The appointed Archivist will lead on the first stage of the Feeney Archive Project with Vanley Burke, which we anticipate taking place in the physical space of the archive in May 2021 (although this start date is dependent on safety regulations and work permitted within Covid-19 regulations).

The content and timescale of the work required will be decided through initial conversations between the appointed Archivist and Vanley Burke in advance of physical archival work. Art360 has recommended that an archive appraisal is an essential first step to the project. The Archivist will specify their day rate for the work required following the setting out of initial plans.

Whilst the Archivist will lead on the delivery of the required work, wherever helpful, Art360 will offer support with the planning of archival work, as well as guidance and mentorship throughout the duration of the project.

In 2020 Art360 was thrilled to receive support from the Birmingham-based John Feeney Charitable Trust to support Vanley Burke in the organisation of the Artist’s extensive and extraordinary archive of photographic prints, negatives, research material, correspondence and ephemera.

This exciting project will take place in Birmingham in the context of the private space of the Artist. The overall project will involve several independent specialists, who will carry out work at different intervals over an 8 to 12-month period, and will involve some of the following activities: an archive appraisal, inventory-building, digitisation of materials, a Curatorial Residency (appointed through open call) and the production of a documentary film exploring Vanley Burke’s legacy.

See more and apply here. 

Please send a CV and cover letter of no more than 500 words to contact@art360foundation.org.uk.

Deadline is 6 April 2021.

In partnership with Chanel, the National Portrait Gallery has launched Reframing Narratives: Women in Portraiture, a new three year project, which aims to enhance the representation of women in the Gallery’s Collection and highlight the often overlooked stories of individual women who have shaped British history and culture. The project is part of the new Chanel Culture Fund, a global programme of unique initiatives and partnerships that will support innovators across the arts in advancing new ideas and greater representation in culture and society.

The role of women photographers in both documenting history and encouraging other women to enter the profession will be explored further, spotlighting Edwardian photographers such as Alice Hughes, who only photographed women and children, and at the peak of her career employed up to sixty female assistants.

Reframing Narratives: Women in Portraiture includes the appointment of a new team led by Chanel Curator for the Collection, Dr Flavia Frigeri, which will focus on researching the Gallery’s Collection with the aim of enhancing the visibility of select figures, as well as acquiring portraits of women not yet represented and commissioning new portraits of trailblazing contemporary women. The project will increase the proportion of women artists and sitters on display at the Gallery in London when it re-opens in 2023, following a major transformation, which includes a complete re-presentation of the entire Collection and a significant refurbishment of the building.

Reframing Narratives: Women in Portraiture will challenge traditional notions of women’s careers and how we think about women in relation to their male counterparts. Research will also explore the cultural, institutional, social, and political factors that shape difference, including class, race, gender and sexuality. Amongst the iconic and inspirational women whose portraits and stories will be explored are: Modern painters such as Marie-Louise von Motesiczky, one of Britain’s most important émigré artists; activist, writer and artist, Ray Strachey, and Gluck, who was also a trailblazer in gender fluidity. Significant sculptors, including Anna Mahler and Patience Lovell Wright, a famous 18th century wax sculptor whose portraits preceded Madame Tussaud, will also be reconsidered.

Image: Dorothy Wilding by Dorothy Wilding, 1930s © William Hustler and Georgina Hustler / National Portrait Gallery, London.

Lewis Carroll began photographing children in the mid-nineteenth century, at a time when the young medium of photography was opening up new possibilities for visual representation and the notion of childhood itself was in transition. In this lavishly illustrated book, Diane Waggoner offers the first comprehensive account of Carroll as a photographer of modern childhood, exploring how his photographs of children gave visual form to emerging conceptions of childhood in the Victorian age.

Situating Carroll’s photography within the broader context of Victorian visual and social culture, Waggoner shows how he drew on images of childhood in painting and other media, and engaged with the visual language of the Victorian theatre, fancy dress, and Pre-Raphaelitism. She provides the first in-depth analysis of Carroll’s photographing of boys, which she examines in the context of boys’ education and reveals to be a significant part of his photographic career. Waggoner draws on a wealth of rare archival material, demonstrating how Carroll established new aesthetic norms for images of girls, engaged with evolving definitions of masculinity, and pushed the idea of childhood to the limit with his use of dress and nude images.

This book sheds unique light on Carroll’s decades-long passion for photography, showing how his complex and haunting images of children embody conflicting definitions of childhood and are no less powerful today in their ability to challenge, fascinate, and shock us.

Lewis Carroll's Photography and Modern Childhood
Diane Waggoner
Princeton University Press
Price:$65.00 / £54.00
ISBN 978 0691193182

In My Father And Me, documentary film director Nick Broomfield explores his relationship with his father, photographer Maurice Broomfield (right). The film is both memoir and tribute, and in its intimate story of one family, takes an expansive, philosophical look at the 20th century itself.

For decades among the foremost names in documentary (more recently for Marianne And Leonard: Words Of Love; Whitney: Can I Be Me; Tales Of The Grim Sleeper), Nick Broomfield has often implicated himself in the filmmaking process with honesty and candor. Yet never has he made a movie more distinctly personal than this complex and moving film about his relationship with his humanist-pacifist father Maurice Broomfield, a factory worker turned photographer of vivid, often lustrous images of industrial post-WWII England. These images inspired Nick’s own filmmaking career, but also speak of a difference in outlook between Maurice and Nick.

Alongside the family story, My Father And Me also documents the changes taking place in Britain itself, the rise and fall of industry in the North and the class divide. Rich in striking imagery, it is photographed by Nick’s son Barney Broomfield and Sam Mitchell, and is produced by Mark Hoeferlin, Shani Hinton and Kyle Gibbon.

Nick Broomfield is the recipient of awards including Sundance First Prize, Bafta, Prix Italia, Dupont Peabody Award, Grierson Award, Hague Peace Prize, Amnesty International Doen Award. My Father And Me was commissioned by Mark Bell for BBC Arts.

See the film on BBC2,  20 March 2021 at 2145-2315

The V&A Museum holds Maurice Broomfield's photography archive.

See: https://collections.vam.ac.uk/item/O243084/maurice-broomfield-photography-photograph-broomfield-maurice/

An exhibition of Broomfield's work is due to open in the V&A's Photography Centre from November 2021, curated by Martin Barnes. See: https://mauricebroomfield.photography/

Significant Scottish photography collections feature in two forthcoming talks arranged by the RPS Historical Group. On 20 May Blake Milteer will be talking about the MacKinnon Collection which was jointly acquired by the National Galleries of Scotland and the National Library of Scotland. The collection, originally amassed by Aberdeenshire collector Murray MacKinnon, represents Scottish life and achievements from the 1840s through to the 1950s, revealing a century of dramatic transformation, innovation, and upheaval in Scotland.

On 22 June Ian Leith of the Wick Society will look at the Johnston Collection, a unique photographic archive which provides an insight into more than a century of life in and around Wick, from 1863 to 1976. Three generations of the Johnston family ran a photography business in Caithness which documented its social history, from the time the herring industry was at its height and Wick the herring capital of Europe. 

Both talks are free to attend. Read more and book here.

Image top:  John D. Stephen (Scottish, died 1917), Dawn of Light and Liberty, about 1908. Hand-coloured gelatin silver print. MMK.00449. The MacKinnon Collection. The National Galleries of Scotland and the National Library of Scotland. Jointly acquired with assistance from the National Lottery Heritage Fund, Scottish Government and Art Fund.

Left: Image: © The Wick Society / Johnston Collection / Alexander Johnston in his studio / JN43447P222.

George Szirtes reads his award-winning memoir about his mother, Magda. Her turbulent life reflects the drama of the 20th century.

She survived incarceration in two different concentration camps during the Second World War and then settled in Hungary - but fled with her family in 1956. Arriving as a refugee in London, serious illness forced her to abandon professional photography and to live at home as a housewife, where she began the process of “Englishing” her family.

The Photographer at Sixteen reveals a life told backwards, from the depths of Magda’s final days to her girlhood as an ambitious photographer in Budapest. The woman who emerges is beautiful, energetic, direct, warm and passionate. It is a book born of curiosity, of guilt, and of love.

With thanks to Colin Ford CBE for highlighting this broadcast

The Photographer at Sixteen - George Szirtes
BBC Radio 4 from 15 March and then for four further episodes daily and on BBC Sounds 
See: https://www.bbc.co.uk/programmes/m000t418/episodes/guide

The Guardian newspaper has reported that the E Chambré Hardman studio negatives in Liverpool is deteriorating. It noted: The National Trust faces a “race against time” to save a historic collection of previously unseen photographs before they deteriorate.

Renowned Liverpool photographer Edward Chambré Hardman’s collection of 140,000 prints and negatives passed to the National Trust, along with his house, in 2003 but some negatives were found to be “actively deteriorating and emitting toxic gases”.

The under-threat prints were not properly conserved by Hardman at his studio on Rodney Street in the Georgian quarter of Liverpool and initial inspections revealed serious problems in the way some items had been stored.

Read the full story here: https://www.theguardian.com/artanddesign/2021/mar/03/edward-chambre-hardman-national-trust-in-race-against-time-to-save-liverpool-photographers-archive

Photographs: © Michael Pritchard. The Chambré Hardman House and darkroom. 

This workshop, led by Almudena Romero, will give you detailed knowledge on chlorophyll printing (and on other sustainable photographic methods), including the science behind the process, tips and recommendations, info on suppliers,  process steps and troubleshooting techniques, to help you to make great chlorophyll prints from home. 

Starting with an introduction to a range of sustainable, yet little-known, early (1840s) photographic techniques, this workshop thoroughly explains sustainable photographic processes' history, science and practice. 

Get to play with photography in an unusual and environmentally friendly manner and produce beautiful image-objects for your home and friends.

See more and book here. 

When Anna Bertha Röntgen first glanced at the radiographic picture of her hand she is supposed to have said “I have seen my death!” and refused to take part in any similar experiments. In a brief time however, this new way of seeing the body forever altered the landscape of both popular culture and the visual arts.

This talk explores how X-rays and other medical imaging techniques have had their diagnostic capacity repurposed and subverted, becoming an integral part of experimental artistic practices. It follows a historical trajectory, from the early works of the avant-garde to contemporary interdisciplinary projects and artist residences within imaging facilities. It discusses the interactions between artists and medical practitioners, as well as its impact on viewers of the general public: what changed from the time Mikhail Larionov and Francis Picabia were engaging in explorations of the radiographic gaze? How is the meeting point of art, medical science and technology framed in the works of contemporary artists such as Matthew Cox, Mona Hatoum and Paulina Siniatkina? The talk will also highlight lesser known creations and initiatives from the former Eastern bloc, highlighting X-ray depictions and the medical gaze as part of the state apparatus, through the works of artists such as A.I. Kurnakov, Morozov Anatoly Alekseevich, Obrosov Igor Pavlovich and Levichev Yuri Ivanovich.

Looking Inwards: The Role of Medical Imaging Technology in 20th and 21st Century Visual Art

Tuesday 16 March  1-2pm (UK time) on Zoom.

Join Zoom Meeting: https://zoom.us/j/91441604082

Meeting ID: 914 4160 4082

Passcode: 195522

See: https://chstmphdblog.wordpress.com/lunchtime-seminars/

William Van Sommer (1859–1941) was a little-known amateur photographer who left behind a unique collection of images of his local Surrey landscape and favourite gardens in colour.

He took his pictures in an era when gardens were known for their waves of colour – for the contrasting shades of their rock gardens and the vibrant hues of their herbaceous borders. Yet the Edwardian garden was seldom captured in colour photography at the time.

Van Sommer’s beautiful ‘autochrome’ pictures provide a rare glimpse of the colours of these gardens of the past. Read on to discover some of the earliest colour images of the great outdoors including the first known colour photographs of RHS Wisley.

Read more about him and see his autochromes here: https://www.rhs.org.uk/digital-collections/william-van-sommer

If anyone has more information about Van Sommer and his photography feel free to contact Sarah McDonald, Heritage Collections Manager at the RHS. 

The exhibition has been created by RHS Lindley Library. Based at the Royal Horticultural Society’s headquarters at Vincent Square in London, the Lindley Library holds a world-class collection of horticultural books, journals and botanical art.

The University of West of England's Centre for Fine Print Research in Bristol is running a series of photographic process workshops aimed at, amongst others, artists, designers, craftspeople, communicators, photographers, teachers and managers. CPD courses offer the opportunity for professional updating, learning new skills and techniques, and for intellectual stimulus. 

They will run in the summer of 2021 and cover early photographic printing processes, photogravure, platinum/palladium and preparing digital negatives, and are led by Dr Peter Moseley

Find out more and book here: https://rps.org/CFPR

Image: Dr Peter Moseley

An auction house has asked for identification of a photograph which will be offered at auction on 13 April 2021. There are two photographs in the lot. The photograph which has an unidentified photographer is a portrait of Julia Prinsep Stephen, née Jackson.

The other print shows Mary Louisa Fisher and Julia Prinsep Stephen (both née Jackson), and is attributed to James Mudd or Joseph Cundall. 

Any attributions - ideally with sources - would be welcome. 

This blog, published in 2020 looks at - and identifies - many of the photographers represented in this important art library. Much loved and perused by staff, students, and the general public in the know, the Conway Library is a collection of 9764 red boxes containing brown manila folders. The photographs glued on the brown manila mounts are black and white original prints showing places of architectural notice, often in painstaking detail. The variety, detail and beauty of the photographs, as well as the value of this research resource are well documented in this blog.

The list of photographers tells a completely new story about the library. No longer simply the story of the initial collectors, this is now also the story of the hundreds of people – students, staff or independent supporters – who donated the images.

Read the blog, see the list of photographers represented, and share your own knowledge: http://blog.courtauld.ac.uk/digitalmedia/2020/06/30/who-made-the-conway-library/

The inaugural exhibition in the Chau Chak Wing Museum’s photography gallery examines the first photographic studios in New South Wales, Australia and the characters who ran them. The way we visualise much of the 19th century is framed by the work of commercial photographic studios. The new technology of photography, invented in 1839, led to the rise of these new businesses which found commercial opportunities in sales of photographs, especially portraits. The Business of Photography turns the lens onto the commercial studio, exploring the stories behind particular New South Wales photographers. Original photographs drawn from the Macleay Collection of historic photography are featured.

A supporting online/in-person event is: 

Art UK is holding a conference as the culmination of nearly four years' work to digitise thousands of sculptures across the UK, held in collections and seen in public spaces.

There will be talks from Art UK staff on sculpture digitisation, our learning and engagement programme and new sculpture discoveries through Art Detective. We will share best practice on photography of sculpture, running community engagement events and delivering innovative activities for schools, plus lectures on the historical photography of sculpture.

Talks from curators, art historians and learning professionals will consider public sculpture, innovative learning programmes, diversity and colonialism, and new discoveries in sculpture and sculptor research. These include presentations from our project partners VocalEyes, CultureStreet, the Royal Society of Sculptors and the Royal Photographic Society.

The conference's keynote session will see artist Jeremy Deller in conversation with renowned Classicist and Art UK Patron Mary Beard, as they discuss their views on public art in the UK. The discussion will touch on how they feel about the debate around contentious statues and their removal, and their thoughts on the role of art and sculpture in our public spaces.

Rediscovering our sculpture
11 and 12 March 2021
Free registration

See more: https://artuk.org/about/sculpture-conference

Prospect magazine has a feature by Emma Hartley which poses the question why were women photographers overlooked in the recent Netflix film The Dig. The photography of Mercie Lack and Barbara Wagstaff who documented the excavation at Sutton Hoo was removed and their roles replaced by a male photographer.  Separately  the role of Wagstaff has been largely overlooked in favour of Lack and it was only recently that her birth and death dates were known. 

Read more here: https://www.prospectmagazine.co.uk/arts-and-books/why-does-netflixs-the-dig-exclude-the-women-who-photographed-sutton-hoo

Image: The long boat discovered at Sutton Hoo as photographed by Barbara Wagstaff. Credit: The British Museum

Bonhams auction of Fine Books and Manuscripts on 31 March 2021 includes a copy of Reports of the Juries (1851-52) which is illustrated with 154 calotypes. The set of four volumes in an edition of approximately 130.   It is estimated at £15,000-20,000. 

See more here: https://www.bonhams.com/auctions/26772/lot/8/

The British Film Institute is seeking a Curatorial Specialist to join the BFI’s Curatorial department on a fixed term basis until March 2022 to work on the Heritage 2022 project; digitising 100,000 video works from the collections of the BFI and partner archives in order to preserve the collections for future generations.

Key Responsibilities 

• Work with curators and curatorial archivists to process video material to support delivery of the BFI’s Heritage 22 programme, identifying and inspecting materials in order to advise on conservation need. Ensure that materials are accurately described and documented on the BFI’s documentation system.
• Bring an understanding of the history of film, television and the moving image to support curatorial archivists in recommending preservation and conservation workflows for video and other archive materials as part of the Heritage 22 programme. In consultation with curators, assign and amend preservation status applied to holdings and update the Collections Information Database (CID).
• Use the Collections Information Database (CID) tool to accurately catalogue archive materials to internationally agreed standards and undertake materials research for programming, conservation or preservation. Use spreadsheets and information databases to bulk import or export metadata describing the collections.
• Research the BFI National Archive using the Collections Information Database (CID) to identify best materials for potential curatorial programmes.

See more and apply here: https://bfijobsandopportunities.bfi.org.uk/

A call for papers has been made by Museu del Cinema, The Department of History & History of Art at the University of Girona and the Ministry Project “Virtual worlds in early cinema: devices, aesthetics and audiences”. The organisers are seeking papers that respond to: 

Topic A: Virtual worlds in early cinema: devices, aesthetics and audiences
- Media archaeology. The archaeological study of the devices previous or contemporary to the cinematograph might be helpful to introduce the History of cinema inside a much broader process, focused on the evolution of visual devices, screens and projection/audition systems.
- The viewer experience in the face of the visual spectacles. In order to comprehend the devices’ impact. It is fundamental to know which was the audience experience in front of the images.
- Virtual experiences on early films. Another research path might draw from the period existing films, in order to check how new sensorial ways are glimpsed in them. The idea of considering early cinema films as spaces to the visual attraction can lead us to consider the realist simulation effects that they gather.
- Immersive spectacles and virtualization. The study of leisure spaces from them past reflects the existence of hybrid spectacle systems, between cinema, theatre, magic lantern which proposed specific forms of exhibition and enhanced theatre viewer immersion in possible worlds.
- Bridges between the past and the development of virtual technology in the present. It is possible to establish a thinking that carries out a revision of the past through a double logic based on the analysis of the re-use by the new technologies of pre-existing techniques and other based on the aesthetic reflection around virtuality modes in the present and its connection with other aesthetic achievements that were developed in a moment of transformation and reuse of the means of communication.
Topic B: pre-cinema and early cinema
- Presentation of works in progress on pre-cinema or cinema until 1915.

Deadline for papers: 5 May 2021
Conference 20 and 21 October 2021. 

See more here: https://www.girona.cat/shared/admin/docs/c/a/call_for_papers.eng.pdf

St Andrews University is offering a MLitt in History of Photography. The course provides a range of innovative modules that cover areas from the origins of photography to contemporary practices and debates, including modernist art photography, documentary approaches, photographic collections, and technological advances up to the digital era. 

The MLitt in History of Photography is a taught postgraduate programme run by the School of Art History. The MLitt offers a unique opportunity to study the history of photography as a specialised field of research. Highlights include:

• This innovative degree is inspired by the important role played by St Andrews in the early history of the most influential visual medium of the modern era.
• Students are introduced to the theoretical and methodological challenges and debates that photography’s multiple functions and contexts have provoked since its invention.
• Classes make full use of the outstanding photographic collections of Special Collections, University Library and associated photographic archives.
• Small class sizes prioritise discussion with peers and interaction with the tutor.
• Students may apply to take part in exchange programmes at our partner institutions.

Course starts 6 September 2021. Applications by 11 August 2021 at the latest. 

Read more here: https://www.st-andrews.ac.uk/subjects/art-history/history-photography-mlitt/#d.en.93814