The latest issue of The Royal Photographic Society's Imaging Science Journal carries three papers from the 2010 Niépce conference. The majority of the conference papers are published in two special issues of the ISJ (includes those in the issue shown right) and PhotoHistorian and can be purchased as a set from The Society's online shop here: http://www.rps.org/group/Historical/Niepce-conference
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The Art Fund's Art Quarterly magazine publishes a great feature by Charles Darwent about the history of photography at the Science Museum ending up it's new London Media Space.
The article is available to download here: http://www.artfund.org/about-us/art-quarterly
On Wednesday, 30 October Tate Britain is hosting a live hang-out with fashion photographer Miles Aldridge, Tate curator of Photography Simon Baker and art critic Miranda Sawyer, as part of the ongoing ‘Meet Tate Britain’ series. British artist Fiona Crisp, HotShoe editor Gregory Barker and renowned instagrammer Michael O’Neal will also be hanging out live to discuss the importance of photography as an artistic discipline.
Viewers can tune in from anywhere in the world to watch the discussion at 20:00 – 20:30. This is the third in a series of hang-outs which explore the relationship between art and wider creative spheres. For more information please visit: http://www.tate.org.uk/whats-on/tate-britain/special-event/photography-meets-art-hangout-on-air
An accompanying video will also be released during the day featuring Miles Aldridge as he embarks on a brand new project inspired by Tate collection piece The Carousel by Mark Gertler. This exclusive footage will offer viewers an insight into Miles’ photographic practise and the inspiration he gains from the collection at Tate Britain. It will go live on the 30th here
See more here: http://www.tate.org.uk/whats-on/tate-britain/special-event/photography-meets-art-hangout-on-air
This is the third in our new series of books exploring key aspects of both contemporary and historic photography. With 480 pages and more than 100 colour illustrations The Photograph and The Album: Histories, Practices, Futures is a perceptive and stimulating guide to understanding that most pervasive photographic format, the photo album. Becoming "increasingly unruly", it has survived for over 150 years, from the first experimental albums of the 1850s to today's interactive, mobile applications.
Through the placing of single images in sequence, the photo album is the narrative format par excellence. And, as this book demonstrates, its narratives embrace the social, the historical, the sexual and the political. With contributions from twenty respected international authors - academics, curators, photographers, collectors, researchers and writers - The Photograph and The Album examines the topic in both visual and written form, spanning historic practice, present-day creation, and future trends.
More here: http://www.museumsetc.com/products/album
PUBLICATION DETAILS
Title: The Photograph and The Album: Histories, Practices, Futures
Editors: Jonathan Carson, Rosie Miller & Theresa Wilkie
ISBN: 978-1-907697-91-3 [paperback] | 978-1-907697-92-0 [hardback] | 978-1-907697-93-7
Pages: 480
Colour illustrations: 110
Size: 203 x 127 mm
Price: £39.95 [eBook] | £49.95 [paperback] | £79.95 [hardback]
Publisher: MuseumsEtc
Problem ordering online? Download our Order Form.
Box of Light which runs from 25-27 October at the Library of Birmingham is a celebration of the pre-cinema,magic lantern and early cinema. A series of events, talks workshops and activities taking place throughout the weekend. The event coincides with the Magic Lantern Society's Convention.
Library of Birmingham and The REP 25 – 27 October 2013
To coincide with the Magic Lantern Society’s annual conference in Birmingham, Flatpack Festival presents Box of Light, a weekend full of events, workshops and activities celebrating early cinema.
Before the days of film, the magic lantern was an important source of entertainment, using glass slides to create moving images and visual tricks. Birmingham played a key role in this pre-cinema world, producing thousands of lanterns for export, leading to the birth of the flipbook, and eventually the cinema.
Box of Light Variety Show
25 October
7.30 – 9.30pm – £8
Studio Theatre, Library of Birmingham, Centenary Square, Broad Street, Birmingham, B1 2ND
An evening of edification and entertainment featuring acclaimed performer Professor Heard, who will provide a whistle-stop history of lantern shows and explain how they helped pave the way for cinema. This will be followed by the Physioscope, a Victorian experiment with light and mirrors recreated for the first time in a century by Roderick MacLachlan, and the finale of the show is provided by French artist Julien Maire, whose Open Core performance includes a live dissection of a video projector.
Birmingham de Lux
Saturday 26 October 11am and 1.30pm, £5
Birmingham de Lux is Ben Waddington’s exploration into the city’s people, locations and moments that led up to the creation of cinema. The story of the transition from theatre to picture house is one of bold experimentation, imaginative use of simple devices, intriguing prototypes and assorted forgotten wonders that prefigure our long-term fascination with the moving image. The tour takes place in and around the city centre and lasts approximately 90 minutes.
Projecteo
26 October
1.30pm – Free (bookable)
Designer Benjamin Redford will be giving a talk about his ingenious miniature slide projector which has proved to be an online sensation and a big hit on Kickstarter. In response to modern technology and the craze for Instagram, Benjamin has created a tiny projector to share Instagram pictures called the ‘Projecteo’. This analogue approach works by creating wheels of slide film to hold up to 9 images, which can be watched and enjoyed as a slideshow
An unparalleled archive of shipwreck images will be presented for sale at Sotheby’s London auction on 12 November 2013. Taken by four generations of the Gibson family of photographers over nearly 130 years, the 1000 negatives record the wrecks of over 200 ships and the fate of their passengers, crew and cargo as they travelled from across the world through the notoriously treacherous seas around Cornwall and the Isles of Scilly between 1869 and 1997. Such is the power and allure of the Gibson’s photographs that these images have captured the imagination of some of the UK’s most celebrated authors.
At the very forefront of early photojournalism, John Gibson and his descendants were determined to be first on the scene when these shipwrecks struck. Each and every wreck had its own story to tell with unfolding drama, heroics, tragedies and triumphs to be photographed and recorded – the news of which the Gibsons would disseminate to the British mainland and beyond. The original handwritten eye-witness accounts as recorded by Alexander and Herbert Gibson in the late nineteenth and early twentieth centuries will be sold alongside these images. The archive will be sold as a single lot in Sotheby’s Travel, Atlases, Maps and Natural History sale, and is estimated to achieve between £100,000 and £150,000.
The Gibson family passion for photography was passed down through an astonishing four generations from John Gibson, who purchased his first camera 150 years ago.
Born in 1827, and a seaman by trade, it is not known how or where John Gibson acquired his first camera at time when photography was typically reserved for the wealthiest in society, however we do know that by 1860 he had established himself as a professional photographer in a studio in Penzance. Returning to the Scillies in 1865, he apprenticed his two sons Alexander and Herbert in the business, forging a personal and professional unity which would be passed down through all the generations which followed. Inseparable from his brother until the end, it is said that Alexander almost threw himself into Herbert’s grave at his funeral in 1937.
The family’s famous shipwreck photography began in 1869, on the historic occasion of the arrival of the first Telegraph on the Isles of Scilly. At a time when it could take a week for word to reach the mainland from the islands, the Telegraph transformed the pace at which news could travel. At the forefront of early photojournalism, John became the islands’ local news correspondent, and Alexander the telegraphist - and it is little surprise that the shipwrecks were often major news. On the occasion of the wreck of the 3500-ton German steamer, Schiller in 1876 when over 300 people died, the two worked together for days – John preparing newspaper reports, and Alexander transmitting them across the world, until he collapsed with exhaustion. Although they often worked in the harshest conditions, travelling with hand carts to reach the shipwrecks - scrambling over treacherous coastline with a portable dark room, carrying glass plates and heavy equipment – they produced some of the most arresting and emotive photographic works of the nineteenth and twentieth centuries.
See the lot description at:
Bonhams book auction on 12 November contains an extraordinary cache of ten Hill and Adamson calotypes; an album featuring work by Dodgson, Cameron and Rejlander; and an image by Le Gray.
According to Bonhams' catalogue the album was compiled by Rev. F.H. Atkinson, and relates to his family and acquaintances including the Tennyson family, Julia Margaret Cameron, Lewis Carroll, Oscar Rejlander, and locations on the Isle of Wight and Ceylon. It has approximately 165 albumen prints (mostly carte-de-visite portraits, some views, others larger), mounted between one and six per page, mostly captioned (many with cut signatures of sitters pasted beneath), with a 3-page AUTOGRAPH LETTER SIGNED BY JOHN RUSKIN (mounted), newspaper cuttings, contemporary morocco, later cloth wrappers with Atkinson arms embroidered on upper cover, 4to, [c.1862-1890s]
Estimate: £4,000-6,000. details here.
The Hill and Adamson calotypes are here and the Gustave Le Gray is here.
Image: Hallam Tennyson, 1862, from the Atkinson album.
Corfield Cameras: A History and Collectors' Guide is a new publication by John E Lewis being launched today at Ballymoney Town Hall, Northern Ireland. In the 1950s when most British camera manufacturers seemed content to produce outdated designs or very expensive models, K G Corfield Ltd bucked the trend. Their range of Periflex 35mm cameras and related equipment brought a breath of fresh air to the market and challenged the strong German competition. Within a few years the business was transformed from a cottage industry into Britain's most modern camera manufacturing plant.
This history of the company and its products is based on thirty years research, plus interviews with the former management, including Sir Kenneth Corfield, and employees. For collectors and historians there is a section which provides full technical details of all Corfield products, together with advice on their purchase and restoration.
The 200-page book includes over 150 illustrations and is available for £10.95 plus £1.75 UK postage or £7 overseas. Orders can be sent directly by email to: corfieldphoto@btinternet.com
Pete James, Curator of Photographic Collections at the Library of Birmingham will discuss how, over the last 148 years, Birmingham’s four libraries have been the subject of a wide range of projects by architectural, documentary and amateur photographers. The talk will explore some of the ways in which the libraries and their staff have been represented, recorded and celebrated, culminating in the Reference Works project.
The Library of Birmingham holds some 3.5 million items ranging from daguerreotypes to digital works by lead contemporary artists. In 2006 the collection was awarded Designated Status by the Museums, Libraries and Archives Council in recognition of its national and international importance.
The Library of Birmingham, Arts Council England and collaborative partners have created GRAIN, a hub and network of photography within the region. The combination of REFERENCE WORKS and GRAIN will make The Library of Birmingham a national and international centre for photography.
The event is the second in a series of Artists Talks linked to REFERENCE WORKS at the new Library of Birmingham.
Archival Sources - A talk by Pete James
Wednesday 16th October
6:00 - 8:00 pm
Admission Free
Meeting Room 4 - The Library of Birmingham, Centenary Square, Birmingham.
http://www.reference-works.com
A descendant of Victor Albert Prout was published a book about this photographer. Victor Albert Prout (1835-77) came from a family of artists and was himself an artist as well as an early photographer. He lived in Australia for a total of eighteen years, first as a child with his father, John Skinner Prout, and later returned there with his wife and children when he worked both as a photographer and a portrait painter. For 130 years nothing more was known about him but his work is now prized and collected in museums and galleries in many countries, including Australia, America, the United Kingdom and Germany. The story of his own and his family's life, and his own tragic death, has now been written.
The book is available from the publishers J & J Osmond, at Joan.Osmond@tesco.net
The Guardian has reported that the National Media Museum has purchased Richard and Cherry Kearton's movie camera which appeared at auction in Newcastle recently. The £4000 acquisition was made with the support of the Royal Photographic Society - both Kearton brothers were members of The Society. The early 20th Century hand-cranked 35mm Urban Trading Company motion-picture camera was used by Cherry Kearton on his trips to Africa in the first two decades of the last century. It will be included in upcoming exhibitions dealing with scientific and war photography.
Richard and Cherry Kearton, working from the 1890s, and were possibly the world's first professional wildlife photographers. Starting at home in the village of Thwaite in north Yorkshire with a cheap box camera, they managed to capture some of the finest early pictures of in their nests, insects, and mammals. But having no telephoto lenses or fast film, they had to lug around massive plate glass cameras and devise ever more bizarre ways to get close to their shy quarries.
Cherry Kearton became the Attenborough of his age, moving into wildlife documentaries, working with US President Roosevelt and travelling on safari to east Africa, Borneo and elsewhere. He took some of the first film of the first world war, at Ypres, and went on to found a film company. He died on the steps of the BBC having just broadcast a film he had made about his pet ape, Toto.
Read the full report here: http://www.theguardian.com/environment/2013/oct/06/wildlife-photography-pioneers-attenborough-camera
Country House Camera is an invaluable record of an aristocratic society on the verge seismic change. Visually detailing a rare glimpse of the private lives of English nobility between 1850 and 1930, Country House Camera subtly captures a photographic and social revolution in the making spanning three significant periods of English history; from Victorian, to Edwardian, through to WWI.
From carefree larks with cherished friends to laid-‐back family time, and whimsical shots of sporting triumphs to beguiling poses of young fashionistas; the unusual images featured in Country House Camera expose a side to Victorian and Edwardian affluence which greatly juxtapose our embedded notions of the reserved gentry of this time. Part of the charm of these images, often taken by women of the household, is that the photographers did not pretend to be master stylists; they cannot help but capture a moment in real time. Often revealing more than the photographer intended, Country House Camera presents an intriguing display of intimate and playful images of Lords, Ladies and Members of Parliament, seldom seen before.
As well as a cultural time capsule, Country House Camera is also an enduring document of some of England’s most valued historical buildings, many of which no longer exist. Christopher Simon Sykes takes the reader back 150 years to revisit the opulent interiors, majestic architecture and stunning grounds of 76 exquisite country houses across England, the prestigious families that inhabited them, and the fascinating histories which lie behind these spectacular heritage buildings.
Soon after the early photographic inventions of William Henry Fox Talbot in 1839, which were conceived in his very own English Country House, the leisured and affluent upper-‐classes of the mid-19th century went on to make an art form of their new toy. Country House Camera, beautifully compiles fascinating photographic evidence of the lavish lifestyles our Victorian, Edwardian and Great War ancestors once led, poignantly invoking the people, places and nostalgia of a lost past.
Published by Stacey International on 29 October 2013 in hardback, £29.99. For more information please contact Hannah Young at Stacey Publishing on 07889 776 003 or email editorial@stacey-‐international.co.uk
UPDATE 28/10/2013: This event has been cancelled.
On 5 December 2013 the Getty Conservation Institute is holding a one-day symposium Turning Over An Old Leaf: Thomas Wedgwood, Humphry Davy, and Their Early Experiments in Photography.
The first published article on photography "An Account of a method of copying Paintings upon Glass, and of making Profiles, by the agency of Light upon Nitrate of Silver. Invented by T. Wedgwood, ESQ. With Observations by H. Davy" was published in 1802 by Humphry Davy in the Journals of the Royal Institution.
In his article, Davy described his and Thomas Wedgwood's pioneering work experimenting with light-sensitive materials, creating photographic copies of plant leaves, and testing the feasibility of creating "views from nature" using a camera obscura. Generations of photography historians have searched for any material sample of Wedgwood and Davy's experiments, as these photographic images, if found and authenticated, would be nearly a quarter of a century older than Niepce's "First Photograph."
In April 2008, a photographic image known as The Leaf was placed for auction. The image attracted a great deal of interest from photography experts and enthusiasts when questions were raised about its origins. The Leaf was subsequently removed from auction for further research.
Turning Over An Old Leaf will present results of recently completed scientific analyses by GCI scientists of The Leaf and results from analyses of two botanical images from the Getty Museum's collection that once belonged to the same album as The Leaf, an album of photographic images assembled by British watercolorist Henry Bright.
Conservation scientists and conservators from the Metropolitan Museum of Art will present results from their analytical study of Shark Egg Case, an image from their collection that was also part of the album assembled by Bright.
These scientific results and findings will be discussed in light of current advances in historical research of the Henry Bright album and in light of a series of experimental scientific, photographic, and recreational studies of the photographic work of Thomas Wedgwood and Humphry Davy as described in their 1802 article. In addition, demonstrations will be held to provide symposium participants with a deeper insight into photographic experiments from this important era of the prehistory of photography.
List of Scheduled Presenters
Geoffrey Batchen, Victoria University of Wellington, New Zealand
Roy Flukinger, Harry Ransom Center, University of Texas, Austin
Michael Gray, Image Research Associates, United Kingdom
Art Kaplan, Getty Conservation Institute, Los Angeles
Nora Kennedy, Metropolitan Museum of Art, New York
Jill Quasha, Private Photography Dealer, New York
Grant Romer, Independent historian of photography, Rochester
Larry J. Schaaf, Independent historian of photogrpahy, Baltimore
Dusan Stulik, Getty Conservation Institute, Los Angeles
Frances Terpak, Getty Research Institute, Los Angeles
For more information, contact oldleaf@getty.edu or see: https://www.getty.edu/conservation/publications_resources/public_programs/turning_over.html
Sotheby’s has announced the discovery of a previously unknown album of photographs by the foremost female pioneer of nineteenth century portrait photography, Julia Margaret Cameron.
The album - known as The Valentine Prinsep Album - of 32 large scale portrait photographs - containing images of leading Victorian celebrities and two unrecorded photographs - represents a major addition to Cameron’s oeuvre. Estimated at £250,000-350,000, it will be offered at Sotheby’s auction of English Literature, History, Children’s Books and Illustrations in London on 10 December 2013.
The sale will mark the first time in over thirty years that any album compiled by Julia Margaret Cameron containing her own photographs has appeared at auction. The "Signor 1857" Album, compiled by Cameron, but containing images taken by various other photographers, was sold for £121,250 at Sotheby’s London on 12 December 2012. It is currently the subject of an export licence deferral pending an attempt to secure it for a British institution.
Specially compiled by Julia Margaret Cameron for her godson and “illustrious” nephew the Pre-Raphaelite artist, Valentine Cameron Prinsep, on his 31st birthday in 1869, this highly-important album was completely unknown until it was discovered earlier this year.
It is one of only eleven known albums compiled by Cameron with her own photographs, and represents hours of meticulous work. The album contains carefully chosen portraits of her friends and family including leading figures in Victorian society such as Alfred Lord Tennyson, Sir John Herschel and her goddaughter Julia Jackson (the mother of Virginia Woolf). While several of the images are known in only a handful of other prints, two others are previously unrecorded and possibly unique. The two unseen pictures both depict Mary Hillier, the daughter of a local shoemaker and Cameron’s personal maid.
Exhibition Dates
The first public exhibition of the album will be in Sotheby’s New York from 28 September through to the 2 October, to coincide with Sotheby’s New York Photographs auction and the Metropolitan Museum of Art’s new exhibition dedicated to Julia Margaret Cameron (19 August 2013 – 5 January 2014) . The album will also be exhibited in Sotheby’s Paris in mid-November.
Images:
Top: Mary Hillier (1867). The daughter of a local shoemaker and Cameron’s personal maid. Middle:Sir John Herschel (1867).Secretary of the Royal Society and first president of the Royal Astronomical Society before the age of 40. Lower: The dedication: A birthday gift to my godson & illustrious nephew!!! From his old auntie Julia Margaret Cameron 14th Feb. 1869
The press release can be found here: http://files.shareholder.com/downloads/BID/2704525427x0x693461/aad7...
Photomonitor publishes a thoughtful review of Media Space's opening show from Tony Ray-Jones and Martin Parr. Hodgson introduces his exhibition review with some considered thoughts on Media Space. Commenting on the opening '[The Science Museum] has at last opened its exhibition space specifically devoted to showing the priceless and largely inaccessible collections which have spent so long doing so little in Bradford at the National Media Museum, the Science Museum’s daughter house there'. He also poses a question: 'The great national collections of photography now have a jewel box in which to be seen, and first-rate research, touring shows, publications and so on should naturally follow. Whether they will do so or not is the sixty-four thousand dollar question.'
Read the full review here: http://www.photomonitor.co.uk/2013/09/tr-j-in-context/
The Museum of Fine Art, Houston's world-renowned photography department will have a new curator by the end of the year. Malcolm Daniel is the long-standing and highly-respected curator of photography at the Metropolitan Museum of Art in New York and will move to the Museum of Fine Arts, Houston where he will replace Anne Tucker who is retiring. Daniel is an expert in nineteenth-century photography and has been at the Met for 23 years
Tucker, named America's best curator by Time Magazine in 2001, will not retire until June 2015, but she will cede her leadership duties to Daniel on 9 December. The two will work together for six months. Daniel, 56, commented: "One of the things that makes the job so appealing to me is that Anne has already built this amazing collection and community," he said.
Tucker, the museum's founding curator of photography, expanded the collection from 141 works in 1976 to about 29,000 works by 4,000 artists today. She's also staged more than forty exhibitions over the years, including landmark shows such as 1989's Czech Modernism: 1900–1945, 2003's The History of Japanese Photography and the currently touring War/Photography: Images of Armed Conflict and Its Aftermath.
Image: Anne Tucker and Malcolm Daniel / Cody Duty-MFA
Two new publications on Stefan Lorant are published on 1 October in hardback editions. Paperback editions will follow early in 2014.
- Stefan Lorant: Never a Dull Moment / Michael Hallett
The biography, Stefan Lorant: Godfather of Photojournalism (Scarecrow Press, 2006. Hardback, 240pp. ISBN 0-8108-5682-4) was always seen as the first of three books. It is only now, to coincide with the 75th anniversary of the publication of Picture Post that Never a Dull Moment and A Hungarian in England will reach a public. - Stefan Lorant: A Hungarian in England / Michael Hallett
A Hungarian in England is the story of Stefan Lorant's life in England from 1934 to 1940, where he created and edited Weekly Illustrated, Lilliput and Picture Post. This unique working collaboration between Lorant and the author was originally expected to provide as a small 64-page publication. That never happened in Lorant's lifetime. Only now, this 2013 edition reinstates original and unpublished material, adding a postscript on the aftermath and implications of Lorant’s time in England that was played out between 1940 and 1982.
Stefan Lorant’s life spanned the twentieth century and he is the acknowledged ‘godfather of photojournalism’. He was concerned with language, both verbal and visual, and was one of the greatest storytellers of his time, having worked as filmmaker, journalist, a literary and picture editor, and recently as an author and biographer.
He edited the Münchner Illustrierte Presse in Germany, Pesti Napló magazine in Hungary, and created and edited Weekly Illustrated, Lilliput and Picture Post in England, publishing work of the early photojournalists. He was acquainted with political figures of the century including Hitler, Winston Churchill and John F. Kennedy, and knew Marlene Deitrich, Greta Garbo and Marilyn Monroe amongst others.
Anybody who met Stefan Lorant, even just in passing, could not remain ambivalent. Lorant was a chameleon, maverick and an inspiration. He reflected: ‘I wanted to have a life where I left a tiny little scratch on the world.’ Through the legacy of his work we have all been touched by this combative, contradictory, complex and charismatic man.
My edited diaries, made between 1991 and 1999 are the record of our seven-year conversation. There was never a dull moment...
Stefan Lorant: Never a Dull Moment is published in October 2013 by Henwick Hill Press and will be available as a 'library edition'. (Henwick Hill Press, 2013. Hardback, 346pp. ISBN 978-0-9561570-2-7).
Stefan Lorant: A Hungarian in England will be published in October 2013 by Henwick Hill Press and available as a 'library edition'. (Henwick Hill Press, 2013. Hardback, pp166.)
Library editions are only available directly from the author who may be contacted at mike@michaelhallett.com. Prices on request. See: www.mikehallett.com
This event consists of a symposium, workshop, and tours, 21-24 October 2014, in Washington, DC. Organised by the National Gallery of Art and Smithsonian Institution this event will look at the technical and aesthetic history of these two processes, the chemistry and connoisseurship. More information and details of the programme will be published later.
UPDATE: The programme has now been published. http://www.conservation-us.org/index.cfm?fuseaction=Page.ViewPage&PageID=1703
See: http://www.conservation-us.org/index.cfm?fuseaction=Page.ViewPage&PageID=499
The Getty Conservation Institute has started to release an important new resource for photographic historians and conservators. The Atlas of Analytical Signatures of Photographic Processes is intended for practicing photograph conservators, curators, art historians, archivists, library professionals, and anyone responsible for the care of photograph collections. Its purpose is to aid in the formulation of analytical questions related to a particular photograph and to assist scientists unfamiliar with analysis of photographs when interpreting analytical data. The Atlas contains interpretation guides with identification of overlaps of spectral peaks and warnings of potential misidentification or misinterpretation of analytical results.
The introduction is available here to download: http://www.getty.edu/conservation/publications_resources/pdf_publications/pdf/atlas_intro.pdf
Read more here: http://www.getty.edu/conservation/publications_resources/pdf_publications/atlas.html
There is an article about the project an d an interview with Dusan Stulik here: http://artsbeat.blogs.nytimes.com/2013/09/19/new-getty-atlas-to-preserve-data-on-nondigital-photography/?smid=tw-share&_r=1 which quotes Grant Romer: “In essence this can start to rewrite the history of photography. It’s already provoked a sort of crisis in the understanding of what we think we know about some photographs.”
Following yesterday's Media Space press call there has been plenty of coverage of the space at London's Science Museum. Chris Derwent of the Art Fund Review provides a historical survey of the demand for a photography space; the BBC, and Sean O'Hagan in the Guardian cover the Tony Ray-Jones/Martin Parr show, while Wallpaper reports on Universal Everything's digital installation.
There's little wider analysis of the likely impact of the new exhibition space and what the possible repercussions might be for the National Media Museum but the Ray-Jones/Parr show and the space generally gets a thumbs up.
Media Space opens to the public today (Saturday).
