The core of the September Piazzi Smyth mini-festival is two full days of talks and debate by experts and researchers on topics related to the life and legacy of Charles Piazzi Smyth – mountain top astronomy, photography, meteorology, and pyramidology. This event is open to any interested member of the public.

Location

The meeting will be held in the Wolfson Lecture Theatre, at the Royal Society of Edinburgh, George Street, Edinburgh.

Dates

Sept 3-4 2019, between 09:00 and 17:00 each day

Registration

There will be a £45 registration fee. Note that the registration fee includes lunches, tea and coffee breaks, and tickets to the movie screening on Sept 2nd and the public lecture on Sept 3rd, so no need to book these twice.

Registration is through a University of Edinburgh registration page.

See more here: https://www.piazzismyth.org/piazzi-smyth-symposium/ 

Image: A very early “calotype” photograph taken by Charles Piazzi Smyth in 1840 – one of the very earliest photographs of South Africa.

Dominic Winter's auction of photographs on 3 October includes rare publications by John Thomson and other rare topographical photographs. The highlight is a newly discovered fifth copy of Thomson's first China photography book, Views on the North River (1870). 

Thomson was one of the first to extensively document the Far East, photographing there between 1862 and 1872, before returning to the UK and producing, in association with Adolphe Smith, the seminal and pioneering documentary photography book, Street Life in London (1876-77). Thomson published many of his images of China, Thailand and Cambodia in a series of books, often using actual photographs in the publications, making them costly small printings, and now all consequently rare. Most well-known is his four-volume work Illustrations of China and Its People. A Series of Two Hundred Photographs, published in 4 volumes (1873-74). The wide body of images in that work are reproduced as photogravures and so these fine images and the books are generally found in good condition.

More difficult to find in fine condition are the books published with mounted original photographs, of which the earliest, The Antiquities of Cambodia (1867), with 16 albumen prints, is the most familiar. Of Thomson's China books with real photographs, Foochow and the River Min (1873) with 80 carbon prints is the best known, even though only published in limited edition of 46 copies; the last complete copy at auction fetched £350,000 at Sotheby's, London, in 2012.

Rarest of all is Thomson's first China photography book, Views on the North River (1870), with 14 mounted albumen prints. On this expedition into the Guangdong province the weather was poor and Thomson was disappointed with his photographs. There are only four copies of this book known: at Hong Kong University, the National Library of Scotland, Cornell University, and one privately owned in North America. No copies have ever been offered for sale. The auction will offer a newly discovered fifth copy, held for 150 years in a private British family's possession, alongside four further related photograph albums of the 1860s/70s: views of Hong Kong by John Thomson, circa 1868; view of Hong Kong by William Floyd Pryor, circa 1870; and two albums of views of Hong Kong, China, India and Burma. The sale will also comprise further 19th-century Asian and other travel photography, both as individual prints and albums from various sources.

19th & 20th Century Photographs, featuring India, China & the Far East

Cameras & Photographica, Postcards, Scrap Albums & Ephemera

Thursday 3 October 2019

See: https://www.dominicwinter.co.uk/auction-previews

This enchanting feature documentary explores the life and work of a lost master of American photography. In his 2015 obituary The New York Times declared him 'one of the most accomplished recorders of the American experience.' yet most people have never heard of him.

The discovery in 2011 of vintage prints, contact sheets, and negatives spanning Feinstein’s 70 year journey in photography was the first chapter in the making of this film. The documentary took on a life of its own, urging the filmmaker to look beyond the pictures and into the life story of the inspiring man who’s search for beauty in the everyday compelled him to click the shutter and capture those moments. Harold Feinstein lived an extraordinary life and his photographs and this story are a gentle but powerful and timely reminder to all of us to stop and appreciate the wonder of life itself.

Last Stop would be a welcome tribute at any time, but it's especially bracing when today's constant deluge of visual images can't help but dilute the impact of photography. Dunn's film is fully attuned to the vibrancy and tenderness and sense of possibility in Feinstein's photos. 

Background
When Harold Feinstein was just 19, Edward Steichen bought three of his prints for the permanent collection at MoMA and during the 50’s and 60’s he was having shows with Saul Leiter, Gary Winogrand and others in the New York School of photographers. He was also a renowned darkroom printer - but he wasn't one to pursue a career, as he was a free- flowing artist with a healthy appetite for the good things in life.

Whether captured as a draftee in the Korean War, in a Bebop infused Manhattan loft or a rural hippy enclave in upstate New York, Harold’s 35mm black and white photographs captured the essence of life with a with a uniquely humanist eye. The rediscovery of Feinstein’s vast and diverse body of work came in his final years and the film meets him then; in his early eighties and with a zen-like appreciation for the life he lived.

Filmmaker Andy Dunn spent precious time with Harold in his Massachusetts home and also on one last road trip to his beloved birthplace, Coney Island. Through the testimonials of friends, lovers, family members and photography experts, this atmospheric film paints an intimate, yet critical, portrait of this complex and inspirational underdog of 20th century photography.

A renowned teacher and spiritual guide with a hedonistic outlook for life, Feinstein is remembered as a guru as well as an artist by those who knew him - a true original whose philosophy on life is as thrilling to discover now as it was in his prime. With unrestricted access to his archive, much of it unseen before, the film shows how Feinstein’s unique outlook on life was reflected in his life-affirming photography.

Last Stop Coney Island: The Life and
Photography of Harold Feinstein
Doc Days screening & Q&A at CURZON Soho
Monday, 15 July 2019, 6:30pm

Trailer & Info: www.feinsteinfilm.com

This talk will investigate structural colourism in the history of photographic processes, emphasised through the invention of colour correction cards in the 1950s. These were used by photography labs to calibrate skin tones, shadows and light during the printing process – favouring lighter skin tones, while leaving darker skin tones looking blurred or unidentifiable.

Photographer and activist Angélica Dass will discuss her project Humanae, investigating the chromatic range of human skin tones using a taxonomy adopting the format of the PANTONE® Guide – challenging social classifications of race and colour.

Film and theatre director Nadia Latif will look at how the evolution of cameras and lighting in film have influenced the depiction of black actors, actresses and characters.

COLOURISM & PHOTOGRAPHY

Tuesday,  2 JUL 2019
7PM, DOORS OPEN 6:30PM
LONDON: AUTOGRAPH
£5 / 4
See: https://autograph.org.uk/events/colourism-and-photography?mc_cid=cc34cbd9f6&mc_eid=dee88b2478

An exhibition of over 30 vintage photographs from Terence Donovan’s early career will go on display at Huxley-Parlour Gallery from 3-27 July. Donovan (1936-1996) rose to prominence in the 1960s as part of London’s post-war renaissance in art, fashion, graphic design and photography. Terence Donovan: The 1960s will showcase his best-known photographs from this period alongside some lesser-seen images to illustrate the scope of his work this formulative period.

The exhibition includes portraits of Julie Christie, Terence Stamp, Monica Vitti, Sophia Loren, Claudia Cardinale, Celia Hammond and Dave Brubeck amongst other cultural figures of the era, shot for a range of both advertising and editorial commissions. Also included are eight original and unique contact prints – small photographs made by laying the negative directly onto the surface of the light sensitive paper. Donovan meticulously reviewed his contact sheets, indicating his selected frames by piercing them with a pen or marking them with a pen or chinagraph pencil. He discarded the contact prints of the frames he did not want used, keeping only those that he felt good enough to print or publish. These prints provide an important insight into Donovan’s working methods and his creative process.

Charting Donovan’s early career from 1959, when he opened up his first London studio, to the heights of his success throughout the 1960s, the works in the exhibition show how he helped to redefine photography and shape the aesthetic of London’s ‘Swinging Sixties’. The honesty and energy of Donovan’s photographs quickly helped to establish his own visual language rooted in the world he knew best – the streets of London’s East End, where he had grown up. Often situating his models in bomb-ravaged ruins or in industrial building sites, his gritty and noirish style looked to reportage, rather than fashion photography, for its inspiration. He worked for some of the most progressive magazines of the time including Queen, Town and London Life and his images quickly became emblematic of the era and established Donovan as a new force in British photography.

Terence Donovan was born in London’s East End in 1936. At the age of 22, he opened his first studio in London, becoming an immediate success. He worked for leading advertising agencies and fashion and lifestyle magazines including Vogue, Harper’s Bazaar and Elle. Later in his career he produced television commercials and advertising campaigns alongside editorial work for cutting edge magazines and newspapers, most conspicuously the now-legendary Nova magazine. He also directed the video for Robert Palmer’s song Addicted to Love (1986). His work has been the subject solo exhibitions at the Museum of London and The Photographers’ Gallery, London, and group exhibitions at the V&A, London; FOAM, Amsterdam; National Portrait Gallery, London and Cincinnati Art Museum amongst others.

Huxley-Pasrlour Gallery, London. https://huxleyparlour.com/exhibitions/

Image: Terence Donovan, Ros Watkins, Advertising Shoot for Acrilan, 3 March 1961.

Catherine Troiano has been appointed by the National Trust as Project Curator - National Photography Collections. The position was advertised in March. The role provides oversight of the Trust's photography collections with a particular focus on the E Chambre Hardman House in Liverpool and delivery of an exhibition based on that collection at the Walker Art Gallery. It is funded for two years and she takes up the post in July. 

Troiano has been at the V&A Museum as an assistant curator from 2015-2018. She was appointed Curator, Photographs in September 2018. Troiano has worked on a number of projects with the Hemera Collective, a curatorial collective specialising in photography and lens based media,

She completed at the University of Edinburgh and since 2016 she has been studying for a PhD at De Montfort University’s Photographic History Research Centre. Her research explores institutional representations of photography in Hungary, examining the complex socio-cultural and political environment shaping institutional practice in the after-post-communist moment.

The Metropolitan Museum of Art (The Met) and The University of New Mexico have announced the groundbreaking findings of a two-year study of the plasmonic properties of daguerreotypes. Using atomic force microscopy and scanning electron microscopy, together with numerical calculations, the team of scientists from The Met and UNM, in collaboration with Century Darkroom, Toronto was able to determine how the light scattered by the metallic nanoparticles on the surface of a daguerreotype determines the characteristics of its image, such as shade and color.

The pioneering research titled — Nineteenth Century Nanotechnology: The Plasmonic Properties of Daguerreotypes, published recently in the journal PNAS — not only provides an in-depth understanding of these 19th-century photographs that are crucial for their preservation, but also introduces new possible approaches for color printing where nanostructures are directly manufactured by light.

“We are thrilled by these findings that help us better understand the fascinating properties of daguerreotypes and shed light on how to continue to advance the preservation of these incredible works of art,” said Silvia A. Centeno, a research scientist in the Department of Scientific Research at The Metropolitan Museum of Art.

“The team at the University of New Mexico embarked on this study to achieve a better understanding of the mechanisms that give rise to the optical response of daguerreotypes and to contribute to the development of protocols for preserving these fragile artifacts,” said Alejandro Manjavacas, assistant professor, UNM Department of Physics and Astronomy. “Thanks to the fantastic teamwork between scientists from both the cultural and scientific communities we were able to accomplish what we set out to do.”

Unlike other types of photographs, daguerreotypes rely on light scattering by metallic nanoparticles to create images that project off a reflective silver substrate. These early photographs can be recognized as the first examples of plasmonic color printing, an emerging research field that exploits the interactions between light and metallic nanostructures to produce vivid colors.

Daguerreotype in the study collection of The Metropolitan Museum of Art (artist unknown, ca. 1850s) and scanning electron microscope (SEM) images of different regions of the daguerreotype.

The image tones of a daguerreotype are dynamic and unique in that they can change with the viewing angle and, for the first time, this effect is explained by the authors, who found that the morphology and size of nanoparticles determines how these will scatter thus creating the visual outcome of the daguerreotype.

Studies of the image properties of daguerreotypes serve to inform the development of preservation protocols, as well as novel approaches to future color printing technologies inspired by past ones.

The team of scientists consisting of Andrea Schlather and Centeno from the Department of Scientific Research at The Metropolitan Museum of Art, Paul Gieri and Manjavacas from UNM's Department of Physics and Astronomy, and the Nanoscience and Microsystems Program, and Mike Robinson from Century Darkroom, Toronto collaborated on this study.

The research was sponsored in part by The National Science Foundation (NSF) and by the Annette de la Renta Foundation, and made use of the computational facilities provided by the UNM Center for Advanced Research Computing.

See: https://news.unm.edu/news/trailblazing-findings-of-daguerrerotype-properties-revealed-by-the-metropolitan-museum-of-art-and-unm

The Centre for Image Research and Diffusion (CRDI) - Girona city Council (Catalonia) presents a new audiovisual product for a better understanding of the photographic process of developed gelatinobromide. This process was created by Richard Leach Maddox in 1871 and improved by Charles Harper Bennett in 1878. It has been very successful as it is the main photographic b/w process of the twentieth century.

This audiovisual, created using 3D animation techniques, is the sixth proposal of a series dedicated to the evolution of the photographic technique and photomechanical procedures that started in 2007. The script is done by the professor Josep Pérez  and the project execution is assumed by the CIFOG (Escola de Cicles Formatius de Girona). This audiovisual, unique in its presentation, has a clear dissemination function and, unlike the theoretical texts, allows the viewer to get a clear idea of this photographic procedure.

https://youtu.be/BOADnH-r4QQ

The exhibition will present, Untitled (Murder Mystery People), some of Sherman’s earliest self-portrait photographs that were made in 1976, the year she graduated from the art department at the State University College at Buffalo, USA. The exhibition will also include the 16mm film, Doll Clothes, (1975) and a selection of works from Untitled Film Stills (1977-80), the series for which Sherman first gained international recognition.

This exhibition has been co-curated with Sebastien Montabonel and is part of the Edinburgh Art Festival 2019.

Cindy Sherman: Early Works, 1975-80
Stills Gallery, Edinburgh
28 June - 6 October 2019/ Open daily 11- 6pm / Always free

http://www.stills.org/

Photographer Terry O'Neill has been awarded a CBE for 'services to photography' in the Queen's birthday honours list published today. O'Neill joins a select group of photographers to be given the honour, including Don McCullin, Harry Benson and David Bailey. 

O'Neill is represented by Iconic Images. See: https://iconicimages.net/photographers/terry-oneill/

Autumn 2019 will see a commemoration of the 1844 meeting of the British Association for the Advancement of Science in York at which Hill and Adamson Calotyped many of the participants. To celebrate the 175th anniversary of the meeting York Philosophical Society, York Museums Trust (YMT) and York Explore (YE – formerly York Central Library) will present an outdoor exhibition of modern reproductions in Museum Gardens of the Hill and Adamson Calotypes.

The exhibition will be supported by a series of events including a talk by Anne Lyden on 1 October. 

Find out more about the project and the images here: https://www.ypsyork.org/groups/calotype-project-group/

Details of Anne Lyden's talk and booking can be found here: https://www.ypsyork.org/events/a-perfect-chemistry-hill-and-adamsons-use-of-the-calotype-process/

Image: Mrs Harcourt, National Galleries Scotland. Accession number: PGP HA 2919. Creative Commons - CC by NC licence.

In 1949, Georgia O’Keeffe and the Alfred Stieglitz Estate donated 1,311 photographs by Alfred Stieglitz to the National Gallery of Art and placed on deposit an additional collection of 331 portraits of O’Keeffe, which were later given to the Gallery in 1980. This collection, known as the Key Set, is an unparalleled selection of Stieglitz’s photographs, containing at least one print of every mounted photograph in his possession at the time of his death. It remains one of the most important photographic collections in existence. Carefully selected by O’Keeffe to include the finest examples, the Key Set traces the evolution of Stieglitz’s work, from its inception in the 1880s to its rich maturation in the 1930s, and thoroughly documents all aspects of his decisive contribution to the art of photography.

Previously available only in print, the Alfred Stieglitz Key Set Online Edition represents the definitive publication on the artist’s work. Incorporating updated scholarship, including recent conservation findings, as well as overviews of the major periods in his art, robust search functionality, and advanced image viewing and comparison tools, the Online Edition opens up new avenues for researching—and being inspired by—Stieglitz’s work.

Explore highlights of the Key Set, browse by subject or person, or search the Key Set to view all Key Set photographs and filter results by Key Set number, negative date, photographic process, or other criteria.

Access here: https://www.nga.gov/research/online-editions/alfred-stieglitz-key-set.html

Image: Alfred Stieglitz and/or Edward Steichen, Alfred and Kitty Stieglitz, 1907, Autochrome, National Gallery of Art, Washington, Alfred Stieglitz Collection, 1949.3.290.  Key Set number 315

Showcasing works from the 19th and 20th centuries, Bloom..away explores the different ways in which photographers have chosen to document plants with their cameras. The exhibition is the first from the Sarah Wheeler Gallery. 

Two large format cyanotypes of ferns - the blueprint process used to such good effect by Anna Atkins - will be displayed alongside images by masters of the medium including Charles Jones, Karl Blossfeldt, Man Ray, Adolf de Meyer, Heinrich Kuhn and Albert Renger-Patzsch.

Whilst works from the 19th century such as those by Adolph Braun and Charles Aubry emulate the tradition of botanical illustration and pictorialism, Blossfeldt, Renger-Patzsch and Jones celebrate the unique mechanical nature of the camera by creating strikingly modern images of plants, in a clear, apparently objective matter - making them prime examples of the German New Objectivity movement.

Opening to the public on 10 June  Bloom...away - an exhibition of early botanical photography from 1850s to 1960s will run until June 19th at The Studio, 73 Glebe Place, London, SW3 5JB with a fully illustrated catalogue. The exhibition is open Monday to Friday, 10am - 6pm and by appointment over the weekend.

Bloom...away. An exhibition of early botanical photography from 1850s to 1960s

10th June - 19th June 2019
The Studio, 73 Glebe Place, London, SW3 5JB

For further information please contact: Sarah at Sarah Wheeler Gallery, t: 07932 735829

e: sarah@sarahwheelergallery.com

Image: Charles Jones (1866-1959), Hyacinth, Single Red, c.1900. Gold-toned gelatin silver print on printing out paper.

Phillip Roberts, previously a researcher at Birmingham Museums and a researcher working with the National Science and Media Museum, has been appointed Associate Curator of Photography and Photographic Technology at the National Science and Media Museum, Bradford. Phillip completed his PhD at the University of York which was titled The Emergence of the Magic Lantern Trade in Nineteenth-Century England. He has published work in Film History, Cultural Politics, The Magic Lantern and Early Popular Visual Culture and is the editor of three special issues on media culture.

Photo historian Rose Teanby discusses how engineering giants Isambard Kingdom Brunel and Robert Stephenson have been represented in visual media, both photography and art. How does their visual legacy reflect both individual achievement and resilient professional friendship throughout their eventful but prematurely curtailed lives?

Rose Teanby is an Associate member of the Royal Photographic Society and biographer of Victorian photographer Robert Howlett. In 2017 she presented a lunchtime lecture looking at the iconic portrait of Isambard Kingdom Brunel by the launching chains of the SS Great Eastern. Last year Rose completed a tour in support of the Institution of Civil Engineers entitled Brunel Through a Lens, followed by a presentation at the Literary and Philosophical Society in Newcastle upon Tyne. Here she broadened her study to include Robert Stephenson and his civil engineering relationship with Brunel.

National Portrait Gallery, London
4 July 2019. Doors open at 12.45.
Lectures begin at 13.15 and last approximately one hour.

Book here: https://www.npg.org.uk/whatson/event-root/july/lunchtime-lecture-04072019

Image: Robert Stevenson, by Horace Harral, after a photograph by Robert Howlett, wood engraving, 1858. NPG D6865

The Niépce Museum has made available online a selection of about 300 Amateur Photographer covers and plates that were presented on a screen in Julien Faure-Conorton's exhibition on French pictorialism at the same venue in 2018. The selection is made up of representative examples of European pictorialism published between 1908 and 1914.

It is available here: http://www.museeniepce.com/index.php?/collections/enjeux-de-la-photographie/The-Amateur-Photographer with all the covers as thumbails here: http://collections.museeniepce.com/fr/app/collection/16/view

Cecil Beaton’s portraits from a golden age will be brought together the first time in a major new exhibition opening at the National Portrait Gallery, London, in March 2020. Featuring around 150 works, many of which are rarely exhibited, Cecil Beaton’s Bright Young Things will explore the extravagant world of the glamorous and stylish ‘Bright Young Things’ of the twenties and thirties, seen through the eye of renowned British photographer Cecil Beaton.

Through the prism of Beaton’s portraits the exhibition will present the leading cast, to many of whom he would become close, and who in these early years helped refine his remarkable photographic style - artists and friends Rex Whistler and Stephen Tennant, set and costume designer Oliver Messel, composer William Walton, modernist poets Iris Tree and Nancy Cunard, glamorous socialites Edwina Mountbatten and Diana Guinness (née Mitford), actresses and anglophiles Tallulah Bankhead and Anna May Wong, among many others. Brought to vivid life each of them has a story to tell. There are the slightly less well known too – style icons Paula Gellibrand, the Marquesa de CasaMaury and Baba, Princesse de Faucigny-Lucinge, the eccentric composer and aesthete Lord Berners, modernist poet Brian Howard, part model for Brideshead Revisited’s mannered ‘Anthony Blanche’, ballet dancer Tilly Losch and Dolly Wilde Oscar’s equally flamboyant niece. Also featured are those of an older generation, who gave Beaton’s career early impetus: outspoken poet and critic Edith Sitwell, the famously witty social figure Lady Diana Cooper, artist and Irish patriot Hazel, Lady Lavery, and the extraordinary, bejewelled Lady Alexander, whose husband produced Oscar Wilde’s comedies and who became an early patron of Beaton’s.

Cecil Beaton’s own life and relationship with the ‘Bright Young Things’ will be woven into the exhibition, not least in self-portraits and those by his contemporaries. Socially avaricious, he was a much-photographed figure, a celebrity in his own right. Beaton’s transformation from middle-class suburban schoolboy to glittering society figure and the unrivalled star of Vogue, revealed a social mobility unthinkable before the Great War. He used his artistic skills, his ambition and his larger-than-life personality to become part of a world that he would not surely have joined as a right. Throughout the twenties and thirties his photographs place his friends and heroes under perceptive, colourful and sympathetic scrutiny. 

The exhibition will bring together loans from national and international collections and in particular an extensive loan from the Cecil Beaton Studio Archive at Sotheby's. Highlights will include vintage prints of Beaton’s earliest subjects, his glamorous sisters Nancy and Baba; the Vogue portrait of his friend George Rylands as ‘The Duchess of Malfi’, published when he was a student, and which set him on the road to fame. There are glimpses from high-spirited revels at country house weekends, including a rare vintage print of the leading lights dressed as eighteenth-century shepherds and shepherdesses on the bridge at Wilsford Manor, regarded now as the quintessential depiction of the Bright Young Things. In town, parties, charity balls and pageants were enlivened by an almost maniacal zeal for the theatrical and the extravagant in costume and attitude.

In addition to Beaton’s own portraits, the exhibition will also feature paintings by friends and artists know to Beaton including Rex Whistler, Henry Lamb, Ambrose McEvoy, Christopher Wood and Augustus John; portraits of Beaton by Paul Tanqueray, Dorothy Wilding, and Curtis Moffat; as well as letters, magazines, invitations, scrapbooks, book jackets and other ephemera.

Dr Nicholas Cullinan, Director, National Portrait Gallery, London said: “We are delighted to announce this major new exhibition for spring 2020 and to bring together for the first time so many of Beaton’s dazzling photographs, high on art and artifice, which beautifully capture the original and creative world of the Bright Young Things.”

Robin Muir, Curator of Cecil Beaton’s Bright Young Things said: “The exhibition will bring to life a deliriously eccentric, glamorous and creative era of British cultural life, combining High Society and the avant-garde, artists and writers, socialites and partygoers, all set against the rhythms of the Jazz Age.”

The exhibition will be curated by Robin Muir, Curator of the Vogue 100: A Century of Style exhibition at the National Portrait Gallery in 2016 and a Contributing Editor to Vogue (to which Beaton himself contributed for over 50 years)

The exhibition is accompanied by a fully illustrated hardback catalogue, featuring around 150 beautifully reproduced works by Cecil Beaton and his contemporaries. In addition to the works illustrated there is an essay by Robin Muir, and biographies for each of the ‘Bright Young Things’. The catalogue will be available from 12 March 2020 via the Gallery shops and online npg.org.uk/shop

The exhibition will tour to the Millennium Gallery, Sheffield from 25 June – 18 October 2020 and The Wilson, Cheltenham’s art gallery and museum from 14 November 2020 – 28 February 2021.

Cecil Beaton’s Bright Young Things
12 March – 7 June 2020 at the National Portrait Gallery, London
Tickets without donation from £17 - £20
Tickets with donation from £19 - £22
Free for Members and Patrons

npg.org.uk

Spring Season 2020 sponsored by Herbert Smith Freehills LLP

Photoworks is currently recruiting! We are looking for two people to join our team and help shape our changing organisation. I’d really appreciate if you could pass on to anyone who might be suitable, circulate to your networks or share on social channels. Deadline is next week, Tuesday 28th May. 

Audience Development & Communications Manager (£27-£30k pro rata, 3 days/week) 

This post is an exciting opportunity to work with the Director and Deputy Director to develop and implement an organisation-wide communications strategy, raise brand awareness and grow the organisation’s audiences both on and offline. Key amongst the early projects for this role is to plan, develop and implement a successful rebrand of Photoworks to prepare for the organisation’s 25th anniversary in 2020. https://photoworks.org.uk/news/job-opportunity-audience-development-communications-manager-3-days-week/

Programme Administrator (£21k-£23k, f/t)

As Programme Administrator you will provide efficient and effective administrative, financial and programme support to the organisation. Alongside general administration and bookkeeping, you will play a key role in supporting exhibitions, events and Learning & Engagement projects, as well as supporting the Deputy Director with Board administration, stakeholder reporting and patron communications. https://photoworks.org.uk/news/35918/

The Science Museum Group - which includes the National Science+Media Museum, Bradford - is currently undertaking its most ambitious project in a generation, to move over 80% of its collections to the National Collections Centre to Wroughton, near Swindon, by 2023.

As part of this move, the SMG is re-evaluating the service it provides for researchers who consult our archives, objects, and libraries in the course of their work. If you have ever used the library, archives, or collections at: - Science Museum London (including Dana Centre Library and Blythe House) - Science and Industry Museum Manchester (formerly MOSI) - National Science and Media Museum Bradford (formerly the National Media Museum) - National Railway Museum in York - Locomotion in Shildon - National Collections Centre, Wiltshire (formerly Science Museum Wroughton) the SMG wants to hear about your research experience, and your suggestions for how it could improve in future.

The survey should take a few minutes to complete. You will be offered the chance to win a £50 amazon voucher for taking part in the survey – the draw will be made in June, and the winner notified by email.

BPH would ask that anyone who has used the photography collections in Bradford complete the survey to ensure that the photography, photographic technology and printed materials are not overlooked. 

Survey for Researchers who have used Science Museum Group collections https://www.surveymonkey.co.uk/r/G276CBK