bodleian's Weston Library, Broad Street, Oxford, OX1 3BG. Bookings can be made here: http://www.rps.org/events/2014/october/05/pof14-the-work-of-henry-fox-talbot

More information about the range of exhibitions and events at the Festival can be found here: http://www.photographyoxford.co.uk/events.html

Beyond the View. New Perspectives on Seaside Photography is the title of a delightful publication edited by Rob Ball and Karen Shepherdson offering an exposition of images from the Sunbeam Photography Company. It includes two useful essays by Shepherdson and Colin Harding of the National Media Museum who has done a great deal of original work on beach photography. Shepherdson was the organiser of a recent conference on the same theme. Needless to say the book is well illustrated with archive photography from the company. 

The book is beautifully produced with great texts and photography and a 'photobook' in its own right. It is an important contribution to the subject and the editors and contributors are to be congratulated on producing an original publication that adds to our knowledge of this genre, in such an accessible way.

BPH understands that the book has been selling well but copies should still be available here at £13 including postage: http://shop.canterbury.ac.uk/browse/extra_info.asp?compid=1&modid=1&catid=209&prodid=1781

Read more about the wider seaside photography project here: http://www.seasphotography.org.uk

An exhibition on the same subject continues until 22 August 2014. 

Hold Still, Madame. Wartime Gender and the Photography of Women in France during the Great War is a PDF ebook under a Creative Commons License by Dr Nicole Hudgkins. It investigates French images of women during the First World War, the feminine postures and roles captured by photographers, how female images were used in the wartime media and by the state, and how captions and other textual modes strengthened an overarching message of total consent.

By analysing the three most prominent genres of female imagery during the period – women in distress, feminine devotion, and women toiling for the war effort – this book seeks to demonstrate how photography assisted in the gender work of the war. Photographers and publishers showed how traditional feminine traits could contribute to a male-designed and directed war effort, while also concealing instances of female dissent, which included feminist, socialist, popular and pacifist objections to the war. Yet, although the archives contain few wartime images created by French women themselves, this work also introduces a small group of period photographs, lithographs, articles and literary works that disrupted the visual narrative of subordination.

See: http://research-repository.st-andrews.ac.uk/handle/10023/5016

In the first major exhibition of photographs by Captain Linnaeus Tripe (1822–1902), some 60 works will include early pictures he took in England as well as the outstanding body of work he produced in India and Burma (now Myanmar) in the 1850s. The exhibition has been co-curated by Professor Emeritus Roger Taylor.

Introduced to photography by those who saw it as a pastime, he recognized that it could be an effective tool for conveying information about unknown cultures. Under the auspices of the East India Company, he took many photographs of archaeological sites and monuments, ancient and contemporary religious and secular buildings, as well as geological formations and landscape vistas not seen before in the West. His military training gave his work a striking aesthetic and formal rigor and helped him achieve remarkably consistent results, despite the challenges that India’s heat and humidity posed to photographic chemistry.

Organized by the National Gallery of Art, Washington, and The Metropolitan Museum of Art, New York, in association with the Victoria and Albert Museum, London, it opens in Washing DC on 21 September 2014-4 January 2015; then travels to The Metropolitan Museum of Art, New York, 24 February-25 May, 2015 and Victoria & Albert Museum, London, 23 June–11 October, 2015.#

Image: Linnaeus Tripe, Madura: The Vygay River with Causeway, across to Madura, January–February 1858, albumen print, National Gallery of Art, Washington, The Carolyn Brody Fund and Horace W. Goldsmith Foundation through Robert and Joyce Menschel

Tate Britain is to hold the first exhibition in Britain devoted to salted paper prints, one of the earliest forms of photograph. A uniquely British invention, unveiled by William Henry Fox Talbot in 1839, salt prints spread across the globe, creating a new visual language of the modern moment.

This revolutionary technique transformed subjects from still lifes, portraits, landscapes and scenes of daily life into images with their own specific aesthetic; a soft, luxurious effect particular to this photographic process. 

The few salt prints that survive make brief appearances on the gallery wall due to their fragility, and so this exhibition, a collaboration with the Wilson Centre for Photography, is a singular opportunity to see the rarest and best early photographs of this type in the world.

Tate Britain, 24 February–7 June 2015. 

See: http://www.tate.org.uk/whats-on/tate-britain/exhibition/salt-and-silver-early-photography-1840-1860

Image: Jean Baptiste Frenet, Horse and Groom 1855. © Wilson Centre for Photography.

Online registration for Archives 2.0: Saving the Past, Anticipating the Future, a major conference taking place at the National Media Museum, Bradford, on 25-26 November 2014 is now open. This international conference examines the challenges and opportunities around the acquisition and management of archives by cultural institutions.

The original call for papers was made here: http://britishphotohistory.ning.com/profiles/blogs/cfp-archives-2-0-saving-the-past-anticipating-the-future-25-26-no

Register here: http://www.nationalmediamuseum.org.uk/Collection/ArchivesConference

Photohistorians Dr Brian May CBE and Denis Pellerin are presenting an exclusive lecture on behalf of The Royal Photographic Society. May and Pellerin have researched the little known connections between Victorian art and stereo-photography.  For the first time they examine the art behind many popular stereocards of the time.  The lecture accompanies the publication of a new book The Poor Man’s Picture Gallery and a display at Tate Britain. 

Brian and Denis will be signing copies of the book after the lecture. Copies will be available for purchase.  

The Poor Man’s Picture Gallery, is a 208-page book, the second to be published under the imprint of the London Stereoscopic Company, and comes with Dr Brian May’s specially designed Owl stereo-viewer. 

The six-month exhibition at Tate Britain, London, runs from 13 October 2014 to 12 April 2015 where twelve paintings from the Tate collections will be displayed side by side with the stereo-photographs they inspired. Stereoscopic cabinets, also designed by Dr May, will make it possible for visitors to experience 3D viewing the Victorian way and to compare the three dimensional rendition of the painting with its original version hanging on the wall.

See more and book tickets at: http://www.rps.org/events/2014/october/09/the-poor-mans-picture-gallery

In this pre-internet, pre-television, pre-cinema, and pre-radio time known as the Victorian age, there were  only a limited number of ways for middle class people to have access to pictures or art. They could stop outside a printseller’s shop to look at the prints and lithographs displayed there, buy one of the numerous illustrated magazines that had started to be published from the 1830s, or visit the yearly Royal Academy Exhibitions and some of the recently opened public galleries.

Though photography had been revealed to the world only two years after Queen Victoria came to the throne, over a decade would elapse before the influence of the new medium could be felt outside of portraiture. Things began to change after 1851 when the wet collodion process invented by Frederick Scott Archer and the development of the albumen paper enabled photographers to produce multiple prints at a much lower cost and therefore to reach a wider clientele. Around the same period, the previously dormant stereoscope which, by means of two flat, slightly dissimilar pictures, gave the viewer the illusion of depth, became the latest craze. Avid spectators could suddenly discover the whole wide world in its three dimensions without leaving their parlour or fireside thanks to the efforts of stereophotographers operating farther and farther away from home By 1859 they were offering views of Europe, Egypt, and even Japan and China.

The stereoscope was also particularly well suited for viewing statuary. Amateurs could own all the best ancient and modern sculptures in the world in a space no bigger than a shoe-box and gaze at them leisurely, without being disturbed by other visitors or wardens.

It would have appeared that the flat surface of the painted canvas, the engraving or the woodcut was way beyond the scope of the stereoscopic artists but that would have been counting without the latter’s resourcefulness. A number of stereo-photographers who specialised in narrative scenes, started re-staging in their studios several of the most popular paintings, illustrations and cartoons of the time. Some of their works were faithful copies of the originals, others were only inspired by them, but all of them ended up as stereocards in the bourgeois parlours and constituted what became known as “the poor man’s picture gallery.”

Photo historians Dr. Brian May and Denis Pellerin have researched these little known connections between Victorian high or popular art and stereophotography. They are publishing a fully illustrated book which, under the title The Poor Man’s Picture Gallery, examines for the very first time the sources of inspirations of several photographic artists of the era. The 208 page book, the second to be published under the imprint of the London Stereoscopic Company, comes with Dr Brian May’s specially designed Owl viewer allowing readers to discover the images in glorious 3D.

This work accompanies a six-month exhibition that was put up by Tate curator Carol Jacobi and that will be held at Tate Britain, London, from October 2014 to April 2015. Twelve paintings from the Tate collections will be displayed side by side with the stereophotographs they inspired. Stereoscopic cabinets, also designed, by Dr May, will make it possible for visitors to experience 3D viewing the Victorian way and to compare the three dimensional rendition of the painting with its original version hanging on the wall. Artists such as Henry Wallis, Philip Calderon, Sir John Everett Millais, Charles Landseer, Charles Leslie, William Collins, and many others, both English and foreign, had their works revisited for the stereoscope. It appears however that, in a few cases, it was the pictures made for the “magical instrument” that provided the artist with a source of inspiration for his work. The book also reveals that a fair number of stereocards were the inspiration for popular china figures bought or won as prizes at fairs and consequently known as “fairings.”

Exhibition: Tate Britain - October 2014-April 2015

Book: published 9 October 

Public lecture and book signing: 9 October for the Royal Photographic Society at RIBA, London. Tickets: www.rps.org/stereo. 

Symposium: 4 November. The other speakers are Lynda Nead, from Birkbeck College, London, Lindsay Smith, from the University of Sussex, Elizabeth Edwards, from De Montfort University, Leicester, John Plunkett, from the University of Exeter,  Patrizia di Bello, from Birkbeck College, London, and Kelley Wilder, from De Montfort University, Leicester.

Using real magic lantern projectors as used during the First World War poet and broadcaster Ian McMillan and photographer and artist Ian Beesley tell a story of the First World War from the point of view of men who survived it and lived on to old age and a changing world. They also tell the tales of women who worked in the factories that oiled the wheels of war.

The show reminds us that war is made by people who each have their own narrative of what happened.

Tour dates:

September
25th Accrington Library 8pm
26th Harris Library & Museum 8pm

October
8th Wirral Book Festival 7pm
10th The Rope Walk Barton On Humber 730pm

November!
19th Gilling East Village Hall 730pm
20th Potto Village Hall 8pm
21st Settle Village Hall 730pm

Details: http://www.uktouring.org.uk/ian-mcmillan/ or www.ianbeesley.com

Photograph: Ian Beesley

Renowned curator of photography Kate Bush is joining the Science Museum Group as Head of Photography.

She will lead an ambitious programme of photography exhibitions for Media Space at the Science Museum and the National Media Museum and the development of a major touring programme that brings the world-class National Photography Collection to a wider national and international audience.

Kate takes up the newly created role on 28 July. She was previously Head of Art Galleries at the Barbican Centre.

The announcement was made by Ian Blatchford, Director of the Science Museum Group, who said: “In luring Kate to our group of museums, we are uniting the most inspiring advocate for photography I’ve met with one of the greatest photography collections in the world. Media Space has made an excellent start in raising the profile of the National Photography Collection; the next step is to ensure our exhibitions become an integral part of the top league touring circuit.”

Building on the momentum of last year’s launch of Media Space, the new role will include forging strong relationships throughout the international photography community and securing key temporary exhibitions for the two museums in London and Bradford. It will also oversee an active acquisitions plan.

Kate Bush’s successes at the Barbican included Everything Was Moving: Photography from the 60s and 70s, which was shortlisted for Exhibition/Curator of the Year in the Lucie Awards for Photography, Los Angeles. She was also Chair of the judging panel for the 2014 Kraszna Krauz Foundation Book Awards and has judged several major prizes including the Turner Prize and the Hasselblad Award.

She said: “I am thrilled to be joining a museum with such an exciting and energetic vision for the future. This is a once-in-a lifetime opportunity to create a world-class programme of photography exhibitions in the beautiful new galleries in London, as well as Bradford and internationally. I can see tremendous scope in this role to develop new audiences and new approaches to the exhibition and study of photography. It’s an extraordinary collection which demands to be better known and I am looking forward to working with the teams to achieve that.”

Recent and upcoming photography highlights for the Science Museum Group include:

• Joan Fontcuberta: Stranger Than Fiction opens in Media Space on 23 July and runs until 9 November, featuring six conceptually independent narratives which mix fact with fiction and science with art. It will then open in Bradford on 19^th November.
• The inaugural Media Space exhibition, Only in England: Photographs by Tony Ray-Jones and Martin Parr, was critically-acclaimed and welcomed 43,968 visitors in London before a successful run in Bradford which ended on 29 June.
• Following the launch in Bradford on 30 January, the Science Museum will become the fourth venue within the Science Museum Group to host Open for Business, from 22 August – 2 November 2014. The story of British manufacturing and industry is told through the lens of nine Magnum photographers.
• Masters of Light: Treasures from the Royal Photographic Society will open in Media Space on 2 December.

Comprising of approximately 3.2 million images, the National Photography Collection includes work by Julia Margaret Cameron, Alfred Stieglitz, Edward Steichen, Edward Weston, Paul Strand, Dorothea Lang, Ansel Adams, Henri Cartier-Bresson, Larry Burrows, Martin Parr, Paul Graham, Nick Knight and Luc Delahaye amongst others.

Image: © Jennie Hills / Science Museum

Curator, Kate Bush, who was at the Barbican, London for eight years is joining the National Media Museum and Media Space as Head of Photography. In addition to her overall role she will have particular responsibility for acquisitions and touring exhibitions. The announcement was made by Jo Quinton-Tulloch, Director of the National Media Museum, at an exhibition opening last night.

Bush left her post of Head of Art Galleries at the Barbican in September 2013 'to develop a range of independent curatorial projects for galleries in the UK and internationally.' At the Barbican she curated the well regarding exhibition Everything Was Moving: Photography from the 60s and 70s (2012-13). 

Her roles include Head of Art Galleries, Barbican (2005-2013); Head of Programming at The Photographers’ Gallery (1997-2004); Editorial Director (Art and Photography) at Phaidon Press; and Deputy Director of Exhibitions at the ICA, London (1992-1997). She curated the major anthology exhibition, In the Face of History: European Photographers in the 20th Century (2005). Bush has judged a number of international prizes including: the Turner Prize (Tate, London), the Hasselblad Award (the Hasselblad Foundation, Gothenburg), the Deutsche Borse Prize, and the Future Generation Prize (Viktor Pinchuk Foundation, Kiev).

Bush acted as judge for the Source-Cord prize see: http://source.ie/sourcephoto/?p=2556 and Source's website carries an interview with her.