History and Theory of Photography Research Centre. All events free and open to all, at 43 Gordon Square, London WC1H 0PD.

24 October 2017, 6:00-7:30pm

Keynes Library (room 114)

Dr. AnnaLea Tunesi (independent scholar)

Art Dealing, Taste and Politics: Photographs from the archives of Florentine art dealer Stefano Bardini (1836-1922)

This paper explores the importance of photography in the nineteenth-century art market and for art-historical studies at large. Looking at images of paintings, sculptures and mediaeval and Renaissance crafts can be simultaneously revealing and deceiving. Time, place and users can change their connotations, raising important questions about their relationship to the original works. Intertwining photography, art collecting and art dealing, considered within an historical framework, this talk begins with Stefano Bardini’s show-room, to introduce his use of photographs for art dealing purposes by exploring the case study of a photograph of Allegory of Love, a c.1508 painting by ‘Il Sodoma’ (Giovanni Antonio Bazzi), and its acquisition of various meanings through its European journeys.

Peltz Gallery: Exhibition continues until 31 October 2017

Monday-Friday, 10:am-8pm, Saturday:10am-5pm

Sunil Gupta: In Pursuit of Love

http://www.bbk.ac.uk/arts/research/peltz-gallery

9 November 2017, 6:00-7:30pm

Room 106 GS,

Nina Lager-Westberg (Norwegian University of Art & Technology), Images at Work: Digitisation and the Archival Cultures of Photography.

29 November 2017, 6:00-9:00pm

Keynes Library (room 114)

Kate Flint, Flash! Photography, Writing, and Surprising Illumination (Oxford UP, 2017).

Book Launch - panel discussion followed by drinks.

6 February 2018, 6:00-7:30pm

Keynes Library (room 114)

Elizabeth Johnson (Associate Research Fellow, Vasari Research Centre for Art and Technology)

The Touch of Light: Bruce Nauman’s Holograms.

Information on past events at http://www.bbk.ac.uk/arts/research/photography

Major Job Responsibilities

Qualifications

• Master’s degree in art history, art or art education OR 10+ yrs of curatorial experience OR Ph.D.
• Fluency in at least one foreign language (modern or ancient) required
• Highest level technical contributor in specialized curatorial functions

Knowledge, Skills and Abilities

This new book explores how popular photography influenced the development of British travel marketing in the late nineteenth and early twentieth century. Taking as its touchstone the image archive of the Polytechnic Touring Association, a London-based, originally philanthropic, travel firm, the book reveals the role that people’s increasing familiarity with the camera played in the travel industry’s shift from using lens-based images to mixed media.

This investigation uncovers the photographic desires of a new group of camera users – the tourist photographers: what photographs they took and why, and how this shaped how they experienced an increasing production of travel images. Through an exploration of lantern shows; the photography, travel and advertising press of the day; the work of official tour photographers; tourists’ personal photographs; and commercial photographic competitions, the book charts how the educational concerns and commercial imperatives, which successively defined the expected function of travel images, responded to these desires. As the book reveals, the relationship between popular photography and travel marketing was shaped by the different desires and expectations that consumers and institutions projected onto photography, in what became, effectively, a struggle over the interpretation of the travel image itself.

See more and buy:  Travel Marketing and Popular Photography in Britain, 1888-1939: Reading the Travel Image (Routledge) by Sara Dominici

The Department of Art and Archaeology at Princeton University is pleased to announce a call for applications for a new 12-month postdoctoral or more senior research associate in the history of photography. The selected candidate will engage in research on any aspect of the history of photography while in residence at Princeton for the 2018-2019 academic year. Applicants are expected to present a lecture on their work as well as participate in the scholarly life of the Department. Ph.D. required.

Applicants must apply on line at http://dof.princeton.edu/academicjobs and submit a CV, sample of published writing, research statement, and three letters of recommendation. This position is subject to the University’s background check policy.

Deadline: December 1, 2017. 

McCormick Postdoctoral Fellowship in the History of Photography 
Princeton University

Princeton University is an Equal Opportunity/Affirmative Action Employer and all qualified applicants will receive consideration for employment without regard to age, race, color, religion, sex, sexual orientation, gender identity or expression, national origin, disability status, protected veteran status, or any other characteristic protected by law.

McCormick Postdoctoral Fellowship in the History of Photography for 2018-2019

Princeton University

ART_McCormick%20Postdoctoral%20Fellowship%20in%20the%20History%20of%20Photography%20%285%29.docx

I am conducting research into the relationship between art and photography with reference to those who worked with Pre-Raphaelite artists specifically Dante Gabriel Rossetti.  There are several such as John Parsons, Emery Walker, William Downey and of course C L Dodgson.  Whilst there is some literature on Dodgson relating to this it is mainly restricted to his diary entries cross referencing with biographical details from other sources.  John Parson is more problematic; any information on him would be much appreciated and also on Downey and Walker.

The Association for Historical and Fine Art Photography will be holding its 2017 Conference on Monday 6 November at the Wellcome Genome Campus Conference Centre, Cambridge.

Details and the programme can be found here: http://www.ahfap.org.uk/conferences/2017-conference/

The Stereoscopic Society is presenting Denis Pellerin of the London Stereoscopic Company in a public talk. Denis will examine how Wheatstone tried to promote his reflecting stereoscope till the 1870s in spite of the popular success of the lenticular viewer.

There will also be 3D projection of several 3D AV and 3D VIDEO shows: Projection of international award winning presentations, including the ISU Club Folio (images from other 3D clubs around the world).

The meetings will be held at St Barbara’s Church Hall, 24 Rochester Road, Earlsdon, Coventry, CV5 6AG

Doors open at 2pm. Meetings start at 2.30pm end time 5pm.
Entrance: £3.00 including refreshments.

http://stereoscopicsociety.org.uk/WordPress/meetings/coventry-meetings/

Join visual artist Almudena Romero for an introduction to the historical processes of cyanotype printing and pinhole photography. Gather inspiration in the Gallery and learn the basics of analogue photography and these early printing processes so that you will be able to practice independently after the course. Suitable for all abilities.

On day one, beginning with a Gallery visit during which you will see different examples of early techniques, you will learn the process of cyanotype printing and create unique images on a variety of papers. On day two, you will construct your own pinhole camera, learn how to load it with photographic paper, create an image on a paper negative and make a paper positive out of the same negative.

Born in Spain in 1986, Almudena Romero is a visual artist working with early photographic processes such as cyanotypes, salt printing or wet plate collodion, along with new technologies including 3D printing. In 2015-2016, Almudena was commissioned by the Mitsubishi Ichigokan Museum (Tokyo), the Fundación Mapfre (Madrid) and the Victoria & Albert Museum (London) to deliver different educational projects to promote knowledge, understanding and enjoyment of the wet collodion process alongside the Julia Margaret Cameron exhibition at these museums.  Her practice has been exhibited throughout the UK and internationally in galleries and festivals including the Brighton Photo Biennial and PhotoIreland, and has been featured in TimeOut, DUST magazine, Uncertain States and Photomonitor.

Weekend Workshop: Cyanotype Printing and Pinhole Photography
28 October - 29 October 2017, 11:00-17:00
Education Studio, National Portrait Gallery
Tickets: £150 (£125 concessions and Gallery Supporters) Book online, or visit the Gallery in person.

See more and book here

Responding to a Landscape will explore, debate and review the evolving relationship between artists and photographers and the landscape. We will hear from a number of perspectives, from acclaimed practitioners for which landscape is a recurring subject, a social and environmental concern, a research and archive practice and an essential departure. What does landscape and our natural world look like and mean to photographers and artists today?

The symposium has been planned in conjunction with the exhibition Matthew Murray’s Saddleworth; Responding to a Landscape, premiered at mac, Birmingham. Murray is interested in depicting the landscape based on what he feels rather than what he sees. His landscape work is a personal story and odyssey. His Saddleworth is the result of a five year creative and sensitive journey that captures the beauty of the moorland landscape.

The symposium invites acclaimed and outstanding photographers, artists, writers and photography historians to talk about their work and relationship with the landscape. Those speaking alongside Murray include; Richard Billingham, Chrystel Lebas, Jem Southam, Camilla Brown, Simon Constantine, John Hillman, Craig Ashley and Mark Wright.

The practitioners will talk about how they have approached landscape and their unique relationship with it. Landscape photography has a long and significant history and today approaches have perhaps never been so broad with practitioner’s motivations and aesthetic concerns been varied.Some document, others work with more abstract concerns; Some work collaboratively, others in isolation; Some are working on environmental concerns and others more personal stories.

During the Symposium we will hear from the perspective of the photographer, curator and academic. They are motivated by landscape for many different reasons. We will hear from and celebrate those that create self-initiated projects and commissioned bodies of work and see a range of photographic practices that are at the cutting edge of photography now.

The project is supported by GRAIN Projects, Arts Council England, Gallery Vassie, mac Birmingham, Pirate Design and the University of Gloucestershire.

Prices
Early Bird Concession: £15
Early Bird Standard: £22
Early Bird available until 15th October 2017.
Concession: £20
Standard: £28

*Please note prices include tea/coffee in breaks but do not include lunch.

Book here: https://www.eventbrite.co.uk/e/grain-responding-to-a-landscape-symposium-tickets-37285485892

Photo credit: Saddleworth ©Matthew Murray.

An exhibition examining the British Empire through photography will open at Bristol Museum & Art Gallery opened on 30 September. From 500,000 photographs and 2,000 films in the collection, 27 people were asked choose just one each and explain their choice in their own words.

The images and film have been selected from the British Empire & Commonwealth Collection (BECC), formerly held by the British Empire & Commonwealth Museum, before its move to Bristol Archives. Bristol Archives holds an extraordinary collection of photographs and films showing both public and private aspects of life in the British Empire and Commonwealth.

The 27 selectors reflect the range of the collection: they include academics with an interest in colonial history, film or photography, artists, photographers, film makers, people who worked in the colonies and their family members, people working in development projects today, and members of local communities with a link to the old Empire. Each selector, with their background, brings a different perspective to how they ‘read’ their image and the legacy of Empire.

The British Empire & Commonwealth Museum collected photographs and film from people who worked in the Empire, their families, and companies and government departments working with the colonies. Some are from well-known people, such as the writer Elspeth Huxley, others from anonymous photographers working for organisations like the Crown Agents.

Some record great historical events, but many document the everyday lives of families living and working abroad. It is a fascinating collection, giving a broad view of the Empire and the early years of independence.

Sue Giles, senior curator for world cultures said: “The 22 images and films on display cover 100 years of the British Empire and Commonwealth, from 1860 to the 1960s. The selectors are sometimes nostalgic, often critical and always reflective. They comment honestly on how they saw the Empire and the legacies of Empire. This exhibition is exciting for us because it’s the first time that material from the BEC collection has been displayed since it was transferred to Bristol City Council.” 

Whilst the images on the walls are copies, many of the originals will be displayed in the gallery.  There are single prints, photographs mounted in albums, negatives and transparencies.  A couple have been heavily reworked, in the days before Photoshop existed, although most are unretouched.

This exhibition developed from a project to catalogue the huge number of photographs and films in the British Empire & Commonwealth Collection, to make them more accessible via the Bristol Museum & Art Gallery website.

The cataloguing project was only possible thanks to a grant from the National Cataloguing Grants Programme for Archives, administered by the National Archives.  This paid for two archivists to survey and start cataloguing the extensive collection. 

Empire through the Lens: Pictures from the British Empire and Commonwealth Collection

Bristol Museum & Art Gallery

30 September 2017 - Autumn 2018

https://www.bristolmuseums.org.uk/bristol-museum-and-art-gallery/