At the Kraszna-Krausz Book Awards last night the publisher Dewi Lewis was honoured for his outstanding contribution to publishing. Gerry Badger (see right)made the presentation to Lewis who paid tribute to his business partner and wife Carole. Elsewhere Carleton Watkins: The Complete Mammoth Photographs, Weston Naef and Christine Hult-Lewis (Getty Publications) won the prize for the best photography book. 

The ceremony was part of the Sony World Photography Awards held at a black tie event in London. During the main Awards photographer William Klein was presented with an outstanding achievement award. 

For more information see: http://www.kraszna-krausz.org.uk/ and http://www.worldphoto.org/

Photoworks is recruiting for a full-time fixed-term role to work closely with the Director and Programme Team to develop and deliver the Brighton Photo Biennial in October 2012. The successful applicant will play an integral role in the development of a programme of activities to encourage participation and engagement. Application deadline: 21 May 2012.

Context: Following a recent successful bid to Arts Council England (ACE), Photoworks has merged with Brighton Photo Biennial, a move which recognises both organisations' proven track records in promoting and celebrating excellence in photography.

The merger of Photoworks and BPB presents a unique opportunity to position the new organisation strategically in a global market with key areas of development identified as unique artistic vision, innovative content, digital strategy, audience development and expansion, commercial growth and diversification of funding streams to reduce future dependency on government funding.

We embrace all kinds of photography. Commissioning is at the heart of the organisation. Collaborating with a broad range of photographers, artists and partners, we produce the Brighton Photo Biennial, commission artists and photographers, publish a biannual magazine and books and have a strong educational and participation agenda. The organisation encourages debate, inspires new thinking about photographic and visual culture and reaches out to the widest possible audience locally, nationally and internationally.

Job Title: Programme & Participation Co-ordinator

Reporting to: Director

Responsible for:  Interns and Volunteers

Purpose of the Post: The Programme & Participation Co-ordinator will work closely with the Director and Programme Team to develop and deliver the Brighton Photo Biennial in October 2012. They will play an integral role in the development of a programme of activities to encourage participation and engagement. 

Main Responsibilities: 

Working with the Director and Programme Team to develop and deliver an integrated participation programme for the Brighton Photo Biennial.

Research and develop fundraising opportunities for all projects.

Manage project budgets, ensuring they come in within the available resources.

Develop working relationships with selected schools, FE and HE institutions in the region.

Develop meaningful and strategic relationships with the wider community, identifying and targeting key groups.

Deliver a programme of talks and conferences throughout the Biennial.

Support the Programme Team in the delivery of the Brighton Photo Biennial exhibitions, events and projects.

Assist the Programme Team in the delivery of our magazine Photoworks.

Ensure the strategy for developing audiences for all participation projects is implemented and monitored.

To be responsible for the monitoring and evaluation of all projects and write the required reports to funders and partners.

Recruit and manage all volunteers for the Biennial.

Represent the organisation at external meetings and events where appropriate.

Assist other staff in the efficient day-to-day running of the organisation.

Person Specification:

Significant experience of directly managing participation and education projects.

Understanding and engagement with current themes, trends and issues in contemporary art and education.

Strong understanding of partnership and multi-agency working.

Demonstrable experience of initiating and managing collaborations with a diverse stable of partners.

Excellent project management and research skills.

Strong knowledge of contemporary visual arts and photography.

Ability to communicate effectively and passionately the vision of the organisation to partners, funders, the visual arts sector and the wider community.

Excellent negotiating skills with the ability to establish partnership opportunities and relationships.

Understanding of finances, especially preparing and keeping within budgets.

A proven commitment to equality of opportunity.

Terms & Conditions:

35 hours a week, fixed-term 7 month contract 

£25,000 pro rata per annum

How to apply: 

Click for more information: http://tinyurl.com/cfegtvh

The deadline for applications is Monday 21 May 2012

Rarely seen documents chronicling the life and reign of Queen Victoria have been made public on a new website marking this year's Diamond Jubilee. The Royal Family released its archive of letters, journals, painting and photographs for the launch.

The website has nine sections tracing the life of Victoria as a princess to her own Jubilee celebrations in 1897. The site also gives details of the young Princess Victoria's studies and timetable of lessons. Many documents have been available to academics but not the public. Britain's longest reigning monarch had nine children with Prince Albert but never recovered from his death in 1861 from typhoid and wore black in mourning for the rest of her life.

Her withdrawal from public life made her unpopular, but during the late 1870s and 1880s she gradually returned to public view.

The website is divided into nine sections: The Young Princess; Becoming Queen; Love and Marriage; Family life; Home and Empire; Victorian Invention and Improvement; Queen Victoria's Household; Diamond Jubilee Day, and Jubilee Celebrations.

Of particular note to BPH readers are the number of original photographs shown and two sections: Photography equipment purchased by Queen Victoria and Prince Albert, 1848 and Daguerreotype of Queen Victoria and the Princess Royal, c.1845 which explore Victoria and Albert's involvement in photography.

The website can be found here: http://www.queen-victorias-scrapbook.org/index.html

Professor Elizabeth Edwards, the Director of De Montfort University's Photographic History Research Centre, is giving her Professorial Lecture on Thursday 24 May 2012. The lecture is titled 'Aimless Meandering and Structured Seeing: Photographers, Places and the Feel of History’ and will take place in the Hugh Aston Building, Magazine Square, De Montfort University, Leicester. The lecture will start at 6.00pm and following the lecture, there will be a drinks reception with the opportunity to buy Professor Edwards’ new book The Camera as Historian: Amateur Photographers and Historical Imagination, 1885-1918 which is formally published on 25 May.

In the lecture, Professor Edwards will look at the relationship between popular photographic practices and the historical past in late nineteenth century England. She will show how photography was used to express a series of moral values  around a sense of the past. But this historical environment was expressed not through a disembodied gaze, but through the embodied practices of photography, mediated through  movement, light, space and above all historical imagination on the ground.

The event will also celebrate the first anniversary of the PHRC. See: http://www.dmu.ac.uk/research/research-faculties-and-institutes/art-design-humanities/phrc/photographic-history-research-centre-phrc.aspx
 
Anyone interested in attending should call (0116) 257 7452 or email eventsoffice@dmu.ac.uk, by 22 May 2012 highlighting any access requirements that you might have. More information about university and PHRC events can be found at http://www.dmu.ac.uk/events. 

A profile portrait of the wife of Charles Dickens, Catherine (1815-1879), by John Jabez Edwin Mayall (1810-1901), is to be sold at Bonhams, Knightsbridge, as part of the Photographs Sale on 17th May. The only daguerreotype portrait of Catherine known to exist, it has been estimated at £8,000 – 12,000.

The portrait first came to light in 1996, discovered in an antique camera shop in Canterbury. Initially believed to be an image of Charles Dickens's sister, leading scholars soon identified the sitter as the writer's wife, Catherine (née Hogarth).

The earliest date for the portrait can be given as 1852 from the patent date 'Reg July 20 1852' on the catch of the morocco-bound case. Indeed surviving letters of Charles Dickens reveal that he sat for Mayall in 1852 and a daguerreotype portrait of the novelist, dated 1853-55, was sold at auction in London in 2001. It is possible that the couple visited Mayall's studio together during this period and that the two portraits were intended as a pair.

This daguerreotype was discovered with two ivory passes for the 1870 Italian Opera inside its case, which will be offered here alongside the photograph. One is inscribed 'Miss Dickens', suggesting that the daguerreotype might once have belonged to the couple's eldest daughter Mary, known as Mamie. In 1870 Dickens rented a house in Hyde Park Gardens, in part so that Mamie could experience the delights of the London Season.

The lot can be found here: http://www.bonhams.com/auctions/20154/lot/1/

Coincidentally, in the same auction, is an 1867 portrait by Julia Margaret Cameron (1815-1879) of Valentine Prinsep, with whom, it is believed, Charles Dickens's youngest daughter, Kate, had a love affair. Both Valentine, who was the son of Cameron's sister, Sarah, and Kate were artists and mixed in the same circles.

The sale also includes portraits by Cameron of Alfred Lord Tennyson (an image known as The Dirty Monk), 1865, signed by Tennyson himself (estimate £6,000 – 8,000) and an intimate portrayal of the photographer's grandson, Archibald Cameron, and her maid Mary Hillier (estimate £6,000 – 8,000).

As reported here (http://tinyurl.com/d3e4mbn) a benefit auction is being held to raise funds for the National Media Museum's Media Space. Just released are details and the first artist's concept drawing of the space located within the Science Museum, London.

In Spring 2013 the Science Museum and the National Media Museum will together open MEDIA SPACE: a bold and exciting new space in London that will present, celebrate and debate the past, present and future of media in its myriad forms.

Consisting of a breathtaking gallery surrounded by cultural spaces for display and participation, MEDIA SPACE will be a unique environment where artists and practitioners, independent thinkers, pioneers, innovators and agenda-setters will mix across the arts, sciences and creative industries.

MEDIA SPACE will be a showcase for the unrivalled National Media Collections in photography, as well as cinematography and broadcast technology, and an arena where audiences will experimentally and critically engage with how new technologies have impacted on today’s creative industries.

A new space for adult audiences at the Science Museum, MEDIA SPACE will contain:

■ A striking 640 m2 gallery space for major photography and media art exhibitions, both drawn from our own collections and international touring shows

■ A versatile studio space that will play host to screenings, conferences, live events and installations

■ A stylish contemporary destination café/bar MEDIA SPACE will:

...add to the current critical mass around photography in the capital, complementing the work of our peer institutions Tate, the V&A and The Photographers’ Gallery.

...make a profound contribution to the cultural landscape of London and the UK through its ambitious programme, creative partnerships and innovative online presence.

...increase access to the world-class National Media Collection, housed at the National Media Museum in Yorkshire.

...position the Science Museum at the forefront of creating and engaging with innovative ideas around science and new technologies in publishing, digital, broadcast, film, and lens-based media and photography.

MEDIA SPACE has already received generous support from Virgin Media, the Dana and Albert R Broccoli Foundation and a number of other donors.

BPH has just heard that Professor John Hannavy has been awarded a Harry Ransom Fellowship to undertake research studying the Thomas Keith and White photographs in the Gernsheim Collection. As part of his work Hannavy will try and determine which of the images in the Collection attributed to Keith are actually by Dr Thomas Keith.

Separately, news comes that Sara Stevenson, formerly of the Scottish National Photography Collection at the Scottish NPG and now in the Special Collections Department at the University of Glasgow, has been awarded a Getty Fellowship to spend time at the collection in Santa Monica to undertake research work. 

Google celebrates Eadweard Muybridge's 182nd birthday with an animated Google doodle which also links through to further information on this photographer:

See: www.google.co.uk and http://www.guardian.co.uk/technology/2012/apr/09/google-doodle-eadweard-muybridge?newsfeed=true

BBC antiques programme Put Your Money where Your Mouth Is discovered a Richard Ellis photograph from c1887 and, for the first time, travelled outside the UK to Malta to reunite the print with the original negative held in the Ellis archive in Valetta, Malta. The Richard Ellis archive contains over 40,000 glass plate negatives each meticulously recorded in the company day books and housed in wooden box cases. 

As Katherine Higgins - who made the discovery and a former Christie's colleague of mine notes:

on the programme you will see the discovery of the Ellis photograph and the astonishing reunification of the image with the original photographic plate from the Richard Ellis archive. What was remarkable was that of all the 40,000 plates that record an astonishing array of photographic subjects from Edward VII (as Prince of Wales with his dogs and an un-named companion to military groups etc) only a few plates have suffered with age. One of those is the glass plate of the photograph I found – so bringing the image back to the archive meant they now have a clear copy of what the plate would have looked like. There’s a moment where I appear astonished as the lovely Ian Ellis, great grandson of Richard asked me to turn around and at that point he shows me the wooden cased camera that was used to take the photograph I have brought to Malta. The programme has never been abroad before and this turned out to be an astonishing adventure in the cause of recognising a great photographer.

The programme airs on BBC2 at 5.15pm on 12 April 2012. There will be more on the BBC website closer to transmission: http://www.bbc.co.uk/programmes/b01g9hls

Images: Katherine with Ian Ellis – custodian of the Richard Ellis archive and great grandson of the Victorian photographer. Below: Richard’s camera, which he used to take all his portrait photographs

The technological upheaval in photography has not only called into question the definition of photography, but also fundamentally altered the profession of photographer and the use of the medium. 

The complete digitalization of the medium, its production and distribution of images, has shaken - at least in the perception of the broad public - a fundamental understanding of photography as authentic. It has clearly transformed traditional documentary and photojournalism working methods and forced their “migration” into an artistic context. 

On the other hand, new actors are entering into play; activists and “citizens’ journalists”, who comment on events with their digital photos and videos on their blogs.

The Museum Folkwang and the Wüstenrot Stiftung are together organizing a symposium in order to discuss, for the first time, the future prospects of photography in a transnational perspective. The questions about the future of photography, which will be produced almost exclusively digitally, is therefore also directed at the curators of existing collections which value not only artistically motivated photographs. Which photos from the area of applied photography are left from the digital production process? What does it mean to collect photographic originals – the original file, the total of its publication, a large framed print? Is our cultural infrastructure prepared for this change, or will applied photographic practice – which, looking back to the 20th century, has always inspired artistic production – no longer help to define the collective pictorial memory?

For more information and to register see: http://www.museum-folkwang.de/en/exhibitions/future-exhibitions/der-mensch-und-seine-objekte/symposium.html

Speakers
- Rahaab Allana, Alkazi Collection, New Delhi
- Charlotte Cotton, National Media Museum, Bradford
- Heba Farid, Kairo/Cairo
- Katharina Garbers-von Boehm, CMS Hasche Sigle, Berlin
- Maryam Jafri, New York/Copenhagen
- Aglaia Konrad, Brüssel
- Adrian Sauer, Leipzig
- Clare Strand, London
- Guy Tillim, Johannesburg
- Artur Walther, The Walther Collection, Neu-Ulm/New York

Terms
April 27, 2012, 11 a.m. – 5 p.m
April 28, 2012, 10 a.m. – 3.30 p.m. 

Please find detailled information on the programme here.

Admission free. 
Registration required  before April 20th, 2012.
Please contact: photography@museum-folkwang.essen.de. 
The conference languages will be English and German.

Kindly supported by Wüstenrot Stiftung. 

Christie's is offering in an auction of Travel, Science and Natural History on 25 April 2012 a camera obscura 'associated with' Nevil Story-Maskelyne, an early photographer who was close to Henry Fox Talbot and his circle.  The catalogue text reads: 

A CAMERA OBSCURA ASSOCIATED WITH NEVIL STORY-MASKELYNE, 
Jones, mid 19th century 
reflex model, the mahogany body of dovetail construction, with hinged lid, lens in wooden mount and 'push-pull' focusing front section, signed JONES Artist LONDON ; BY HIS MAJESTY'S SPECIAL APPOINTMENT No. 4, Wells Street Oxford Street. 12½in. (32cm.) long 

Provenance:

Nevil Story Maskelyne (1823-1911).

Thence by descent. 

Notes:

Nevil Story-Maskelyne (1823-1911) left law for the Natural Sciences in 1847, and was soon lecturing on mineralogy, a field he would come to lead. His research ran from the petrology of Stonehenge to developing the collection of minerals and meteorites at the British Museum into the 'largest and best arranged series ... in existence' (ODNB online). He and his wife Thereza May Llewelyn were both involved in the pioneering of photography. He was close friends of William Henry Fox Talbot (1800-77) -- whose own camera obscura is held at the Science Museum London. 

There is more on Story-Maskelyne here: Lassam, Robert E, 1980, ‘Nevil Story-Maskelyne, 1823-1911‘, History of Photography, vol.4, no.2, pp.85-93. As Luminous-Lint notes: He was a part of the social circle surrounding Henry Fox Talbot who gave him permission to learn the calotype process and he was taught by Talbot's operator Nicolaas Henneman. 

Click here for more information: http://tinyurl.com/cszlhxq

Amateur Photographer magazine reports that more than half of the £4 million needed for the Media Space gallery at London's Science Museum will have to come from private sources. More importantly the project has been underwritten to full cost of £4 million by the National Museum of Science and Industry (NMSI) suggesting that if private funding is not forthcoming NMSI will pay for it anyway. 

Responding to a freedom of information request, the National Museum of Science and Industry (NMSI) told AP: 'It is anticipated that over 50% of the project cost will come from private sources, such as corporate sponsorship and donations from individuals.  However, fundraising will continue through the life of the project and beyond to cover the associated costs.' 

'The project team are working with the full £4m budget,' stated the NMSI, adding that it has so far spent '£620,000' on the development. 

Media Space is due to open in Spring 2013. 

For the full report see: http://www.amateurphotographer.co.uk/news/Most_of_Science_Museum_gallery_requires_private_funding_news_312057.html

The Guardian newspaper reports... When Aaron Guy peered into a forgotten box in an ancient Newcastlebuilding, he could not have guessed the treasures contained inside. The curious photo archivist had stumbled upon a remarkable set of original early glass negatives, detailing everyday street scenes of 19th-century Newcastle.

Meat markets, fairs, rag sellers, small corner shops and larger than life street characters are among the subjects which feature in the high-quality, 300-image collection.

Guy, who works at the city's Mining Institute, was helping to shift old furniture for the Society of Antiquaries when his attention was diverted to the box.

"The society were moving to a smaller building and were passing some of their belongings to other organisations," he said. "I was just being nosy really, peering into boxes, when I happened to spot that one contained some really old glass negatives. I thought they seemed interesting so we asked for permission to bring the plate boxes back to our office to have a proper look."

The work seems to date back at least to 1880 and the cohesion of the images suggests at least a third of them may have been created by a single photographer. His deliberate documentation of working-class life was unusual for the period, perhaps more in tune with the celebrated street photographers who followed in his footsteps almost a century later, in the 1960s and 70s.

The most arresting images are from the Newcastle streets, but the collection also contains work from other parts of the north-east, most recognisably Tynemouth and Lindisfarne.

For more see: http://www.guardian.co.uk/uk/2012/mar/29/19th-century-newcastle-photographic-plates

and http://www.mininginstitute.org.uk/

A PhD research studentship covering stipend and tuition fee costs is offered within the Photographic History Research Centre (PHRC) in the Faculty of Art, Design and Humanities. Under the interdisciplinary research strand “Practising Photography in the Sciences”, PhD proposals are sought that explore the reciprocal relationship between photography, science, and the arts and humanities.

PHRC undertakes innovative research on photography and its practices from the early nineteenth century to the present day, and over a wide range of social and cultural manifestations. Applications that explore aspects of the interconnected sets of social and cultural processes, networks of photographic knowledge, science and technology, aesthetic, evidential and informational values and institutional practices are particularly welcome. Proposals might consider, for instance, the role of photographers in science, the development of specialized photographic methods, or photographic materials for particular scientific activity. They might consider the emerging methodological research questions in this area, they might address the epistemologies surrounding photography in sciences and in the humanities, or they might consider photography in popular science.   “Practising Photography in the Sciences” is a key research cluster in PHRC and the studentship reflects its international reputation in this field.

Supervision will be available from Professor Elizabeth Edwards and Dr Kelley Wilder who have active research interests in the history of visualization in both the physical and biological sciences. PHRC is a dynamic and growing research community. The successful candidate will be expected to contribute to the development of this community.

Candidates might come from a range of possible disciplines:  history of science, science, art history, science and technology studies, visual anthropology, and visual culture studies.

For a more detailed description of the PHRC please visit our web site or contact Professor Edwards (eedwards@dmu.ac.uk) or Dr Wilder (kwilder@dmu.ac.uk) who will be happy to discuss the studentship further.

This research opportunity builds on our excellent past achievements and looking forward to REF2014 and beyond. It will develop the university’s research capacity into new and evolving areas of study, enhancing DMU’s national and international research partnerships.

Applications are invited from UK or EU students with a good first degree (First, 2:1 or equivalent) in a relevant subject.  Doctoral scholarships are available for up to three years full-time study starting October 2012 and provide a bursary of £13,770pa in addition to university tuition fees.

To receive an application pack, please contact the Graduate School Office via email at researchstudents@dmu.ac.uk.  Completed applications should be returned together with a full CV and two supporting references.

Please quote ref:  DMU Research Scholarships 2012

STARTING OCTOBER 2012

CLOSING DATE:  April 27^th 2012

Drawn from the extensive private collection of the architectural photographer Steven Evans, Seeking Solace: Francis Bedford’s Framing of Victorian Ideals celebrates the work of English photographer Francis Bedford (1816–1894).  

A master draughtsman and lithographer in the 1840s and 1850s, Bedford took up photography and positioned himself as one of the premier landscape and architectural photographers of his time. He successfully marketed his photographs in the form of albums, stereo cards, cartes de visite, and prints and was included in all but two exhibitions held at the Photographic Society of London during the 1860s. His work comprised picturesque landscapes and ecclesiastical ruins found in the British countryside, as well as impressive cathedral architecture. These subjects suited the tastes of Victorian society, which sought solace within the countryside, away from over-crowded and unhealthy urban centres. Seeking Solace presents this theme in the first solo exhibition of Bedford’s work since the 1860s, introducing this photographer to a North American audience.

The exhibition is accompanied by an illustrated publication. Both the exhibition and the publication were researched and produced by second-year, graduate students in the Photographic Preservation and Collections Management, Master of Arts programme, Ryerson University, under the direction of Professor David Harris. Over the course of a twelve-week term, the students learn about the researching and curating exhibitions and producing an accompanying publication, from inception to realization. The Howard and Carole Tanenbaum Family Charitable Foundation and the Ryerson Image Centre have generously supported the project. The exhibition will be on view at the I.M.A Gallery, located at 80 Spadina Avenue, from April 4th–28th. An opening reception will be held on April 5th from 6–9 pm.

I.M.A Gallery, 80 Spadina Avenue Suite 305, Toronto ON, Canada

www.imagallery.ca

April 4^th-28^th, 2012, W-S: 12-5 pm.

Opening Reception: April 5^th, 6-9 pm. 

Image: Francis Bedford

Miner’s Bridge at Betws-y-Coed, North Wales

1859 (negative exposed)

Mounted albumen silver print

Image: Francis Bedford

Swallow Falls at Betws-y-Coed, North Wales

1859–1864 (negative exposed)

Unmounted albumen silver print

Image: Francis Bedford

Choir Arcade at Tintern Abbey, South Wales

1858 (negative exposed)

Mounted albumen silver print

Image: Francis Bedford

The Sphinx and The Great Pyramid, Gizeh [now Giza]

March 4-5, 1862 (negative exposed)

Mounted albumen silver print

Redeye is proud to present its fourth National Photography Symposium on 27 to 29 April 2012. It takes place in London as part of what promises to be a highly stimulating hotbed of photographic events at World Photo London.

The National Photography Symposium explores the most critical and talked-about subjects for photography and photographers. It's strongly recommended for anyone interested in the development of photography in the UK, who might want to understand or influence how the big decisions get made. It takes place in and around Somerset House, Strand, London WC2R 1LA. Speakers this year include Simon Norfolk, Jem Southam, Anne McNeill, Peter Kennard and many more.

For more information and the full programme see: http://www.redeye.org.uk/programme/national-photography-symposium-2012

The first programme in the short series Britain's First Photo Album airs tonight on BBC2. Full information can be found here: http://www.bbc.co.uk/programmes/p00nh3h3 

Robert Elwall, Assistant director of the RIBA’s British Architectural Library, and the founder and curator of the RIBA Library Photographs Collection and RIBApix collapsed and died suddenly after a short illness. Robert had been continuing to work on various projects at RIBA.

Robert was a great writer of books and papers on photography and architecture in its broadest sense. A number of his articles are collected here: http://www.culture24.org.uk/am69854  He will be sorely missed. 

Minnie Weisz's first London collodion wet-plate photography workshops were taught by France Scully Osterman and Mark Osterman in 2009/2010. Following in the footsteps of Frederick Scott Archer, the inventor of the collodion process in 1851, our 2012 weekend workshops are led by Jo Gane and John Brewer, experts in the field of 19th Century Photographic processes in the UK.

Learn to make unique images direct onto glass, aluminium and acrylic. Create portrait and still life images in the studio. Join our Collodion circle in King’s Cross.

There are just two places left for each weekend : 17th/18th - 24th/25th - 31st/1st April  - with each taking 6 people. The studio is offering a 10% discount for students. Weekend workshops are £320 for 2 days tuition, hands-on approach, making at least 7 plates each per workshop weekend.

HISTORIC PHOTOGRAPHIC PROCESSES - MARCH 2012. 

MINNIE WEISZ STUDIO,  123 PANCRAS ROAD KING’S CROSS NW1 1UN

Click here to learn more:  Historic%20Photographic%20Processes_workshop_preview2.pdf.

The National Media Museum's In the Blink of an Eye Media & Movement exhibition opens from 9 March. Featuring classic images and new commission work the show is part of the 2012 Cultural Olympiad. One of the new works can be seen here: 

The exhibition has been curated by Colin Harding and runs until 2 September 2012. For more information: http://www.nationalmediamuseum.org.uk/PlanAVisit/Exhibitions/Future.aspx