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

The V&A has released the first in a series of films about photography processes based on its collection. The first deals with the the autochrome and is presented by curator Catlin Langford. Invented by the Lumière brothers in 1907, the Autochrome revolutionised photography. Bringing soft, natural colour into images for the first time, this technique made photographs the most realistic that they had ever been.

Find out about the careful handling of these delicate, light sensitive plates, how the photography process works, and see collection highlights from photographers such as John Cimon Warburg and Helen Messinger Murdoch.

See: https://www.youtube.com/watch?v=VKINhG0g3kk&t=180s

Auction house Reeman Dansie will offer an exceptional archive of photographs, ephemera and related artefacts from the studio of mid-20th century high-society photographer Pamela Chandler (1928-1993).  Pamela Chandler's position as a leading London based photographer of this vintage era led to commissions from Royalty, stars of stage and screen and literary figures, including becoming the photographer of choice for the publicly evasive J. R. R. Tolkien, she has the distinction of being the first female photographer to produce an official portrait of a Prime Minister when she photographed Harold Macmillan.

This extensive archive comprises a lifetime’s work, together with related letters and memorabilia from her glitterati subjects, many of the images are to be offered together with copyright passing to the successful bidders. The collection will be sold on 1 December 2021

Pamela worked briefly as a film extra at various studios including Pinewood, Denham and Elstree, before a chance meeting led her to secure an photographic apprenticeship at the Landseer Photographic Studio in the heart of the West End. After only six months, Max Andrews, a magician friend of Pamela’s father, contacted her and explained that he had taken premises for a magic shop which also included a photographic studio and that he required a photographer, so Pamela went into partnership with Max at his South Molton Street premises. Max concentrated on running the magic shop, leaving Pamela free rein to run the photographic studio. In these early days, she did all the photography and printing herself which gave her a solid bedrock for her career. After a year or so Max disappeared and Pamela was forced to wind up the business,

Pamela joined the Royal Photographic Society in 1949.  At the RPS she met the then curator and subsequent President, J. Dudley Johnston. He was impressed by her work and enthusiasm, and she was commissioned to take his official portrait for use by the RPS, they became friends and corresponded right up until his death. In 1951, Pamela found new studio premises at 33 Beauchamp Place, Knightsbridge, and this was to be her base for the principle part of her photographic career.

The catalogue will be available in print and online shortly.

See more here: https://www.reemandansie.com/news-item/the-pamela-chandler-1928-1993-collection/?pc=42

Skewed, cynical, and socially ambiguous, the photographs of Garry Winogrand epitomised the experimental style and irreverent attitude of post-war American street photography. This, along with the support of the Museum of Modern Art and its influential director of photography John Szarkowski, granted his work a significant presence in New York’s art world during the late 1960s and ‘70s. However, at the height of his fame, Winogrand turned his camera back on this world, producing a withering depiction of the exclusive art openings, functions, and balls held at institutions such as MoMA and The Metropolitan Museum of Art during the Vietnam war. In a seemingly bizarre development, this body of work would go on to be exhibited at MoMA in 1977 – alongside his shots of protests, sporting events, and press conferences – putting the museum’s institutional framework on display within its walls.

Simon Constantine's paper will consider the extent to which this exhibition and its accompanying photobook, Public Relations, can be understood as evidence of a little-recognised strain of institutional critique within Winogrand’s street photography. In doing so, it will seek to offer a non-formalist understanding of American street photography as a practice forged in dialogue with the wider post-war avant-garde. It will also attempt to explain the presence and status of these apparent critical tendencies within the work of an otherwise establishment photographer.

Simon Constantine is Lecturer in History of Photography at Birkbeck, University of London. His work addresses street photography and recent documentary photography, with a particular focus on large-scale projects and photobooks which seek to map, criticize, or conceptualize the contemporary global economy. He has presented papers at SOAS, the University of Birmingham, Roma Tre University, and the Institute of Historical Research, and worked as an editor for the journal parallax. His writings have been published in the Oxford Art Journal, Arts, and The Burlington Magazine.

Street Photography as institutional critique? Gary Winogrand's photographs of the art world
30 November 2021 at 1800 (GMT)
43 Gordon Square, London, WC1H 0PD
Birkbeck History and Theory of Photography Research Centre

Image: Garry Winogrand, Opening, Frank Stella Exhibition, The Museum of Modern Art, New York, 1970

Belfast based photographer Donovan Wylie will deliver an artist talk at the Martin Parr Foundation in Bristol on his creative practice, followed by a book signing. This talk will also be streamed live via Zoom. Donovan will address questions around process, touching on how conversations begin and evolve within the medium of photography, both conceptually and through methodology.

Talking through many of his projects – such as The Maze and Outposts – he will also discuss how processes develop (or do not develop!) and how one project leads into another.

Donovan Wylie talk and book signing
23 November 2021 at 1900 (GMT) 
Gallery Ticket - £6 - Zoom Ticket - £3 / £5 / £10 (pay what you can)
See: https://www.martinparrfoundation.org/events/donovan-wylie-2/

Image: G40. S Armagh. From Project British Watchtowers 2005 © Donovan Wylie

Youth of Yesterday is an exhibition featuring photographs taken of young people in Bethnal Green from the 1970s by photographer Philip Cunningham. In the mid-1970s Philip was a youth worker at Oxford House while studying art at Ravensbourne College of Art. While a student, Philip became interested in photography and Oxford House had a fully equipped dark room and was home to Tower Hamlets Arts Group. Philip took hundreds of photographs of local people at a time when Bethnal Green was seeing great change. These photographs capture daily life, friendship, streets, and youth culture in the late 1970s.

In this talk Philip will be showcasing and discussing more of his images about the East End and the stories behind them.  This talk accompanies the exhibition... YOUTH OF YESTERDAY, 22 September - 17 December at Oxford House

Photographing the East End: Philip Cunningham In Conversation
25 November 2021
1830-1930 (GMT), live event, free
Oxford House in Bethnal Green
Derbyshire Street
London, E2 6HG
See more and book here

MACK, the book publisher, has announced its new annual research fellowship, in which it invites proposals for books that investigate an area of cultural history which is deserving of and lacking in critical attention. 

It is especially interested in projects that include, but are not limited to, untold historic lineages, overlooked collectives and communities, specific movements of activism and collaboration, and artists who work in the intersection of art, photography and literature in new ways. The successful candidate will research, edit, write the primary text for, and manage the production of a book on the subject to be published by MACK.

The role can be adapted to the work and life commitments of the successful candidate, but we anticipate that it will either involve an estimated 2 days a week commitment over a 6-month period, or a block of approximately 40 - 50 days within an agreed time frame. The successful applicant will receive a fee of £8,000 plus funding for agreed costs. 

Applicants should send a covering letter with their CV and the names of two referees to fellowship@mackbooks.co.uk by no later than 20 January 2022, outlining their proposed research project (including key thesis, figures, events, movements and so on), together with relevant past research and proven track record in no more than two A4 pages maximum. Successful candidates will be invited for an interview.

See: https://mackbooks.co.uk/pages/job-vacancies

Thanks to a transformational gift of £2 million from The Bern Schwartz Family Foundation, the Bodleian Libraries are recruiting a Curator of Photography for the first time. Your will increase the impact of our photographic holdings by carrying out a full range of curatorial work including: answering enquiries; teaching and public engagement activities with the collections; cataloguing; and collection development.

You can expect to work with incredible collections, documenting photography from its earliest days through to contemporary photography. You will be passionate and knowledgeable about photography, possess the strong communication skills needed to share these collections with the Libraries’ many audiences, and the know-how to ensure the collections are managed in-line with the Libraries’ curatorial standards.

The candidate we are looking for could be an experienced curatorial professional with an extensive professional network in the world of photography and photographic collections, or a talented individual with less experience in either curation or photography, but the clear potential and desire to address any gaps in your current skillset.

Benefits include 38 days’ leave (including bank holidays and fixed closures), a generous pension scheme, extensive training and development opportunities, access to travel and childcare schemes, and much more. See  https://www.jobs.ox.ac.uk/benefits#/ for further details.

You will be required to upload a supporting statement as part of your online application. Your supporting statement should list each of the essential and desirable selection criteria, as listed in the further particulars, and explain how you meet each one. Please do not include CVs in your application.

Only applications received online before 12.00 midday (GMT) on Friday 19 November 2021 can be considered. Interviews are expected to take place on Thursday 9 December 2021.

For further particulars, and details of how to apply, please click here.

The V&A Photography Centre has been entirely rehung with two new photography displays. Maurice Broomfield: Industrial Sublime presents the late photographer’s dramatic photographs of mid-century British and foreign industry, and Known and Strange: Photographs from the Collection highlight photography’s power to transform the familiar into the unfamiliar, and the ordinary into the extraordinary. 

Maurice Broomfield: Industrial Sublime showcases the late photographer’s dramatic photographs of mid-century British and foreign industry, capturing factories and their workers in an era of rapid transition. Born to a working-class family near Derby, Maurice Broomfield (1916-2010) worked at the city’s Rolls Royce factory after leaving school at the age of fifteen. He attended Derby Art College in the evenings, then worked in advertising before earning a position as Britain’s premier industrial photographer throughout the 1950s and 60s.

The display features over 40 original exhibition prints, drawn from Broomfield’s extensive archive housed at the V&A. These are shown alongside a selection of Broomfield’s cameras – lent from the private collection of his son, the renowned documentary film maker Nick Broomfield – as well as other contextual items which have never been exhibited before, including historic film footage, audio recordings, press cuttings, contact prints, negatives, trade publications and pages from works order books, shining a light onto the photographer’s working processes.

Most of Broomfield’s photographs were originally commissioned for publication in company reports, but he also selected and printed some of them at large scale for inclusion in photography exhibitions. From shipyards to papermills, textiles to food production, and atomic power stations to car manufacture, Broomfield emphasised the dramatic, romantic, sublime and sometimes surreal qualities of industry. Today, many of the factories he photographed – and the communities of workers and skills that supported them – have either vanished or been subsumed into global corporations.

His archive, containing over 30,000 images, comprising negatives, contact prints, exhibition prints, press cuttings, business records, and promotional materials, survives as a valuable record of this history, while his images can be appreciated for their artistry. Highlights include his spectacular image of a half million-volt charge on ceramic insulators for Royal Doulton potteries; a surreal scene of a woman inspecting the assembly of a generator for the English Electric Company; blast furnaces and fettlers at the Ford car factory at Dagenham; and the high-tech lighting laboratory at Phillips in the Netherlands. Broomfield’s photographs remain relevant today, prompting questions about digital technologies replacing manual labour, the UK entering an uncertain economic future in relation to the rest of the world, and the toxic social and environmental legacy of industry.

To accompany the display, the V&A has published a new book on Maurice Broomfield, written by V&A Senior Curator Martin Barnes and with a foreword by Nick Broomfield. Barnes discusses the life and work of Maurice, whom he came to know well as he worked to transfer his archive from his Hampshire home to the museum.

Images:
Top right: Maurice Broomfield, Woman Examining a Sample, Shell International, Holland Laboratories, 1968. © Estate of Maurice Broomfield.
Centre and lower: Installation shots of the Broomfield display. Courtesy: V&A Museum, London. 

Leicester's De Montfort University has re-launched its MA in photographic history with an innovative new distance learning approach to teaching that allows students to take the course at their own pace. The new course starts from January 2022 and then runs on a termly rolling basis meaning students can join at three points during the year, building up credits to a full MA.

The postgraduate course builds on remote teaching expertise developed over the past two years and will particularly suit students and those simply wishing to learn, especially from outside of the UK and unable to commit to full-time, or even traditional part-time, study. Teaching is asynchronous except for tutorials which are by appointment. All students will have anytime access to audio and/or visual material of lectures. 

Units of 15 learning credits can be completed on a standalone basis offering those simply wishing to develop knowledge in particular areas a rigorous and assessed pathway to do so. Any credits can be used to extend this in to a full MA. Those looking to study full-time can complete a MA in one year, or part-time in two years. 

The standard modules are: 

• Learning Photographic History Online (compulsory for all students)
• Photographic Historiography I (15 credits)
• Photographic Historiography II (15 credits)
• Photography and the Arts (15 credits)
• Photography, Science and Technology (15 credits)
• Photography, Ethics and Emotions (15 credits)
• Material Histories 1830s to 1930s (15 credits)
• Material Histories 1930s to Now (15 credits)
• Photography and Politics (15 credits)
• Photography and Digital Politics (15 credits)
• Fieldwork (30 credits)
• Dissertation or Heritage Project (60 credits)

Each 15 credit module encompasses 150 hours of learning, researching and assessment. The 30 credit module and 60 credit module are 300 and 600 hours respectively.

Full details can be found here: https://www.dmu.ac.uk/study/courses/postgraduate-courses/photographic-history-ma-degree/photographic-history-ma-degree.aspx

Do you have experience in developing and telling engaging stories to non-specialist audiences? Do you want to play a key role in an exciting project for the National Science and Media Museum?

The Sound and Vision galleries will bring our world-class collections of photography, film, television and sound technologies to the forefront of the National Science and Media Museum. New galleries will highlight the significant contribution sound and visual technologies have had on the world, and a programme of activities developed alongside the galleries will raise aspirations, develop skills and increase digital confidence in young people. Sound & Vision’s galleries and activities will be a driving force in the regeneration of Bradford.

We are now recruiting for a story weaver who can lead the creative content for the National Science and Media Museum’s transformation of its public offer through the Sound and Vision Masterplan Project. As Interpretation Manager you will develop and implement the gallery interpretation strategy for the project. Through your work with the project team, architects, designers and other contractors you will ensure that the interpretation elements are creative, engaging and connect with our audiences.

You will understand the importance of design, AV, interactives and text in the exhibitions, bringing skills for writing briefs, directing contractors and designers to achieve excellence in our interpretive approach. You will also work on our collaborative community projects to develop content that will be shown on gallery.

The role will sit in the exhibitions team, but will be operate across departments, particularly the curatorial, masterplan and learning teams to help deliver new and innovative ways to tell stories about our collections to a broad range of audiences.

For further information and to apply please visit: https://bit.ly/3BAQfhG

The V&A’s Collections Division comprises six curatorial, research, and conservation and collections care and access teams. The curatorial departments are arranged as Decorative Art and Sculpture; Performance, Furniture, Textiles and Fashion; Art, Architecture, Photography and Design; and Asia. The staff in these teams are at the heart of the founding purpose of the museum: to care for, research and develop the collections, to exhibit them to the public, to make them available for study and research, and to broaden access to the collections.

This is an exciting new role and the postholder will take responsibility for the development, care of, documentation and research, presentation, and interpretation of a part of V&A’s Collection, in this case, the Photography Collection. The role is especially focused on curating contemporary photography. The postholder will be expected to represent the Museum at the highest level and play an active role in the field of contemporary photography collecting, nationally and internationally.

As a member of the Art Architecture, Photography and Design, the postholder 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, and supporting senior colleagues in the running of the Department, including by creating a positive environment, encouraging collaboration across the museum, supporting change, leading and managing Assistant Curators and sharing knowledge, expertise and best practice to help them develop and perform.

Closing date for receipt of applications is 8 November 2021 at 23.59

This new publication has been published by Bristol Ideas as part of Bristol Film 2021. It consists of specially commissioned essays written by people from across the city or with specialist knowledge of cinema, including William Friese-Greene. It is available to collect from venues across the city including the Royal Photographic Society, Watershed and Arnolfini. 

Opening up the Magic Box. Friese-Greene and Reflections on Film
Melanie Kelly (editor)
Bristol Ideas, 2021, 196 pages
Available free

The V&A London is seeking a Curator, Digital Art. This is one of nine Curator posts that sit in the Art, Architecture, Photography and Design Department. The post holder will take responsibility for the development, care of, documentation and research, presentation, and interpretation of a part of V&A’s Collection, in this case, digital art. The Museum holds one of the world’s largest and most important collections of computer-generated art, created from the 1950s onwards. As such, the postholder will be expected to represent the Museum at the highest level and play an active role in the field of computer and digital art collecting, nationally and internationally.

As a member of the Art, Architecture, Photography and Design Department, the postholder 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, and supporting senior colleagues in the running of the Department, including by creating a positive environment, encouraging collaboration across the museum, supporting change, leading and managing Assistant Curators and sharing knowledge, expertise and best practice to help them develop and perform. The postholder will also play a role in the community of practice digital art, design and photography Senior Curators, Curators and Assistant Curators that will span the four curatorial teams.

Details here: https://app.vacancy-filler.co.uk/salescrm/Careers/CareersPage.aspx?e=LMo8nnTwYNZ-kppOIIdifD8XhL7Lz3TggHk9gf4pbl76oGRijDFpkXVgxlUqvquuVwLKrZE9RVo~&iframe=true

Impressions Gallery are seeking to appoint a Curatorial Programme Manager to work as part of our small and dedicated team. The person will manage our programme of innovative, thought-provoking photographic exhibitions, commissions, touring and other projects that realise the gallery’s artistic vision, and its commitment to diverse, and often marginalised, audiences. Other key responsibilities include overseeing and implementing our press and marketing strategy, supporting our learning, engagement and event programmes, and championing Impressions Gallery nationally and internationally.

We are looking for a dynamic, creative and ambitious individual, who is highly organised and able to balance multiple projects and priorities. Applicants must have relevant photographic knowledge and experience of working within a professional contemporary visual arts environment.

See:https://www.impressions-gallery.com/opportunity/curatorial-programme-manager/

The Classic magazine has recently published two features of interest to British photography. The London Photograph Fair - 40 Years On looks at this pioneering fair which will mark its fortieth anniversary in 2022. Its first outing was on Sunday 12 September 1982, and it was held at The Photographers’ Gallery in Newport Street, just off Charing Cross Road. It was the brainchild of Peter Agius LRPS, Fenton Medallist, and former Chairman of the Historical Group of the Royal Photographic Society. His italic scripted posters will be familiar to those of us who were interested in collection in the 1980s and 1990s. 

"Talking French" is a conversation between Philippe Garner about the British fashion photographer John French who trained many photographers, not least David Bailey and Terence Donovan. 

See: https://theclassicphotomag.com/the-london-photograph-fair-40-years-on/ and 

https://theclassicphotomag.com/talking-french-conversation-with-philippe-garner-about-the-british-fashion-photographer-john-french/

Details of The Classic which is distributed free and available online are here: https://theclassicphotomag.com/

Image: Unknown photographer. Tea time in the studio, 1951. Left to right, Pat Goddard, John French, and assistant and Michael Toll.

Peering into a small, magical box an eager new audience in the 1850s was transported into another dimension. Stereoscopic 3D images allowed them to experience the wonders of the world without ever leaving their fireside, see the heroes of the day in realistic detail, enjoy sentimental scenes or watch the construction of Brunel’s Great Eastern ship on the banks of the Thames. Millions of images were published and voraciously consumed by the public in just a few glorious years.

Dr Brian May and Denis Pellerin reveal some of the highlights of this extraordinary scientific, artistic and social revolution in this special event, transmitted live from the beautiful chapel at King’s College London. The stereoscope was first demonstrated in 1838 by Charles Wheatstone, inventor and Professor of Experimental Philosophy at King's College, which is now the home of his remarkable archive.

Join two of the world’s leading authorities on this early form of virtual reality, Brian May and Denis Pellerin, on the publication of their major new book, Stereoscopy: the Dawn of 3-D.

Stereoscopy: The Dawn of 3-D. Brian May and Denis Pellerin
Wednesday, 10 November 2021, 19:30 - 20:45
British Library, online, book here. 

The auction catalogue for the sale of 251 lots of books, watercolours and photographic equipment from the estate of Eric Hosking is now available on the Tennants website. 

Eric Hosking OBE Hon. FRPS FBIPP (1909-1991) is a name which will require little introduction for ornithology enthusiasts. The first professional bird photographer, he photographed over 1,800 species, and his pictures have appeared in some 1,000 books, including the popular New Naturalist series, of which he was photographic editor. To complement his library, Eric Hosking also built a fine collection of pictures by leading 20th century wildlife artists including Archibald Thorburn, Keith Shackleton and C. F. Tunnicliffe. The sale of his photographic equipment provides an unmissable opportunity to own a remarkable array of high-quality cameras, lenses and other apparatus by manufacturers including Contarex, Hasselblad and Zeiss.

Books, Maps & Manuscripts including The Library, Cameras and Picture Collection of Eric Hosking
24 November 2021 10:30 GMT
The Auction Centre, Leyburn
See: https://auctions.tennants.co.uk/auction/details/bk180-books-maps--manuscripts-including-the-library-cameras-and-picture-collection-of-eric-hosking/?au=13900

The Photographic Collections Network has announced a series of events relevant to collections and archives of photography. These range from copyright to environmental sustainability. Details are below.  The PCN is working on a collaborative research project with The Photography and the Archive Research Centre at LCC, exploring what a new Directory of Photographic Collections could look like, how it would function and what it could provide. If you can spare a few minutes to be part of this research click this link https://fulcrm.link/2/15504/2712/95rr6ff0908l24r2cr621f2m708m4936 to answer a few short questions and help us shape a future directory.

Save the Date: Copyright,IP and archive photos Wednesday 1st December, 2-3pm GMT: online
We will be having an online talk led by the Intellectual Property Office on copyright and IP. If you have questions you can put them forward before the event by clicking this link leading to an online form. https://fulcrm.link/2/15505/2712/190849ru201m8408ulm8fmm9225680u8

Photo Histories PCN & Redeye collaboration: FREE Online events:
Redeye's Photo Histories is a new strand of events that looks at some of the many histories that photography can uncover. The strand features photographers, archivists, scholars and historians exploring some of the lesser-known and under-represented histories of photography.

Format Collective, 27 Oct 7-8:30 pm BST
Maggie Murray, founder of Format Collective. Established in 1983, Format was the first and only women's agency in Britain. If you’ve read the excellent recent book, Photography of Protest and Community by Noni Stacey, you might wonder how the radical collectives of the 1970s transitioned into the progressive photography of today. This talk sheds light on that era. Format Collective tended to focus on events and individuals who weren't being represented in mainstream media. From LGBTQ+ marches to The Miners' Strike to women's rights movements, these women photographed a range of important political events and social movements. 

In this talk Maggie Murray will take us through how and why Format was set up as a collective and agency for women photographers. As well as what it was like being a photographer, and especially a female photojournalist in the 1980s and 90s. Maggie will give us an insight into how the members juggled different aspects of their core aims such as creative, commercial and political. She takes us through the struggles they faced, how they overcame them with support, and how they developed, both collectively and individually. And finally, what led to the closure of the agency in 2003. 
https://fulcrm.link/2/15506/2712/1706r714c4m778rm46541005ur120516

Material Histories Online, 2 Nov 7-8:30pm GMT
The study of photographic history has often depended on interacting physically with materials - we learn a lot about prints, negatives, plates and equipment from handling them. But now much more of our life is online, and that’s likely to continue. So how do we adapt this subject to the restrictions of online learning - and what are the possible benefits and new opportunities of learning in the digital world?

We are delighted to welcome Professor Kelley Wilder to guide us through this renewed learning space. 

In this talk Kelley introduces some photographic materials and explores how we can interact with them in a meaningful way. She will invite us to consider how the digital world is changing what we learn about materials, and how we learn it. You are then welcome to take part in an open discussion, where she creates talking points, demonstrates a few things, and sets out some ambitions for a new world of learning. Come along and join in as much as you like; if you would like to sit back and listen, that is fine too!
https://fulcrm.link/2/15507/2712/f54r328cl89cu01mfu350m0u3855f2mu

Engage Gallery Education: 
Applying conversations on class and inequality in collections
28 Oct 10-11:30am £40 for non members

Workshop: Jon Sleigh will reflect on a recent project with the National Gallery on class, and its application in three physical tours at the gallery. Key questions and sharing will look at the value of applying contemporary lived experience to historical work. This workshop’s particular focus is around ideas of class and economic inequality. The workshop will also consider how the educator might orient themselves within such readings, in ways that support the educator’s own safeguarding. We’ll look at language, establishing ethics of content with audiences, and reading the pieces not as a form of division – but as a positive and usable tool that brings others together.

This session features artworks from the Government Art Collection. As well as contributions from the GAC’s Curator of Public Engagement, Chantal Condron, we will be applying art readings on class, to artworks, as practical examples. While each artwork holds significance as being part of a national collection, they also offer the potential of being incredibly emotive works with which to explore our arts practice.
https://fulcrm.link/2/15508/2712/9279lf5rcr3r723m17cc2llu0030488l

The National Archives: Archives supporting environmental sustainability 
8 and 10 November | Online  
Join TNA for an opportunity to be part of the sustainability conversation and reflect on climate change as COP26 – the world's most important climate change conference – takes place this November in Glasgow. Come hear about the past, present and future of environmental sustainability in the archives sector, share your ideas for change and take away tools to create a positive impact in your organisation. This event will take place over two mornings (Monday 8 November and Wednesday 10 November) and we encourage participation on both days. 
https://fulcrm.link/2/15510/2712/36l9967788922920ul6u9fc0l3fu343l

In this special event, which accompanies the exhibition Line and Texture: the photography of Nancy Sheung, currently on show at St Hugh’s College as part of the Photo Oxford Festival, and featured in The Guardian, an expert panel will consider the work of pioneering Hong Kong photographer Nancy Sheung FRPS within the broader contexts of Chinese and Western photography.

The event will open with a drinks reception at 5.30pm, followed by the panel discussion between 6pm and 7.30pm.

The panel will be chaired by Shelagh Vainker (St Hugh’s College), Curator of Chinese Art at the Ashmolean Museum, and Associate Professor of Chinese Art in the Faculty of Oriental Studies. The panellists are:

• Tiffany Wai-Ying Beres, granddaughter of Nancy Sheung, who will discuss aspects of the artist’s life.
• Adrian Bradshaw, photojournalist specialising in the photography of China, who will contextualise Nancy Sheung’s photography within that of China and Hong Kong from the late 1950s.
• Michael Pritchard, exhibition curator, Director of Programmes at the Royal Photographic Society, and photo-historian, who will discuss the artist’s work within that of the RPS from the 1950s-1970s.

The event will be held in person in the Mordan Hall at St Hugh’s College, Oxford, and recorded.

Book here: https://www.st-hughs.ox.ac.uk/events/the-photography-of-nancy-sheung-a-panel-discussion/

Image: Nancy Sheung, The Pigtail, 1966, silver gelatin print. Courtesy: Estate of Nancy Sheung