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12993248489?profile=RESIZE_400xThis new book was the subject of a call for papers last year. It features twenty chapters discussing different aspects of Edith Tudor Hart's life, photography and her impact, plus a timeline and selection of her photographs. It includes essays from Zelda Cheatle, Tania Cleaves, Mike Crawford, Rachel Dickson, James Hyman, Sian Mcfarlane, Drew Milne, Merilyn Moos, Elizabeth Otto, Stefanie Pirker, Beate Pittnauer, Larry Ray, Rachel Rosin, Daria Santini, Lou Taylor, Emery Walshe, Julia Winckler, Jenny Wilson, and Shirley Read. 

Poverty for Sale. Edith Tudor Hart in Britain
Edited by Shirley Read
Museumsetc, 2024
ISBN 0-978-1-912528-45-5
290 pages, paper covers
https://museumsetc.com/

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Preserved in Print is an exhibition of photography by E Chambré and Margaret Hardman, both of whom were accomplished photographers in their own right, alongside artefects from the Hardman studio. The studio premises is now preserved by the National Trust with the the negatives and photographs housed by Liverpool Record Office. There is an active programme of cataloguing, conservation and digitisation taking place.

The exhibition has been extended until 19 October 2024.

In addition Amy Carney, Cultural Heritage Curator for the National Trust, and archivist Lindsey Sutton spoke about the E Chambré Hardman studio, the collection and conservation at a recent talk which can be viewed here shortly

The exhibition has been produced alongside the the launch of the Trust's 100 Photographs book which featured Hardman's photography. 

Preserved in Print - The photography of Chambré and Margaret Hardman
Liverpool Central Library
extended to 19 October 2024
https://liverpool.gov.uk/libraries/explore-central-library/central-library/

Photograph courtesy of Jonathan Wallis, and thanks for bringing it to BPH's attention. 

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Belfast Exposed, in collaboration with the Centre for British Photography, will unveil two shows this month featuring artists Jo Spence and Arpita Shah. Jo Spence: A Woman's Place?, an exhibition spotlighting the ground-breaking phototherapy work of the celebrated British photographer and feminist Jo Spence (1934–1992), provides an intimate and powerful look at Spence’s exploration of the roles and experiences of women within society.

Jo Spence was not just a photographer but a cultural critic and activist who used her medium as a tool for emotional and political self-exploration. A central aspect of this exhibition focuses on Spence’s practice of phototherapy, developed primarily with collaborator Rosy Martin. Spence’s phototherapeutic sessions combined photography with therapeutic practices, allowing her to confront the deeply personal and often painful aspects of her life in a social context that sought to marginalise and silence women’s experiences. The exhibition shines a light on Spence’s engagement with the complexities of womanhood, class, sexuality, and health, addressing themes often left unspoken.

Spence's work in A Woman's Place? showcases her lifelong exploration of the idea that the personal is political. It gives viewers a rare opportunity to engage with her deeply introspective yet socially critical perspectives. Her ability to draw attention to private moments - such as grappling with the shame of illness, body image, motherhood and sexuality - resonates profoundly today as we continue to question the roles women are expected to play in both the private and public spheres.

12993203893?profile=RESIZE_400xModern Muse by acclaimed photographic artist Arpita Shah is a compelling exhibition that Belfast Exposed is delighted to bring to Ireland for the first time in collaboration with the Centre for British Photography. Originally commissioned by GRAIN projects, this ongoing series of portraits explores the evolving identities and visual representation of young British-Asian women. At the heart of Modern Muse is Shah’s desire to address and challenge notions of the 'muse' in art. By replacing the Mughal emperors of classical South Asian painting with modern British-Asian women, Shah subverts those historical representations and celebrates the strength, diversity, and individuality of each woman depicted in her series.

Deirdre Robb, CEO of Belfast Exposed, said: “At a time when femicide and racism dominate our headlines, we want to use our gallery to showcase this powerful work, which highlights the inequalities in our society. Jo Spence used photography as a form of therapy, a practice that we also use within Belfast Exposed to help communities with their mental health. Her messages about women’s roles have never been more important. Arpita Shah’s ‘Modern Muse’ looks at British-Asian identity and, in light of the recent racially motivated attacks across Northern Ireland, we think this show has a vital message to convey. We want visitors to Belfast Exposed to take time to reflect on ideas and preconceptions they have around ‘A Woman’s Place?’ in society.

James Hyman, Founding Director, Centre for British Photography, said: “We are delighted to have collaborated with Belfast Exposed to bring these two important exhibitions to Belfast. These complimentary exhibitions bring to attention significant personal and political issues and are part of our mission to support the most powerful and challenging photographers past and present.

José Neves, Curator of Photography, Belfast Exposed, said: “Curating these two exhibitions has been an enriching journey, allowing me to explore the intersections of identity, memory, and healing through the perspective of two distinct yet very powerful artistic voices. At the core of Spence and Shah’s work is the capacity for photography to be a transformative tool for self-exploration and cultural reflection. I am certain that the personal and collective histories on display will resonate with audiences in a profound way.

Jo Spence: A Woman’s Place? | Arpita Shah: Modern Muse
Belfast Exposed, in Collaboration with the Centre for British Photography
17 October – 21 December 2024

For more information, visit www.belfastexposed.org

Main image: © Jo Spence / CBP. Below: © Arpita Shah. 

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