history (7)


A fascinating look at the history of London's iconic Vogue House, from the swinging sixties to the present day, Inside Vogue House is a behind-the-scenes guide by ex-Tatler art director Grant Scott to the world-famous magazines produced there and the stories of the people who made them great. The book also documents the famous Vogue Photographic Studios and the photographers and models who worked there.

 For sixty years, Vogue House has been a building where the great and the good started (or ended) their careers. A place where contemporary artists rubbed shoulders with royalty, and culture was shaped. From the mailroom to the boardroom, work experience to well-known names and everyone in between, this captivating book lays bare the creativity and chaos of popular magazine publishing through the decades.

After fifteen years as an art director for books and magazines such as Elle and Tatler, Dr Grant Scott began to work solely as a photographer for a number of commercial and editorial clients in 2000. Today he is the founder/curator of United Nations of Photography, a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes, and a working photographer, documentary filmmaker, BBC radio contributor and the author of several books.

His film Do Not Bend: The Photographic Life of Bill Jay was first screened in 2018 and he is the presenter of the A Photographic Life and In Search of Bill Jay podcasts.

Published by Orphans Publishing in April 2024 it is now on pre-sale.

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12201221452?profile=original"It is the first study devoted to analysing how stereoscopic 3D photography became integral to daily newspapers, illustrated weeklies, and magazines." My doctoral thesis, Another Dimension: Stereoscopic Photography and the Press, c.1896-1911, funded by the Arts and Humanities Research Council (AHRC) is now available via this link.

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Illustration Credit: "Underwood & Underwood" The New York Public Library Digital Collections. 1907. b11652262.

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I'm exploring the somewhat little-known historical connections between photography and philanthropy, and I'd very much like to hear any insights or suggestions others may have. In the broadest sense of the term "philanthropy" these connections began with Daguerre, who received a 6,000 Franc annual stipend for life from the French government in recognition of his contribution (he also convinced the government to give 4,000 Francs annually to Niépce's estate). Since then various governments, private donors and foundations have made gifts and grants to many photographers, but I've been unable to find more than the briefest of mentions of these seemingly important connections. Recent history is somewhat easier to document, but I would greatly appreciate hearing about any 19th or early 20th century acts of philanthropic generosity toward specific photographers.

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In the context of the North East Photography Network's forthcoming festival ‘The Social: Encountering Photography’, Inheritance Projects will convene a symposium attending to the cultural legacy of the British photography practices, organisations and collectives who aligned themselves with left political movements throughout the 1960s, 70s and 80s.

The event responds to the issues that Terry Dennett and Jo Spence characterised in their 1986 account of the Photography Workshop:

"One of the ironies of the Left and women’s movement must surely be this: that groups which are set up and do innovative work usually split into differing political segments; these segments then go on and found new dynasties, or just fade away. In time, the original differences, cracks, fissures and explosions come to be neatly laundered over, erased from the memory of those involved because they are too painful, not fully known to those who came later because ‘nobody told us about it’ and, finally, mythologised through the accounts of others writing about them from the outside."

The event will bring together various researchers who are attempting to do photo-history ‘from the outside’ in order to share methodological approaches with a focus on the histories of regional as well as London based practices.

8 November 2013, 1.30 - 5pm

Northern Gallery for Contemporary Art

£10/5 Booking essential

Participants include Louise Shelley, Participatory Projects Co-ordinator at The Showroom, Noni Stacey, PhD candiate at London College of Communication and Dr. Matthew Hearn, Independent Curator and Researcher.

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Call For Papers.

(De)constructing the Archive in a Digital Age.

September 10th 2010, School of the Arts Loughborough University, UK.

Organised by Iris www.irisphoto.org.

Paper Submission Deadline; Friday 30th July 2010

One-day debate on the possibilities of the archive.

This event aims to provide an environment for sharing information whilst stimulating debates about the role of the
archive within art, culture and design.

Possible topics of enquiry may include but are not limited to;

· The discussion about how the archive should respond to the digital age continues. How does the physical archive change and adapt in the face of new

· When is the archive not an archive? What is the difference between the archive and the collection?

· How should we respond to the growing number of images available to us in the digital archive, as increasingly we are exposed to photographs for which
there are no original viewing contexts available? What is the value of these
decontextualised and dematerialised documents to the researcher as historical

·How is the institutional archive to respond to questions about the democratization of the archive, not only through the process of digitisation
and online access but also the growing use of more interactive forms of viewing/sharing
with web 2.0?

Paper presentations, abstracts of 200-300 words may be submitted for a 30-minute paper presentation.

Panel submissions abstracts for a 90-minute colloquium, which is to consist of 5 participants (1 chair and 4 presenters; each presenter taking no more than 15 minutes) may be
submitted. Abstract length should be 250-350 words.

Poster presentations, 200 word abstracts for a themed poster to be shown at the conference will be accepted.

Artworks, submissions for artworks related to the topics will be considered, please send a 200 word abstract. Include details of medium, size and installation requirements on a separate

Please send abstracts (clearly marked as to which category you are interested in) and a brief C.V. to;



Mort Marsh, IRIS.

Loughborough University

School of the Arts

Edward Barnsley Building

Epinal way

LE11 3TU.

Iris is an internationally focused research resource dedicated to promoting the work of women artists using photographic-based media.

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I want to share with all network members this important initiative from the Kunsthistorisches Institut in Florenz – Max-Planck-Institut (apologies for cross-posting):"The Kunsthistorisches Institut in Florenz – Max-Planck-Institut wishes to generate a greater understanding of the inescapable value of photographs and analogue archives for the future of studies in historic, human and social sciences. Only integration between the analogue format and the digital format can guarantee the correct conservation of the photographic heritage for future studies and at the same time the implementation of digital instruments. Representatives of both the photographic collections and academic research are therefore called on to support and respect the following recommendations."Everyone who has not yet read and signed this declaration is encouraged to do so by visiting:http://www.khi.fi.it/en/photothek/initiativen/index.html
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