The Curator of Astronomical Photographs, reporting to the Executive Director of the Harvard College Observatory, provides vision, leadership, advocacy, interpretation, and passion for the Observatory’s Astronomical Photographic Glass Plate Collection (Glass Plates). The Curator also serves as catalyst and coordinator of activities dedicated to connecting faculty, students, and an international community of scientists and researchers, to the Glass Plates to advance their scholarship and the mission of the HCO. The Curator will support conservation activities and advise on both short term and long term plans pertaining to stewardship of the Glass Plates. The Curator will be responsible for overseeing the work of LHTs and possibly Curatorial Assistants undertaking both physical and digital projects and will execute administrative tasks associated with daily operations of the Observatory Plate Stacks. 

The Curator will have enthusiasm and demonstrated ability in sharing and interpreting the Glass Plates for teaching purposes, in digital contexts, in publications, and through exhibitions and programming. The Curator will be adept in communicating the value and contemporary relevance of astronomical photography to experts and general audiences.  

The successful candidate will understand and appreciate the history of astronomy, particularly as it relates to optical observation methods and the roles that gender and care work have played in advancing the field; the ability to master over time all aspects of Glass Plate stewardship; enthusiasm for working with faculty and students; a proclivity for adopting new technologies and methods that will improve access to and use of the Glass Plates; and a collaborative and collegial outlook.

For more information see the full job posting:

https://sjobs.brassring.com/TGnewUI/Search/home/HomeWithPreLoad?partnerid=25240&siteid=5341&PageType=JobDetails&jobid=1980489

The V&A has announced that the second and final phase of the V&A’s Photography Centre will open 25 May 2023. Once open, the Photography Centre will become the largest space in the UK for a permanent photography collection, and the seven galleries – four of which will be new additions – will showcase the museum’s world-leading holdings and enable visitors to experience photography and its diverse histories in new ways. Phase One, Galleries 99 and 100, opened in 2018. 

The V&A has collected and exhibited photography since the founding of the museum in the 1850s, and today its collection is one of the largest and most varied in the world. Phase One of the museum’s Photography Centre opened in 2018, with three galleries designed by David Kohn. May 2023 sees the completion of the second and final phase of the Photography Centre with an additional four galleries, with base-build designed by Purcell, and fit-out designed by Gibson Thornley Architects.

Two of the new rooms will showcase global contemporary photography and cutting-edge commissions in rotating displays. The other new spaces – a room dedicated to photography and the book, and an interactive gallery about the history and use of the camera – will shine a light on the processes involved in photography, as well as the study and presentation of the medium. These new rooms join the three existing galleries, with two galleries for changing displays from the collection and a space dedicated to digital media, which will also present new content.

Highlights of the opening displays will include recent acquisitions exhibited at the museum for the first time, including works by Liz Johnson Artur, Sammy Baloji, Vera Lutter, Paul Mpagi Sepuya, Tarrah Krajnak and Vasantha Yogananthan, as well as a monumental photographic sculpture by Noémie Goudal.  Two major new commissions supported by the Manitou Fund will also be unveiled, with a photographic series by leading Indian artist Gauri Gill, and a digital commission by British media artist Jake Elwes. The Manitou Fund has committed to funding six commissions for the Photography Centre, which will see a new print and digital commission in 2023, 2025 and 2027. On completion, the Photography Centre will also feature new, themed displays, presenting works from the 1840s to the present day, beginning with Energy: Sparks from the Collection, exploring how all photographs need some form of energy to exist, and a smaller display, How Not to Photograph a Bulldog, featuring dog photography manuals from the Royal Photographic Society Library. 

Marta Weiss, V&A Senior Curator of Photography and Lead Curator of Phase Two of the Photography Centre, said: “Photography lies at the heart of the V&A. The museum has collected photography since 1852 and continues to acquire the best of contemporary practice. As photography plays an ever-increasing role in all our lives, the expanded Photography Centre will be more relevant than ever. We look forward to welcoming visitors to explore the medium’s diverse histories and enjoy our world-leading collection.”

About the Photography Centre:

 Room 95

Inside the Camera

Room 95 will be an interactive gallery exploring how cameras work and how they are used, from the Victorian view camera to the first iPhone. The highlight will be a walk-in camera obscura, demonstrating the optical phenomenon that is the basis of how all cameras work. A timeline of cameras will show their evolution, with accompanying animations explaining the inner workings of these iconic devices.

Room 96

Room 97, The Parasol Foundation Gallery

Photography Now

Two new galleries will be dedicated to showcasing recent acquisitions of global contemporary photography, including special commissions. Highlights in the inaugural display will include works by Liz Johnson Artur, Sammy Baloji, Vera Lutter, Paul Mpagi Sepuya, and Vasantha Yogananthan, all acquired with the support of the V&A Photographs Acquisition Group. A series of self-portraits by Tarrah Krajnak, acquired with the support of The Parasol Foundation Trust, will also feature. A spectacular anamorphic sculpture by Noémie Goudal will bring photography off the wall to explore both geological time and the nature of perception.

A new commission, supported by the Manitou Fund, from leading Indian photographer Gauri Gill will also be unveiled. This new body of work depicts temporary architecture on the outskirts of Delhi, ingenuously constructed by farmers from repurposed materials. The makeshift dwellings housed farmers bringing their concerns from the village to the capital, in response to new laws that threatened their economic security.

 Room 98, The Kusuma Gallery

Photography and the Book

A flexible space dedicated to Photography and the Book will reflect how books have been a fundamental way of presenting photography since the 1840s. The Kusuma Gallery, which has been funded by The Kusuma Trust, will visibly house the extensive Royal Photographic Society (RPS) Library, following the transfer of the RPS Collection to the V&A in 2017. The RPS Library contains journals, books, pamphlets and manuals from all over the world, spanning topics from aerial photography to X-rays. More than 20,000 books, published over nearly 200 years, will be available to visitors by request, with a selection of browsing books on open shelves.

The Kusuma Gallery will also feature changing displays of photographic books, periodicals and archival material.  The first display will be How Not to Photograph a Bulldog, a light-hearted foray into one of the many topics covered by the photographic manuals in the RPS Library.

Films about the RPS Library and photographic processes will be shown on digital terminals for visitors to enjoy. This flexible space will also be used for teaching and other programming. 

 Room 99, The Modern Media Gallery

Digital Gallery

One of the three Phase One galleries, The Modern Media Gallery continues to be dedicated to digital media, challenging definitions of what photography is and generating questions around the use of photography today. The gallery will showcase a new digital commission by Jake Elwes, supported by the Manitou Fund.

Room 100, The Bern and Ronny Schwartz Gallery

Room 101, The Sir Elton John and David Furnish Gallery

Photography 1840s-Now

Developed during Phase One of the Photography Centre, these galleries will be entirely rehung for the 2023 opening. A new display, Energy: Sparks from the Collection, will explore the diverse kinds of energy in photography – both the hidden processes intrinsic to creating a picture, and the subjects in front of a camera. Featuring works from the 1840s through to the present day, it will demonstrate how, from the advent of photography, power in all its diverse forms has sparked the imaginations of photographers.

Situated in the V&A’s Northeast Quarter, the Photography Centre reclaims the beauty of seven original 19th-century picture galleries, restoring them to their original glory and purpose. Planned in two phases, the Centre is part of the V&A’s FuturePlan development programme to revitalise the museum’s public spaces through contemporary design and the restoration of original features.

Beyond the physical gallery spaces, a key focus for photography at the V&A is research and the development of new sector-leading initiatives. A major strand is The Parasol Foundation Women in Photography Project, established in 2021 to support women in photography. Led by the inaugural Parasol Foundation Curator of Women in Photography, Fiona Rogers, and funded by Ms. Ruth Monicka Parasol and The Parasol Foundation Trust, the Project encompasses a curatorial post alongside acquisitions, research, education and public displays. The Project’s first acquisition by Tarrah Krajnak will be included in the opening display at the V&A. Also in May 2023, five winners of the inaugural V&A Parasol Foundation Prize for Women in Photography will be exhibited at Peckham 24 – south London’s vibrant three-day contemporary photography festival. The prize is dedicated to supporting and championing the work of women in contemporary photography and will run for three years.

The V&A is also delighted to announce additional support from The Bern Schwartz Family Foundation. Alongside significant funding of Phase Two of the Photography Centre, the Foundation has generously extended their commitment to a series of two-year Fellowships in photography for early-career curators until 2028. The V&A is pleased to announce the appointment of Mary Phan as the second Curatorial Fellow in Photography, supported by The Bern Schwartz Family Foundation, who will be in post until 2024.

The Photography Centre is being made possible by Sir Elton John and David Furnish, The Kusuma Trust, The Bern Schwartz Family Foundation, The Parasol Foundation Trust, Modern Media, Shao Zhong Art Foundation and many other generous supporters.

The Guardian newspaper has reported that the largest photography library in Africa has opened in Ghana’s capital, Accra, showcasing the work of the continent and diaspora’s forgotten, established and emerging talent.

Founded by Ghanaian photographer and film-maker Paul Ninson, the Dikan Center houses more than 30,000 books he has collected. The first of its kind in Ghana, a photo studio and classrooms provide space for workshops while a fellowship programme is aimed at African documentarians and visual artists. An exhibition space will host regular shows, the first of which is Ahennie, a series by the late Ghanaian documentary photographer Emmanuel Bobbie (also known as Bob Pixel), who died in 2021.

Read the full piece here: https://www.theguardian.com/global-development/2022/dec/20/africas-biggest-photography-library-opens-in-ghana-accra-dikan-center

The Dikan Center website is here https://www.dikancenter.org/ and notes: 

Dikan is a Ghana-based non-profit organization committed to visual education through the advancement of visual storytelling. We also work to increase public access to the art of photography. Dikan will be the first photo library established in Ghana, and currently has in stock of more than 30,000 photography and film books with special collection of photo books of Africa.

Our objective is to inspire, train and support photographers and filmmakers in Ghana and Africa as a whole. Dikan aims to make visual education accessible to everyone, promoting public awareness of photography through educational outreach, immersive workshops, online education, studios and events.

138 glass plate negatives by Alvin Langdon Coburn held at the John Rylands Library, Manchester, have been digitised. The negatives are on deposit from a  private collector. 

Details of the Coburn material held at the JRL is available here: https://www.library.manchester.ac.uk/rylands/special-collections/exploring/a-to-z/detail/?mms_id=992983876703501631

The British Film Institute (BFI) has played a vital role in shaping British cinema, launching the careers of countless filmmakers. It began financing productions in the 1950s, allocating state funding for film until the establishment of the UK Film Council (UKFC) in 2000. These developments coincided with significant social change in Britain, especially for women in the immediate post-war decades and via the emergence of the second-wave feminist movement in the 1960s.

Building on recent work in feminist British film history, and in collaboration with Dr Josephine Botting, Curator of Fiction Film at the BFI, this project will focus for the first time on the women filmmakers who were funded by the BFI’s production schemes, to examine how women’s films were shaped by the BFI's funding and its institutional barriers.

This unique lens will enable the researcher to develop a historiographical framework with which to explore the various obstacles faced by women filmmakers during this period, and how they intersected with other factors such as class, race, and disability (Crenshaw 1991).

The project will focus on the following key research questions:

1. How did women filmmakers navigate the male-administered funding streams and oversight of the BFI Production Board?
2. In what ways did these women’s interests, aesthetic concerns, and choice of medium differ from their BFI-funded male counterparts, and how did this change across the funding period?
3. To what extent did the BFI’s funding choices influence the direction of women’s filmmaking in Britain, and how can this be situated within the historical, socio-cultural, and economic context of the time?

To answer these questions, the doctoral researcher will be encouraged to develop a creative methodology, combining skills of archival research, interviews, and media practice, to produce a thesis that explores ways in which multimedia responses (eg. data visualisation, video essays, podcasts, augmented reality) can inform the interpretation of the work in the BFI’s collection. The core research will be based on an analysis of the BFI National Archive’s holdings of the 82 BFI-funded titles directed by women between 1952-2000, when state funding was transferred to the UKFC. This period includes work by renowned filmmakers Sally Potter, Gurinder Chadha and Ngozi Onwurah, through to lesser-known productions such as The First Step (Felicity Gray, 1961) and Short Vision (Joan Foldes, 1956). The project will be augmented by research into a selection of BFI-funded productions since 2011 (when it resumed responsibility for film financing), providing opportunities for comparisons between women’s experiences in the 20th century and in recent years.                                                                                                                                                                                     

 By researching this material, the project aims to:

• Develop a historiographical framework for evaluating the relationship between women filmmakers' state-funded artistic production
• Explore multimedia responses to the material, to offer original ways of analysing how gendered working environments and practices have produced, framed, and influenced filmmaking in Britain
• Identify key titles for digitisation (or re-digitisation into modern formats) alongside other contextual materials, for production as a public-facing national cinema touring programme, Blu-ray boxset or BFIPlayer collection.

This CDA is funded by the TECHNE DTP partnership - led by Royal Holloway

For details on how to submit an application, please visit our webpage .

Recent challenges such as the climate crisis have pushed the field to consider how photography shapes and is shaped by the environment. From the mining of natural resources to the effects of mass digital storage, the environmental impact of photography is at the forefront of discussions in photography research, education and practice. For this conference, we would like speakers to reconsider the history of photography using the environment, broadly understood, as a departing point. What kind of histories can be written about photography in its environment? Would it be useful to understand photography as an environment? We look for papers that not only examine photography from the point of view of current environmental concerns, but also, how photographic practices, images and archives have developed in relation to natural, industrial and other environments. By centering the environment as an analytical category, we hope to discuss the ways in which natural, colonial, personal, digital and other types of environments have shaped photography as well as how photographic histories can help to understand environmental histories.

We welcome 15-minutes papers on topics that address themes like (but not limited to):

• How exactly has photography participated in the construction and disruption of environments?
• What has been the environmental impact of the production, consumption, circulation and storage of photography, in the past as well as the present?
• Histories of environmentally friendly photography before the 21st century.
• How have distinct environmental conditions around the globe influenced photographic practices, the development of photographic processes, and the course of the history of photography more specifically?
• What contributions can the field of photographic history make to deepen understanding about the climate crisis?
• How can photographic historians draw on their knowledge and expertise to assist in nurturing care for the environment and its sustainability for future generations?

Please send paper proposals to phrc@dmu.ac.uk by 1 February 2023, embedding in the document your name, contact details, up to 5 keywords and institutional affiliation (when applicable).

Photography in its Environment
Photographic History Research Centre, De Montfort University, Leicester, UK
12-13 June 2023
Hybrid (in person and online)
Follow on Twitter @PHRC_DeMontfort
Conference hashtag #PHRC23

Image:  Mark Kasumovic, Skipsea #2, inkjet print, 50 x 60 in, 2020

The National Portrait Gallery in London has announced that it will reopen its doors on 22 June 2023, following the most significant redevelopment in its history. Supported by longstanding supporter and Reopening Partner, Herbert Smith Freehills, visitors to the new National Portrait Gallery will experience a complete redisplay of the Collection, a transformational refurbishment of the building, as well as an enhanced welcome and greater access through the new Ross Place entrance. The re-opening exhibitions will include photography. 

The redevelopment project – titled Inspiring People – has included a comprehensive redisplay of the Gallery’s Collection from the Tudors to today, which will be displayed in beautifully refurbished galleries, and the restoration of the Grade I listed building and many historic features. The designs, by Jamie Fobert Architects working in partnership with Purcell, and thanks to the historic gift from the Blavatnik Family Foundation, will incorporate the Blavatnik Wing, the entire first floor encompassing nine galleries, which will explore society and culture in the 19th and early 20th centuries. The designs will also see the return of the Gallery’s East Wing to public use as the Weston Wing, restoring original gallery spaces and creating new retail and catering facilities. The Gallery’s Ross Place entrance will create three new doors, converted from large windows, opening up the North Façade of the building in St Martin’s Place. A new Learning Centre will also welcome visitors of all ages with studios, breakout spaces, and high-quality facilities.

See:  www.npg.org.uk

Are you an enthusiastic and inspiring leader? Join our team and help deliver our mission, vision, values, and artistic programme. This role is an exciting opportunity to lead Photoworks in our next chapter, playing a key part in delivering the organisation’s ambitious plans for the future.

The Director will lead Photoworks in shaping the overall strategy, planning, policy and development of the organisation. Leading the strategic vision and artistic direction of the organisation including exhibitions, biennial festival, commissions, learning and engagement, publishing and digital content. 

About Photoworks

Photoworks champions photography for everyone. We are an international platform, global in reach, and have provided opportunities for artists and audiences since 1995. We do not have a physical venue, but our online channels are always open. Our programme brings new experiences to audiences and opens up new ways to encounter photography. Photoworks is a registered charity and the only organisation with a national remit for photography in England. Our work is supported by public funding through Arts Council England’s National Portfolio. 

Deadline for applications is 9am Monday, 9 January 2023.

Details: https://photoworks.org.uk/opportunities/were-hiring-director/

Photography has shaped the ways we imagine the recent past and how we experience life in the present day. The Photographic History MA will provide you with the skills needed to explore photographic materials, practices, processes, and critical field scholarship. Along the way, it will also equip you with real-world professional expertise through remote fieldwork experience at well-known photography organisations.

The internationally renowned teaching staff are based at the Photographic History Research Centre (PHRC), bringing with them outstanding links with major photographic collections, archives, galleries, and museums worldwide. Networking through vibrant research seminars, workshops, and conferences, you will gain an in-depth understanding of the relationship between photography, history, and culture, while enhancing your research skills and employability in the field.

Aimed at anyone with deep interest in photographic practice, communication media, visual history, or archival collections, the Photographic History MA will prepare you for further study and careers in the culture sector. We equally welcome per-module applications, an option especially suitable for field professionals and employers looking for Continuing Professional Development—CPD opportunities.

As this course is delivered online by distance learning, you will need access to the internet and a computer with software capable of reading and writing Rich Text Format documents, such as Microsoft Word.

Key features

• Flexible mode of delivery allows you to study around your job, family, and other commitments.
• Full-time, part-time, and per-module study options enable you to develop your studies at your own pace with ongoing support from our expert academic staff.
• Completing an independent project for an external photography organisation equips you with real-world professional skills and expertise.
• Focus on social and cultural photographic practices expands your knowledge of the cultural and social significance of photography throughout its history.
• Consideration of digital and analogue photography provides you with deep understanding about the changing socio-political role of photography and its cultural conception.
• Work alongside a renowned team of expert scholars from the Photographic History Research Centre (PHRC) and beyond.

Details: https://www.dmu.ac.uk/study/courses/postgraduate-courses/photographic-history-ma-degree/photographic-history-ma-degree.aspx

The recently published proposal for the British Institute of Professional Photography (formed in 1901 as the Professional Photographers' Association) to join the Royal Photographic Society (formed in 1853 as the Photographic Society of London) has the potential to fully bring both the amateur and professional sides of photography together.

Although the RPS has always had a professional membership, despite occasional abortive attempts to restrict it to amateurs, its membership remained mainly amateur. The PPA deliberately restricted its membership to working photographers. 

The attached chart (PhotoSocs%201840-2023.pdf) for download provides some historical context, showing principal British photography organisations from 1840-2023. 

Details of the proposal are here: https://rps.org/BIPP

The National Science and Media Museum in Bradford has secured £100,000 for its forthcoming Sound & Vision galleries. The award has come from the DCMS/Wolfson fund which aims to help museums and galleries make their collections as accessible to the public as possible, whether that be through building accessible ramps and facilities, improving collection storage to protect them for the future or getting more of their collections out on display.

Renée Mussai writes to let BPH know that after more than two rewarding decades at Autograph, she is resigning as the organisation’s Senior Curator and Head of Curatorial & Collection. 

Rather than simply moving on, she intends to be moving with … and will continue to support Autograph’s mission as a critical friend and associate, staying involved with select projects such as editing the forthcoming ‘Black Chronicles’ book (release date tbc). 

She says..."As one chapter ends, another begins … I will step down as Senior Curator here at Autograph in December, and in early 2023 begin my new role as Artistic Director and Chief Curator at The Walther Collection, a charitable arts foundation based in New York, USA and Neu-Ulm, Germany, with a renowned international exhibition and publishing programme. 

Image: Renée Mussai, London, 2020 © Maliq Mitchell 2020.

This collaborative practice-based project between the Faculty of Arts and Creative Industries and the Sunderland Museum and Winter Gardens will use the Museum’s rich collections of industrial photographs and related material in local/regional/national collections to map, reframe, and create innovative visual interpretations that capture the changing socio-economic characteristics and conditions of women’s work in Sunderland. In doing so, it seeks to produce novel inclusive narratives for the Museum by juxtaposing historical and new photographic imagery depicting women’s work and enhance public engagement by empowering local women, those identifying as women and non-binary to share their stories and photographs.

Research questions

How can historical photographs and narratives of Sunderland’s industry illuminate the changing meaning and nature of women’s work?

What roles can lens-based media play in representing women at work and their labour beyond established documentary practices and against a changing landscape of work in the regional industries?

How can different types of photographic imagery depicting women’s work and oral histories be synthesised and preserved in inclusive museum narratives?

Expressions of interest are invited for a practice-based PhD offered by University of Sunderland in partnership with Sunderland Museum & Winter Gardens through the Northern Bridge Consortium: Collaborative Doctoral Awards Competition.
Deadline for EOI: 28 January 2023
Towards an Inclusive Re/visualisation of Women’s Work‌
More information: http://www.northernbridge.ac.uk/media/sites/teaching/northernbridge/MoschoviAlexandra_Sunderland_WinterGardens.pdf

Grant Scott has put out a call for information on the 1967 exhibition Modfot One and the promotion of contemporary photography in the UK in the 1960s. Please get in touch if you think you have anything to contribute in the way of memories, facts and stuff. 

Contact: Dr Grant Scott e: gscott@brookes.ac.uk

For information on Modfot see: https://the-golden-fleece.co.uk/wp/modfot-one/

The Burlington Magazine is seeking submissions of articles for a special issue devoted to photography scheduled for 2023. The Burlington Magazine is the world's leading art periodical and seeks to publish articles on original research, new works and discoveries.

Details on submissions: https://www.burlington.org.uk/about-us/about-the-magazine/submit-an-article

What are photographs ‘doing’ in museums? Why are some photographs valued and others not? Why are some photographic practices visible and not others? What value systems and hierarchies do they reflect?

What Photographs Do explores how museums are defined through their photographic practices. It focuses not on formal collections of photographs as accessioned objects, be they ‘fine art’ or ‘archival’, but on what might be termed ‘non-collections’: the huge number of photographs that are integral to the workings of museums yet ‘invisible’, existing outside the structures of ‘the collection’. These photographs, however, raise complex and ambiguous questions about the ways in which such accumulations of photographs create the values, hierarchies, histories and knowledge-systems, through multiple, folded and overlapping layers that might be described as the museum’s ecosystem.

These photographic dynamics are studied through the prism of the Victoria and Albert Museum, London, an institution with over 150 years' engagement with photography’s multifaceted uses and existences in the museum. The book differs from more usual approaches to museum studies in that it presents not only formal essays but short ‘auto-ethnographic’ interventions from museum practitioners, from studio photographers and image managers to conservators and non-photographic curators, who address the significance of both historical and contemporary practices of photography in their work. As such this book offers an extensive and unique range of accounts of what photographs ‘do’ in museums, expanding the critical discourse of both photography and museums.

What Photographs Do
Elizabeth Edward and Ella Ravilious
UCL Press, 2022
ISBN: 9781800082984
Free download: https://bit.ly/3OntzJw

Or buy in softcovers (£30) or hardback (£50) at  https://www.uclpress.co.uk/products/192312

The book is a developed history of the radiological sciences – covering the back-story to Röntgen’s discovery, the discovery itself and immediate reception the early days of radiology leading to classical radiology (the pre-digital world). The 1970s as the ‘golden decade’ of radiology will be covered in detail, with the development of CT, MRI and modern interventional radiology. It will appeal to interested members of the public, to those working in the field, and to historians of medicine and science. 

Invisible Light. The Remarkable Story of Radiology
Adrian Thomas
Routledge, 2022
Hb: 978-0-367-34426-9 | £31.19
20% Discount Available - enter the code FLE22 at checkout
Details: http://www.routledge.com/9780367344269

This is one of nine Assistant Curator posts that sit in the Art, Architecture, Photography and Design Department. As such, the main purpose of the job is to provide curatorial support in the development, care of, documentation and research, presentation and interpretation of a part of V&A’s Collection, in this case the Photography Section. Assistant Curators spend a significant portion of their time working on object-related activity that pertains to the care and display of collections, maintaining documentation and developing interpretation to allow for their presentation to wide audiences.

As a member of the Department, the postholder will also play a role in the wider work of the V&A, contributing to policy, projects and public programmes and supporting fundraising and income generation. Assistant Curators also play a role in their relevant department and will be part of the community supporting the museum’s scholarship in the Photography Section. In short, this is a wide-ranging role in which the postholder will be able to develop their skills in all aspects of museum curation.

Open to internal applicants only. 

Details here

This photobook collection was brought together over the past 30 years with the intention of representing a broad range of titles dating from the late 19th century to the modern day. There are many rare and beautiful books in outstanding condition which sit alongside a diverse range of titles which have been historically overlooked but have now become an important part of the contemporary photobook ‘canon’.

There is no single photobook history, thus the title of this collection which is intended to form the foundation of further discoveries from both the past and the future.

It was a labour of love gathering these books together and the intention is now for them to find a new home. For more details on pricing and information about The Photobook Histories collection please contact: Nick Higbee at the Pallant Gallery Bookshop shop@pallantbookshop.com

Details: https://www.photobookhistories.com/