Leicester's De Montfort University Photographic History Research Centre is holding a series of seminars in Culture of Photography during the Autumn 2011 term on Tuesdays from 4–6pm in the Edith Murphy Building 1.08. Admission is free and open to anyone. The series comprises:

• October 18th. Professor Gillian Rose (Open University) ‘The question of method: where next for visual culture studies?'
• November 8th. Professor Darren Newbury (Birmingham Institute of Art and Design) 'Travelling Photographic Histories: From 1950s Cape Town to Britain, andBack'
• December 6th. Professor Patrizia Di Bello (Birkbeck College, University of London) ‘The ‘Camera-Medusa’: stereoscopic photographs of statuettes’ 

We are looking for a Curator to take responsibility for the BFI National Archive’s collection of posters, designs and museum objects. Working as part of the BFI curatorial team you will be required to document, develop, research and interpret the poster and designs collections, ensuring they are embedded within the cultural programme of the BFI.

You will have a strong knowledge of British film and television in both its historical and contemporary contexts. You should also have an interest in, and demonstrable knowledge of, 20th and 21st century British art and design, particularly as it relates to the film and television industries.

You will be educated to degree level or equivalent, with a recognised archive, museum or conservation qualification or equivalent experience.

You will be based at the John Paul Getty Conservation Centre, Berkhamsted but you will be required in central London on a regular basis.

You will enjoy benefits such as a final salary pension scheme, 28-33 days annual leave, tickets to BFI festivals and events plus many others.

Further details about the post (including an information pack) can be obtained by visiting www.bfi.org.uk/jobs or by email: jobs@bfi.org.uk.

The closing date for applications is 23 September 2011 Interviews will be held weeks commencing 3 October and 10 October 2011.

There is a case study of the National Media Museum's on-going marketing campaign by the creative team behind a recent series of posters. The idea was, in the words of the agency behind the campaign: 'Let the objects speak for themselves! By doing this, we were able to communicate the depth and variety on offer at the National Media Museum whilst also bringing out the stories to be found. The campaign was created to be engaging, through the use of stories and eye catching imagery, and also inspire visitors to find out more by actually visiting the museum itself, this was emphasised by use of the sign off strapline ‘Discover the full story at National Media Museum’

As they say the success of the campaign will be judged by any increase in visitor numbers which are due to be released shortly.

The full report can be found here: http://www.sumodesign.co.uk/work/campaign/national-media-museum.html 

In October 2010 the National Media Museum hosted the 'Niépce in England' Conference where they could announce and share with the photographic, conservation and scientific communities the ground breaking findings which had been discovered during the collaborative research partnership between the National Media Museum (NMeM) and the Getty Conservation Institute (GCI).

The aim of the project is to record the ‘signature’ of every photographic process and the variants throughout the history of photography. Within the National Photography Collection at the NMeM are three early examples of photography by Joseph Nicéphore Niépce and there is no better place to start on a project than at the beginning.

This new research places Niépce in his rightful place within the history of photography as it revealed new exciting evidence about the examples of photography which Niépce had brought to England to show the Royal Society of London in 1827. Photo historians had always assumed, incorrectly, that the examples Niépce brought were examples of his Heliographic process. However, scientific analysis revealed that the NMeM has examples of three different photographic processes by Niépce.

Speaker: Philippa Wright from the National Media Museum, Bradford, 1pm on 14 October 2011 at the Royal Society.

Further details: http://royalsociety.org/events/Niepce-in-England/?utm_source=Adestra&utm_medium=email&utm_term=Ni%C3%A9pce%20in%20England&utm_content=History%20of%20Science%20events&utm_campaign=Autumn%20events%202011

This is a free public lecture and all are welcome to attend, but prior booking is necessary.Reserve a place at this lecture.

A public meeting of the German Society for Photography (DGPh) and the Victoria & Albert Museum in Wolfen on the 28th and 29th October 2011 in the auditorium of the former Agfa/Orwo film factory, Bitterfeld-Wolfen.

2011 represents two cultural and technical-historical anniversaries: 150 years ago coloured photograph was projected in London by Professor James Clerk Maxwell and 75 years ago, the first colour-developed multilayer colour films - Kodachrome and the new Agfacolor - came on the market. 

These landmark events in the photograph give rise, under the auspices of the Section history and archives, and in collaboration with the Industrial and Filmmuseum Wolfen Conference On the way to natural colors on the many aspects of colour photography from analog to digital-history discussed by well-known speakers.    

The BFI's £12 million Master Film Store in Gaydon, Warwickshire will open next month.

The new building has been designed to improve the conditions in which the archive is kept and prevent it from deteriorating - and deal with the risk of nitrate film catching fire.

The BFI's Head of Collections & Information, Ruth Kelly showed BBC News around the old and new storage facilities, as well as what happens to film when it is not stored correctly.

http://www.bbc.co.uk/news/entertainment-arts-14665763

The Master Film Store, which is in addition to the BFI’s existing archive site in Berkhamsted, Hertfordshire, will house up to 450,000 cans of film ranging from the early works of Mitchell and Kenyon to The King’s Speech.

The £12m state of the art, environmentally sustainable facility has been built on a disused military installation and will use green technologies to keep the films at a temperature of minus 5 degrees and 35% relative humidity, the optimum conditions for preserving films which could deteriorate if not kept in the right storage conditions.

The fire resistant site consists of six large acetate film stores and 30 smaller nitrate stores in a building of just under 3,000 square metres. The building process, began last October.

http://www.screendaily.com/news/uk-ireland/bfi-opens-new-12m-archive-facility-as-part-of-screen-heritage-uk/5031211.article

Continuing in the Royal Academy's Sackler Wing is the highly acclaimed Eyewitness: Hungarian Photography in the 20th Century  Brassaï, Capa, Kertész, Moholy-Nagy, Munkácsi until  2 October 2011.  The exhibition is dedicated to the birth of modern photography, featuring the work of Brassaï, Robert Capa, André Kertész, László Moholy Nagy and Martin Munkácsi. The juxtaposition of photographers suggests a reappraisal of individuals is overdue.  

Each of the key photographers left their homeland of Hungary to make their names in Europe and the USA, profoundly influencing the course of modern photography. Many other talented photographers who remained in Hungary, such as Rudolf Balogh and Károly Escher, are also represented in the exhibition. Over 200 photographs from 1914 to 1989  show how these world renowned photographers were at the forefront of stylistic developments and reveal their achievements in the context of the rich photographic tradition of Hungary.  Brassaï, Capa, Kertész, Moholy-Nagy and Munkácsi are each known for the important changes they brought about in photojournalism, documentary, art and fashion photography. By following their paths through Germany, France and the USA, the exhibition explores their distinct approaches, signalling key aspects of modern photography. 

André Kertész (1894–1985) showed an intuitive talent for photography which blossomed when he moved to Paris in 1925.  Using a hand-held camera,  he captured lyrical impressions of the ephemeral moments of everyday urban life. Proud of being self-taught, Kertész considered himself an ‘eternal amateur’ whose vision remained fresh; his highly personal style paved the way for a subjective, humanist approach to photography. 

A painter and designer as well as a photographer, László Moholy-Nagy (1895–1946) became an instructor at the Bauhaus in 1922.  He was a pioneer of photograms, photomontage and visual theory, using unconventional perspectives and bold tonal  contrasts to manifest his radical approach.  His camera-less images and experimental techniques reflect on the centrality of light to the medium. 

Martin Munkácsi (1896–1963) was a highly successful photographer first in Budapest, then Berlin, covering everything from Greta Garbo to the Day of Potsdam.  He moved to the US in 1934, securing a lucrative position with Harper’s Bazaar, revolutionising fashion photography by liberating it from the studio. Taking photographs of models and celebrities outdoors, he invested his photographs with a dynamism and vitality that became his hallmark.  

The image of modern Paris was defined by Brassaï (1899–1984).  Introduced to photography by Kertész, who was then at the heart of an energetic émigré community of artists, Brassaï is known for his classic portraits of Picasso.  His stunning photographs of sights, streets and people bring vividly to life the nocturnal characters and potent atmosphere of the city at night. 

Robert Capa (1913–1954) left Hungary aged seventeen, first for Berlin where he took up photography, then on to Paris. He is often called the ‘greatest war photographer’ documenting the Spanish Civil War, the D-Day landings and other events of World War II.  In 1947, he cofounded Magnum Photos with Henri Cartier-Bresson and George Rodger.  

The exhibition also celebrates the diversity of the photographic milieu in Hungary, from the early 20th century professional and club photography of Rudolf Balogh, Károly Escher and József Pécsi, to the more recent documentary and art photography of Péter Korniss and Gábor Kerekes.  Key works by over forty photographers show how major changes in modern photography have been interpreted through a particularly Hungarian sensibility. Varied subject matter includes ‘Magyar style’ rural images; urbanite ‘New Objectivity’ photography in Budapest and Berlin; vivacious fashion photographs; powerful photojournalism of war; and emotive social documentary in post-war Hungary. Highlights include images from Brassaï’s Paris by Night series, and such iconic photographs as Capa’s Death of a Loyalist Militiaman, 1936; Munkácsi’s Four Boys at Lake Tanganyika, c.1930 and Kertész’s Satiric Dancer, 1926.  The exhibition features works from the Hungarian National Museum of Photography in Kecskemét together with the National Museum, Budapest and public and private collections in Hungary and the UK.

The exhibition has been curated by Colin Ford, founding director of the National Media Museum, with Péter Baki, Director of the Hungarian National Museum of Photography together with Sarah Lea, Royal Academy of Arts.

Open to public: until Sunday 2 October 2011 between 10am – 6pm daily (last admission 5.30 pm) and Fridays until 10pm (last admission 9.30 pm)  Admission is £9 full price; £8 registered disabled and 60 + years; £7 NUS / ISIC cardholders; £4 12–18 years and Income Support; £3 8–11 years; 7 and under free. RA Friends go free. 

Tickets are available daily at the RA. Advance bookings: Telephone 0844 209 0051 or visit www.royalacademy.org.uk. The Royal Academy of Arts is at Burlington House, Piccadilly, London W1J OBD.

‘Ways of Looking’, a new festival of photography in Bradford opens on 1st October 2011. Exploring the theme EVIDENCE, the festival includes premières of newly commissioned works by internationally renowned Magnum photographer Donovan Wylie, and Turner Prize winning artists Douglas Gordon and Jeremy Deller.

Inspired by the theme EVIDENCE, the festival will address, overturn, and playfully interact with photography’s assumed status as ‘evidence’ in a range of arenas including history, politics, science, law, and conflict. In contrast to other photography festivals, ‘Ways of Looking’ does not advocate a lead curator, but instead offers multiple curatorial approaches ranging from museum institutions to grass-roots collectives. Many of the works have been specially commissioned for the festival and will be shown for the first time in Bradford.

Highlights include Douglas Gordon’s large-scale window installation taking inspiration from the former glories of Bradford’s iconic Gaumont cinema, and Jeremy Deller’s personal take on Bradford’s civic photography collection. Photography’s relationship to surveillance is explored by Donovan Wylie, who travelled to Afghanistan to document military watchtowers, whilst Simon Ford and Colin Lloyd have drawn on CCTV technology and scientific imaging techniques to examine the validity of optical evidence. Red Saunders’ epic photographic tableaux vivants recreate momentous but overlooked events from Britain’s struggle for democracy, whilst Alan Dunn investigates the archive of West Yorkshire Police to re-examine crime photographs from the 1950s.

Based entirely in Bradford’s compact city centre, with its wealth of dramatic nineteenth century architecture, the whole festival can be easily accessed by visitors. As well as museum and gallery venues, photography will be on display in public spaces and on billboards, whilst a specially commissioned interactive digital game will transport participants on an intriguing journey through the spaces and histories of ‘hidden’ Bradford. 

An accompanying events programme will offer talks by photographers, portfolio reviews, and film screenings. Unmissible events include a series of debates ‘Photography on Trial’ at City Hall’s spectacular Victorian Court Room, and a major conference ‘Media and Conflict Interchange’ at the National Media Museum.

Anne McNeill, Director of Impressions Gallery and co-founder, said ‘Ways of Looking is a boutique festival – small but considered. We believe it has the potential to grow to become a key biennial on the international circuit of photography festivals’.

Nicola Stephenson, Director of The Culture Company and co-founder, said ‘a bit like Berlin, Bradford is edgy, post-industrial, and home to some fantastic art spaces. Its cosmopolitan and diverse population make it a great destination for festival goers’.

Colin Philpott, Director of National Media Museum, said ‘Ways of Looking draws on Bradford’s amazing wealth of photographic activity and world-class collections. It epitomises Bradford’s renaissance as a cultural centre, and perfectly complements its new status as the world’s first UNESCO City of Film’.

‘Ways of Looking’ is organised by Impressions Gallery, National Media Museum, and The Culture Company, with partners Bradford Grid, Bradford Museums and Galleries, Fabric, Gallery II University of Bradford, and Leeds Metropolitan University Gallery and Studio Theatre. The festival is funded by Arts Council England through the National Lottery Fund and supported by Bradford Metropolitan District Council.

Jeremy Deller at Bradford 1 Gallery
2 September – 27 November 2011

Turner Prize Winner Jeremy Deller has created a new exhibition especially for Ways of Looking, drawing on the extensive photographic archives in the collections of Bradford Museums.

Bradford 1 Gallery, Centenary Square, Bradford BD1 1SD
Tues to Fri 11am to 6pm, Thurs late to 8pm, Saturday 12pm to 5pm, Sundays throughout October
12pm to 5pm FREE
Tel. 01274 437800
Web www.bradfordmuseums.org 

Hidden by Red Saunders at Impressions Gallery
28 September to 10 December 2011

Saunders’ epic photographic tableaux vivants (‘living pictures’) recreate momentous but overlooked events in the struggle for equality and democracy in Britain. The show
includes the world premiere of three new Yorkshire-based works, set at the time of the Civil War and the Swing Riots, specially commissioned by Impressions Gallery and The Culture Company.

Impressions Gallery, Centenary Square, Bradford BD1 1SD
Tues to Fri 11am to 6pm, Thurs late to 8pm, Saturday 12pm to 5pm, Sundays
throughout October 12pm to 5pm FREE
Tel. 01274 473843
Web www.impressions-gallery.com 


Outposts: Donovan Wylie Bradford Fellowship 2010/11 at National Media Museum
30 September – 19 February 2012

In this world premiere, Magnum photographer Wylie continues to interrogate the
architecture of conflict through a systematic survey of military outposts in Afghanistan’s Kandahar Province. Specially commissioned by the National Media Museum, Bradford College and the University of Bradford, the exhibition also features the acclaimed bodies of work Maze, British Watchtowers, Police Stations, and Green Zone.

National Media Museum, Bradford, BD1 1NQ
Tuesday to Sunday 10am to 6pm FREE
Tel. 0844 856 3797
Web www.nationalmediamuseum.org.uk


The Tracker Chronicles by Simon Ford and Colin Lloyd at Gallery II, University of Bradford
1 to 28 October 2011

Combining surveillance technology with data collection, digital print and re-imagined objects, The Tracker Chronicles plays with an array of information gathering devices, exploring their possible meanings and applications. Live camera feeds and data streams are overlapped and interfered with, movement is mapped across a public atrium space occupied by a CCTV tower and a time travelling chandelier. The Tracker Chronicles explores the complex connections between looking, listening and reading, in different times and spaces. 

Gallery II, Chesham Building and Richmond Atrium, Richmond Building, University of Bradford BD7 1DP
Mon to Fri 11am to 5pm; Saturday and Sunday 12pm to 3pm FREE
Tel. 01274 233365
Web www.brad.ac.uk/gallery 


Daniel Meadows: Early Photographic Works 1972-1987 curated by Val Williams at National Media Museum
1 October 2011 – 19 February 2012

This major retrospective includes Meadow’s major projects, as well as recently discovered work from his archives. Meadows was one of a group of photographers who spearheaded the independent photography movement in the early 1970s. Working in a collaborative way via interviews with his subjects, his complex, passionate and sometimes deeply autobiographical work forms an astonishing record of urban society in Britain. The project has been funded and supported by a partnership between the National Media Museum, Ffotogallery, Cardiff, Birmingham Central Libraries, Photography and the Archive Research Centre, University of the Arts London,
and Photoworks UK.

National Media Museum, Bradford, BD1 1NQ
Tuesday to Sunday 10am to 6pm FREE
Tel. 0844 856 3797
Web www.nationalmediamuseum.org.uk 


Case Open at Pop Up
30 September to 30 October 2011

Responding to the theme EVIDENCE, the winners of this national open call have been selected by director of Impressions Gallery and Chair of Ways of Looking Anne McNeill, National Media Museum curator Greg Hobbs, curator of South Square Gallery David Knowles, and Programme Manager of Pop Up Ann Rutherford.

Pop Up, Centenary Square, Bradford BD1 1SD
Tuesday to Saturday 10 am to 6 pm FREE
Tel. 07780 917320
Web www.creativebradford.co.uk


Makeshift Monuments by Diane Bielik at The Old Hungarian Club
Friday 30th September to Sunday 30th October

An exhibition of photographs made during the run up to the closure of the Hungarian club in Bradford which shut its doors in the summer of 2010 due to diminishing membership. Diane Bielik’s father, Attila, is Hungarian and was an active member of the club for many years. The news of its closure was the impetus to begin photographing the club as there was a desire to ‘capture’ this place before it was gone. The photographs will be incorporated onto the walls and the viewers will need to move through the rooms of the disused social club to see the exhibition. 

An Impressions Gallery off-site project
The Old Hungarian Club, 4 Walmer Villas, Bradford, West Yorkshire, BD8 7ET
Friday to Sunday 1-6pm FREE
www.dianebielik.co.uk 



• ART IN PUBLIC SPACES

‘Scene for a small crime’ by Alan Dunn at Bradford Interchange Station
14 October to 30 October

Alan Dunn’s ‘Scene for a small crime’ is a new billboard artwork produced in collaboration with the poet Roger Cliffe-Thompson, photographer Leila Romaya and West Yorkshire Police. Inspired by a 1950’s crime scene photograph found in the Police Archive in Wakefield, Dunn has orchestrated a crime scene photograph riddled with clues, odd timings and mirrored patterns. 

Platform 3, Bradford Interchange, Bridge Street, Bradford BD1 1TU
Open during station opening hours
FREE (rail ticket may be required for station access)
Phone 0113 812 3130
Web http://www.alandunn67.co.uk



Self portrait of you and me (blue skies) by Douglas Gordon at Impressions Gallery
Douglas Gordon: 30 September to 30 October

Self portrait of you and me (blue skies) is a new public realm artwork produced by Douglas Gordon for the large windows of Impressions Gallery. Directly facing the former Gaumont Cinema, the fragile face of late 1960’s icon Syd Barrett is blown up, hangdog expression and collar upturned against the elements, his image then tragically and delicately pushed by the artist to the point of combustion.

Impressions Gallery, Centenary Square, Bradford BD1 1SD
Open during gallery opening hours
FREE 
Phone 0113 812 3130
Web http://lostbutfound.co.uk/



1963 by Shanaz Gulzar at Bradford Interchange Station
30 September to 13 October

1963 is a new billboard created by the artist Shanaz Gulzar in collaboration with the Bradford & District Youth Offending Team and Nacro. Inspired by a mythical 1960’s pop moment in Bradford involving the Beatles, the Stones, Bo Diddley and Cilla Black, the young people create two new cinematic posters for an imaginary venue.


Platform 3, Bradford Interchange, Bridge Street, Bradford BD1 1TU
Open during station opening hours
FREE (rail ticket may be required for station access)
Phone 0113 812 3130
Web http://www.alandunn67.co.uk


RE:BRADFORD by Bradford Grid, outdoor exhibition in Bradford City Centre

Photography collective Bradford Grid have created new work in response to images sourced from local residents’ family albums and personal recollections of Bradford between 1950 and 2000. Investigating the photograph as a source of both information and inspiration, they explore how photographs act as historical ‘evidence’ through which the present can be viewed.

City centre, various outdoor locations
Open 24 hours FREE
Web www.bradfordgrid.co.uk


Evidence by Invisible Flock and Impressions Gallery, locations throughout Bradford city centre
1 October to 31 October 2011
Created especially for Ways of Looking this participatory game invites players on a series of journeys, transporting them on an interactive trail across Bradford and through time. Throughout the festival four different journeys can be undertaken, all offering glimpses of magic, intrigue and hidden histories; uncovering secret worlds and revealing the city in a whole new light. Armed with phones, cameras and a sense of adventure, players will be asked to help capture the city’s heart.

Online and during venues opening times.
Tel. 01274 473843
Web www.impressions-gallery.com

See: http://www.waysoflooking.org/

This conference examines the politics, poetics and ethics of the photographic visibility of the colonial past in museums in multicultural societies and the construction of postcolonial identities. It will explore the use of photographs in public narratives of difficult histories and examine different sets of problems and approaches across a number of European countries. It raises questions not only about the patterns of engagement, nostalgia, suppression, disavowal and unspeakability which cluster around representations of the colonial past, but questions about the role of photographs in the public space. What is the work expected of photographs? Is the apparent immediacy of the past in photographs too direct and uncontrollable to be accommodated in the carefully managed spaces of state multiculturalism?  What is the role of the artist’s intervention, digital environments, and community projects?  Are there ’safe spaces’ where the colonial might be addressed? Ultimately what kinds of narratives are museums constructing and for whom? How can the complexities of colonial relations be represented in museums and do photographs help or hinder?

The conference is part of the European-funded PhotoCLEC project, an international collaboration of scholars from the UK, The Netherlands and Norway. (see: http://www.heranet.info/photoclec/index). The conference will include the launch of the project’s web resource.

Keynote Speakers:

Professor Benoît De L’Estoile (CNRS)

Dr Wayne Modest (Tropenmuseum, Amsterdam)

Other Confirmed Speakers include:

Professor Susan Legêne (VU University, Amsterdam), Professor Sigrid Lien (University of Bergen), Professor Elizabeth Edwards (DMU), Miranda Pennell (Filmmaker, Goldsmiths College, University of London), Dr Chiara de Cesari (University of Cambridge), Dr  Sabine Cornelis (RCAM) and Dr Johan Lagae (Univeristy of Ghent).

Date: 12 and 13 January 2012

Venue:  Pitt Rivers Museum, University of Oxford

A collaboration between De Montfort University and Pitt Rivers Museum, University of Oxford

Fee: £35  Optional symposium dinner: £38

Places are limited. Please contact Mandy Stuart (astuart@dmu.ac.uk) to reserve your place.

http://www.dmu.ac.uk/research/aad/photographic-history-research-centre/  

The Curator (Digital Programmes) will be responsible for a developmental programme including researching, commissioning and curating digital content for the ground floor digital display, the Gallery’s website and identifying other potential platforms. This will include researching and advising on the technical specifications for the delivery of all aspects of the digital programme and the generation of and support for collaborative research projects. The post includes research collaboration with The Centre for Media and Culture Research, Faculty of Arts and Human Sciences, London South Bank University.

The post holder will initially undertake a research phase to help develop a Digital Strategy for the Gallery and work with partners on a significant AHRB application, aiming to recruit a supporting PhD research position. Through the Digital Strategy and the establishment of digital content management platforms, the post holder will engage and develop new and existing audiences for the Gallery and offer creative ways of working with photographers/artists. The post will sit within the Programming team, line-managed by the Head of Exhibitions but will also work closely with Communications and all other Gallery departments (Technical, Development etc).

The Role

The Curator (Digital Programmes) will be responsible for a developmental programme including researching, commissioning and curating digital content for the ground floor digital display, the Gallery’s website and identifying other potential platforms. This will include researching and advising on the technical specifications for the delivery of all aspects of the digital programme and the generation of and support for collaborative research projects. The post includes research collaboration with The Centre for Media and Culture Research, Faculty of Arts and Human Sciences, London South Bank University.

The post holder will initially undertake a research phase to help develop a Digital Strategy for the Gallery and work with partners on a significant AHRB application, aiming to recruit a supporting PhD research position. Through the Digital Strategy and the establishment of digital content management platforms, the post holder will engage and develop new and existing audiences for the Gallery and offer creative ways of working with photographers/artists. The post will sit within the Programming team, line-managed by the Head of Exhibitions but will also work closely with Communications and all other Gallery departments (Technical, Development etc).

Core Duties and Responsibilities
•Develop an effective and sustainable digital strategy for The Photographers’ Gallery;
•Curate and commission digital content as part of the Gallery’s public programme in collaboration with relevant gallery teams (including exhibitions and talks/events);
•Research and advise the Gallery on the technical specifications for the ground floor digital display;
•Work with relevant external bodies and the in-house development team to help identify and secure project funding and sponsorship;
•Advise and assist on the delivery of the gallery’s on-line and digital archive;
•Work on a significant AHRC grant application aiming to support a complementary PhD research post related to the Gallery’s digital programmes;
•Develop key national and international partnerships to ensure the Gallery is seen at the heart of digital content debates;
•Present papers and attend conferences and symposia at universities and cultural organisations, as well as contribute articles to relevant publications.

Required skills/experience
•Strong project management skills with previous experience of curating / commissioning image-based web/digital projects;
•Knowledge and understanding of cultural debates and theoretical developments surrounding photography, digital technologies and new media;
•Solid understanding of social media networks and participatory digital arts projects;
•Knowledge and understanding of relevant funding sources and application procedures for digital media;
•A technical knowledge of equipment necessary for supporting digital photographic practice;
•Clear understanding of content management and Digital Asset Management systems;
•Good knowledge of copyright issues with regard to digital images in different contexts.

Desired experience
•Knowledge and experience of evaluating arts projects related to audience development or education/learning;
•Experience of working on digital archives and resources;
•Published work in the area of digital exhibitions or projects.

See: http://www.photonet.org.uk/index.php?pid=561&show=page

The Photographers’ Gallery strives to be an equal opportunities employer and welcomes applications from all sections of the community. Charity no 262548

The second half of the nineteenth century witnessed an international occurrence of art movements aiming at a return to skilled craftsmanship and individual handiwork, usually summarized under the Arts and Crafts Movement. These movements can be described as “an unfocused reaction against industrialization” (Crawford). Installing small workshops and reviving old techniques, they often associated their ideals with medieval times.
Around 1880, photography joined this aesthetic movement with the rise of pictorialism, equally promoting elaborate techniques and opposing simplified photographic possibilities and mechanical mass production. Manipulation of the negative as well as the positive was one of the main, albeit contested topics in international pictorial circles throughout their existence. Photographers aimed at ever more complex forms of picture making that demanded most skillful users, thereby removing themselves from the growing crowd of practicing photographers (Keller). Although this fact today is widely known within the history of photography, its roots in a broader orientation towards ideals associated with medieval arts and crafts still need to be examined. Furthermore, references to iconographic models of medieval art are a recurring phenomenon of pictorial photography that has yet to be explored.
This session aims to close this gap in research by clarifying in what way pictorialists used prevailing ideals and iconographic models of medieval times to warrant their strategies of establishing photography as an art. When, how and to what purpose were references and allusions to medieval models and styles employed? Which picture of medieval times did pictorialists create in order to be able to use it to their ends?
Papers might address issues of organization, iconography, gender, artistic and photographic networks and practices, national and international circles and exhibitions, and paradigms of handcraft. We invite papers from scholars and postgraduate students casting an analyzing look at the complex relationship between pictorial photography and its incorporation of references to medieval models and ideals.
Please send your inquiries and abstracts of no more than 300 words to caroline.fuchs@univie.ac.at. The deadline for abstract submission is September 15, 2011. For further information about the conference including travel grants visit the following website: http://www.wmich.edu/medieval/congress/ 

CFP: Medieval Views: The Role of the Medieval in Pictorial Photography 47th International Congress on Medieval Studies, May 10-13, 2012, Western Michigan University (Kalamazoo)

Jack Tait has kindly supplied two files which provide important information on British postwar photographic education and some of the people involved:

1. A small file version of the CV instances chapter originally written for Jack's PhD but omitted due to lack of space in the final thesis. It covers his involvement with photographic education with particular reference to creative activity. CV%20Creative%20instances.pdf

2. A list of names with dates where possible of all the people he met who were connected with Photographic Education.Photo%20Education%20staff.pdf

Jack is keen to make these available for researchers and interested parties as he says:

"It might then give some researchers a starting point for their investigations. I propose to keep adding to this as when new material emerges. It might be seen in conjunction with Mike Hallett's reviews which he produced for the BJP which were very extensive. I have tried to make it as accurate as possible and apologies to anyone whose name I have missed out.

The order of names is arbitrary and does not indicate the extent of the individual's contribution. Some contributions are large and significant and others less so but whose part is still important and might fill in gaps in people's research. It is of course up to others to rank order this list and to assign values to the contributions."

BPH is happy to host these files. If researchers make use of the material please credit Jack Tait and BPH. 

Bushey Museum and Art Gallery, located near Watford, opens a temporary exhibition Amateur Photography in Bushey on 4 August. The display in the museum's entrance area displays cameras from the museum collection ranging from an 1870s George Hare quarter-plate tailboard camera up to modern digital cameras by way of an original Kodak, various Brownies, a Leica, AGI, Instamatic and many others. The cameras were owned or used by Bushey residents and the display has been arranged by museum volunteers Michael Pritchard and Patrick Forsyth.

Over forty cameras are on display (part only showing in course of arrangement, right) including the only camera actually made in Bushey - the J. Langham Thompson Thompson Land oscilloscope camera dating from the 1950s-1960s. The exhibition runs until early December 2011.

The museum is located close to the M1 and M25 and there is parking available close by.  Details of the museum's location and openings times can be found here: http://www.busheymuseum.org

The Design Museum, London, is holding a retrospective of Britain’s leading product designer titled Kenneth Grange - Making Britain Modern. Grange was responsible for designing some of the most iconic and familiar products and appliances that shape our daily lives. These include Kodak cameras such as the Instamatic range during the late 1950s-1970s. The exhibition is well worth visiting.

Correspondence between Kodak and Grange is held in the Kodak Historical Archive at the British Library.

More details are here: http://designmuseum.org/exhibitions/2011/kenneth-grange

The exhibition is at: Design Museum, Shad Thames, London SE1 2YD. Open: 10.00 -17.45 daily. Last admission: 17.15. Admissions: £10.00 Adults, £9.00 Concessions, £6.00 Students under 12s Free.
T: 020 7940 8790 W: www.designmuseum.org 

The photographs below show the entrance of the exhibition and part of the exhibit dealing with the Instamatic camera - which is just part of the photographic/Kodak content.  

The director of George Eastman House International Museum of Photography and Film will retire in one year, on July 31, 2012, the organization announced Friday. Anthony Bannon has been director of the museum since 1996 and his 15-year tenure makes him the longest-standing director in the history of the museum. An international search will begin in coming months and Bannon will assist in the search process, Eastman House officials said.

"I am totally invested in George Eastman House and its wonderful extended family, but I feel it is time," said Bannon, the Ron and Donna Fielding Director. "We have set into place a new and vigorous strategic direction, and it is time for new energy and vision to move that forward.

“I have been saying for years that our forbearers here at George Eastman House wrote the book about the photograph and film as objects worthy of preservation, of care, and of significance. Now it comes to us to share how these work in history and culture and to use them as vehicles that can carry us to any destination we might choose."

During Bannon’s tenure the museum created three post-graduate preservation schools, alliances with museums and universities, collectors clubs in large U.S. cities and many of the most-attended exhibitions in the museum's 64-year history, museum officials said. The museum also digitized its collections and began social-media campaigns to share its collections with the world.

Bannon led an effort to diversify the board of trustees, which now has more of a national focus with many members from outside the Rochester area, museum officials said. He also led creation of collectors clubs in large cities such as New York City and Los Angeles, and has initiated plans for satellite schools in photograph conservation in South Korea and Qatar.

Bannon plans to remain as George Eastman House Senior Scholar, a title appointed by the organization’s board of trustees. He said he plans to continue working in the arts field as speaker, writer and consultant.

See: http://www.rbj.net/article.asp?aID=188227