Michael Pritchard's Posts (3063)

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The University of Brighton's Centre for Design History is hosting a double professorial book launch on 17 April at M2. The event will launch Cold War Photographic Diplomacy: The U.S. Information Agency and Africa, by Darren Newbury and Art without Frontiers: The Story of the British Council, Visual Arts and a Changing World, by Annebella Pollen. It will be an opportunity to hear from the authors and celebrate the publication of their books. 

Book launch
Wednesday, 17 April 2024 at 1800-2000
M2 at Grand Parade Building, Brighton
Details here: https://blogs.brighton.ac.uk/centrefordesignhistory/2024/03/01/event-book-launch-with-darren-newbury-and-annebella-pollen-april-17-2024/

 

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12398710054?profile=RESIZE_400xPhotoMuse - The Museum of Photography in Kerala, India, is hosting a new exhibition Curated by Dr. Unni Pulikkal S , the Director of PhotoMuse, the exhibition marks a significant milestone in the nation's photographic history. It serves as the inaugural event for the newly constructed permanent museum. Scheduled to commence on March 10th at 1100, the exhibition will be inaugurated by Mr. Murali Cheeroth , a distinguished artist and Chairperson of the Kerala Lalit Kala Academy. The event will also be graced by the presence of Mr. Herbert  Ascherman Jr. , an internationally renowned photographer and photo-historian, who will dedicate the new museum to the people of the country.

Running for the next three months from its opening date, the exhibition will showcase a collection of historical and modern photographic processes. Spanning from the 1850s to the present, it meticulously traces the evolution of photography as a handheld object over two centuries.

PhotoMuse is India's first public museum dedicated to the art, history and science of photography. Through the pursuit of photography and photographic history, PHOTOMUSE documents, interprets and promotes the natural and cultural inheritance of humanity. With photography-based outreach and educational programs, the museum emphasizes education, conservancy and India’s photographic legacy.

See: https://photomuse.in/

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12398706660?profile=RESIZE_400xFORMAT photography festival in Derby has a number of talks and activities around the exhibitions. On 16 March Peter Jordan-Turner is talking about the carte-de-visite. 

The Cartes de Visite craze in the second half of the nineteenth century was recognised, even at the time, as a social phenomenon.  

Join Peter Jordan-Turner as he reveals how problematic early photographic technologies were swept aside by a method of production and usage that welcomed all but the very poorest into the studios that sprang up in every town and city in Britain. Cooks and countesses, railway porters and aldermen could all see themselves as never before, almost instantly, and their likenesses were shared with their social circle, or sent to family and sweethearts to cement relationships in an age that saw greater mobility around the country and the Empire. This new sharing of photographic portraits established a habit that has grown stronger as each new technology placed photography closer to the people who ultimately use it, and is the true ancestor of Instagram and every other photo sharing platform.’ 

Peter Jordan-Turner is an Associate Lecturer at the University of Derby and the University of Gloucestershire, and is a Trustee for the W.W.Winter Heritage Trust. 

He is also pursuing a doctorate in the history of nineteenth century commercial photography, titled Reconnecting with a Historic Photographic Archive: The case of W.W.Winter (Derby) as a model for public and academic access to a significant archive of commercial photography, and is author of ‘From Darkroom into light: Photographic archives and community cohesion’ to be presented at the 5th CAA Conference in Greece in April 2024. 

Cartes de Visite: The Original Social Media
Peter Jordan-Turner
16 March 2024 at 1100
QUAD, Derby
Free, or suggested donation of £3
See: https://www.derbyquad.co.uk/events/cartesdevisite/

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Continuing its series of seminar days the Martin Parr Foundation has announced British Photography in the 1990s which will take place on Saturday, 11 May 2024. Speakers include Vinca Petersen, Stephen Gill, Juergen Teller, Joy Gregory and Richard Billingham. This event follows on from previous seminar days exploring photography in the 70s, 80s and Another Country, showcasing an overview of British Documentary Photography since 1945.

Past seminars have filled up very quickly so early booking is recommended.

British Photography in the 1990s
Saturday, 11 May 2024, 0930-1730

Bristol: Martin Parr Foundation
£55 / regular

£48 / MPF member
£48 / students
Lunch, teas and coffees included

Full details and bookings: https://www.martinparrfoundation.org/events/british-photography-in-the-1990s/

Image: From Ray's a Laugh © Richard Billingham

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12393255458?profile=RESIZE_180x180This symposium welcomes researchers, curators and photographers from all geographical areas. Proposals may concern any post-colonial period from the 19th to the 20th century. Abstracts in english or french (approx. 500 words) must be sent by May 31, 2024 at the latest, with a short biography, affiliation information, and a bibliography (for researchers). Authors will receive an answer in June 2024. Travel and accommodation expenses for selected participants will be covered. We welcome proposals addressing one or more of the following topics: 

History

  • Histories of the passage, transition, training and circulation of photographers and photographs from the liberation and independence struggles of the 19th and 20th centuries.
  • Histories of hindered and unfinished photographic projects
  • Histories of the construction and deconstruction of visual cultures and imaginaries from the independence struggles of the 19th to the 20th centuries.
  • Histories of photographic networks and trajectories shaping new Cold War cartographies and imaginaries
  • Histories of networks building alternative image economies outside or through the capitalist circuits of photography
  • Histories of the creation of national press agencies

Socio-aesthetics

  • Photography’s reconsideration of power relationships: domination/resistance, emancipation/reversals of gaze
  • Porosities between auctorial photography (in the face of the question of anonymity) and propaganda photography, between dissidentism and conformism, between individual and collective action
  • Photography as a vector for the construction of cultural, collective and national identities, political imaginations, fictions and futures
  • The question of materiality, with technological and material approaches differing from those of Europe and the United States
  • The paradigm of the gaze and photographic modernities outside Europe and the USA
  • Images and approaches that rethink Western-centric aesthetic criteria and approaches to photography

Methodologies / Epistemology

  • Considering the obstacles of certain fields, the lack of sources, and the disappearance or destruction of archives
  • Countering homogenizing narratives, or how to approach specific individual practices and the interplay of local and global scales
  • Questioning the oral history method in writing the history of photography, as well as micro-historical approaches
  • Question the limits of postcolonial approaches to understanding these photographic histories
  • Challenge the Eurocentric historical view of photography, and imagine new « non-Western » ways of thinking about photography as an epistemological axis

Histories of Photography from the Struggles for Independence: practices, circulations and aesthetics
Abstract submission by: 31 May 2024
Conference: 28-29 January 2025JAN 28-29, 2025 International Conference
INVISU / INHA, Institut national d’histoire de l’art, Paris
Details: https://invisu.cnrs.fr/seminaires-et-conferences/colloque-histoires-de-photographies/histories-of-photography-from-the-struggles-for-independance/

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For centuries, portraiture has played a vital role in shaping the public’s perception of the Royal Family. Over the past 100 years, no artistic medium has had a greater impact on the royal image than photography. Royal Portraits: A Century of Photography will chart the evolution of royal portrait photography from the 1920s to the present day, bringing together more than 150 photographic prints, proofs and documents from the Royal Collection and the Royal Archives. The photographs presented in the exhibition will be vintage prints – the original works produced by the photographer, most of which have never been on public display.

The works on show will demonstrate how the Royal Family has harnessed the power of photography to project both the grandeur and tradition of monarchy, and at times an unprecedented sense of intimacy and relatability. The exhibition will examine the changing status of photography as an art form and consider the cultural, artistic, and technological shifts that influenced the work of the most celebrated royal photographers, from Cecil Beaton and Dorothy Wilding to Annie Leibovitz and Rankin.

12393199693?profile=RESIZE_400xArchival documents and unreleased proofs will shed light on the behind-the-scenes process of commissioning, selecting and retouching royal portraits. From photographers’ handwritten annotations to never-before-seen correspondence with members of the Royal Family and their staff, these materials will reveal the stories behind some of the most enduring photographs ever taken of the Royal Family.

The exhibition will open with the 1920s and 30s, the golden age of the society photographer. Post-war prosperity and technological advances led to a boom in photographic studios, and members of the British and European Royal Families were among the ‘Bright Young Things’ eager to be captured on camera. Many of the new studios were operated by women, and female photographers such as Dorothy Wilding and Madame Yevonde were among those experimenting with a bolder, more modern aesthetic.

In the mid-20th century, no royal photographer had a greater impact on shaping the monarchy’s public image than Cecil Beaton. The exhibition will present some of Beaton’s most memorable photographs, taken over six decades. These include Queen Elizabeth The Queen Mother’s famed 1939 shoot in the Buckingham Palace Gardens, dressed in her ‘White Wardrobe’ by Norman Hartnell, and Beaton’s original Coronation portraits of Queen Elizabeth II – arguably the most prestigious photography commission of the century. 

Close relationships between royal sitters and photographers will unfold throughout the exhibition, seen most clearly through the lens of Lord Snowdon (born Antony Armstrong-Jones). One of the most sought-after photographers of the 1950s, Snowdon’s unpretentious style soon attracted the attention of the Royal Family, and he became a member of the family himself when he married Princess Margaret in 1960. His remarkably intimate portraits of the Princess, taken both before and during their marriage, hint at the depths of trust and collaboration between them.

The exhibition’s final room will explore the innovations in digital and colour photography that revolutionised the medium between the 1980s and the 2020s. During this period, photography came to be recognised as an art form in its own right, and the perception of the role of the photographer shifted from image-making craftsperson to celebrated artist. From Andy Warhol’s diamond-dust-sprinkled screenprint of Queen Elizabeth II to famed photographs by Rankin, David Bailey, Nick Knight, Annie Leibovitz and more, the bold and colourful works in this room will demonstrate the extraordinary variety, power and at times playfulness of royal portrait photography over the past four decades.

Alessandro Nasini, curator of Royal Portraits: A Century of Photography, said: ‘This is the first exhibition from the Royal Collection entirely dedicated to modern portrait photography, an artistic medium that has helped to shape how the world views the British monarchy. We are excited for visitors to discover the beauty and materiality of these original prints, many on display for the first time, and we hope they will also enjoy a behind-the-scenes glimpse into the creative process behind some of these iconic royal images.’

Royal Portraits: A Century of Photography
17 May – 6 October 2024
The King’s Gallery, Buckingham Palace, London
See: https://www.rct.uk/whatson/event/1118538/Royal-Portraits:-A-Century-of-Photography

 Images: (top): Cecil Beaton, Princess Elizabeth, 1942. (lower): Antony Armstrong-Jones, 1st Earl of Snowdon, Proof with handwritten instructions, 1958. Photograph: Antony Armstrong-Jones

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Periodically something appears at auction which deserves a wider audience. Coming up in a Bonhams European Decor and Design auction in the United States is a stunning Carlo Ponti Megalethoscope with original bill of sales from 1876. It is estimated at US$8000-12,000.  Details are below:

Carlo Ponti Megalethoscope on Stand, Italian, c. 1865,
floral carved viewer with ebonized trim, lg. 35; set on a marble top rectangular table cabinet with carved panel doors and sides and set on carved and turned legs, with carved labels "Ponti Venezia", "Megaletoscopio" and "Privilegiato", ht. 30 1/2, d. 25, lg. 39 1/2 in.; with photographic prints.
 
12393196656?profile=RESIZE_400xProvenance:

New England Industrialist Lucius Bowles Darling was a successful businessman and politician, including his appointment as Lieutenant Governor of Rhode Island (1885-1887), and owner of the Pawtucket, Rhode Island Music Hall Building. Darling and his and wife Angeline (Armington) embarked on a Grand Tour circa 1878, purchasing items for their Pawtucket residence. Together with the original itemized invoice from Carlo Ponti, Venice, 30 July 1878 for 764 lire.

Note:
The invention of the megalethoscope by optician and photographer Carlo Ponti before 1862 greatly enhanced the experience of viewing photographs. Ponti was born in Switzerland and studied photography in Paris; he later opened photographic studios throughout Europe and was an optician to King Victor Emanuel II of Italy. Ponti's advanced understanding of optics led him to create a device that could create the illusion of perspective and of viewing a scene in daylight or at night. The optical illusion is achieved by inserting a specially prepared photograph into the rear of the megalethoscope to be viewed through a large lens at the front of the instrument. To view a photograph in daylight, doors with attached mirrors are opened to reflect sunlight onto the photograph. The doors were left closed for a night scene and an oil lamp was placed behind the megalethoscope to light the photograph from behind, creating the illusion of a night-time scene. Ponti created different models of the megalethoscope for both prints and transparent views. He exhibited the viewer at the International Exhibition in 1862 for which he received a medal. Given that Lucius Darling owned a music hall, it is possible it was used to delight audiences with scenes of Europe.

See: https://www.bonhams.com/auction/29590/lot/121/carlo-ponti-megalethoscope-on-stand-italian-c-1865/

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12391793096?profile=RESIZE_400xNewcastle's Side Gallery which closed last year after losing its Arts Council England NPO status (see here) is seeking the views of supporters and the public as it looks to the future. In an email from Laura Laffler, Director at Amber Film & Photographty Collective she said:

Thanks to your support, we can continue to digitise our archive, take part in exhibitions nationwide and support the next generation of North East documentary artists. We will find out about several major funding opportunities in the next few weeks, and you’ll be the first to receive an update.  But right now, more than anything, we need your feedback. Galleries should exist for everyone, and we believe the best way to relaunch our space is with community and collaboration at its core. Our next steps are to take survey responses and turn them into an in-person event where, together, we can co-create the next chapter of the Side Gallery.

To share your views click here

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12388628699?profile=RESIZE_400xFour Corners is offering a paid 12-month internship as part of its new National Lottery Heritage Fund project, The People’s Gallery. This is an exciting opportunity to work on Four Corners' Archive collection whilst gaining skills in archiving and collections management, and experience in delivering community and exhibition projects. 

Details:  https://www.fourcornersfilm.co.uk/work-with-us

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Natonal Science+Media Museum curator Vanessa Torres discusses how she and other colleagues at the museum prepare four Julia Margaret Cameron photographs for display at the National Portrait Gallery's forthcoming exhibition, Francesca Woodman and Julia Margaret Cameron: Portraits to Dream In, which opens on 21 March 2024. 

Read the blog here: https://blog.scienceandmediamuseum.org.uk/blog-from-the-basement-julia-margaret-cameron-loans/

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The Bodleian Library has reported on some of its photography acquisitions over the past two years via a series of posts on X - formerly Twitter - from its photography curator Phillip Roberts. He highlighted the following, which he says are are all available to view with a library card. He adds that exhibitions from some of the material are likely over the next few years.

12385184090?profile=RESIZE_400x

  • a set of prints from Jim Mortram'‘s Small Town Inertia project, along with films and podcasts
  • a set of prints by Dafydd Jones, showing Oxford students in the 1980s
  • a vast collection of vintage vintage news photos by Kenyan photojournalist Mohamed Amin who documented every political crisis in Africa for forty years (see image above)
  • a sequence of 350-odd photos documenting the unfolding Tiananmen Square protests by Edgar Huang, taken from among the protesters themselves
  • a handmade one-of-a-kind artist’s book by Deborah Parkin using cyanotypes to explore her father's death
  • the complete archive of master portraitist Bern Schwartz
  • the complete archive of Paddy Summerfield, 'Oxford’s greatest ever photographer'
  • The Wilson Collection. 200 boxes of masterpieces from the late-19th and early-20th century. The early history of photography, told with a global focus
  • the Handsworth Self-Portraits from Ten-8 which set up a studio on the street in Birmingham and let everyone who walked past photograph themselves. This is the only complete record of the project (left)
  • every Cafe Royal book there, now and in the future. A vast history of British photography in 600+ books
  • 2000+ modernist photobooks collected by Charles Chadwick-Healey
  • part of the archive of portrait photographer Pamela Chandler
  • Pictures From the Garden, an intimate collective study of Paddy Summerfield’s world, by Alex Schneiderman, Sian Davey, Alys Tomlinson, Jem Southam, et al
  • Victorian cat photographs by Harry Pointer
  • 6,000 dog photographs from the 19th century
  • Lewis Bush's Depravity's Rainbow project
  • Gary Fabian Miller's books
  • Brian Heseltine's photograpphs of the Caribbean from the 1950s
  • Henri Cartier-Bresson in Oxford

BPH also understands that there is other photography heading the way of the Bodleian including a British Magnum photographer's archive and another thematic collection. 

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The second edition of the Vienna Vintage Photo Fair takes place on 7 April 2024. The inaugural event at the MuseumsQuartier Vienna drew over 1,000 visitors in June 2023. This one-day event offers a unique opportunity in German-speaking countries to explore and acquire original photo-historical rarities. Thirty-five dealers from Austria, Germany, France, the Netherlands, Belgium, the Czech Republic, Slovakia, and Argentina will showcase art and vernacular photography spanning two centuries. The offered pieces range from the first daguerreotypes (the pioneering photography process from 1839) of the 19th century to subsequent black and white photographs, up to color photographs from the second half of the 20th century.

The Vienna Vintage Photo Fair is a sales fair for creative people looking for inspiration, for curators, historians, regional researchers, nostalgics, interior designers and generally for an art and culture-loving audience. The event is not only a platform for like-minded people, but also aims to stimulate interest in historical photography. Engage in conversations with collectors and experts in the field to discover more about their approaches and passion. The supporting programme will feature photo conservator Janka Krizanova from Bratislava who will teach about the daguerreotype, the earliest photographic process. Photographer Markus Hofstätter will offer live portrait shootings using the historical collodion wet plate photo process (www.markus-hofstaetter.at). Vienna based Photoinstitut Bonartes will present scientific publications on historical photography topics and the Friedl Kubelka School of Artistic Photography will present current works by its students. Take the opportunity to travel back in time from the perspective of the first photographers of the 19th and early 20th centuries and acquire a piece of history.

The Vienna Vintage Photo Fair assembles memorabilia and found objects from three centuries creating a visual cabinet of technical and artistic curiosities. Nostalgia, hunting instinct and thirst for knowledge tempt you to browse extensively. For the smartphone generation, this immersion in the physical cosmos of images is no longer a given: the analogue photo has now become a rarity. The Vienna Vintage Photo Fair provides the ideal contrast program for this. It offers a tactile experience, allows room for serendipity, and provides space for a diverse range of ideas. The aura of the original encourages reflection on its origins and history, as well as imaginary journeys into the past.

All photographs offered are so-called “vintage prints”. These are prints from the respective era that were made immediately after the negative was created, usually by the photographers themselves or under their personal supervision.

Vienna Vintage Photo Fair 2024
Sunday, April 7, 2024, 1000 – 1800
MuseumsQuartier Vienna - Architekturzentrum/Podium
Vienna 1070, Austria

Free admission!
Trade fair with 35 domestic and international dealers and experts.

mail: info@photofairwien.com
Instagram: photofairwien

Image: ”Gehfotograf”, Graz, around 1930, gelatin silver print, 8.5 x 17 cm, coll. Mila Palm 2024

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12385194874?profile=RESIZE_400xMeet Dr. James Hyman... James is a man of many parts; art historian, author, editor, critic, curator, dealer, advisor, collector, philanthropist, visionary founder of the Centre for British Photography alongside husband and father. he is interviewed by David Glasser.

James Hyman in conversation with David Glasser
Hosted by Ben Uri Research Unit /https://www.buru.org.uk/

£7.50, online, 27 February 2024 from 1830-2000 (UTC)
Booking:https://www.trybooking.com/uk/events/landing/55598?

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12385187063?profile=RESIZE_400xAssociate Professor Donna West Brett will give a lecture on the collection of photobooks donated to the Bodleian Library in 2020 by Sir Charles Chadwyck-Healey. Conveying meaning through photos alone, the photobook is a radical format that enabled the widespread dissemination of modernist aesthetics. This lecture will take a closer look at the way photobooks portray the ‘everyday’ – the familiar, the practical, the ordinary – and its intersection with the visual languages of politics and propaganda.

Donna West Brett is Associate Professor and Chair of Art History at The University of Sydney. She is author of Photography and Place: Seeing and Not Seeing Germany After 1945 (Routledge, 2016); co-editor with Natalya Lusty, Photography and Ontology: Unsettling Images (Routledge, 2019), and has published widely on photographic history. She is Research Leader for Photographic Cultures at Sydney, and Editorial Member for the Visual Culture and German Contexts Series, Bloomsbury. Brett is a recipient of the Australian Academy of the Humanities, Ernst and Rosemarie Keller Fund, and Sloan Fellow in Photography at the Bodleian Libraries for 2024.

Modernist Photobooks, Propaganda and the Everyday
In person, Tuesday, 27 February 2024, from 1300-1400 (UTC)
Weston Library, Oxford
Free or donation
Book here: https://visit.bodleian.ox.ac.uk/event/feb24/modernist-photobooks

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The National Portrait Gallery’s new publication, Francesca Woodman and Julia Margaret Cameron: Portraits to Dream In draws parallels between both photographers with new fresh research, rare vintage prints, and previously unseen archival materials alongside some of their best-known photographs.The book accompanies the exhibition of the same name opening at the National Portrait Gallery, London (21st March – 16th June).

Living and working over a century apart, Julia Margaret Cameron (1815–1879) and Francesca Woodman (1958–1981) experienced very different ways of making and understanding photographs. Yet the two share more similarities than expected. This publication presents the artists’ exploration of portraiture as a ‘dream space’, but also includes exciting new research and contributions on both artists, as well as number of works that are being published for the first time.

Francesca Woodman and Julia Margaret Cameron: Portraits to Dream In makes new connections between their work, which pushed the boundaries of the photographic medium, and highlights their experimentation with ideas of symbolism, transformation and storytelling.

“Both Woodman and Cameron worked for a relatively short and concentrated period; neither was active for more than a decade and a half. Not either enjoyed significant critical or popular success in their lifetimes. Yet both left an influential body of work that has shaped the history of photography and has posthumously received widespread attention and reassessment.”  Magdalene Keaney

12383808687?profile=RESIZE_400xThe book includes ten thematic sections interspersed with the works of both artists, but the publication begins with three feature essays, which consider Cameron and Woodman simultaneously. One of which is written by curator of the exhibition Magdalene Keaney and is an extended in-depth piece that is a major new contribution to the field, offering new ways to think about the work of both photographers and about the relationships between 19th and 20th century photography and portraiture.

Also writing for the exhibition publication is leading and highly-respected photo historian and writer specialising in women photographers Helen Ennis who was awarded the Royal Photographic Society J Dudley Johnston medal in 2021.

Portraits to Dream In includes works by Julia Margaret Cameron from the collections of major international museums including the J. Paul Getty Museum, Los Angeles; the Metropolitan Museum, New York; the Victoria and Albert Museum, London; the Science Museum Group; the Ashmolean Museum, Oxford and the National Portrait Gallery’s own collection. Prints made by Francesca Woodman in her lifetime, nearly 20 of which have not been previously published or exhibited, as well as presenting a number of letters, sketches and contact sheets from the Woodman archive which have been provided primarily by the Woodman Family Foundation in New York, who have collaborated closely on the creation of the publication.

The National Portrait Gallery is delighted to be able to bring this exhibition and accompanying book to new audiences and devoted followers of both Woodman and Cameron, to offer an inspiring and fresh take on their inimitable work.

Francesca Woodman and Julia Margaret Cameron: Portraits to Dream In published on the 21 March alongside the opening of the National Portrait Gallery’s exhibition, and is available to pre-order from the Gallery’s online shop: https://npgshop.org.uk/collections/books/products/francesca-woodman-julia-margaret-cameron-portraits-to-dream-in-hardcover

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Archive: The Photographers' Gallery

The Photographers' Gallery, London, has announced that its new digital archive is live. The digital archive is a free online resource to dig into the rich and varied past of The Photographers’ Gallery and to support future learning about photography, and includes exhibiton poster, documents and photographs. 

See: https://archive.thephotographersgallery.org.uk/ or email: tpg.archive@tpg.org.uk

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Online resource: Darwin Online

12378573858?profile=RESIZE_400xThe Darwin Online project has launched a major addition which may interest BPH readers: The Complete Library of Charles Darwin. It includes various photography references. The catalogue is a reconstruction of Darwin’s library as it was in his lifetime, hence not just recording extant books in institutional collections today (1,480 is the usual number, it turns out that many books have been overlooked). Combining these important works with hundreds of other titles derived from a huge array of sources- especially the work of many scholars, librarians and archivists and by including family catalogues to rare books sales from 1889 to the present and by including all print sources Darwin owned (not just bound ones) such as journals, pamphlets and clippings- we arrive at a collection of 7,400 titles across 13,000 volumes/items. Hundreds of these were not known to scholars before.

After combining and collating many sources and identifying thousands of incomplete references, we have also assembled 9,500 links to electronic copies of the works. Of these, 5,035 are items within Darwin Online (850 are fully transcribed) and 4,500 are links to freely accessible internet copies.

Thus the Darwin Library is now integrated with his entire corpus of published works, his manuscripts and private papers, the Beagle library, and the database with complete bibliographical records of his publications in 56 languages and union catalogue of his manuscripts across 80 institutions and collections.

An introduction to the reconstructed Darwin Library and link to the complete catalogue is here: http://darwin-online.org.uk/EditorialIntroductions/vanWyhe_The_Complete_Library_of_Charles_Darwin.html

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20/20 brings together work by British photographers Chris Killip (1946-2020) and Graham Smith (1947) for a reconceived telling of their seminal show, Another Country, originally exhibited at the Serpentine Gallery, London, in 1985. Through snapshots and ephemera, the show also recognises their lifelong friendship with one another.

Killip and Smith first met in 1975 through Amber, a film and photography collective in Newcastle upon Tyne. They both photographed in North East England during a period when heavy industry was still thriving, followed by an unforeseen and devastating collapse. The photographers documented the individuals and communities whose lives depended on these industries, people who were facing a politically forced change to the landscape and their ways of life that had been settled for generations.

The idea for 20/20 was conceived by Augusta Edwards in 2019 and at that time Killip and Smith each selected 20 images taken between 1975 and 1987 for the exhibition. In the same powerful way as Another Country, the work by Killip and Smith is shown anonymously together on the walls in 20/20.

20/20 was first shown at Augusta Edwards Fine Art, London, in 2022.

 

20/20: CHRIS KILLIP / GRAHAM SMITH
11 April - 30 June 2024
Martin Parr Foundation, Bristol
See: https://www.martinparrfoundation.org/events/20-20-chris-killip-graham-smith/

Image: left / Another Country exhibition poster, Serpentine Gallery, 1985; right / Graham (left) and Chris (right), Wallsend, North Tyneside, 1976 © Markéta Luskačová

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12378366454?profile=RESIZE_400xNick Warr and Simon Dell – the curators of a fascinating exhibition Norwich Works: The Industrial Photography of Walter and Rita Nurnberg currently on at Norwich Castle Museum until 14 April - will talk about the too little known German-born émigré photographers Walter and Rita Nurnberg.

Walter (1907-1991) and Rita (1914-2001) Nurnberg established a commercial photographic studio in London in 1934 after relocating from Germany. Walter, a former pupil and tutor at the prestigious Reimann School of Art and Design in Berlin, made a name for himself in product photography. After the Second World War, the Nurnbergs concentrated their collective skills in documenting and celebrating the workers of Britain.

Over the subsequent decade, the Nurnbergs made photographs for many of the nation’s most significant companies and their distinctive style of black and white images transformed the image of post-war British industry. While the work they produced for three Norwich manufacturing institutions - Boulton and Paul, Mackintosh-Caley and Edwards and Holmes – form the centrepiece of the current exhibition, the speakers will set this work in the broader context of Walter and Rita Nurnberg's lives and careers.
 
Dr.Nick Warr is Lecturer in Art History and Curation in the School of Art, Media and American Studies at the University of East Anglia, Norwich. He is also Curator of Photographic Collections, Course Director of Art History and World Art Studies, and Academic Director of the East Anglian Fim Archive.

Dr.Simon Dell is an art historian who taught at the University of East Anglia for over twenty years. His key research interests include photography, with special reference to France, Germany, the Soviet Union and the United States, and the relationship of the visual and the political in interwar Europe.

From Berlin to London: The Industrial Photography of Walter & Rita Nurnberg
Online, 12th February 2024 at 6:00PM
Free, or make a donation
 
 

Book here: https://www.ticketsource.co.uk/insiders-outsiders/from-berlin-to-london-the-industrial-photography-of-walter-rita-nurnberg/e-vqmqxp

Image: Walter and Rita Nurnberg, Check weighing and closing cartons, Mackintosh-Caley, Chapelfield Works, Norwich, 1958 (detail)



Insiders/Outsiders is an ongoing celebration of the indelible and pervasive contribution of refugees from Nazi-dominated Europe to British culture.

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The Guardian newspaper reports that an archive of more than 10,000 photographs capturing everyday life in England’s north-west has been saved for the future, and is now being made available to the public. From 1885 to the 1970s thousands of photographs were taken by the Barrow-in-Furness-based father and son Edward and Raymond Sankey, who captured a wide range of subjects, including working-class women, childhood, royal visits, sport, working horses, motor vehicles, shop fronts, shipping and tourism in the Lake District. Their original glass plate negatives, postcards, albums and documentation have now been rescued, digitised and catalogued.

The archive is housed by Cumbria Archives and has been made possible with support from the National Lottery Heritage Fund and Signal Film & Media. 

BPH reported on the launch of the Archive website in September 2023. See: https://britishphotohistory.ning.com/profiles/blogs/archive-sankey-family-photography-collection

See The Guiardian report here: https://www.theguardian.com/artanddesign/gallery/2024/feb/09/archive-photos-capture-life-in-england-north-west

Visit the Sankey Photography Archive.

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