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12201112501?profile=originalEdinburgh's Stills Gallery which has operated since 1977 is under threat from a trebling of its rent from £16,000 to £47,000 over five years. The Gallery occupies premises in the city centre and it is a centre for photography offering exhibitions and production facilities as well as a range of engagement opportunities for anyone to discover, enjoy and understand photography. Stills may be forced to relocate but its central location is crucial to its successes.

It said: "Our city centre location is crucial to making our work as accessible as possible – people travel from all over Scotland and further afield to access what we do, whether that's our exhibitions programme (which is always free), public-access photography production facilities, creative learning work or artist-led photography courses. Our work is unique and vital to Scotland’s cultural ecology. Stills makes a vital contribution to what makes Edinburgh and Scotland such a great place to live, work and visit." 

Stills has launched a petition against the rent rise which supporters are encouraged to sign: https://you.38degrees.org.uk/petitions/oppose-the-city-of-edinburgh-council-s-proposed-rent-increase-for-stills

See more here: https://www.heraldscotland.com/news/17568106.photographic-gallerys-fears-over-future-after-city-councils-dramatic-rise-in-rent/?fbclid=IwAR05YLcXr4_oiaa_dOhpQIxMMfb_rRt8fQj010cA_OBEQ7OQeT-6kQ56mNw

and the Stills Gallery website: http://www.stills.org/

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12201103665?profile=originalFollowing an extensive digitisation project commissioned by NATO, over 2000 titles of official footage are now available for licensing via IWM Film. This project is part of an exclusive global licensing distribution partnership between IWM and NATO, marking the 70th anniversary of the creation of NATO, the world’s strongest political-military alliance, on 4 April 2019.

The NATO film collection comprises approximately 350 hours of film material taken in the late 1940s through to the 1990s, including documentaries, newsreel, and record footage in both colour and black and white film. Providing a unique insight into the Cold War era, early films depict the rush to create economic, political and military stability in post-war Europe, whilst later films encourage international unity and concepts of shared peace and security.

Hidden gems include colour footage of a divided Berlin in the 1960s and Humphrey Jennings’ final film. Other highlights from the over 2000 titles include the signing of the North Atlantic Treaty on 4 April 1949, intervention in the Bosnian war (1992-1995), as well as a documentary film about how the alliance works. 

View NATO films currently available on the IWM Film site. The sub-sections include:

Marshall Plan Films (1949-1954)
SHAPE Film Library (1944-1964)
NATO Documentaries (1952-1990)
NATO Log Collection (1965-1994)

David Walsh, Digitisation Preservation Consultant at IWM says: "The digitisation of this important collection was the result of a four-year effort by a dedicated team to sift, sort and catalogue the nearly 17,000 reels of film originally deposited with IWM by NATO. The work has not only resulted in the creation of high-quality 2K digital access files of the films, but also facilitated the storage of original film masters in suitable archival conditions for their long-term preservation."  Ineke Deserno, Head of Archives at NATO says: “It is very timely this film collection is available at the moment of NATO’s 70th Anniversary, with so much reflection now taking place on the long history since the beginning of that transatlantic bond. The materials digitized by IWM represent some of the key moments in time, with some very rare footage, for telling the story of the Alliance to the world. NATO is grateful for the invaluable expertise from IWM to help the Alliance preserve this important collection and make it available for a new generation of storytellers to share NATO’s history.”

See more here.

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12201101486?profile=originalBusiness’ can have many meanings. In the most straightforward sense, it refers to the photographic marketplace, its industry and the commercial relations established among different agents. Some of these actors, such as studios and companies of the like of Kodak and Ilford, are specifically photographic and have featured prominently in histories of photography. But the photographic business also depends on other social, cultural and economic agents like chemical supply companies, image brokers, content providers, commissioning editors, advertising campaign managers and digitization officers, among others.

Especially since the beginning of the 21st century, historians have begun to pay attention to the broader implications of what one might call ‘the business of photography’. In this sense, it is not only about commerce and trade, but also about visual and material economies, where photography and the many worlds and people it affects directly or indirectly negotiate, define or transform social, cultural, political, scientific, and other ideological environments as well as values.

In this 7th annual conference of the PHRC, we intend to stretch the notion of ‘the business of photography’. While not neglecting the transformative role of photographic companies and that of photographers as businessmen and women, we wish to diversify our understanding of ‘business’ to include the circulation of and the impact exerted by photographic images, objects and raw materials.

The conference will feature seven panels – Influencing Taste; Business-Education / Education-Business; Bureaucratic Record Economies; New Markets; Distribution; Business Administration; Causes and Costs – and the selected papers will think outside of the box while addressing themes such as:

  • Photographic recycling
  • The life of photographic raw materials
  • Gender and photographic businesses
  • The marketization of individual and collective identities
  • Photographic image banks
  • Photography in political and financial economies
  • Photography in the heritage industry

Registration costs:

DMU students and Staff/ Conference Speakers, one or both days £35

Standard Day, Monday £50

Standard Day, Tuesday £50

Standard, Monday and Tuesday £90

Non-DMU Student or Unwaged, Monday £40

Non-DMU Student or Unwaged, Tuesday £40

Non-DMU Student or Unwaged, Monday and Tuesday £50

Conference Dinner £35

Registration now open until 3 June 2019, Click here

For any queries please email: phrc@dmu.ac.uk

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12201102477?profile=originalThe Paul Mellon Centre for British Art has announced a series of grants and awards which include photography. Of particular interest are: 

  • Steve Edwards British daguerreotypes - Antoine Claudet
  • Sarah James, for the project The Militant & The Mainstream: Remaking British Photographic Culture - a mid-career Fellowship
  • Impressions Gallery of Photography to support the Feed Your Mind lecture series
  • Association for Art History to support the Photography & Printed Matter Summer Symposium 
  • Shijia Yu Amusing, Interesting and Curious: A Study of English Paper Peepshows, 1825-1851 

See the full list here: https://www.paul-mellon-centre.ac.uk/fellowships-and-grants/awarded/spring-2019/page/1

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12201102689?profile=originalThe Association of Leading Visitor Attractions (ALVA) has published numbers for 2018. The National Science+Media Musuem, Bradford, has seen numbers fall by 6.8 per cent to 459,808. The V&A Museum saw numbers grow 5 per cent to 3.7 million. 

The NS+MM numbers for 2017 were boosted by the presence of the Tim Peake's space capsule and new gallery launches and a year-on-year decline was anticipated.

Full details for all the UK's leading museums and galleries and historical numbers back to 2004 are available here: http://www.alva.org.uk/details.cfm?p=423

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Peter E. Palmquist award recipients

12201101473?profile=originalThe Peter E. Palmquist Memorial Fund for Historical Photographic Research provides financial support to independent researchers who are studying either Western American photographers before 1900 or women photographers past and present. The Humboldt Area Foundation in Bayside, California, administers this fund, which solicits applications for grants once a year in the fall and awards the grants the following January. A small panel of outside consultants with professional expertise in the field of photohistory and/or grant reviewing determines each year’s awards.

The list of past recipients with their projects has been updated with details from: Stella Jungmann, Josephine Givodan, and a second project by Pippa Oldfield (No Man’s Land: Women’s Photography and the First World War.)  In addition, other recipients have contributed updates to their projects.

Read them here:http://www.palmquistgrants.com/index.html

With thanks to Pam Roberts for the information. 

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12201101692?profile=originalCoinciding with an exhibition of the same name Anthony Hamber will be talking on the origins of photography in Salisbury 1839-1918 at the Salisbury Museum on Thursday, 2 May at 1830. 

Tickets available online at £8 (members) and £10 (non-members). 


Thursday, 2 May at 1830
The Salisbury Museum, The King’s House, 65 The Close, Salisbury SP1 2EN

t: 01722 332151
www.salisburymuseum.org.uk

Image: Harnham Mill by William Russell Sedgfield c. 1858.
Collection of Anthony Hamber

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The end of museum image fees?

12201112274?profile=originalArt History News reports that the European Parliament has voted in favour of a new Copyright Directive. It seeks to create common law on copyright matters across the EU. Many aspects of it are controversial. But one element is extremely important for art historians; Article 14. It prevents new copyright being claimed in reproductions of artworks which are themselves out of copyright (also referred to as being in the public domain.) This new ruling effectively heralds the end of image reproduction fees, because copyright is the glue which holds the whole image fees system in place. The new directive therefore represents an important victory for art historians.Photographs of historic artworks taken with the intention of faithfully reproducing them will not be covered by copyright across the EU. Member states have two years to implement the directive into domestic law.

Read the full report here: https://www.arthistorynews.com/articles/5362_The_end_of_museum_image_fees

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12201105055?profile=originalThe Somerset Rural Life Museum in Glastonbury is presenting a celebration of photography in Somerset, from the early nineteenth century to the present day. It will feature experts in historic Somerset photography. The day will conclude with a talk from artist Matilda Temperley, who will discuss her subjects and how she approaches her practice. An exhibition of new images by the award-winning photographer is on now at Somerset Rural Life Museum.

See more here.

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12201113482?profile=originalAn AHRC Collaborative Doctoral Partnership between University of Brighton and the Science Museum Group. This studentship is offered under the AHRC Collaborative Doctoral Partnership scheme. The partner institutions are the University of Brighton and National Science and Media Museum. This studentship is fully funded for three years (or part-time equivalent) at standard AHRC rates. The project is due to begin October 2019.

In the wake of radical disruptions to former photographic centres of power in industry practice and in scholarly viewpoint, and with the exemplary Kodak collection at National Science and Media Museum at its core, this collaborative doctoral project reappraises the history of popular photography in the museum and the academy. It asks how museum collections can tell the story of popular photography practice in an age of dramatic technological and industrial change; and it contributes to new histories of photography that put everyday practices front and centre.

12201114465?profile=originalTraditional photographic histories, particularly those that have followed an art historical model, have marginalised popular photography as a form and a practice despite its evident dominance in terms of the sheer volume of images produced and circulated, and its commercial impact, for well over a hundred years. Although recent scholarship has attempted to correct this bias, and to reposition popular photography in its rightful position at the front and centre of photography studies, it remains an under-theorised area. At the same time, 'the photographic industry' – once constituted as a network of commercial organisations – has been transformed fundamentally by information and communication infrastructures not specifically designed for photography. Key players who once played such a dominant role, as comprehensive, vertically-integrated companies covering all aspects of film, processing and equipment, have failed to keep up with the dramatic changes, and in some cases, such as Kodak, have been declared bankrupt. With radical disruptions to former photographic centres of power – both in industry practice and in scholarly viewpoint – the time is right for a historical reappraisal of popular photographic practice, supported by an exemplary collection.

12201114880?profile=originalThe Kodak Collection at National Science and Media Museum is one of the largest and most diverse museum collections of cameras, images, and photographic ephemera from the nineteenth and twentieth centuries in the world. The collection came to Bradford in the late 1980s from the Kodak Museum in Harrow, and it has played a major role in communicating the history of photography to National Science and Media Museum's audiences through the permanent Kodak Gallery. The collection represents not just a significant set of objects that inform the history of photography, but a body of material that has been critical to the way that National Science and Media Museum has been communicating this history to a broad public.

The PhD student will investigate the changing role of photographic collections as tools for communicating shifting notions of popular photographic practice. Building on the scholarship on popular photography that has developed in recent years, this project will examine how its histories have been told through this unique collection and examine the opportunities it presents for new scholarly approaches to the medium; this includes examining its contemporary cultural significance. The challenges to the telling of popular photographic histories that emerge from new scholarship will inform National Science and Media Museum's strategy for the Kodak Gallery as it moves towards the second stage of its master plan in 2022.

Details here. Applications by 27 May 2019.

Image (left): The Kodak Museum, Harrow (courtesy Michael Pritchard); (right): Kodak Gallery at the NS+MM. 

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12201111255?profile=originalApplications are welcome for a generous four year, fully-funded PhD fellowship, based in the School of Art History and Cultural Policy at University College Dublin, on the theme of Poverty, Welfare, and Visual Culture in the Long 19th Century. The award includes a stipend of €15,000 per annum, full fee waiver (EU or non-EU), a travel allowance, archival research and publication allowance, and funding for a laptop.

Candidates are encouraged to submit a proposal on a subject of their choosing, within the broad area of poverty, visual culture, mass media, and the emergence of the modern welfare state from the 19th-early 20th century. It is anticipated the PhD project will be situated within some of the following themes:

  • The rapid and coterminous development of the illustrated press, photography, stereoscopy, magic lanterns, optical devices, and early cinema as new forms of visualisation and encounter
  • Discourses concerning representations of the ‘real’, the conditions of modern life, and physical/optical perception; debates on the nature of photography and new media and their relationship to verisimilitude and truth; etc.
  • Moral, political, and economic philosophies which informed the transition from 19th c. poor laws and methods of public relief to the establishment of 20th c. modern welfare states and the non-governmental sector

12201111255?profile=originalResearch proposals may also choose to address one or more of the following (or similar):

  • homelessness (urban and rural)
  • hunger (both severe and episodic)
  • migration and diaspora
  • benevolence (eg the rise of of modern non-governmental philanthropic organisations and activism)
  • welfare institutions (eg the development of state-controlled instruments of relief)
  • representations of empire

Irish, European, or comparative projects are especially encouraged, but any colonial or global topic is welcome. Demonstrable experience working with visual media is required.

The successful candidate will have a strong academic background in art history, visual culture, and/or history, and will work under the supervision of Associate Professor Emily Mark-FitzGerald. Dr Mark-FitzGerald is the primary expert on the visual culture of the Irish Famine from the 19th century-present; a former Director of the Irish Museums Association (2009-18); and current co-PI of the funded research series Media, Encounter, Witness: Troubling Pasts at the Humanities Institute at University College Dublin. UCD’s School of Art History and Cultural Policy is the largest art history department in Ireland, and the successful candidate will join a thriving research community closely connected with a range of national and international museums and cultural institutions.

In order to apply, please submit a cover letter, CV, writing sample, two letters of reference, and a proposal (1000-1500 words plus indicative bibliography) via email to Dr Emily Mark-FitzGerald (emily.mark@ucd.ie) by 30th April 2019. Applications will be reviewed by a committee at School level, and applicants will be informed by the end of May, at which time the successful applicant may formally apply for admission to UCD. Preliminary enquiries by email are welcome.

This PhD is funded under UCD's new ADVANCE PhD scheme; more info here: https://www.ucd.ie/artshumanities/newsandevents/fivenewphdscholarships

Image:

Vandeleur evictions: Mathias Magrath's house, Moyasta, Co.Clare after destruction by the Battering Ram (1880s). William Lawrence studio, photographic negative on glass. National Library of Ireland

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12201103465?profile=originalDominic Winter auctions are to offer six lots, including a camera, from Christine Lynch, the daughter of Frances Griffiths, the younger of the two cousins who first perpetrated the hoax back in 1917. The material is expected to realise over £50,000.  The consignment includes photographs of the fairies, a Cameo camera. 

12201104463?profile=originalIt can be seen here: https://www.dominicwinter.co.uk/Auction/Search?st=cottingley&sto=0&au=671&w=False&pn=1

Two other cameras are in the collection of the National Science and Media Museum, Bradford. 

The auction includes other vintage and collectable photographs, stereoscopy and photographic equipment. The catalogue can be seen here: https://www.dominicwinter.co.uk/Auction/Search?au=671

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