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De Montfort University, Leicester, UK, is currently recruiting students for the second year of its innovative MA programme in photographic history. The course offers a one-year full-time or two-year part-time programme of study and provides a series of modules ranging from photography and theory to practical work in photographic archives. The first year attract an international intake of students and the course has been widely acknowledged as the best in the field.

This course is dedicated to the study and focusing on the important technological, visual and historical material which makes it an interdisciplinary subject. It aims to help students develop the necessary critical tools to research photography history, and provides access to primary materials through visits to local, regional and national archives and collections. The course is part of an active research community and benefits from visiting subject specialists and opportunities provided by course partners which include the National Media Museum, Bradford, Birmingham Central Library, the British Library and the University of Zurich, Switzerland. Some further information about the teaching methods used can be found here: DMU HoPP.pdf

The course is for students from a variety of disciplines including conservation students, archivists, historians of science and those from various fields of visual studies, for instance visual anthropology, photography or art history. The MA Photography History and Practice is delivered on a full-time weekly basis, over three semesters and includes workshops, lectures, seminars and practical sessions, with written and oral assessments, and a dissertation, or part-time over two years.

Potential students also have the opportunity to apply for a Wilson Fellowship which provides a scholarship of £5,000. Applications for the bursary close on 1 August 2010. This scholarship is available to one student entering the M.A. Photographic History and Practice in September 2010. Funding has been made available by The Wilson Fellowship in Photographic History, and can be used towards tuition fees and other programme-related costs. Click here to link to a PDF giving further information about the Fellowship.

For more information about the course click here or contact the Course Leader: Dr Kelley Wilder by email at: kwilder@dmu.ac.uk or telephone: +44 (0)116 207 8865.

Rochester, NY– The world’s only continuous symposium on the history of photography PhotoHistory XV, will take place at George Eastman House in Rochester, New York on October 21-23, 2011. This date represents a new two-year interval between proceedings as requested by attendees, according to officials of The Photographic Historical Society who organize the event.

PhotoHistory XV will contain a full day of presentations on the history of photographic practice, aesthetics, collecting, technology and sociology followed by a next day of browsing at a photographic trade show which attracts dealers from North America and internationally. A call for papers will go out soon. Still and motion photography subjects are considered. For information contact: Martin L. Scott, General Chairman of PhotoHistory XV at: tphs@rochester.rr.com.

The most recent PhotoHistory XIV was held in October 2009 and was the last on the traditional three-year interval, which first began in 1970. The changed two –year frequency for the symposium was suggested and voted on by attendees at the 2009 event that drew more than 200 visitors from the Americas, Great Britain, Europe, Australia and Japan.

The symposium’s venue, George Eastman House International Museum of Photography and Film, combines the world’s leading collections of photography and film with the stately landmark Colonial Revival mansion that was George Eastman’s home from 1905 to 1932. The Museum is a National Historic Landmark. George Eastman, the founder of Eastman Kodak Company, is heralded as the father of modern photography and the inventor of motion picture film.

The formal call for papers abstracts of which are required by 31 December 2010 can be found be found by clicking here: Photohistorypapers.doc.

The Photographic Historical Society of Rochester, NY, is the first organized society devoted to photographic history and the preservation of photo antiques. Founded in 1966, it has a membership of about 120 individuals. For more information see the Society’s web site at http://www.tphs.org

The Art Fund has welcomed Michael G Wilson, as a new trustee. Wilson, is chairman of the trustees of the National Media Museum and a collector of photography. He is a film producer and has lectured on photography and film at universities worldwide.

Michael G. Wilson said: "I am delighted to become a trustee of the Art Fund. The organisation does a tremendous job engaging national and regional interest in the arts and ensuring public access to great art collections through its tireless campaigning and funding."

Wilson opened the Wilson Centre for Photography in 1998. The Centre is one of the largest private collections of photography today, spanning works from some of the earliest extant photographs to the most current contemporary productions. The centre hosts seminars, study sessions, runs an annual bursary project with the National Media Museum and loans to international museums and galleries.

He is also Managing Director of EON Productions Ltd and responsible for box office successes, Casino Royale and Quantum of Solace, through the James Bond franchise, with his producing partner and sister, Barbara Broccoli. Wilson holds a Bachelor of Science degree in engineering from Harvey Mudd College, Claremont, California and a Doctor Juris from Stanford Law School. He was awarded anOBE in 2008 for Services to the Film Industry.

The Minister’s ruling follows a recommendation by the Reviewing Committee on the Export of Works of Art and Objects of Cultural Interest, administered by the Museums, Libraries and Archives Council (MLA). The Committee recommended that the export decision be deferred on the grounds that the photograph is of outstanding aesthetic importance and of outstanding significance for the study of the history of photography.

Roger Fenton (1819-69) was a highly-regarded British photographer and one of the first- ever war photographers.

Best known for his images of the Crimean War, he also produced landscapes, portraits, still-lives and tableaux vivants during a career which only lasted just over a decade. Pasha and Bayadère was created in 1858 as part of a series of about fifty Orientalist photographs inspired by Fenton’s expedition to the Crimea. These were an expression of a general craze for all things oriental that can be seen in European art in the second half of the nineteenth century and reflected the Victorian fascination with the ‘exotic’ Middle East. In the photo, staged in his London studio, Fenton himself appears as the ‘Pasha’ (a Turkish military or civil official), watching a bayadère, or dancing girl, perform. The role of the musician is played by the English landscape painter Frank Dillon.

The photograph is one of only two examples of this image, the other being in the J. Paul Getty Museum in Los Angeles. The Getty’s version is uncropped and believed to be a proof, making this version, cropped for exhibition, in a sense unique. It was not intended to be a documentary image of daily life in Turkey or Egypt, but a fantasy about what the Orient stood for. Fenton’s aim was to marry the Orientalist subject matter popular in painting of the period with the new medium of photography to create a work of high art. Regarded as one of the best in his Orientalist series, and one of Fenton’s best works overall, Pasha and Bayadère is technically highly accomplished, with a strong composition and beautiful lighting.

Lord Inglewood, Chairman of the Reviewing Committee, said: “Photography is sometimes undervalued in this country, but Pasha and Bayadère demonstrates how the best photographs can hold their own aesthetically against other art forms. As well as being a remarkable image, the work is also important for the study of the history of photography. The fact that the Getty Museum chose to make their own version of this image the subject of a scholarly monograph shows just how highly Fenton’s work is regarded outside the UK.”

The decision on the export licence application for the photograph will be deferred for a period ending on 1 May 2010 inclusive. This period may be extended until 1 August 2010 inclusive if a serious intention to raise funds with a view to making an offer to purchase the photograph at the recommended price of £108,506 is expressed.

Anyone interested in making an offer to purchase the photograph should contact the owner’s agent through:

The Secretary
The Reviewing Committee on the Export of Works of Art and Objects of Cultural Interest
Museums, Libraries and Archives Council
Wellcome Wolfson Building
165 Queen’s Gate
South Kensington
London
SW7 5HD
Telephone 020 7273 8270

The Optical Magic Lantern Journal and Photographic Enlarger (OMLJ) was a British trade monthly that appeared from 1889 to 1903 and had a remit covering the magic lantern and illumination through to photography and the world of early cinema. The OMLJ featured news and opinions from each of the worlds and through its correspondence and advertising pages provides a unique insight into each of these areas at an important point in their history.

The publication only survives in a few national libraries and this limited edition DVD offers a rare opportunity for collectors, researchers, educational institutions and libraries to acquire a digitised run which is searchable electronically. The OMLJ covers a key period in the history of photography and the cinema. It appeared when the hand camera was rapidly being taken up by amateur photographers and at a point shortly before the motion picture camera was introduced. By the time of the OMLJ's demise in 1903 photography was widely practiced by amateurs and snapshooters and the cinema had evolved from its origins into a form of mass entertainment. The OMLJ through its editorial pages and advertisements charts these changes in detail.

This DVD provides a high-quality facsimile of all 5000 pages together with a searching tool supported by additional information around the personalities, companies and products that made up the industry at the time and which appears in the OMLJ pages.

The DVD From Magic Lantern to Movies (ISBN 978-0-9523011-1-0) is published on 15 October by PhotoResearch and costs £60 including UK and international airmail postage. It is designed to run on both Windows-based PCs and Apple Macs with Adobe Acrobat.

For more information and an order form click here.

The recent national symposium of photography in Derby included Charlotte Cotton from the National Media Museum and Francis Hodgson the Financial Times photography critic as speakers. Although I wasn't able to attend there is a very informative blog report here which I would recommend reading: http://bridgetmckenzie.wordpress.com/2010/05/08/the-state-of-photography-and-cultural-policy/

I have extracted some of the blog here:

Charlotte Cotton is new creative director for the National Media Museum, leading on its new photography satellite at the Science Museum in London. She spent 12 years at the V&A where she was able to develop a curatorial narrative, within a fairly encyclopaedic museum. Then she went to Los Angeles to be the head of photography at LACMA, where she aimed to reinvigorate and broaden the programme. At LACMA she curated a project called Words Without Pictures which invited people in many different ways over one year to share views about photography, now in a book just published. She organised a great project called Field Guide allowing Machine Project to organise 10 hours of all kinds of marvellous activities. Here’s a free book to download from the event. She organised another project with a folk singer doing religious protest songs in front of religious artworks, and another project with the Fallen Fruit collective, who do things like gather fallen fruit and have communal jam-making sessions.

She saw this experience as really opening up her practice and not having to be so defensive about programming. She feels that photography is an incredibly pluralistic form, increasingly so in the digital age, and that big institutions couldn’t keep up with the mode of curating it requires. That’s why she left for LACMA to try these ‘happy’ projects. But now, she’s been attracted back to the National Media Museum because of the potential, that she doesn’t have to use guerilla tactics to try this exciting practice. She’s very perspicacious about museology and critical practice in curating, and listening to her I feel really excited about what she might achieve with the new London photography galleries. I applaud her view which is that rather than making learning complementary to display programming, the new approach is to foreground it. It’s really heartening to hear a curator say that.

The other talk that interested me was Francis Hodgson, the photography critic at the Financial Times (with whom I’m doing my session on climate change). His talk was provocative and a few people didn’t agree with him on a number of issues, especially on his view that photographers must be culturally literate about the artform. I was interested in his comments about the lack of co-ordination and policy overview by DCMS (and MLA, ACE etc) about collaborative acquisitions, digital strategy and programming. His focus here is on photography, seeing it as suffering through neglect. Of course, we know that the same lack of co-ordination happens across many other collection types, but it may be true that photography is a particular victim. From the audience in Charlotte Cotton’s talk, Francis asked her about the competition between the V&A as a national centre for photography collections with the new NMM photography galleries just over the road in Kensington. She doesn’t see it as a conflict at all but as a great opportunity. She feels it could help make national collections really national, and sees digitisation of the collections as playing a big role in aiding collaboration around a research-based community of enquiry. I think that’s the most positive way of tackling this problem.

However, in his opening keynote, Francis did speak convincingly and captivatingly about the importance of photography yet its dire state in the UK. This is a summary of pretty much everything he said, missing out a few extrapolations and lacking the articulacy of his expression:

He once said that photography was a practice that tried out new things and represented new things, before other cultural forms. That you could run up against new stuff, make images of novel things, without seeking to understand them. Photography doesn’t have so many priests and keepers as fine art, for example. It changed the way that imagery could have such currency in our wider world (not just in galleries or privileged spaces), and now other kinds of culture are following in its wake. Photographs are like soundbites, as they stay in the memory, and can be reused and circulated.

It is the originator of a way of thinking that other artforms have followed. However, there is a low level of intellectual dialogue between photographers and audiences, compared to more literary forms. He is shocked that professional photographers are illiterate in history of their own artform. It’s now questionable what remains in the very centre of photography. If we don’t know we share same definition of it then who is there to stand up for it? It’s hard to say what is intellectually and properly photographic. We used to define it by its machinery, by being made with a camera (which, by the way, belittled it). An example of what happens with this lack of clarity around what it is: That £20 million has been given to the British Library for digital archiving of digital visual culture, and not by the National Media Museum, who anyway have changed their name to leave out ‘photography’.

A photographer must ask: Is my work understandable for what it is by an audience that isn’t primed? If it isn’t for communication it isn’t photography. There are tiresome numbers of photographers who have nothing to say.
You must have a position about the imparting or receiving of ideas and information. Photography is wonderful but it is also a perfectly ordinary activity. Photographers think the analysis will take care of itself. If they do analyse they produce meaningless theoretical waffle. But images and their analysis must mean something to people. It is an ordinary activity but that doesn’t mean it has to be banal or of little value.

The state of the nation for the profession is dire. Work is declining. The UK reputation is on a steep downward curve. Systemically we don’t support photography anymore. Museums don’t do what they should do to support it despite new initiatives from Tate, NMM, the V&A and the British Library. Teaching programmes are very poor too. It’s a scandal that the British Library curator of photography, John Faulkner, has always had to get funding for his role and only for the first time now is he on the payroll. It is one of the major holding libraries of photography in the world (if you count the images in all its content, such as newspapers and magazines) but it has only one curator.

He now believes the Photographers Gallery should be closed. We need to put more resources into more regarded institutions that include photographs within their collections. The Imperial War Museum has a duty to accept all war photos, for example taken by soldiers, so it has more war photos then any other institution, but is shabbily underfunded in caring for them. The Porthcurno Museum of Telegraphy has photography collections but they are left to rot.

He told a story about 8 public museums competing to buy the same photographic items at Sothebys. Because of their competition the price went so high they left the country. Why not form a purchase partnership?

Photography education is a joke in this country. It’s popular, so is a way for universities to get punters in. It’s an easy degree to do and to suggest that standards are higher than they are. Shared cultural standards between education instutions is non existent. You don’t come out being culturally literate in photography. There is only one MA in UK where you can study the culture of photography.

Tate is now turning serious attention to photography. He is pleased about that but has doubts about how serious it is, or rather how authentic the commitment to photography is. Where has the policy come from to turn the tanker round, surely not a directive from DCMS, MLA or ACE. There is a pathetic failure of policy, leaving all institutions to do their own thing. Birmingham City Libraries are doing good things but this institutional framework will only work properly if it reflects what we demand.

He isn’t pessimistic about the change to digital. It’s a bit late to worry now. Old fashioned photographic skills will come back again, just not a mass medium. Photography has remained a producer-led industry compared to publishing or music. A cultural position around photography should primarily make a clear definition between a picture of something and a picture about something. This should be the marker around which we define quality. We have had a 50 year old emphasis on techne, and judged quality by technical adequacy.

The bookseller Quaritch and auction house Christie's have both published photographic book catalogues which include material of British interest. At Quaritch contact Lindsey Stewart (e: l.stewart@quaritch.com) and to view the Christie's e-catalogue click here.

The Department of Art History and Theory at the University of Essex in collaboration with the Tate invites applications for a fully-funded AHRC PhD studentship to commence October 2010. The topic for the doctoral research project is 'Photography as Art since the Sixties'.

The research topic concerns photography's recent history, notably, its transformation from anti-aesthetic, post-conceptual document to large scale pictorial art. It investigates what distinguishes photography as a mode of depiction and an artistic medium, particularly in light of recent artists' use of digital technologies.

The research has immediate practical implications as it will inform interpretation of the Tate's existing collection and shape future acquisitions. The research will be supervised by Prof Margaret Iversen at Essex and Dr. Simon Baker, Curator of Photography, Tate.

The award pays tuition fees and a maintenance grant each year for a maximum of three years of full-time doctoral study (subject to evidence of satisfactory progress) and is available to UK/EU students first registering to undertake a research degree in September 2010.

Further information about the Research Project: 'Photography as Art since the Sixties' can be found on the departmental web pages at http://www.essex.ac.uk/arthistory/.

For information about the Tate, please visit: http://www.tate.org.uk/

Preliminary inquiries may be addressed to Professor Margaret Iversen at the University of Essex: miversen@essex.ac.uk.

Please contact Myra Offord, the Graduate Administrator for application forms.

E mofford@essex.ac.uk

T 01206 872953

Closing date: 14 June 2010

Interview date: week beginning 24 June 2010

Ikon presents Seeing the Unseen, a revisit of the gallery’s 1976 exhibition of high-speed photographs by the pioneering American scientist and photographer Dr Harold E. Edgerton (1906-1990). Forming part of Ikon’s retrospective of the 1970s It Could Happen To You, this presentation takes place in Birmingham’s Pallasades Shopping Centre, in a shop unit just a few doors away from Ikon’s home during that decade.

The 1976 exhibition formed Edgerton’s first solo presentation in Europe, and was conceived as a collaborative effort between Geoffrey Holt and John R. Myers, then both lecturers in fine art and photography at Stourbridge College of Art. Their aim was to draw attention to the breadth of work created by of ‘one of the masters of the optical unconscious’ which had, until that point, been largely neglected by the art world.

Edgerton’s invention in the 1930s of a high-speed photographic process based on rapid, stroboscopic instances of light or ‘flash’ was a catalytic event in the history of photography, science and art. Using this method, his images revealed in great detail aspects of reality hitherto invisible to the naked eye. As Institute Professor at the Massachusetts Institute of Technology, Edgerton made great strides in reconnaissance photography during the Second World War and later became the first to photograph test explosions of atomic weaponry. It is, however, the hands-on experimentation of ‘real world’ phenomena for which he is best remembered.

Edgerton’s remarkable multiple-flash pictures of tennis players, golfers and divers such as Swirls and Eddies of a Tennis Stroke (1939) break down intricate movements into singular moments. Other images appear to stop time: Milk-Drop Coronet (1957) illustrates the perfect crown formed by a drop of milk hitting a hard surface, whilst Cutting the Card Quickly (1964) shows a .30 calibre bullet, travelling 2800 feet per second, slicing a king of diamonds into two pieces. The startling Bullet and Apple (1964) portrays the explosion of an apple pierced by the bullet, moments before its total disintegration.

Edgerton’s film Seeing the Unseen (1939) is shown alongside his photographs plus an archive of correspondence, technical papers and printed materials relating to the 1976 exhibition.

This exhibition is organised in collaboration with Birmingham Central Library.

21 July – 5 September 2010

Unit 39-40, The Pallasades Shopping Centre, Birmingham

Events

Stopping Time in Stourbridge

Sunday 8 August, 2pm – FREE

The Pallasades Shopping Centre

Pete James, Head of Photography, Central Library Birmingham talks about the Pallasades exhibition and the photo-historical context through which Ikon’s 1976 Harold E. Edgerton exhibition came about. Refreshments are provided. Places are free but should be reserved by calling Ikon on 0121 248 0708.

Aspects of Edgerton

Sunday 22 August, 2pm - FREE

The Pallasades Shopping Centre

An event with Jonathan Shaw, photographer and Associate Head of Media & Communication, Coventry University and artist Trevor Appleson. The speakers discuss the influence of Edwaerd Muybridge and Harold Edgerton’s photography on their recent work. Refreshments are provided. Places are free but should be reserved by calling Ikon on 0121 248 0708.

The National Media Museum, Bradord, is looking for a cataloguer to work full-time for 16 weeks to help transfer information and images of objects from the collections onto a website which will showcase thier world class collections. As a member of the National Media Museum Project Team, you will ensure that object data is delivered on time and to a high quality to meet the needs of this project. This involves documenting up to 40,000 objects from iBase, enhancing object records and supporting authorities in the museum object database (MIMSY XG) in line with cataloguing standards and guidelines.

Required Skills:

To succeed in this role you will need to be able to demonstrate that you can check and create accurate object records and deliver high volume, high quality object cataloguing to very specific deadlines. You will be a real team player, with excellent communication skills and a flexible approach to your work. A knowledge of and an interest in the history of photography, cinematography and new media would be fantastic, but the ability to plan and schedule work to ensure timely delivery is key.

The Museum:

Award winning, visionary and truly unique, the National Media Museum embraces photography, film, television, radio and the web. Part of the NMSI family of museums, we aim to engage, inspire and educate through comprehensive collections, innovative education programmes and a powerful yet sensitive approach to contemporary issues.

Application Instructions:

To apply, please email your CV, together with a covering letter explaining clearly how you meet all our stated requirements, to recruitment@nationalmediamuseum.org.uk

We regret that we can only respond to successful applicants. No agencies.

Closing date: 9th May 2010

Interview date: Thursday 20th May 2010

We are an equal opportunities employer. We welcome applications from all sections of the community in which we work. We particularly welcome applications from disabled people and we guarantee interviews to suitably qualified disabled applicants.

BBC R4's Front Row radio programme will be discussing Birmingham's Ikon Gallery Harold Edgerton show as part of a wider debate about ground-breaking photography. The show begins at 7.15pm and will be available on the BBC's Listen Again feature for a week afterwards. Click here to listen: http://www.bbc.co.uk/radio/

A huge slice of Scottish photographic history has been uploaded onto the internet in a bid to share the nation’s history with the world. Over 2,000 previously archived pictures were posted onto Flickr by the National Library of Scotland. The formerly hidden treasures include the World War One photographs and an image of the chilling order for the massacre of Glencoe.

Library bosses decided to post the pictures online using Flickr’s Commons licence, meaning anybody can use them for non-commercial purposes. A further batch of 1,000 photographs will be added by the NLS before the end of the year.

Gill Hamilton, the NLS systems librarian, said: “This is a fantastic resource for the general public.

“There are no known copyright restrictions on Flickr’s The Commons photos, so everyone has access to use these images for non-commercial purposes.

“Flickr Commons is a great way for the National Library of Scotland to share its photographic collections with the world and we’re looking forward to adding to our Flickr Photostream throughout the coming year.”

Pictures of Scotland’s cities dating back to 1840 were posted on the site by the National Galleries of Scotland earlier this year.

Click here to see the Library's photo sets online: http://www.flickr.com/photos/nlscotland/

Photoworks, the UK’s leading agency for photography is seeking to appoint a new Director following the appointment of David Chandler as Professor of Photography at the University of Plymouth.

The new Director will provide artistic vision, leadership and ambition for the organisation, building on its outstanding achievements of the last decade and taking it forward into a new and exciting period of further development. This post demands exceptional leadership qualities and we are seeking a respected professional in the field of photography with a minimum of five years experience at a senior level in an arts or related organization. As well as proven management skills, you will have a thorough and authoritative knowledge of contemporary photographic practice and be able to demonstrate notable achievements in organisational development and growth. You will be a strong team player, with the ability to motivate and inspire colleagues, and the confidence to advocate and operate for Photoworks regionally, nationally and internationally across a broad network of artists, individuals, trusts and organisations.

Photoworks Director
application deadlne 20 July 2010

Director
c. £40K
Central Brighton Office

Email photoworksapplications@gmx.com for an application pack.

Deadline for applications: Tuesday 20 July 2010
Interviews: Tuesday 14 September 2010
Photoworks is committed to equal opportunities

Man and Cameraman is a project to conserve, catalogue, digitise and promote the photographic collection of George Bernard Shaw. Shaw collected around 16,000 photographs taken by himself and others and these will be fully investigated for the first time to reveal Shaw's activities and the evolution of photographic processes. Bernard Shaw was not only a prolific playwright, writer and social-political commentator and thinker but an avid amateur photographer: taking and collecting images from the 1860s until his death in 1950.

Shaw left his paper and photographic archives to London School of Economics and Political Science (LSE) and the British Library and his home (Shaw's Corner, Hertfordshire) to National Trust (NT), it is here the photographs were initially housed before being transferred to LSE. Thus the project extends his desire to open up his collections to researchers and interested parties.

Photography lets us peer into the past and Shaw's photographs give us an informal view into his circle including writers, reformers, actors and actresses. Photographs show us how places used to look and what people did in their private lives - they inform our knowledge of society and its famous personalities: revealing the heritage of us all. Shaw's images include informal prints of people such as: Auguste Rodin; Augustus John; Beatrice and Sidney Webb; Harley Granville-Barker; and Lilliah MaCarthy. They offer a glimpse into the early 20th century theatre and film and include images of stars of Shaw productions such as Vivian Leigh as well as visuals of sets.

Now photography is regarded as an artistic form but in Shaw's time it was not, the collection lets us see how photographers were pushing the boundaries and using it in experimental and artistic ways. Shaw played with light and perspective to advance his craft. He also wrote on the subject for example, reviewing early photography shows.

The project partners (LSE and the National Trust) have worked with free-lance conservators, staff and volunteers to dust and re-house the photographs in high-purity storage materials. Shaw's photographic albums have been conserved in a specialist studio to repair damage and will be photographed so people can look through them. As well as prints there are about 8,000 negatives, these are particularly fragile as they degrade in even moderate conditions. They will be sealed in special bags and frozen to halt their deterioration.

Work on cataloguing the 16,000 photographs and digitising 8,000 photographs and all the negatives is now underway and this will let people know what the collection contains. Cataloguing can also reveal stories behind the images as each one is researched. Digitising will provide virtual access to those images taken by Shaw and those out of copyright ensuring their long-term preservation and revealing for the first time Shaw's photographic legacy to the nation and providing a window into his world.

For more information click here.

The National Portrait Gallery is holding a symposium around its current Irving Penn Portraits exhibition. Join leading photographers and art historians discussing themes and ideas around the exhibition. Speakers include photographers Paolo Roversi and Bettina Von Zwehl, exhibition curator Magdalene Keaney, Edward Barber, Director of Fashion Photography London, College of Fashion, Virginia Heckert, curator of Irving Penn: Small Trades at the J. Paul Getty Museum, Philippe Garner, International Head of Photography, Christie's and Dr David Anfam, Art historian, critic and curator.

Friday 12 March, 10.30-17.00
Ondaatje Wing Theatre

Organised in partnership with London College of Fashion
Tickets: £25/£20 concessions and Gallery Supporters

More details: http://www.npg.org.uk:8080/irvingpenn/events.htm

The National Media Museum, Bradford, is currently looking for an Associate Curator of Cinematography, working 21.6 hours per week (fixed term for 23 months). The salary is £21,302 pro rata (£12,781 per annum). With three dedicated cinemas and an impressive collection of over 13,000 important cinematography artefacts, film is at the heart of the National Media Museum’s offering. Working closely with the Curator of Cinematography you’ll make sure it stays there by researching and creating insightful content for exhibitions, publications, the web and other aspects of our public programme. At the same time, you’ll help to manage the care of and access to our collection, ensuring items remain well-preserved and easily available to audiences for years to come.

Required Skills:
Coming from a similar role within a museum, you’ll already have exactly what it takes to deliver enthralling presentations, engage with similar organisations and manage historic collections, including experience of handling objects and knowledge of documentation and cataloguing practice. A passion for film and cinema history, ideally with specialist knowledge of a particular area, is important too, as is relevant research experience. If you can also add effective interpersonal, communication and project management skills, you’ll play a key role in maintaining and developing cinematography at the Museum.

Award-winning, visionary and unique, the National Media Museum embraces photography, film, television, radio and the web. Part of the NMSI family of museums, we aim to engage, inspire and educate through comprehensive collections, innovative education programmes and a powerful yet sensitive approach to contemporary issues.

Application Instructions:
Please note: This is a part time role for 21.6 hours per week. Salary is £21,302 pro rata, so you’ll receive £12,781 per year. Interested? Please send your CV and covering letter to: recruitment@nationalmediamuseum.org.uk

The deadline for applications is 5 March 2010.