An online 3D event celebrating the anniversaries of the births of Robert Burns and Charles Wheatstone, will be held on Saturday, 29 January 2022 at 1730 GMT. It is free but registration is required. The programme will feature: 

Although this is not strictly photography-related this may be of interest to the BPH readership... 2022 sees the two-hundredth anniversary of the death of William Herschel, a profoundly significant figure in the field of astronomy, but one who made his early living as a musician - as an oboist, violinist, harpsichordist, organist, composer, and impresario. After leaving a military band in his native Hanover for an unsuccessful two-year stint in London (1757-59), Herschel moved to the north of England (1760), where he composed his symphonies and many other works as an itinerant musician in Richmond, Newcastle, Sunderland, Durham, Pontefract, Doncaster, Leeds, and Halifax. In 1766 he accepted an invitation as organist at the new Octagon Chapel in Bath, where he became a mainstay of the musical scene for over fifteen years. In Bath he was joined by other musical family members including his sister Caroline, who assisted William first in musical and then in astronomical duties, ultimately becoming a distinguished astronomer in her own right.

Herschel's astronomical interests and construction of very high-quality telescopes, beginning in 1773, brought him to international and lasting fame when he discovered the planet now called Uranus in 1781. He came to the attention of King George III, who summoned him to Windsor and effectively ended the musical portion of his career, at age 43. For the rest of his life Herschel made numerous groundbreaking contributions: designing large telescopes; mapping the Milky Way system of stars and the Sun's motion in it; cataloguing and classifying thousands of star clusters, nebulae, variable stars, and double stars; proving the effectiveness of gravity outside the solar system; discovering several moons around Saturn and Uranus; discovering infrared radiation (from the Sun); postulating an evolving universe with stars and nebulae that are born, age, and die; estimating the age of the Universe; and arguing that all stars and planets are populated with intelligent beings.

Contemporary academia's separation of music and astronomy across the arts and sciences is something Herschel and other eighteenth-century thinkers would have found hard to understand, given both endeavours proceeded for them on mathematical principles. This symposium takes the bicentenary of his death as a cue to explore new aspects of Herschel's work as composer, instrumentalist, impresario, and astronomer in the intellectual, creative, and cultural contexts of his time. Our symposium will take a wide perspective on astronomy, music, and natural philosophy, including the Herschels' legacy in connections between science and art today.

Papers of 20 minutes are invited on, but are by no means restricted to, the following themes in his musical and astronomical careers:

*       Herschel's aesthetics

*       Herschel and theology

*       Herschel and creativity

*       Eighteenth-century manufacture of scientific and musical devices

*       Herschel's musical and astronomical networks

*       Herschel's musical life (1757-82)

*       Herschel and Yorkshire, Bath, and Windsor (Slough)

*       Herschel and patronage

*       Herschel as a Hanoverian

*       Herschel, the Bath Philosophical Society, and the Royal Society

*       Herschel in the context of late eighteenth-century natural philosophy

*       Herschel's legacy in astronomy, music, and interdisciplinarity

Proposals of no more than 200 words should be sent to Rachel Cowgill (at rachel.cowgill@york.ac.uk<mailto:rachel.cowgill@york.ac.uk>) by 11 February 2022 with the title 'Herschel Bicentenary Symposium proposal', and should include the author's/co-authors' name, affiliation, and email address.

 The symposium will conclude with a public keynote lecture by Professor Tom McLeish FRS (University of York), a panel discussion on Herschel's legacies, and a concert of Herschel's music given as part of the York Festival of Ideas, 11-24 June 2022 (https://yorkfestivalofideas.com/). We are grateful for the support of the Festival in organising these bicentenary events. Further activities celebrating the ways science and music interconnect are planned for 2022, organised by the University of York's Sound, Voices, and Technology research network (SoVoT).

 Programme Committee:

Rachel Cowgill (Department of Music, University of York) Sarah Clemmens Waltz (Conservatory of Music, University of the Pacific) Woodruff T. Sullivan III (University of Washington, Seattle)

'Cosmic Harmonies': A Symposium Celebrating the Life, Science, Music, and Legacy of William Herschel (1738-1822)
University of York (UK), 19 June 2022
Deadline for cfp: 11 February 2022

Tony Richards has published details of this event for those interested in collodion and alternative processes...Once again, Guys Cliffe House and grounds has been booked for what has become an annual event for wet platers in the UK. After several years of various sites around the UK, this central location is easily accessible by the majority.

After a very successful event in 2021 it is hoped that 2022 will welcome back regulars and newcomers to the event.
The weekend starts on Friday 19th August and goes through till the Sunday 21st August. Both the grounds and the exterior of Guys Cliffe House are exclusively reserved for the use of participants.

Though this is primarily a gathering for wet plate collodion workers, I’m hoping that we can expand the creative potential. If you prefer to work on large format film, cyanotype, salt or pinhole then you are most welcome and encouraged. Basically we welcome any level of worker and even if you are a total beginner or more advanced, there is a great deal to be gained from the experience of other workers, and from my experience there is no shortage of sharing of friendly advice.

The UK Wet Plate and Alternative Processes weekend 2022
Guys Cliffe House, Warwick, 19-21 August 2022
Details and book here: 

The Guardian newspaper has reported that long-lost photographs of Birmingham's 1990s rave club scene have been rediscovered after being hidden away for twenty-five years. The photographs were taken by Terence Donovan at the request of his son who was studying at Birmingham University and show the dance and rave club culture at the Que Club in January 1996. Donovan died in November that year.

Ten of the 65 shots will be shown at Birmingham Museum and Art Gallery in April. 

Read more here: https://www.theguardian.com/artanddesign/2022/jan/01/lost-shots-90s-rave-culture-terence-donovan-go-on-show-birmingham-swinging-london

Image: Club-goers at The Que in Birmingham in January 1996. Photograph: Terence Donovan Archive

This new book Belgian Photographers 1839-1939 - A Chronological Bibliography of Publications from 1945 to 2020' offers an overview of printed publications, published between 1945 and 2020, about Belgian photographers who were active from the invention of photography until the beginning of the WWII. It is a chronological bibliography, followed by an index of authors and photographers. The latter makes it possible to find all publications in which a particular photographer is mentioned. It includes both professional and amateur photographers and photographers of local, national or international renown.

There are some 7 700 entries, including a couple of hundred cross-references, covering professional and amateur photographers as well as firms and individuals active in connected trades (for instance, platemaking, photomechanical printing, postcard publishing). For further explanations on the content and structure, please consult the section Directory: structure of entries.

This database is a revised and expanded version of the Directory of Photographers in Belgium 1839-1905 by Steven F. Joseph, Tristan Schwilden and Marie-Christine Claes, published by the Museum of Photography, Antwerp in 1997. The same authors have been active in creating this online version, once again with the enthusiastic support of FOMU. English is used throughout, in order to make the database accessible to a broad audience of international scholars and researchers. An exception is made for locations and Place Names in Belgium, which have been faithfully transcribed from the original sources used by the photographers themselves.

Belgian Photographers 1839-1939 - A Chronological Bibliography of Publications from 1945 to 2020
Frank Driesen
Brepols, with the support of FOMU
ISBN 978-2-503-59779-9
Paperback: €30 incl. VAT (Belgium), € 28,31 / $ 37.00 / £ 24.00 excl. VAT and/or taxes

Read more here: https://fomu.atomis.be/index.php
Download the flyer and order form here:  BELGIAN%20PHOTOGRAPHERS.pdf

The Folly is a Grade I listed historic house from 1679 in the heart of historic Settle. It houses the Museum of North Craven Life, which tells which tells fascinating tales of the people and landscape of the local area. We have recently acquired the Horner Collection, comprising approximately one thousand glass plate negatives from the Horner Photographic Studio in Settle, which operated from around 1867 to 1960.

We have been awarded a Cultural Recovery Fund Grant, which includes £5,000 appoint a consultant technician to work on The Horner Collection. They will undertake research into the collection, investigate its history, create a preliminary inventory with dates and condition reports, and to provide advice preparatory to development of a detailed catalogue. The role-holder will also train a small group of volunteers to scan and repackage the negatives.

Contact: Caitlin Greenwood hdo@ncbpt.org.uk 

Details of the Horner Collection here: https://thefolly.org.uk/blog-horner/

The National Science and Media Museum is implementing new programmes of research and interpretation of its world-leading collections relating to photography, film, television and sound technologies. The role of Curator of Television and Broadcast will take a leading role on championing our world class collections of Television and Broadcast in relation to the rest of our core collecting areas.

As Curator of Television and Broadcast you will work with colleagues across the Science Museum Group to explore the history and current practice of television and broadcasting technologies and create opportunities for engaging visitors with media, technology and engineering-related content across SMG public programming.

You will work closely with the exhibitions team at the National Science and Media Museum and digital content teams across the group to develop the content and interpretation for our new permanent galleries, Sound & Vision, as well as our temporary exhibition programme. This role will support our celebration in 2022 with the BBC of a 100 years of Broadcasting.

Working alongside other specialist archivists and curators in National Science and Media Museum, you will foster links with internal and external stakeholders in the television and broadcasting communities. As a curator you will feed into strategies for embedding television and broadcasting collections in SMG’s forward programmes of temporary exhibitions and permanent galleries and ensure a presence for them in SMG’s social and broadcast media outputs.

Joining us you will have a broad knowledge of the history and current practice of history of science and/or media alongside experience of working with museum collections. You will have excellent communication and interpersonal skills with experience communicating history or complex information to non-specialist audiences for example in exhibitions, articles, blogs, outreach or teaching.

Details here.

The Magic Lantern Society has announced preliminary details of its 11th international convention which will take place in Birmingham from 29 April-1 May 2022. It will take place at its regular venue, the Birmingham and Midland Institute. 

See more here: http://www.magiclantern.org.uk/convention2022/

Earlier this year, the School of Scottish Studies Archive and the Centre for Research Collections teamed up with renowned Scottish photographer, Jeremy Sutton-Hibbert, to add a landmark collection of photos to the School’s documentary collections. Sutton-Hibbert has worked as a freelance photographer and photojournalist for over 30 years and in 2012 co-founded Document Scotland – a collective of Scottish documentary photographers.

Sutton-Hibbert’s documentary work focusing on Scotland filled a natural gap in the Archive’s extensive photographic holdings, and the team worked with him to identify three series of photographs which would best suit the collection. Selections were made from his North Sea Fishing (1992-1995), the recently demolished Longannet Colliery (2001), and Paddy’s Market (2000) which echoed with coastal working life, Scottish industrial cultures, and urban living which can be found throughout the School’s archive.

Read a full account here: https://libraryblogs.is.ed.ac.uk/sssa/jeremy-sutton-hibbert/

Image: Tam Gay repairs torn nets aboard the Mairead, North Sea, February 1993 SSSA/JSH1/20

The Paul Mellon Centre for Studies in British Art has published a short film about Caroline Douglas’s research project which focuses on a series of calotype salt prints made by David Octavius Hill and Robert Adamson in Edinburgh in the late nineteenth century. Hill and Adamson’s series of portraits of Newhaven fishwives are one of the world’s earliest examples of photographic portraiture. Through her research and her own photographic practice, Caroline makes an exciting discovery after uncovering a series of outtakes from the calotype portrait of Mrs Elizabeth Johnstone Hall.

This project was supported by an Andrew Wyld Research Support Grant.

See the film here: https://www.youtube.com/watch?v=yAknd5DDmJw&t=3s

The Guardian newspaper reported that Bonhams New York was to sell an albumen photograph of the Rossetti Family at home (detail, right), dated 1863. The catalogue entry noted ' No similar quality original Lewis Carroll photograph of the Rossetti family has sold on the open market in recent years. Of the three known complete images of this photograph, only this and one other exist in private hands.'  The photograph was offered in New York with an estimate of US$ 50,000 - 70,000 (£38,000 - 53,000). It failed to find a buyer. 

See The Guardian news story https://www.theguardian.com/books/2021/dec/14/extremely-rare-photograph-of-the-rossettis-taken-by-lewis-carroll-up-for-auction

See the lot description: https://www.bonhams.com/auctions/26898/lot/177/

In the early 20th century, fashion and photography were indelibly wedded through the efforts of a number of photographers, fashion designers, and magazine publishers. Once these cultural power shapers created the form, fashion photography took on a life of its own and became—perhaps always was—art. This art form has since been elevated to heights such that being a fashion photographer can be seen as very important chapter in many well-known photographers’ career: designers rely on them; models request them; magazines use their work: celebrities choose them for shoots; and the power they have to represent others is beyond compare in today’s, 21st century image-driven world.

Following our first Fashion and Photography conference in Palermo in 2018, we are further broadening the interdisciplinary mix and range of potential discussions and activities. Whether dance, theatre, drama theory, directing or performance practice, the different aspects of the performing arts will be explored and developed alongside previous discussions, especially with the new challenges of technology along with the changes in audiences and performers in the 21st century.

Our Fashion and Photography: 2nd Global Inclusive Interdisciplinary event will examine the dynamics of all these (and related) fields. In a world which is experiencing the transforming realities of globalization, with people engaging at all levels and in diverse ways, the intersections and engagements created at the interface of all the modes of representation involved in these areas and activities are paramount. They involve cultural, social, commercial, artistic, financial, and political issues, and from the bottom to the top can determine power relations, careers, sexual norms and deviance, and more.

We live in a period of so-called hyper-consumption which encourages individuals to consume for their own personal pleasure. Fast fashion, trends in sustainable and recyclable fashion, the rise of performance fashion and fashion as performance art  denotes a society now defined by movement, fluidity, and flexibility. Performance from ballet to theatre, the catwalk to festivals, is increasingly oriented towards pleasure and satisfaction, a fleeting hedonism which quickly changes focus. The experience is mixed with tensions, conflicts, and even anxiety. The uncertainties and fears of 21st century living are reflected in fashion, performance and all forms of visual representations.

This conference aims to consider ways in which we can re-imagine our practices in relation to others, our history, and the environment with a view to forming a selective innovative interdisciplinary publication to engender further collaboration and discussion, whilst also continuing the evolution of the project.

Unlike other conferences or gatherings, our event proposes to step outside the traditional conference setting and offer opportunities for photographers, designers, practitioners, theorists, independent scholars, academics, performers, writers, and others to intermingle, providing platforms for interdisciplinary interactions that are fruitful and conducive to broadening horizons and sparking future projects, collaborations, and connections.

2nd Global Conference. Fashion and Photography. An Inclusive Interdisciplinary Project
Friday 8th July 2022 - Saturday 9th July 2022
Athens, Greece

See more here: https://www.progressiveconnexions.net/interdisciplinary-projects/global-transformations/fashion-and-photography/conferences/

The nature, form, and impact of the book changed dramatically with the introduction of photography, altering the way books would be made, would appear, and would help transform the communication of ideas in visual form. In parallel to this phenomenon, the ability of the photograph to reach its widest audience would entail an essential partnership with the form of the book. The nomenclature of photography remains tied to the book: we think of the photographic “print” and of “printing” a photograph, even in an era where digital imagery dominates. 

Alongside these intertwined histories is the current phenomenon of the “photobook,” with a great resurgence and flowering of studies on photobooks, and of contemporary photography’s increased creative engagement with the format of the book through dealers, fairs, specialized auction sales, and publications, and through a wealth of practice. 

This course is designed to explore the history of the photographic book since Anna Atkins’s Photographs of British Algae was first privately circulated in 1843. It will be comprised of six two-hour sessions delivered online, based on the collections of Oxford’s Bodleian Library and delivered by Richard Ovenden. 

The five sessions will emphasise the physical form of the photographic book, an element neglected by most of the recent studies of the genre. It aims, therefore, to bring together the twin disciplines of the history of the book and the history of photography. Classes will be structured around the examination of exemplar cases—and will examine these case studies through paying close attention to the materiality of the books: paper, printing techniques, and design, as well as distribution, sales, and prices. Many of the examples will be illuminated through supporting archival evidence.

I-45v. The Photographic Book since 1843
Richard Ovenden
Course Length: 12 hours
Course Week: 5–10 June 2022
Format: online only
Fee: $800

See details here: https://rarebookschool.org/courses/illustration/i45v/

This event will focus on photographic archives and histories of empire. Three speakers will present short interventions (10 minutes) on the challenges and opportunities of working with such material today. The speakers will address methodological, ethical, and cultural considerations, offering case sy reflections on the changing research landscape for histories of empire in the archive.

Speakers:
Helen Mavin, Head of Photographs at Imperial War Museum;
Maria Creech, PhD student at Cardiff University’s School of Journalism, Media and Culture; AHRC Collaborative Doctoral Award Student in partnership with the Imperial War Museum;
Tom Allbeson, Lecturer in Cultural History at Cardiff University’s School of Journalism, Media and Culture.

Chair:
Claire Gorrara, Dean for Research and Innovation for Cardiff University’s College of Arts, Humanities and Social Sciences and Professor of French Studies at the School of Modern Languages.

Rethinking Histories of Empire: Visual Cultures in/or the Archive
Wednesday, 8 December 2021, 14:00-15:00
Free information and book here: https://www.cardiff.ac.uk/events/view/2584682-rethinking-histories-of-empire-visual-cultures-inor-the-archive

An online roundtable event as part of the Global Language-based Area Studies research theme at the School of Modern Languages.

Atelier Éditions has announced announce the release of Nudism in a Cold Climate: The Visual Culture of Naturists in Mid-20th Century Britain by Annebella Pollen, available in the UK/Europe at the end of November, 2021 and the USA/Rest of World early January, 2022.

Annebella Pollen’s richly illustrated study examines the idiosyncratic phenomenon of social nudism, or naturism, in 20th-century Britain, a place known for its lack of sunshine and conservative attitudes to sex. By bringing naturists’ own words and images to light, Nudism in a Cold Climate tells this little-known but fascinating history for the first time.

From the 1930s, thousands of people appeared nude in books and magazines associated with the nudist movement, drawing attention to the cause, attracting public curiosity and inciting moral panics. Naturist nude photography offers a fascinating lens on moral, legal and aesthetic shifts over a century of dramatic social change, including national beliefs about sex and gender, ethnicity and class, pleasure and power.

Nudism in a Cold Climate offers readers a fascinating glimpse behind British veils of propriety and a unique view inside an enduring experimental culture that sought to radically challenge, liberate and ultimately transform conventional attitudes to bodies and their representations.

Details here: 

Nudism in a Cold Climate: The Visual Culture of Naturists in mid-20th Century Britain
Annebella Pollen
272 pages including over 100 archival photographs
Printed sustainably in Belgium
ISBN # 978-1-7336220-6-6

See: http://atelier-editions.com/store/nudism-in-a-cold-climate-by-annebella-pollen

Read The Guardian review here: https://www.theguardian.com/artanddesign/2021/dec/03/from-utopian-dreams-to-soho-sleaze-the-naked-history-of-british-nudism

As part of the British Society for the History of Mathematics meeting being held at the University of Warwick on 11 December Deborah Kent will give a paper “Fit for making a decent observation”? Photography and the British eclipse expedition of 1871. 

The abstract reads: 
Nineteenth-century mathematical innovations revolutionized eclipse prediction to allow ample time for organising viewing expeditions. From the 1850s onwards, developing technologies of photography and spectroscopy offered new tools to train on open questions about the size of the universe and the chemical composition of the corona. After opportunities to observe eclipse totality in India in 1868, in North America in 1869, and in Spain in 1870, hopes ran high for additional insights in 1871. The utility of photography was particularly under scrutiny in anticipation of a much rarer Transit of Venus in 1874. The work of British observing parties in 1871 not only confirmed and extended prior results, but also gained some notoriety for an indigenous Indian astronomer and solidified the significance of photography as a research tool.

Details and registration here: https://www.bshm.ac.uk/events/christmas-meeting

The annual Kraszna-Krausz Book Awards celebrate excellence in photography and moving image publishing. They recognise individuals who have made an outstanding or original contribution to the literature of, or concerning the art and practice of, photography or the moving image. Two winning titles are selected: one in the field of photography and one in the field of the moving image. The author/s or editor/s of each winning book receive a £5,000 cash prize.

Submissions are welcome from publishers, authors, collectives and individuals self-publishing their work. There is no entry fee.

• Books must be published between 1 January and 31 December 2021
• Books must be published, distributed or available to buy (including online) in the UK

Further details, terms and conditions, and the entry form for the 2022 Awards can be downloaded here.

A conference based upon the research project “Forms and Formats of Photography’s Institutionalisation” at the Institute for Advanced Study in the Humanities Essen (KWI), will take place on Thursday and Friday, 23/24 June 2022, organised by Anja Schürmann (KWI Essen) and Kathrin Yacavone (University of Cologne). A call for papers has been issued below: 

The term ‘institutionalisation’ refers to a process in and through which things, people, actions, and relationships are typified, standardised, and thereby fixed for a longer period; in the process the appearance, reception and interpretation of the physical objects which are part of institutions are shaped and defined. In the context of the current debate surrounding the foundation and possible functions of a Federal German Photography Institute, the conference is dedicated to the historical, political, sociological, aesthetic and photo-historical discourses on the institutionalisation of photography as a medium, a cultural and social practice, as well as an art form, document and technology. The forms and formats, as well as the traditions and practices, of the classification, collection, exhibition, conservation, archiving and sale of photographic images will be examined from various cultural-critical perspectives and taking into account diverse methodological approaches, both theoretical and practical.

The starting point is not primarily individual images, monographic groups of works, modes (portrait, landscape, etc.) or genres (art photography, advertising and scientific photography), but rather the question of how various practices in dealing with photography as an art and medium have (co-)shaped these categories and to what extent they are subject to historical and cultural value shifts and changes that are tied to issues of institutionalisation (without being completely absorbed by them). The temporal and geographical focus of the conference will be Germany since 1945, while comparative perspectives, drawing international comparisons between different (European) countries, are equally welcome.

• To discuss these and related issues during the two-day conference, we are inviting proposals for contributions from the perspectives of photographic history and theory, cultural and media studies, art history, history and sociology, as well as from specialists in the institutional curation, collection and archiving of photography. We are seeking contributions in the forms of case studies on specific collections and their history of institutionalisation as well as broader cultural-historical and systematic overviews of the topic. Contributions may address the following specific questions and themes, but are not limited to them:
• Which initiatives on an individual (Gernsheim, Krauss, Honnef, Eskildsen et al.), collaborative (DGPh, Deutscher Fotorat), private (e.g. photokina, Deutsche Börse Photography Foundation) and national level have attempted to institutionalise photography (e.g., as an art form)? And how and why did they succeed or fail?
• To what extent did the legitimisation of photography as fine art (in the 1970s) affect the evaluation of other types of photography (e.g. documentary, photojournalistic, amateur and advertising photography) in such initiatives
• How do public, private, commercial or philanthropic galleries, or even private collections compare to established museums in their treatment of photography? Are collection criteria adopted when, for example, a private collection moves to a public museum or archive? What happens to photographic estates when they enter the art market (e.g. Ronkholz/VAN HAM)?
• What role does digitisation play in recent initiatives and what influence does it have on institutional issues involving existing collections and archives of photography?
• To what extent does the materiality of photography (analogue/digital, photo albums or photo books) affect its institutionalisation? Or: to what extent do digital images renew, shift or update the logics and principles of analogue collections?
• How can the tensions between (implicit or explicit) institutional criteria for collecting photography and the multifaceted ways in which the medium is used in our everyday lives be analysed?
• How did the practices of classifying, collecting and archiving photography differ in East and West Germany? And how were these differences negotiated after the reunification?
• What influence do art academies and institutions providing practical photographic training have on the institutionalisation of photography, more broadly?
• To what extent are networks and photojournalistic societies and agencies, or festivals and pop-up activities, complementary or contrary to the established institutions of photography?
• Which cultural-political frameworks and policies promote or prevent grass-roots initiatives to establish photography as a medium in its own right, and what role does digitisation play in this context?
• From an international and comparative perspective, how does the historical and current situation in Germany compare to other (European) countries with respect to these dynamics? and finally:
• what is the relationship between photographic historiography and/or the theory of photography, and the forms and formats of the institutionalisation of photography?

We invite proposals (in English or German) for 20-minute presentations. Abstracts of approximately 400 words, including a short biography (of max. 100 words) should be submitted by Monday 10 January 2022 by e-mail to fototagung2022@gmail.com. Any queries should also be directed to the conference organizers using this address. Notification of acceptance will be sent out by the end of January 2022.

Four Corners seeks a Curatorial and Archive Coordinator to join our team. This is an exciting opportunity to work on Four Corners' public exhibition and archive programmes. Four Corners is a centre for film and photographic arts, based in East London for over 40 years. Our Gallery and Archive programmes engage audiences with issues emerging from radical histories, and stories from the margins that might not otherwise be told. We recognise that access to the arts is not always equal, and we aim to change that by championing creative expression and new voices through skills, mentoring and production opportunities.

Four Corners is a registered charity. We are a team of twelve part-time staff, and we work closely with volunteers, freelancers and partners in visual arts, film and TV, archives, community and higher education to deliver our programmes.

Background to this post
This post is part-funded through Four Corners' Hidden Histories project, which is supported by the National Lottery Heritage Fund. Four Corners Archive comprises the film and photographic heritage of Four Corners, Half Moon Photography Workshop and Camerawork magazine, 1972 to 1987. The collection and online archive offer a rich source of material on working lives, protest, feminism and the lived experience of communities. The project aims to develop Four Corners Archive as an active site for community-engaged practice, research and public programmes that explore radical and untold social histories.

We are seeking applicants with a background and expertise in archives, museums or galleries working within fields of photography, curation, visual arts or related sectors.

The post is offered on an 18-month contract from January 2022 to June 2023 in the first instance.

See more here: https://fourcornersfilm.co.uk/work-with-us

Antonella Russo provides an incisive examination of Neorealist photography, delineates its periodization, traces its instances and its progressive popularization and subsequent co-optation that occurred with the advent of the industrialization of photographic magazines. This volume examines the ethno(photo)graphic missions of Ernesto De Martino in the deep South of Italy, the key role played by the Neorealist writer and painter Carlo Levi as "ambassador of international photography", and the journeys of David Seymour, Henry Cartier Bresson, and Paul Strand in Neorealist Italy. The text includes an account the formation and proliferation of Italian photographic associations and their role in institutionalizing and promoting Italian photography, their link to British and other European photographic societies, and the subsequent decline of Neorealism. It also considers the inception of non-objective photography that thrived soon after the war, in concurrence with the circulation of Neorealism, thus debunking the myth identifying all Italian postwar photography with the Neorealist image.

This book will be particularly useful for scholars and students in the history and theory of photography, and Italian history.

https://www.routledge.com/Italian-Neorealist-Photography-Its-Legacy-and-Aftermath/Russo/p/book/9781350162259