The Lens Media Lab at Yale's Institute for the Preservation of Cultural Heritage invites you to its symposium DARKROOM TO DATA, to be held in New Haven on August 12, 2024. The program will feature the lab's research into the material history of black and white photography and will highlight our principal collaborations among leading collections. The theme of this work is 'seeing at scale' through the creation and interpretation of datasets that surface patterns latent in photograph collections. These patterns inform our thinking of preservation, artistic intention, regional practices, and the influence of materials and methods shared by photographers across time.  The intended audience is art historians, conservators, conservation scientists, collectors, curators, dealers and anyone interested in data science and data visualization applied to the study of cultural material. 

Program details and a link for registration are here. Advance registration is required and is free of charge. 

Opening next month, I Am Who I Am Now: Selections from the Bengali Photo Archive offers a unique insight into the everyday life of the Bengali East End of London.  The exhibition focuses on vernacular photographs taken of and by Bengali people over the past 50 years. Accompanied by oral histories and collaboratively produced archival interpretations, it offers a powerful and intimate perspective on the community's histories. From the microcosms of the family to the transformative power of community spaces, it illuminates the intricate interplay between individual experiences and the broader socio-political landscape in the East End.

The images are drawn from the Bengali Photo Archive, a new collection featuring personal and family images donated by local people. The exhibition also features work by
photographers Raju Vaidyanathan, Mayar Akash, Anthony Lam, Paul Halliday, Sarah Ainslie, David Hoffman, Paul Trevor and others, which documents the community's working lives,
activism, and anti-racist struggles.

The title of the show is inspired by photographer Mayar Akash, who reflected, “I am who I am now” because of transformative experiences in East End youth work settings. The central importance of such community spaces is shown in images of the Federation of Bangladeshi Youth Organisations, and musicians such as Joi Bangla, State of Bangal and Osmani Knights. These groups brought together politics, activism, arts and music to create a new Bengali youth culture in the 1980s.

I Am Who I Am Now: Selections from the Bengali Photo Archive is co-curated by Julian Ehsan, Four Corners and the Bengali Photo Archive volunteers with the generous support of Swadhinata Trust. It is supported using public funding by the National Lottery through Arts Council England, the Art Fund and Historic England.

Julie Begum, of Swadhinata Trust says: “When we engage with art that reflects diverse perspectives, we see new ideas, cultures, and ways of thinking. . . The Bengali photo archive challenges racist stereotypes about us and who people think we are, including ourselves.”

Julian Ehsan, exhibition curator says: “I Am Who I Am Now reveals the power of community history and telling the stories of everyday people. Working collaboratively with project
volunteers and people who appear in the archive itself, this exhibition re-centres the curatorial process — and the curatorial power — to emphasise voices that are often hidden or ignored. As a person of Bengali heritage myself, it has been poignant to work with intimate and evocative images of, and by, the diaspora.”

Akila Asad, an archive volunteer says: “The archive captures the resilience and the everyday lives Bengalis built in Britain. By highlighting their heritage, the Bengali Photo Archive encourages viewers, especially the Bengali community, to take pride in their pioneering forefathers who journeyed to the UK, solidifying their presence in East London and proving that Britain is indeed their home as well.”

Tanbir Mirza-Baeg, archive donor and volunteer says: “The Bengali Photo Archive will be a great insight for those who want to look at their heritage to see that there was simple mundanity outside of the struggles that were faced by the generations before them. I hope that it inspires others to start their own archive, and gather the different pieces before they are lost and there isn't a chance to see or hear them again.”

I Am Who I Am Now: Selections from the Bengali Photo Archive
5 July-4 August 2024
London, Four Corner
See more here

Image: Two boys dancing at Spitalfields City Farm, 1990s. © Julie Begum. Courtesy of Bengali Photo Archive.

Project Placement opportunity to help with getting Leeds Historic Photographs online. ​The project will involve preparing Leeds Museums’ historic photograph and local history image collections for export to the Leodis website (https://www.leodis.net/). ​

This will include research and identifying content, and cross-checking with images on Leodis to identify images which would be suitable. The project provides valuable experience working with historic collections, digitisation and cataloguing skills, research experience and an opportunity to learn more about Leeds history. This will make more of the museum collections accessible online and help to crowd-source information from the public.​

About You:​

Our Project Placements are a training and development opportunity. We are looking for people who are:​

• Starting out in heritage, culture or the arts​
• Looking for a change of career and exploring options in the arts and cultural sector ​
• From a diverse range of backgrounds underrepresented in the arts and cultural sector ​

What matters most is your passion for the project.​

About the role:​

This is one of four Project Placements at Leeds Museums and Galleries in 2024. The funding for Project Placements comes from Arts Council England National Portfolio Organisation funding to give people paid experience of working in a heritage/cultural setting, training and support. ​

Project Placements are a maximum of 30 days to be completed before the end of March 2025. We are open to it being fewer days to help people access the opportunity. We welcome and encourage job applications from people of all backgrounds. We are a family friendly organisation and support our employees to work flexibly to maintain a healthy work-life balance. Working days and times are flexible and are agreed between the individual and the supervisor. ​ Pay £12/hour. 

To find out more, we have a video describing each of the Project Placements and giving tip tops for applications. This can be accessed here: Project Placement film LMG - YouTube

Details and apply here: https://jobs.leeds.gov.uk/jobs/project-placement-casual-req25015

This is an externally funded Fellowship sitting in the Photography Section of AAPD.  The purpose of the Curatorial Fellowship is to further develop expertise in the history of photography by researching the collections of the V&A, while gaining vital curatorial experience working in a museum.  The Curatorial Fellow will divide their time between key curatorial duties (including cataloguing, collections care, display, exhibition and publication preparation and researching potential acquisitions) and pursuing an independent research project based on the V&A’s photography collection, which will culminate in a tangible output such as a conference, publication and/or web project.

The research project will be based on the Royal Photographic Society (RPS) Collection, which was transferred to the V&A in 2017, and may relate to portraiture, colour photography or photographic processes, all areas of interest to the American photographer Bern Schwartz and The Bern Schwartz Family Foundation. The topic and scope of the project will be agreed at the start of the Curatorial Fellowship, depending on the Fellow’s expertise and the priorities of the Photography Section.

In the first year, the Curatorial Fellow will be based in the Photography Section as an active member of the curatorial team. In the second year, the Fellow will have the opportunity to spend three months in the V&A Research Institute (VARI) to focus on completing the research project. Throughout the Fellowship, there will be opportunities to present research to internal audiences, students, donors and the general public through lectures and gallery talks. Using an accompanying travel fund, the Fellow will have the opportunity to travel nationally and internationally to visit other photography collections as part of their curatorial and research work.

As a member of the AAPD, the Curatorial Fellow will also play a role in the wider work of the V&A, contributing to policy, projects and public programmes, supporting fundraising and income generation.

Curatorial Fellow in Photography, supported by The Bern Schwartz Family Foundation
Two-year role
Closes 3 July 2024
See more and apply here

The Royal Society has digitsied and made available over 10,000 letters of the astronomer and photographic pioneer Sir John Frederick William Herschel FRS (1792-1871) for the first time on the Royal Society’s Science in the Making archives portal. This collection of nearly 10,900 letters, drafts, copies and notes is the largest repository of scientific correspondence from and to Sir John Herschel, leading figure of Victorian science and is based on 

Digital audiences can now travel through time to read about Herschel’s work in his own words and those of his correspondents. They can delve into first-hand accounts of Herschel’s mapping of the southern hemisphere skies and his contribution to the development of photography, including inventing the blueprint. They will also find his early mathematical work, and even his contested translation of Homer's epic poem, The Iliad.

The V&A has recently acquired a collection of over 2,000 photographs by Bert Hardy (1913-95). Hardy was chief photographer for Picture Post magazine from 1941 to 1957 and the photographs in the acquisition span his entire career and consists mostly of vintage prints and some Kodachrome slides. His work represents a highpoint of twentieth-century British photography and international photojournalism. Hardy was the subject of a recent retrospective exhibition at The Photographers' Gallery, London. 

The School of Journalism at Cardiff University holds the Bert Hardy archive containing material from 1936-2018. See: https://archiveshub.jisc.ac.uk/search/archives/0766a454-c2f6-3f9d-ad1c-5497bd17e07f

The V&A is currently advertising a PhD student placement to work on the collection. 

To provide opportunities for early-career training for PhD students, the V&A has made available a range of doctoral placements based in collections departments, archives, the National Art Library, research, and collections care and access. Each placement is a discrete project designed by members of V&A staff (who will also act as the placement’s supervisor), involving collaborative as well as independent research.

The RPS Medical Group was founded in 1946. While the Group continues to exist, its collection of an estimated 4,000 photographs and archival papers, dating from the 1910 until the 1990s, now forms part of the V&A RPS collection.

The collection appears to have been formed as a resource for teaching and research, a record of technical advances, a platform for the recognition of photographers and hospital photography units, and as a visual record of surgical procedures, medical conditions and pathology.

The collection has a UK focus, with works by key practitioners such as the Group’s founder, Rosalind Maingot (1894-1947) and radiographer John Arthur Fairfax Fozzard (1905-93). It also contains the work of photographic departments including St Bartholomew's, Royal Free, St Thomas’ and Guy’s hospitals in London.
The collection contains some sensitive and graphic imagery. Ethical considerations will be a key factor in considering approaches to its cataloguing, research and dissemination. The student would be expected to seek advice from the V&A terminology group and experts outside of the museum sector.

The main tasks are to survey the material and its physical condition, categorization and organization, to organize and rehouse items in appropriate storage, research and write a summary and to catalogue a selection of the holdings.

This is an unpaid doctoral placement that is financially supported by the successful applicant’s PhD stipend in line with UKRI guidance.

See: https://vam.current-vacancies.com/Jobs/Advert/3519937?cid=3279&rsid=24732&js=0&LinkType=1&FromSearch=False

To provide opportunities for early-career training for PhD students, the V&A has made available a range of doctoral placements based in collections departments, archives, the National Art Library, research, and collections care and access. Each placement is a discrete project designed by members of V&A staff (who will also act as the placement’s supervisor), involving collaborative as well as independent research.

The project will investigate holdings related to Latin America in the V&A Photography Collection. It will focus on objects acquired between 1850 and 1950, to situate findings in the context of early global networks and institutional connections to Latin America that can be mapped through photography. Many relevant holdings feature in bound photographic albums from the nineteenth and early twentieth centuries, which are largely uncatalogued and undigitised. Other relevant holdings include topographical imagery, travel photographs and photographs of Latin American artefacts, as well as work by well-known photographers from the 20th century.

The placement will produce a survey of holdings related to Latin America in the Photography Collection, outlining historical context, scope and content. It will create a findings list for uncatalogued objects; and undertake more detailed provenance and object-level research for a defined group of material, resulting in new or enhanced catalogue records. The student will be encouraged and supported to write a blog post and lead a Print Room event relating to their work.

The project builds on momentum across the V&A to engage with Latin America. It will contribute new ways of thinking through institutional histories, and ripen collections for use in the Photography Section’s contemporary commissioning programme.

This is an unpaid doctoral placement that is financially supported by the successful applicant’s PhD stipend in line with UKRI guidance.

See: https://vam.current-vacancies.com/Jobs/Advert/3515597?cid=3279&rsid=24732&js=0&LinkType=1&FromSearch=False

To provide opportunities for early-career training for PhD students, the V&A has made available a range of doctoral placements based in collections departments, archives, the National Art Library, research, and collections care and access. Each placement is a discrete project designed by members of V&A staff (who will also act as the placement’s supervisor), involving collaborative as well as independent research.

The V&A has recently acquired a collection of over 2,000 photographs by Bert Hardy (1913-95). Hardy was chief photographer for Picture Post magazine from 1941 to 1957. His work represents a highpoint of 20th century British photography and international photojournalism. The photographs in the acquisition span his entire career and consists mostly of vintage prints and some Kodachrome slides. The V&A seeks a student to work with Photography Curators on cataloguing the collection on a database and to organise, number, sleeve and box the photographs. The student will also be expected research a specific aspect of the collection that links with their interests.

This is an unpaid doctoral placement that is financially supported by the successful applicant’s PhD stipend in line with UKRI guidance. full time

Details: https://vam.current-vacancies.com/Jobs/Advert/3519915?cid=3279&rsid=24732&js=0&LinkType=1&FromSearch=False

Side Gallery which had temporarily closed last year and was under threat of permanent closure (see here) having lost its Arts Council National Portfolio status and funding has provided an update of its position. In 2023 is secured over £50,000 as part of a Crowdfunding exercsie and it has just been awarded a £236,000 grant by The heritage Fund which 'secures our building for the next year, which will allow us to host pop-up exhibitions and do comprehensive cataloguing.'

Side's statement sent to those who had supported its Crowdfunder says: 

When we last emailed you in March we had several exciting updates to share about the collection, however, the future of Side Gallery was still uncertain… 
We had one final funding application under review, which if not won would mean the permanent closure of the Side Gallery. 
I am pleased to announce that we have been awarded a £236,000 grant by The Heritage Fund thanks to National Lottery players. 
This grant secures our building for the next year, which will allow us to host pop-up exhibitions and do comprehensive cataloguing.
But this grant isn’t just about the gallery, it’s much bigger.
This means exploring new partnerships and ensuring we are more connected to working photographers and the North East arts community. 

This grant will enable us to run a 12-month project that includes:

• Expanding our team (new roles to be announced soon)
• Business & Resilience Development
• Creating new exhibitions representing many viewpoints, nurturing an inclusive culture
• Exploring new ways to collaborate with new artists, audiences and lifelong supporters. 
• A comprehensive, publicly accessible catalogue of the AmberSide Collection

The grant puts us on the path to reopening the gallery, but we not going back to business as usual; instead, we are forging a new direction that is mindful of our original principles.

We have a long way to go, but we would not have made it this far without you
Your donation to #SaveSide allowed us to protect the collection and gallery space and spend time creating the highest-quality funding applications. 
Thanks to you and the 2,000 others who care deeply about telling North Eash stories we #SavedSide. 

We’ll share updates and stories from the project along the way, and can’t wait to see what this next chapter brings for the collection and photography in the North East. 

All the best, 

Laura Laffler

Amber Film & Photography Collective

See: https://www.amber-online.com/side-gallery/

Acclaimed British photographer Roger Mayne (1929–2014) was famous for his evocative documentary images of young people growing-up in Britain in the mid-1950s and 1960s. This exhibition, of around sixty almost exclusively vintage photographs, includes many of his iconic street images of children and teenagers, alongside an almost entirely unknown selection of intimate and moving later images of his own family at home in Dorset, as well as those taken on his honeymoon in Spain in 1962.

Self-taught and influential in the acceptance of photography as an art form, Mayne was passionate about photographing human life as he found it. This is the first exhibition of his work since 2017.

Roger Mayne: Youth
14 June-1 September 2024
Denise Coates Exhibition Galleries
London, The Courtauld
See: https://courtauld.ac.uk/whats-on/exh-roger-mayne-youth/

The photographs in this exhibition do not depict rare or special things. They show toothpaste, tombstones, and hats. But these familiar trappings of everyday life will be, at times, unrecognizable—so altered by the camera as to constitute something entirely new. Enticing consumers with increasingly experimental approaches to the still life genre, the photographs featured transform everyday objects into covetable commodities. The camera abstracts them from functional use, at times distorting them through dizzying perspectives and modulations of scale. Spanning the first century of photographic advertising, the exhibition will illustrate how commercial camerawork contributed to the visual language of modernism, suggesting new links between the promotional strategies of vernacular studios and the tactics of the interwar avant-garde. Corporate commissions by celebrated innovators, including Paul Outerbridge, August Sander, and Piet Zwart, will appear alongside obscure catalogues and trade publications, united by a common cause: to snatch the ordinary out of context, and sell it back at full price.

The Real Thing: Unpackaging Product Photography
until 4 August 2024
New York, Metropolitan Museum of Art
See: https://www.metmuseum.org/exhibitions/the-real-thing-unpackaging-product-photography

Image: Anton Bruehl (American (born Australia), Hawker 1900–1982 San Francisco, California)

With the most extensive retrospective of her photography yet staged in the UK, Tate Britain celebrates Lee Miller as one of the 20th century's most urgent artistic voices.

First exposed to a camera by working in front of it, Miller was one of the most sought-after models of the late 1920s. She quickly stepped behind the lens, becoming a leading figure in the avant-garde scenes in New York, Paris, London and Cairo.

The exhibition will showcase Miller’s extraordinary career, from her participation in French surrealism to her fashion and war photography. Exploring her artistic collaborations, the exhibition will also shed light on lesser-known sides of her practice, such as her remarkable images of the Egyptian landscape in the 1930s.

With around 250 vintage and modern prints, including those never previously displayed, the exhibition reveals Miller's poetic vision and fearless spirit.

Determined to forge her own path, she later commented, ‘It was a matter of getting out on a damn limb and sawing it off behind you.’

Lee Miller
Tate Britain
2 October 2025 – 15 February 2026
https://www.tate.org.uk/whats-on/tate-britain/lee-miller

Image:  Lee Miller, Model with lightbulb, Vogue Studio, London, England c.1943. © Lee Miller Archives, England 2024. All rights reserved. leemiller.co.uk

Tate Modern, London, has given advance notice of a new exhibition Global Pictorialism which will run from 4 December 2025-25 May 2026. It is being developed and researched by the Tate's new photography curator Charmaine Toh.  Discover how pictorialism, the first international art photography movement, developed across the world from the 1880s to the 1960s.

Bringing together over fifty artists from Shanghai to Sydney, New York to Cape Town and Brazil to Singapore, this truly international exhibition takes a fresh and inclusive look at the history of art photography. Featuring never-before seen works from around the world alongside pieces from Tate’s Collection, Global Pictorialism highlights the vast and varied artistic possibilities of photography as a medium.

Global Pictorialism
4 December 2025-25 May 2026
London, Tate Modern
https://www.tate.org.uk/whats-on/tate-modern/global-pictorialism

Image: Luo Bonian, Drawing Water from a Well series, May 1932 ©️Luo Bonian, Courtesy of Luo Bonian Art Foundation and Three Shadows +3 Gallery

The Bill Douglas Cinema Museum in Exeter has announced the inaugural Stephen Herbert Award, which will enable a researcher to come to the museum to consult the museum's early cinema or optical media holdings. The award is named after the much loved and hugely influential film historian Stephen Herbert, who died last year. The award has been kindly gifted to us in Stephen’s name by his partner Mo Heard and we welcome applications that focus on the areas that particularly excited Stephen; the optical media that preceded cinema, such as magic lanterns, illusions, stereoscopes, and animated toys, and the first couple of decades of cinema history in the 1890s and early twentieth century. Material collected by Stephen has been donated to the museum recently, such as his work on magic mirrors and the pioneer Wordsworth Donisthorpe. Applicants could consult these items, or any of the other extensive holdings at the museum from a variety of donors on moving images from the 17th century up to around 1918. Go to www.bdcmuseum.org.uk for more information on our collections.

The award is for up to £500 and we particularly welcome applications from early career scholars or from independent researchers who might otherwise find it difficult to afford to visit Exeter. The monies are to be used for travel and accommodation costs incurred while visiting the Museum to undertake significant research that will be enhanced by access to our collections. Proposed research should contribute to publications or other demonstrable outcomes, such as films or artworks. Successful applicants will be required to write a blog post for the museum’s website about their research following their visit.

See more and apply: https://www.bdcmuseum.org.uk/news/the-stephen-herbert-award/

A new blog discusses the University of Cambridge 1897 vote on whether to allow women the titles of their degrees, and looks at the photographs that recorded extraordinary scenes.  The vote (Spoiler alert) went badly against the women and it was not until 1948 that women were finally admitted to full membership of the University. A day and night of riotous celebrations by the male undergraduates followed. Shop windows were broken, a giant bonfire was lit in the Market Square and fuelled with pillaged shutters and any other wood that the students could lay their hands on.

The extraordinary scenes of 21 May 1897 were captured by photographers stationed on rooftops and high places around the Senate House, where the voting took place. Photographs by Messrs Stearn on the Cambridge Digital Library capture the massed crowds and the excitement of the men spilling out of the Senate House after the result was announced. Of all the photographs, surely the most iconic is that of the crowd beneath the notorious effigy of a ‘new woman’ bicyclist in blue bloomers and pink bodice, suspended from a window above the Bowes & Macmillan (now Cambridge University Press) bookshop. The effigy was later pulled down and decapitated by the jubilant undergraduates.

Read the full blog and see the photographers here: https://specialcollections-blog.lib.cam.ac.uk/?p=28325

Presented at the André Malraux Museum of Modern Art – MuMa, the exhibition Photographing in Normandy (1840-1890). A pioneering dialogue between the arts aims to highlight the decisive role that Normandy played in the beginnings of photography. Exhibiting photographs on the occasion of the fifth edition of Normandie Impressionniste and especially for the 150th anniversary of the movement, makes perfect sense, as painting and photography have maintained close links, underpinned by a spirit of invention, of emulation and innovation which led to the renewal and multiplication of images in the nineteenth century.

The exhibition brings together masterpieces of painting and photography, from pioneers to the biggest names, including amateurs. Iconic works rub shoulders with rare or little-known works. The variety of formats and techniques allows us to understand the extraordinary technical abundance of these beginnings of photography. The paintings of Impressionist and pre-Impressionist painters come from the prestigious collections of the MuMa, the Musée d'Orsay, the Fine Arts museums of Amiens, Caen, Honfleur and Lyon (including Jongkind, among others). Courbet, Dubourg, Boudin, Pissarro, Monet …) alongside photographs by Hippolyte Bayard, Stéphanie Breton, Hippolyte Fizeau, Gustave Le Gray, Henri Le Secq, the Macaire and Warnod brothers, John Ruskin, William Henry Fox Talbot … Near two hundred works are to be discovered.

A field of experimentation and innovation for the greatest photographers since the 1840s, whether inventors or artists, Normandy is the ideal place to measure the reciprocal influence of the arts. Photography records a rich heritage whose fragility and importance we then measure, follows the progress of the transformation of the coasts by seaside architecture and the arrival of rich summer visitors, seeks the picturesqueness of the countryside, tackles the scenes of genre and maritime views very clearly asserting his artistic ambitions.

The period covered by the exhibition extends from the first years when photographic techniques were disseminated, until the dawn of a new era, that of cinema and the democratization of photography, notably via photo clubs. The animated image was then close to marking the end of the century, and the creation of photographic companies reflected the renewed accessibility to the process. The precursors, the professionals and enlightened amateurs are no longer the only creators of images. Another story begins.

Photographing in Normandy 1840-10890
25 May-22 September 2024
Details: https://www.muma-lehavre.fr/fr/expositions/photographier-en-normandie

Image: Alphonse DAVANNE, N°2 Etretat Left cliff , 1864, Print on albumen paper from glass negative, 24 x 31 cm. Paris - National Library of France

We are pleased to invite you to the 2-day symposium Vestiges of Memory: Intersections between Photography and Autobiographical Memory held at the University for the Creative Arts in Canterbury on 18 – 19 July. Across two days, this research symposium sets out to explore new ways in which 21st century artists, photographic practitioners and other researchers interrogate, mine, imagine, respond to, question and reflect upon intersections between autobiographical memory photography.

Vestiges of Memory: Intersections between Photography & Autobiographical Memory
Thursday 18th July – Friday 19th July 2024
The University for the Creative Arts, Dover Road, Canterbury CT1 3AN Information, programme and registration: https://www.uca.ac.uk/events/research/vestiges-of-memory

eidolon is delighted to announce the launch of its first international grant for projects which explore, promote and conserve vernacular photography. The deadline for submission is 30 August , and applications can be made under two categories, with a total of €25.000 to be distributed. The eidolon Grant is an international programme that is presented annually to artists, academics, professionals, researchers, collectors and vernacular photography enthusiasts whose past work and proposed project is centred around the image heritage of everyday photography.

Details: https://everydayphotography.org/centre/grant#about

Visual Arts Worcester (VAW) is honoured to host the British photographer Adam Fuss who will be in conversation with art historian Geoffrey Batchen. Adam Fuss is a contemporary British photographer. Known for his ethereal images created using a photogram technique in which objects are placed directly on light-sensitive painter, Fuss achieves a poetic sense of detachment and wonder throughout his work. As reviewed in The New Yorker: “A restlessly inventive photographer, Fuss has made some of the most exciting, mysterious and provocative images of the past twenty years.” Widely shown, his work is represented in many American and international collections, including: Metropolitan Museum of Art, New York; Museum of Modern Art, New York; Whitney Museum of American Art, New York; Los Angeles County Museum of Art and Victoria and Albert Museum, London.

Geoffrey Batchen is a specialist in the history of photography and taught art history in Australia, the United States and New Zealand before coming to the University of Oxford in 2020. He began his career as a curator, having edited art magazines, hosted a radio show, and published a variety of books.

In conversation with Adam Fuss and Geoffrey Batchen
Tuesday, 28 May 2024 at 1730
Free admission
Sultan Nazrin Shah Centre, Worcester College, Walton Street, OX1 2HB
Booking here: https://www.ticketsource.co.uk/visual-arts-worcester/in-conversation-with-adam-fuss-and-geoffrey-batchen-free/e-zlgdde