Michael Pritchard's Posts (3284)

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12201054478?profile=originalThe V&A was one of the first museums to collect and exhibit photographs. Today, the collection is one of the most important in the world, recognised internationally for its breadth of content, including works that span the 1820s to the present day. This is a particularly exciting year for photography at the V&A, with the recent transfer of the vast collection of the Royal Photographic Society, and spectacular new photography galleries opening in 2018.

This course will present an overview of the history of the medium, encompassing works by a broad array of historic and contemporary practitioners. Subjects covered range from landscapes, portraiture and fashion imagery to contemporary camera-less photography and photobooks. Students will have the opportunity to view up-close some of the magnificent original works in the collection, as well as visit the behind-the-scenes areas of the museum where photographs are stored and conserved.

Course Leaders: V&A Curators Martin Barnes and Susanna Brown

Six weeks: Tuesday 3 October 2017-Tuesday 14 November 2017 at 1830 to 2030. The course will have half term on the 24 October
£303 full price, £273 over 60s, £259 concessions 
(concessions are available for ES40 holders and registered disabled people)

See more and register here: https://www.vam.ac.uk/event/Vn1NRayw/history-of-photography-2017#intro

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12201060090?profile=originalPaul Laib moved to London from Hamburg at the end of the nineteenth century. For fifty years he worked as a fine art photographer from his studio in South Kensington, hired by artists to document their work. Using archive materials and pieces from the De Laszlo collection of Paul Laib negatives, this exhibition highlights the multifaceted relationship between photography, painting, sculpture and their practitioners. Through the lens of his niche vocation as contractor and creative in London's creative communities we see that an image of artwork can take many forms. 

Camera Obscured. The fine art photography of Paul Laib

Book Library Foyer, The Courtauld Institute of Art 

26 July-27 September 2017

http://courtauld.ac.uk/gallery/visit

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eBook: A Higher Branch of the Art

12201061690?profile=originalAnthony Hamber's long out-of-print book 'A Higher Branch of the Art' (1996) which has been long out of print and rarely available on the secondhand market has been made available as a download by the author at Academia.com. The book can be downloaded here: https://www.academia.edu/33838583/Hamber_A_Higher_Branch_of_the_Art._1996..docx If you do not have an Academia account you will need to register for one. 

"A Higher Branch of the Art": Photographing the Fine Arts in England, 1839-1880
Anthony J Hamber
542 pages, 1996

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12201061452?profile=originalWomen in Photography the Other Observers was commissioned in 1984 by the National Museum of Photography, Film and Television. Val Williams researched into the history of women in photography, resulting in a book, a TV series by Channel 4 and an exhibition that successfully toured Britain. Curated and written by Val Williams this was the first book of its kind that gave a historical account of women in photography in Britain in the 1900s. 

Throughout her research she collated and brought together many lesser known photographers alongside more well known names, resulting in a celebration of women in the field of photography, including Christina Broom, Dorothy Wilding, Vanessa Bell and Julia Margaret Cameron.

As part of Val Williams' extensive archive and revisited here for the first time since 1986, this particular series of work engages us with contemporary questions such as women’s role in photography in the 1900’s in relation to nowadays, the legacy of this work, and poses the relevant question ‘what can we learn from these archives today?’

Curated by PARC Graduate Associates Ana Escobar and Jacqui Taylor as part of the Moose on the Loose outreach programme.

Showing 9th June 2017 - 31st July 2017 at PARCspace, Room W224, London College of Communication, Elephant and Castle, London, SE1 6SB.

Open Tuesdays from 12noon to 2pm, by appointment. To arrange a visit, please contact Melanie King at m.king@lcc.arts.ac.uk

For a PDF copy of Women in Photography the Other Observers visit here: http://www.photographyresearchcentre.co.uk/what-we-do/exhibitions/2017-other-observers

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12201058496?profile=originalAs part of the Science Museum's Illuminating India season a new exhibition Illuminating India: Photography 1857-2017, will be an ambitious and unprecedented survey of the technological and cultural development of the medium in India, examining photography’s changing role in charting the recent history of the country. The other second exhibition in the series Illuminating India: 5000 Years of Science and Innovation, will celebrate India’s central role in the history of science and technology by exploring its influential contributions to subjects as diverse as space exploration, mathematics, communication and engineering.

Photography 1857-2017 is the first exhibition to trace an arc from the beginnings of photography in India in the mid-19th century to the present day, and pivots around 1857 and 1947: two key dates in India’s recent history.

Looking at those photographers who have been inspired by their own experience of the country, the exhibition explores evocative works from a roster of eminent international practitioners, from India’s first known photographer, Ahmad Ali Khan, to award-winning contemporary photographer Vasantha Yogananthan.

Arriving in India shortly after its invention in Britain in 1839, photography became a powerful tool in the hands of military men and colonial administrators in the drive to document and dominate the people, architecture and landscapes of the subcontinent. Western art history has tended to overlook the Indian photographers working contemporaneously with the first foreigners from the 1850s onwards. This exhibition aims to explore their work afresh in an international context as Indian art photography pioneer Marahaja Ram Singh II is exhibited alongside Samuel Bourne and the country’s first female photojournalist, Homai Vyarawalla, is shown with contemporary Henri Cartier-Bresson.

12201059094?profile=originalDrawing on exceptional loans from diverse international collections including the Royal Photographic Society Collection, some of which will be shown for the first time in the UK, the exhibition offers a visually sumptuous history of photography in India. From the very first fragile salt prints to the latest digital imagery, every iteration of the photographic medium will be on display. Photography 1857 –2017 reveals how illuminating a subject India has been for photographers across three centuries: and shows in turn how photography has illuminated India to the viewer, both as place, and as idea.

Ian Blatchford, Director of the Science Museum Group, said: ‘India’s history and culture are built on a rich tradition of scientific thought and innovation. The stories we will be showcasing through this vibrant season not only shaped India but had global significance. By taking a global perspective on the development of science, technology and photography, we hope to engage new audiences and strengthen international relationships between British and Indian scholars and cultural institutions.

An extraordinary series of public events will run during the Illuminating India season at the Science Museum, including film screenings, workshops, panel discussions and live performances. The full programme of events will be announced soon.

The Illuminating India events programme is presented in partnership with the Bagri Foundation. The Illuminating India season has additional support from The Helen Hamlyn Trust and The John S Cohen Foundation.

Illuminating India  
4 October 2017 to 31 March 2018

Free, ticketed

sciencemuseum.org.uk/indiaseason


@ScienceMuseum
#UKIndia2017

Image: top: Unidentified Woman of the Zenana, c.1870 (2012.04.0054-0028) © Trustees, Maharaja Sawai Man Singh II Museum, City Palace, Jaipur; lower: Mitch Epstein, Shravanabelagola, Karnataka, India 1981, Courtesy of Galerie Thomas Zander, Köln

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12201057073?profile=originalThis exhibition, which mirrors, but is not the same as, the standout exhibition at PhotoLondon in May (seen below), celebrates the major gift of photographs from David Hurn’s private collection and marks the opening of Amgueddfa Cymru – National Museum Wales’s first gallery dedicated to photography. Throughout his career as a documentary photographer and member of Magnum Photos, Hurn has been an avid collector of photography. Remarkably, his unique approach to collecting focuses on the act of swapping.

12201057867?profile=originalThe collection comprises approximately 700 photographs by leading 20th and 21st century photographers such as Henri Cartier-Bresson, Eve Arnold, Sergio Larrain, Bill Brandt, Martine Franck, Bruce Davidson and Martin Parr, through to emerging photographers such as Bieke Depoorter, Clementine Schneidermann, and Newsha Tavakolian.

The exhibition presents a selection of works that reflect on Hurn’s own career and influences, his eye for a good photograph and the friendships he has developed with photographers along the way. Hurn has recent donated his collection to the museum as reported by BPH here.

Swaps: Photographs from the David Hurn Collection

National Museum Cardiff

30 September 2017 – 11 March 2018

https://museum.wales/cardiff/

Credit, top right  USA. Florida Keys. 1968. © Elliott Erwitt/Magnum Photos

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12201055681?profile=originalSpecial Auction Services's Fine Photographica auction includes two half-plate autochrome images showing First Eastern General Hospital on The Backs in Cambridge, c1914-15.  The auction takes place on 13 July 2017 at Newbury or online at the-saleroom.com. 

The description reads: 

Two half-plate Autochromes, of the First Eastern General Hospital on The Backs in Cambridge circa 1914-1915, possibly taken by J Palmer Clarke, interior view - wounded men, orderlies and nurses in newly-built open-sided ward, decorated with patriotic flags, and exterior view - with wounded men, doctors, nurses and orderlies, gardens in foreground, images probably used in production of colour postcards, G (2), with a linen-backed rolled-up wall chart showing graph of men treated, medical officers, orderlies, patients and death rates, 1914-1919, including small spike after the German 1917 Spring offensive and large spike caused by influenza coinciding with the Armistice in November 1918; the hospital was built rapidly at the outbreak of war, largely out of asbestos, became civilian housing after the war and was demolished in 1927, 2240mm long, only partly completed; see Cambridge University online documentary, Dr Sarah Baylis, ‘From the Front to the Backs, the story of the 1st Eastern General Hospital, Cambridge’, 2014

See more here.

UPDATED: The lots sold for £550 plus buyer's premium of 15%+VAT

12201055681?profile=original

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12201051252?profile=originalThe complete run of the Australian Photo Review from January 1894 to December 1956 has been digitised and made available by the State Library of New South Wales. The journal was the most influential in Australia throughout its history. 

This title has been digitised and made fully searchable online as part of the State Library's Digital Excellence Program, a major initiative supported by the NSW Government. 

See more and take a look: http://www.sl.nsw.gov.au/stories/australian-photo-review-now-online

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12201047269?profile=originalWe are looking for a researcher to play a key role in a new research project to be run in collaboration with the National Science and Media Museum in Bradford. The research project will use a variety of different research methods – including action and participatory research – to explore the political geographies of the National Science and Media Museum and wider Science Museum Group and of the different communities who live in Bradford as a means of addressing the tensions facing inter/national museums in engaging their local audiences. The project’s research questions will be addressed through systemic action research allowing us to build a 'working picture' of the role the National Science and Media Museum currently plays and use this to identify blocks as well as pathways for productive change.

You will play a key role in working with the Principal Investigator (PI) to identify connections between the different strands of research, to support in the administration of the project and to act as editor for the project website. You will also develop your own strand of research within the overall research design. The role is based at the Leeds, but you will spend significant time at the National Science and Media Museum, and elsewhere in the city of Bradford.

With a PhD in museum and heritage studies or an allied field (or equivalent experience), you will have a strong understanding of current debates in the field and the sector as well as experience of taking part in collaborative/participatory projects. You will also possess excellent interpersonal and communication skills and will have the ability to write compelling interpretive content for a variety of audiences.

To explore the post further or for any queries you may have, please contact:

Dr Helen Graham, Project Principal Investigator

Tel: +44 (0)113 343 1224, email: H.Graham@leeds.ac.uk

See: https://jobs.leeds.ac.uk/vacancy.aspx?ref=AHCFA1001

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12201047492?profile=originalEvery so often a photography exhibition comes along which provides a new perspective on what may often be a familiar history of photography and re-excites one as a photo-historian. New Realities is one such show and, if you see no other photography exhibition over the summer, then this is the one not to miss.

12201048465?profile=originalFamiliar photographs and styles of photography are re-contextualised within a beautifully designed physical space in Amsterdam's refurbished Rijksmuseum and the newly re-opened Philips Wing. Photographically-illustrated books and ephemera are given a rightful prominence (in special cases with glass that eliminates reflections and provide a 360 degree view of the object); and the application of photography is taken beyond science and documentation to its ephemeral use in advertising and mainly through the Steven F Joseph collection which the Rijksmuseum has acquired. 

Using some 300 photographs, photographically-illustrated books and magazines with tipped-in photographs, New Realities tells a story of how photography was put to use after its announcement in 1839. Six themed rooms commence with an introductory room devoted solely to Anna Atkins' British Algae (1843-53). The book itself is displayed with appropriate reverence facing a wall which shows every plate contained within and sets the scene for the way photography changed the way people saw and recorded the world, people and places around them, and created a new art form. 

12201049260?profile=originalRoom 2 looks at portraiture from the paper prints of Talbot and Hill and Adamson and others to cased daguerreotypes, again beautifully displayed and lit, to the mass-appeal of the carte-de-visite. Room 3 is titled 'functional photography' and includes two copies of Reports by the Juries (1851) which used photography to record the exhibits from the Great Exhibition and a range of images which show how photography was used for recording and documenting the world both visible and invisible (x-rays) for science and medicine, to document collections and people and,how photography showed objects to be advertised to consumers in catalogues and the popular press.

Room 4 looks around the world through travel photography. It shows unique works such as a Girault de Prangey's daguerreotype, to Japanese hand-coloured views of Samurai and to popular stereocards displayed as objects in their own right and for viewing in two stereoscopes recreating their subject in 3D that so captivated the Victorians. Room 5 shows 'high art': how photography was used to support traditional artists through studies of models and, in turn, created high art in its own right, in the new medium.

12201049657?profile=originalFinally, room 6 looks at the snapshot photograph and the popularising of photography with early 'instant' photographs and the revolution capitalised by George Eastman with the introduction of the Kodak camera in 1888. 

There are too many individual highlights to mention them all. For me Atkins' British Algae was one, Antonio Cavella's (c.1880, shown above) two portraits of North African men were new to me and seemed contemporary in the subject's gaze and the photographer's approach, and John Hall-Edwards' 18972 x-ray for advertising the Midland Tyre Company's non-collapsible tyre are simply three of so many. 

The exhibition is a testament to the expertise and enthusiasm of Mattie Boom and Hans Rooseboom, curators of photography at the Rijksmuseum. They have produced a stimulating exhibition which reminds us how important photography was throughout the nineteenth century in a fresh way. At the same time it highlights the extent of the photography collections within the Rijksmuseum (some 150,000 images) and they have had the foresight to acquire less obvious collections of photography, such as that of Steven F Joseph, a collection that is likely to grow in importance in showing how photography was used to reach out to commercial and consumer markets.

12201049893?profile=originalThe catalogue New Realities. Photography in the 19th Century is, like the exhibition, beautifully designed and features essays by the two curators, Saskia Asser, Steven F Joseph and Martin Jürgens. It is fully illustrated, footnoted and indexed. If you cannot see the exhibition, then buy the catalogue. If you get to see the exhibition, then the catalogue will add much to what you will have seen. 

New Realities. Photography in the 19th Century
Rijksmuseum, Amsterdam, until 17 September 2017
See: https://www.rijksmuseum.nl/en/new-realities

 

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Britain on Film: Coast and Sea

12201047260?profile=originalLast year Britain on Film took a closer look at rural life across the UK, today the BFI announces Britain on Film: Coast and Sea, an online collection of over 600 newly digitised films, ranging from 1898 to 2000, from the BFI National Archive and the UK’s national and regional film and TV archives, spanning the whole of the UK, available (mostly) for free on BFI Player via an interactive map.

As we enter the summer holiday season, find inspiration here with over 160 films that paint a vivid portrait of the quintessential British holiday. Coast and Sea highlights include Playing on Beach (1903, BFI), Netting The Tide (1978, North West Film Archive at Manchester Metropolitan University), Rohilla Wrecked off Whitby (1914, BFI), The Homecoming (1967, South West Film and Television Archive), Cargo for Ardrossan (1939, BFI) and Private Life of the Gannets (1934, BFI).

Since Britain on Film’s launch, over 30 million people have accessed their country’s film heritage through BFI Player and social media channels. With this new collection over 7,500 films can now be seen online – 97% of which are free. By 2018, thanks to National Lottery funding and the support of the Esmée Fairbairn Foundation, 10,000 film and TV titles from 1895 to the present day will be newly digitised and available to view.

See more: player.bfi.org.uk/britain-on-film

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12201056275?profile=originalOne of Europe’s oldest and most important specialist photography galleries is celebrating a double anniversary throughout the summer of 2017. Impressions Gallery, originally established in 1972 in York, celebrates 10 years since its relocation to Bradford in 2007, as well as 45 years as a photography gallery and charity.

Impressions Gallery was founded at a time when photography was shunned by major museums. Impressions brought many photographers to the British public for the first time, notably the very first show by the then unknown Martin Parr and Daniel Meadows in 1972. From humble origins in a room above a shop in York, the gallery has gone from strength
to strength, playing an immeasurable role in championing photography in the UK. In the last 45 years, more than 630 artists have exhibited, including many well-known names such as Bill Brandt, Cecil Beaton, Dorothea Lange, and
Imogen Cunningham.

The gallery’s speciality is supporting both emerging and overlooked photographers to make major new work, helping Anna Fox, Helen Sear, Joy Gregory, Trish Morrissey and Peter Mitchell to achieve international acclaim. After outgrowing a succession of buildings in York, Impressions moved to Bradford at the invitation of Bradford Council, opening the first purpose built public funded photography gallery in the UK in August 2007.

The charity is now an Arts Council England National Portfolio Organisation, supported by Bradford Metropolitan District Council. While Impressions Gallery’s exhibitions are ever-changing, its mission as a charity remains the same: to help people understand the world through photography.

To celebrate its double anniversary, Impressions Gallery is premiering Field Work, the first retrospective of Bradford-born Liza Dracup, whose mesmerising images explore the natural history of the British Isles. The gallery is also presenting a summer of special events, including pop-up photo booths, a VIP party, and a unique exhibition in a secret Bradford historical gem. A family-friendly celebration will mark Saturday 19 August, the 10th anniversary of Impressions opening its doors in Bradford.

Anne McNeill, Director of Impressions Gallery since 2000, said “Impressions has always been visionary, and never afraid to take creative risks. More than ever, photography plays a huge part in our lives, and people continue to look
to Impressions to be captivated, informed and inspired. I’m delighted to be celebrating this important double anniversary, and would like to thank all the visitors, artists, funders and supporters who have been part of the Impressions story over the last 10 years in Bradford and 45 years in Yorkshire”.

Nick Serota, Chair, Arts Council England, said “Impressions Gallery has long played a crucial part in the promotion of photography in Britain and beyond. The gallery’s exhibitions are always exciting, innovative and show the very best contemporary photography from the UK and further afield. I’m sure that the celebratory summer events will be a big hit with locals and visitors alike.

Susan Hinchcliffe, Leader of Bradford Metropolitan District Council, said “Impressions has mounted
significant exhibitions, bringing artist of international renown to our city. The gallery has forged strong community links, and provides excellent experiences for both our residents and visitors”.

Martin Parr, international Magnum photographer, said “Impressions Gallery is as vital today as when it opened in 1972. I had my first show there, and many photographers have done the same. The policy of showing new work and emerging photographers remains central to the gallery”.

Impressions Gallery attracts around 50,000 visitors annually to its Bradford space in addition to those visiting its touring exhibitions. In York the Gallery saw around 30,000 visitors in its final year. 

See more here: http://www.impressions-gallery.com/

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Job: Head of Photographs, IWM

12201045900?profile=originalYou will provide professional leadership for IWM’s internationally important collection of historic photographs, which is recognised as one of the most significant photographic collections in Great Britain, unique in its scale, depth and scope. The IWM’s holdings currently comprise several million analogue and born digital images, taken by professional and amateur photographers of many nationalities from 1850 - present, along with associated documentation and artefacts. The core focus of the collection are those conflicts involving British and Commonwealth countries from 1914 to the present day. The collection tells the story of these conflicts from the viewpoints of both combatants and civilians from Britain, her allies and opponents. In addition, under Public Records legislation, IWM is the designated Place of Deposit for official photographs relevant to the Museum’s remit. It is also the custodian of the photographic record of the Museum itself. The post holder will work with IWM’s historical teams to acquire new material for the collection, to research and document holdings to achieve a greater understanding of the collection to increase its benefit to both IWM, our audience and researchers.

As IWM’s most senior specialist in photography, you will at all times demonstrate and develop a high level of knowledge and a breadth of expertise about the collection based on extensive research and experience. You will use this to drive the development and documentation of the collection, and support its commercial exploitation, public programme, research and the work of other teams and departments.

You will promote the use of the photographic collection, both within IWM and externally. You will steer the strategic development of IWM’s photographic collection through liaison across Narrative and Content and IWM as a whole.

You will also play a leading role in creating a working culture that is responsive, collaborative and committed, and an environment that welcomes curiosity and creativity. Finally, you will champion the Change programme and the opportunities it brings with it, both for IWM in its operations and activities and for our audiences.

Key duties 

You will be expected to work independently as well as across different teams in order to contribute to and deliver the priorities of IWM - using your knowledge, skills, talent and potential to the best of your ability. 

You will focus at all times on delivering excellent customer service, ensure value for money at all times while being professional, courteous and demonstrating the behaviours and attributes expected of all IWM employees. You will also adhere to all corporate standards, and use corporate systems as directed to ensure consistency of service, brand and operational standards. 

You will drive the delivery and development of all services within your department, and contribute to the development of other areas as required. You will also adhere to all corporate standards, and use corporate systems as directed to ensure consistency of service, brand and operational standards

You will be an experienced specialist in your area and take on broad responsibilities, working across departments effectively, with individuals, partner organisations and volunteers.

You should be able to lead, manage and motivate your staff, partners and volunteers in order to get the best out of them.

You will play a key role and in the development of corporate and departmental strategy and initiatives.

You will be expected to comply with corporate standards, and use corporate systems, processes and procedures– and undertake any necessary training as directed.

In addition, your duties will include:

1. To lead on the research, interpretation and development of the IWM photographic collection and to advise on its appropriate interpretative use and presentation.

2. To meet regularly with, coach, support and advise relevant curatorial specialists across the department, to ensure the quality of their work as regards their specialism, to identify training needs, and to contribute to their appraisals.

3. To work with curators, Heads of historical teams, the Head of Collections and Curatorial Development and the Department of Collections Management to develop the enhanced interpretation of the photographic collection and to assist with the development of its documentation and digitisation.

4. To play a leading role in meetings and discussions with IWM colleagues and representatives from TNA and MOD relating to IWM’s status as a Place of Deposit under the Public Records Act, with particular emphasis on the archiving and use of born digital official photographs.

5. In collaboration with Collections Management, to agree and advise curatorial teams on approaches to and standards for interpretation and cataloguing of the collection and ensure that these are upheld across IWM.

6. To liaise with Collections Management regarding the photographic collection, and to inform IWM practice by establishing peer-to-peer relationships with individuals and organisations that set and provide guidance on collections development, collections care and curatorial standards.

7. To develop academic research projects and meaningful partnerships that enrich understanding of our photographic collection.

8. To put forward imaginative ideas for exhibitions and other elements of the public programme or events at external partner organisations

9. To respond to requests from across IWM for knowledge and skills, co-ordinating, delegating and apportioning resource accordingly to support the Assistant Director (Narrative and Content), Head of Collections and Curatorial Development and work with the Heads of historical teams in identifying strategic priorities and development of corporate plans.

10. To facilitate among curators across IWM an understanding of our photographic holdings, their unique qualities, their place within the material culture of conflict, and their potential for reaching our audiences.

11. To identify development opportunities for photograph curators in order to ensure the expertise and knowledge of specialist curators is maintained in the organisation.

12. To support the Heads of historical teams in creation and development of content for galleries and exhibitions, as well as Learning, Development, Press, Publishing, Media, Marketing and Commercial outputs and activities 

13. To develop academic research projects and meaningful partnerships that enrich our understanding of our collection.

14. To facilitate access to our collection, knowledge and skills to the public and to colleagues across IWM.

15. To apply excellent communication skills in working with audiences and stakeholders, both internal and external, and with other specialists in historical photographs.

16. To work at all times as a team member, consulting with colleagues and sharing knowledge and information.

17. To ensure that all areas of activity deliver IWM brand values and comply with corporate priorities, standards and systems at all times.

18. Representation of IWM on external professional and academic boards and at conferences, workshops and seminars

19. To identify and implement learning and development needs of both yourself and specialist curators of photographs across IWM’s historical teams.

20. Providing media interviews and giving tours and presentations to stakeholders and VIP visitors

See more and apply by the 21 June closing date here

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12201055898?profile=originalPhotographs by pioneering Swanage photographer, Helen Muspratt, whose studio opened in Swanage in 1928 are the subject of Face, Shape and Angle. The photography of Helen Muspratt at the Fine Doundation Gallery, Durston Castle, from 20 June 2017. Muspratt's work includes her portraiture of Paul Nash and Eileen Agar.

Exhibition Dates: Tues 20 June – Tues 11 July 11am – 4pm
Fine Foundation Gallery, Durlston Castle

See: http://www.durlston.co.uk/gallery.aspx

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12201060284?profile=originalPhotographic collections are found in libraries, archives and museums all over the world. Their sensitivity to environmental conditions, and the speed with which images can deteriorate present special challenges. This one day training session is led by Susie Clark, accredited photographic conservator. It is aimed at those with responsibility for the care of photographic collections regardless of institutional context.

The day provides an introduction to understanding and identifying photographic processes and their vulnerability, information on common conservation problems and solutions, and the preservation measures that can be taken to prolong the life and accessibility of photographic collections. Contact with real examples of different photographic processes is an important feature of this training session which is therefore limited to only 16 places. At the end of the day participants will be able to: identify historic photographic processes explain how damage is caused implement appropriate preservation measures commission conservation work.

See more here: https://www.westdean.org.uk/study/short-courses/courses/bl29-preserving-historic-photographs

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Obituary: Pat Stewart

12201047700?profile=originalPat Stewart, the Tiller girl in the polka dot dress, who was famously captured by Bert Hardy in Blackpool, has died aged 83 years. Hardy's photograph was a Picture Post front cover in 1951. The picture was taken by Hardy on a Brownie camera to show that great photographs were created by the photographer rather than the camera. Stewart had to assert her claim to be the subject. She will be buried in the dress that made her famous.

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12201046473?profile=originalA Victorian Society is a book about early photography and photographers, told against the backdrop of life in what was to become the most productive cotton spinning town in the world. In 1867, when photography was still in its infancy, a group of photographers from Oldham and District met at the Hare and Hounds Inn, Yorkshire Street, and founded the Oldham Photographic Society and some of these men would provide the early photographic studios in the town.

The photographic portrait had been accessible only to the wealthy but now it was beginning to be affordable by all but the poorest in society. One evening each week, the early photographers of Oldham met to share knowledge and to collect photographs in their album, which has mostly lain unseen in the society's archives for over 100 years.

A Victorian Society has more than 300 black and white photographs and illustrations, many of which are published here for the first time. The book first traces the early days of photography through the lives of the pioneers, in France and Britain, whose work led to the creation of the permanent photographic image, paving the way for all professional and amateur photography. After the Lancashire cotton famine, the late 1860s marked the beginning of the most exciting period of Oldham's history.

The author examines the rise of the town to become one of the most important cotton spinning and textile engineering towns in the world and follows its progress through phenomenal growth to eventual decline. The Victorian age was the 'Age of Invention' and the Oldham Photographic Society reflects that through its early members, many of whom rose to prominence in the world of photography, commerce and manufacturing, some of their businesses achieving national and international importance. Using genealogy sources and historic publications, the author researched the lives of many of the society's Victorian members and brings them together in a social group not studied before. Their stories give a real insight into their origins, successes, rise to fortune, failures and personal tragedies. The book concludes with a guide on how to date old photographs.

A Victorian Society: Oldham Photographic Society the First 150 Years
Christine Waddell
£15, 326 pages

Available on Amazon at: https://www.amazon.co.uk/Victorian-Society-Oldham-Photographic-First/dp/1545379858/ref=sr_1_1?s=books&ie=UTF8&qid=1496599954&sr=1-1&keywords=a+victorian+society

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12201046095?profile=originalDeveloped in Birmingham, celebrating the early history of photography in Birmingham, is a season of hands-on workshops, talks, walks and events which reveal, explore and celebrate the city’s significant role in the early history of photography. 

The programme connects and expands on two complementary exhibitions in Birmingham; Thresholds, a virtual reality exhibition by Mat Collishaw and A White House on Paradise Street by Jo Gane with Pete James and Leon Trimble. Developed in Birmingham presents a variety of exciting events in a range of venues and public spaces across the city.

The season of events has been made possible by funding from Arts Council England, University of Birmingham, Argentea Gallery and Millennium Point and is supported by BOM (Birmingham Open Media), Waterstones, Wild in Art and Birmingham Children’s Hospital Charity, Birmingham Museum & Art Gallery and neighbouring development, Paradise.

See: https://www.developedinbirmingham.com/

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