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12201082657?profile=originalWorking with one of the largest, richest and most diverse research collections, you will use your specialist knowledge of South Asian art history and archaeology to carry out cataloguing and collection management projects relating to prints, drawings and photographs and associated ephemera.

This section’s remit expands to managing the former India Office collection of Prints, Drawings and Photographs as well as other major visual collections in the Library including the British Library Works of Art (Contemporary British Art), Kodak archive and Fox Talbot collection. 

Closing date: 22 April 2018

Interview date: Week Commencing 14 May 2018

To apply: https://britishlibrary.recruitment.northgatearinso.com/birl/pages/vacancy.jsf?latest=01001423

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Information request: H G Crabtree

12201080494?profile=originalOver the past six weeks we at  Trinity Mirror central archive have reviewed our holdings from the Birmingham Gazette. A number of images have come to light by a photographer by the name of H G Crabtree. He appears to have worked for the paper from the early 1930s to the mid 1940s.

Any information about his life and career at the Birmingham Gazette would be appreciated 

12201081291?profile=original

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This workshop will explore medical, social, and cultural meanings of the eye and vision in contemporary and historical perspective. Included is a paper from Colin Harding titled: Repairing War’s Ravages: Horace Nicholls’ photographs of prosthetic masks. 

Registration is free. 

For more information see: https://www.eventbrite.co.uk/e/the-all-seeing-eye-vision-and-eyesight-across-time-and-cultures-tickets-43165586431

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12201078896?profile=originalThe Women's History Network West Midlands is presenting a symposium on the Voice of Women in the Great War and its Aftermath on 13-14 April 2018 at the Black Country Living Museum, Dudley. Included is a paper by Colin Harding titled Shooting the Messengers: Horace Nicholls’ photographs of women in uniform. Colin is currently undertaking a PhD looking at the work of Nicholls and is based at University of Brighton and the Imperial War Museum.

See the programme here: https://womenshistorynetworkmidlands.files.wordpress.com/2018/01/voices-of-women-2018-conf-draft-prog-2017-12-14.pdf

and details of how to book here: https://womenshistorynetworkmidlands.wordpress.com/spring-conference-2018/

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New Early Women Photographers Blog

In celebration of International Women's Day 2018, I have started a new blog highlighting early women photographers.

Some have not been studied previously and the blog will focus on pre-1860 photographic activity.  It will hopefully build into a useful online biographical resource starting with the third female member of the Photographic Society, Mary Ann Boulton.

Any additional information regarding these pioneering women is welcomed.

My Lunchtime Lecture at the National Portrait Gallery on 3rd May 2018 introduces new research in collaboration with Graham Harrison.  This talk will cover five women, all of who claim a photographic first.

https://www.npg.org.uk/whatson/event-root/may/lunchtime-lecture-03052018

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12201067268?profile=originalThis is a new MA starting September 2018, subject to validation, from the University of Sussex, led by Dr Ben Burbridge. It will engage you in the challenging task of making sense of the multitude of photographic images that shape the world today. It is claimed to be the first MA in the UK to combine the history and theory of photography with practice and curation in a genuinely interdisciplinary context. You’ll explore the pivotal role of photography over the past two centuries across diverse global contexts – from the ways in which photography represents the complexities of 19th-century world views to the ubiquity and power of photography in our digital age. You’ll also develop your practical skills, working with expert practitioners and leading photography curators.

  • Learn from leading academics – in fields including Art History, English, Photography, Media, Film, History and Politics – and enjoy direct access to their cutting-edge work.
  • Benefit from our exceptional links with a range of the UK’s premier photography institutions – including Brighton Photo Biennial, Tate, the Victoria & Albert Museum, the photographic Archive of Modern Conflict and our partnership networks of museums and galleries across the South East.
  • Experience professional master classes by internationally recognised photographers and curators. You have the opportunity to take part in the programme of the Centre for Photography and Visual Culture, which attracts world-renowned artists, writers, filmmakers and curators.

Registrations are required by 1 August 2018 (International) / 1 September 2018 (UK)

Read more here: http://www.sussex.ac.uk/study/masters/courses/history-art-history-and-philosophy/photography-history-theory-practice-ma

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12201080485?profile=originalThe curatorial job at Tate Modern, previously occupied by Simon Baker is open to applicants. Since Tate Modern opened in 2000, its programme of major temporary exhibitions, collection displays, commissions, live performance, and film programme has developed in diversity, scope and profile. In 2016 Tate Modern opened the Blavatnik Building increasing the scope and breadth of the exhibition and collection displays. The Tate Modern Curatorial Team ensures the highest standard of content and delivery of this programme. 

This exciting position offers the chance to play a leading role helping Tate to fulfil its ambition of rethinking the history of modern and contemporary art by leading the development of Tate's collection of international photography through acquisitions, gifts and bequests as well as leading the strategy for representing photography in the programme; researching, developing and curating exhibitions and collection displays.

As a member of Tate Modern's senior management, you will provide strategic leadership and management to the Curatorial department as well as working collaboratively with colleagues across the organisation on shared projects or initiatives. You will be able to combine your curatorial flair with excellent operational and leadership skills and an ability to work collaboratively and make an effective contribution to the running of the department. With an inclusive leadership style with proven ability to lead, you will possess the ability to inspire your colleagues, share your expertise and motivate and support the development of our curatorial team.

You will be an experienced curator or specialist with an expert knowledge of modern and contemporary art with a particular specialism in photography, supported by a relevant post-graduate degree. An impressive track record of publication and research, an established network of contacts and a knowledge and understanding of the issues surrounding collecting modern and contemporary photography as well as extensive experience of the processes involved in staging exhibitions and displays will be essential. You will also be a first class communicator with the capacity to write authoritative texts for a specialist readership as well as accessible texts for a general public. International in your outlook, the ability and willingness to undertake extensive travel nationally and internationally and to attend out of hours functions is essential.

How to apply:

Our opportunities are open for you to apply online. Please visit our website via the button below. For all opportunities, we ask candidates to complete an online application form for the vacancy they are interested in. If you need an application form in an alternative format, please call us on 020 7887 4997.

Reference:TG1914 

Opportunity type:Permanent, Full-time 

Working hours:36 hours per week  

Salary:£45,000 to £50,000 per annum dependent upon the skills and experience of the successful candidate 

Location:London - Tate Modern, Bankside  

Closing date:01 April 2018 at midnight 

Closing date: Sunday, 1 April 2018 at midnight.

More here: https://workingat.tate.org.uk/pages/job_search_view.aspx?preview=preview&jobId=3826

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A blog about American pioneer photographers

A colleague of mine in Cambridge, Massachusetts, has been conducting research on early American photographers for more than twenty-five years, and is now making it available on wordpress blog. As many of these photographers either trained in Europe or in Britain, or in some cases emigrated from Britain, I thought it would be worthwhile to provide the link to this important resource at https://pioneeramericanphotographers.com/

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12201079086?profile=originalOn 19-20 May, the special edition of The London Photograph Fair returns to The Great Hall at King's College, adjacent to Somerset House. The fair, which coincides with Photo London, is the only established fair devoted to vintage photography in the UK.

For this year's edition, Daniella Dangoor will present a collection of 40 rare photographs of Samurai. It should be noted that most photographs purporting to be of Samurai, and often used as illustrations in books and magazines, are nothing of the kind. They were taken well after 1877, when the Samurai system was abolished, in commercial studios, with actors or studio assistants dressing up in Samurai clothes and armour, for the benefit of the tourist trade.

These however, are images of genuine Samurai, taken 1860-1877.  The collection has been researched and catalogued by Sebastian Dobson, one of the world's leading authorities on early photographs of Japan. Several prints constitute the only known copies, with most of the rest known in only a few copies, held in museums and private collections.

The photographs in the collection offer a rare glimpse into the vanishing world of the Samurai, including a group of Samurai gathered around a map during the civil war; the half-brother of the last shogun, photographed in Paris where he was sent as a special emissary; a portrait of a female samurai as well as a portrait of a rōnin, the masterless samurai who were often forced to eke out a vagabond existence on the edge of society, offering their swords for hire.

In a portrait taken by the Japanese photographer Suzuki Shin’ichi I in Yokohama in the mid 1870's, a young Samurai glances wistfully into the distance. The era of the Samurai was nearing its end and the occupation and the role he had trained and prepared for since childhood was about to be rendered obsolete. The introduction in 1873 of compulsory military service for all Japanese males, regardless of class, had made the samurai an anachronism.

12201080076?profile=originalJapan was changing. The country had until 1853 been completely closed to all foreigners. The Dutch were the only Westerners permitted to trade with Japan and a small group of employees of the Dutch East India Company were corralled on the artificial island of Deshima constructed for their exclusive use in Nagasaki in 1636.

The opening of the country's borders would lead to a modernisation process and a civil war that would see the overthrow of the Shogunate in 1868. The Shoguns had been the de facto rulers of Japan since the 12th Century, ruling in the name the emperor. The Shogun’s military might depended on the Samurai. As a warrior caste, war was their raison-d'être, so the so-called Age of Warring States (Sengoku Jidai) with almost constant civil war between contenders for the shogunate during 1460 and 1603 represented a sort of golden age.

The installation of the Tokugawa shogunate in 1603 enshrined their position at the top of the social order, but the ensuing 250-odd years of peace would see them take on other roles as well, as administrators, bureaucrats and scholars, the latter playing an important role in the diffusion of photography in Japan.

The Last Samurai. A collection of rare photographs by Nadar, Shimooka, Suzuki, Disdéri, Beato and others
19-20 May 2018 as part of the London Photograph Fair and presented by Daniella Dangoor
at The Great Hall at King's College, Strand, London WC2R 2LS 

Images: top: Suzuki, YOUNG SAMURAI. Below: Felice Beato (c.1834-1909):KUBOTA SENTARÔ IN ARMOUR WITH RETAINERS, Yokohama, c.1864. Hand-coloured albumen print from wet collodion negative.

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12201075280?profile=originalThe early history of paper photography in the United States is a formative but rarely studied aspect of the medium’s evolution. While Americans were at first slow to adopt Europe’s negative-positive photographic practices, the country’s territorial expansion and Civil War increased demand for images that were easy to reproduce and distribute.

The exhibition Paper Promises: Early American Photography, on view until 27 May, 2018 at the J. Paul Getty Museum, Getty Center, features rare 19th-century paper negatives and paper photographs from this important era of American experimentation, including portraits of some of the country’s most notable political and cultural figures, as well as searing images from the Civil War. “In the mid-nineteenth century, photographs did much more than merely document the development of the nation; increasingly they became central to debates about the U.S. and its place in the world,” explains Timothy Potts, director of the J. Paul Getty Museum. “The photographs on view in this exhibition offer a rare insight into the forces and movements that shaped the country’s character at a formative stage of its development.”

Photographic Pioneers

Today, Facebook, Instagram, and Snapchat create a thirst for casual selfies, views of our surroundings, and documentation of the most mundane aspects of daily life. Yet reproducible photography was not initially popular in the United States. In the earliest years of the medium Europeans quickly adopted techniques that enabled multiple photographs to be printed from negatives, but Americans initially preferred singular formats intended for intimate viewing, such as those produced directly on metal or glass.

A few intrepid American photographers experimented with negative-positive techniques in the 1850s. The earliest photographs they produced used papers sensitized with silver salts that resulted in matte images well suited to register a range of textures. Paper Promises showcases dozens of rarely exhibited salted paper prints.

12201076667?profile=originalTo secure the widest possible market for photographs that could be printed in multiple, entrepreneurial photographers made salted paper prints for a variety of purposes: scientific investigation, celebrity portraiture, tourism, historic preservation, corporate and self-promotion, and first-hand documentation of newsworthy events. Their ambition to develop a technique suited to the quickened pace of modern life is apparent in a salted paper print made around 1860 by an unknown photographer, in which a group of men and women gather excitedly aboard the front of a train.

The railroad was a potent symbol of progress, and it was anticipated that photography, like locomotives, might connect Americans to places and people far away. In the 1850s, however, alarmist reports that photographic negatives were being used to counterfeit currency caused widespread anxiety. At the time, banks printed their own money and thousands of different paper bills were in circulation. Around forty percent of the bills that passed through American hands were counterfeit, so banknotes began to be thought of as little more than flimsy “paper promises.”

The exhibition features photographic counterfeits from the era, revealing a previously unstudied aspect of initial American resistance to photographic reproducibility. Though “paper promises” was originally a derisive phrase, the promise of paper photography soon swept the nation.

Also included in the exhibition are examples of other pioneering photographic techniques, including daguerreotypes, ambrotypes, albumen silver prints, a pannotype, and an ivorytype.

Portraiture

As the use of negatives to produce photographs in multiple sizes and shapes began to catch on, photography studios rushed to secure famous sitters in the hope of gaining wide distribution for popular images. The exhibition demonstrates how celebrities of the era grew savvy about circulating carefully crafted images of themselves. For example, an 1860 portrait of abolitionist Frederick Douglass by an unknown photographer emphasizes the gravitas of the fiery orator and prolific writer. Douglass sat for portraits throughout his life, countering racialized stereotypes by circulating dignified images of himself.

Family photographs also became increasingly cherished as the medium gained in popularity. At a time when life expectancy was short and child mortality common, photographic portraits were thought of as especially precious souvenirs. The exhibition features several intimate portraits of families and children, some of which were carefully handtinted to further strengthen the sense of personal connection.

Universities capitalized on the ability to produce images in multiple and compiled volumes of students and staff into what is today the familiar yearbook format. An example from about 1852 by John Adams Whipple (American, 1822-1891) was commissioned by Harvard – a proto-Facebook more than 150 years before Mark Zuckerberg’s start.

The West and the War

12201077659?profile=originalAs disputes over state and federal sovereignty as well as American Indian rights intensified, photographers sought how best to portray the people and places most frequently in the news. Photographs of several treaty negotiations will be on view, such as images of the first Japanese delegation to the United States, and an 1858 portrait by Alexander Gardner (American, born Scotland, 1821-1882) of a delegation of Upper Sioux who travelled to Washington, D.C., for treaty talks. While most of the delegates pictured wore contemporary clothing, Gardner kept costumes on hand to outfit visitors in “traditional” attire, in keeping with East Coast ideas about Native dress. Photographs of American Indian sitters proliferated as their autonomy became a highly contested matter of public debate.

In the territorial struggles of the 1860s, families torn apart by the Civil War sought personal mementos that could be easily shared and saved, and paper photographs served that purpose well. Soldiers had their portraits made upon enlistment, and civilians clamored for images of the battlefield. Images of slaves and of Abraham Lincoln were increasingly wielded as tools for political change, and the exhibition will spotlight several examples. Freedom’s Banner. Charley, A Slave Boy from New Orleans (1864) by Charles Paxson (American, died 1880) is one of many small-scale images carefully composed and widely circulated to encourage empathy with the plight of enslaved families. The photographs were sold to support education for freed slaves and to sustain support of the abolitionist cause.

As we struggle to adapt to today’s digital revolution, with its capacity for unchecked manipulation and proliferation of images, it’s valuable to look to an earlier era in which ideas about photography and its role in society were similarly exerting profound effects,” says Mazie Harris, assistant curator of photographs at the J. Paul Getty Museum and curator of the exhibition. “Because early paper photographs became an integral part of everyday life, not many survive. So this is a unique opportunity to see rare images from a tumultuous period of American history.


Paper Promises: Early American Photography is on view 27 February, 2018 - 27 May, 2018 at the J. Paul Getty Museum, Getty Center. The exhibition is curated by Mazie Harris, assistant curator of photographs at the J. Paul Getty Museum. A book of the same name and authored by Dr. Harris, with contributions from scholars of American history and photography, will be released by Getty Publications in February 2018.

See more here: http://www.getty.edu/visit/cal/events/ev_1893.html

Images, from top: 

William Langenheim
American, born Germany, 1807–1874
Frederick Langenheim Looking at Talbotypes, about 1849–1851
American
Daguerreotype
Image: 12.1 x 8.9 cm (4 3/4 x 3 1/2 in.)
The Metropolitan Museum of Art, Gilman Collection, Gift of The
Howard Gilman Foundation, 2005 (2005.100.177)
Image: www.metmuseum.org
EX.2018.2.62


Unknown, American
Locomotive on the Baltimore and Ohio Railroad, near Oakland,
Maryland, about 1860
Salted paper print
Image: 16.2 x 16 cm (6 3/8 x 6 5/16 in.)
The Metropolitan Museum of Art, Purchase, The Horace W.
Goldsmith Foundation Gift, through Joyce and Robert Menschel,
1991 (1991.1151)
Image: www.metmuseum.org
EX.2018.2.63

J. E. Whitney
American, 1822–1886
Portrait of a Dakota Sitter, about 1862–1864
Salted paper print
Image: 20 x 15.3 cm (7 7/8 x 6 in.)
The J. Paul Getty Museum, Los Angeles, Purchased in part
with funds provided by Catherine Glynn Benkaim and Barbara
Timmer
2016.37.1

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12201068072?profile=originalJoin the Photographic Collections Network on Monday, 23 April, 2- 5pm, for a special afternoon with Martin Parr and his colleagues at the Martin Parr Foundation in Bristol. Attendees will get behind the scenes insights into the work of the Foundation, looking specifically at the material in its archives, and hearing how it manages workflow from acquisition to access.

Available to PCN members.

To join the PCN or to book a place on this visit please go to: https://www.photocollections.org.uk/events/archive-visit-martin-parr-foundation-visit  

For enquiries contact Maura McKee, PCN Coordinator at maura@photocollections.org.uk  

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12201074688?profile=originalThis two-day masterclass course on the Identification and Care of Photographic Negatives will be held by Monique Fischer at the Photographic Archive of the American Academy in Rome (AAR). It offers an in-depth introduction to the preservation of negatives, focusing particularly on their identification, deterioration, and care. The participants will have the exceptional opportunity to examine several examples of 19th and early 20th century negatives selected by photograph conservator Sandra M. Petrillo from the important and valuable Photographic Archive of the AAR (in particular from the Parker, Askew, Moscioni and Van Deman collections).

After a brief introduction by Lavina Ciuffa on the specialized collection of art, archaeology and architecture photography conserved in this archive, attendees will learn how to recognize various historic photographic techniques and formats and will study the preservation problems associated with each one. The masterclass will also discuss storage concerns and preservation priorities, including environmental guidelines and proper care and handling.

Paper, Glass, and Plastic: Identification and Care of Photographic Negatives" on May 3-4, 2018
Venue: Photo Archive of the American Academy in Rome. Via Angelo Masina 5b, 00153 Rome, Italy
Deadline for registration: 31st of March, 2018 Masterclass fee includes two lunches at the AAR and a course binder: 450,00 euro
Language: English
Masterclass fee: 450.00 Euro

Deadline for registration: 31st March 2018 Applications are on a first come basis. A maximum number of 12 participants will be accepted.

More information: https://www.smp-photoconservation.com/new-masterclass-paper-glass-plastic-identification-care-photographic-negatives-may-3-4-2018/

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Many will not have heard of Dom Angelico Surchamp, because his name did not appear in the credits for his photographs. He was a monk at the abbey of La Pierre-qui-vire in Burgundy. He was the moving spirit behind the Zodiaque series of books on Romanesque, which on any measure is the largest collection of published photographs of Romanesque architecture and sculpture. As André Malraux observed, it was "a very big thing". It was the photographs that made the books, beautifully printed, beautifully presented. Most of the books are in French but there are English versions of the three books on Irish Art with text by Françoise Henry. Here is the text of the letter announcing his death by the Abbot:

Chers Amis,

notre frère Angelico, José Surchamp

a rendu son dernier souffle à Dieu, ce jeudi matin 1er mars 2018, à l’hôpital d’Avallon.

José Surchamp est né le 23 juin 1924 à Troyes (Aube) dernier de six enfants. Son père, inspecteur des eaux et forêts, est un écrivain régionaliste connu sous le pseudonyme de Jean Nesmy. José suit sa formation secondaire au Collège Urbain IV puis au lycée. Pensant se faire religieux, il étudie l’art durant une année. Il passe un mois auprès du sculpteur Henri Charlier.

 Le 8 septembre 1942, il opte pour la Pierre-qui-Vire où vit déjà son frère Claude. Le 2 octobre 1942, il est reçu au noviciat sous le nom de frère Angelico. Un stage auprès du peintre cubiste Albert Gleizes, en août 1946, le marque profondément dans son désir d’unifier vie monastique et recherche picturale. Il fait profession solennelle le 5 octobre 1947 et est ordonné prêtre le 22 mai 1948. De l’Atelier du Cœur Meurtry qu’il initie avec les frères Eloi Devaux et Yves Vitry sortent des créations d’œuvres liturgiques et des fresques.

Une exposition sur l’art sacré à Vézelay en juillet 1951 est le point de départ de « l’aventure Zodiaque », avec la Revue, puis en 1953 avec les éditions de livres d’art. Sous la direction du f. Angelico, les ouvrages sur l’art roman sont édités et imprimés par les frères. Lui-même assure en partie les photographies de nombreux livres, ainsi que la chronique musicale de la revue. Il tisse alors de nombreux liens avec des artistes ainsi qu’avec des maisons d’édition étrangères.

En 1995, il laisse sa charge de directeur des éditions. En 1997, il devient aumônier des bénédictines à St Julien l’Ars, avant leur transfert à Prailles, puis des bénédictines de Venières, près de Tournus. De retour « à la maison », en 2013, il reprend très simplement sa place parmi nous, avant de gagner l’infirmerie.  

Artiste et moine, f. Angelico a cherché à unifier sa vie, non sans tension lors des évolu-tions de la liturgie après le Concile. Son regard pétillant et malicieux laissait entrevoir sa forte personnalité, et son sourire accueillant, sa simplicité ainsi que sa belle confiance en Dieu.           

Nous nous réunirons auprès de notre frère afin de prier pour lui, dans l’espérance de la Résurrection, au cours de l’eucharistie :

 

ce mardi 6 mars à 11 heures.

Il sera inhumé dans le cimetière du monastère à la suite de la célébration.

 

                                                                                            Père Luc CORNUAU, Abbé

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12201073063?profile=originalOn 12 March De Montfort University's Photographic History Research Centre will present two seminars which are open to the public:

  • Women Photographers, Institutional Practices and the South Kensington Museum from Erika Lederman. This paper will locate the career of 19th century institutional photographer Isabel Agnes Cowper within the history of the photography and the institutional history of the South Kensington Museum (now the Victoria and Albert Museum).  It will present the biographical details I have uncovered to date, and will identify other 19th century female professional photographers from whom the SKM acquired photographs.  It will examine the challenges involved in identifying and researching material culture produced by women and will suggest a multidisciplinary research approach that acknowledges the multiple strands of photography’s history.
  • Future of the Past: Commemorating 150 years of photography in Hungary, 1989 from Catherine Troiano. In 1989, exhibitions of photography were staged around the world to mark 150 years since the announcement of the medium. In Hungary, the commemorations comprised twelve exhibitions staged in Budapest and collectively titled ‘the month of photography’. These events came at a poignant moment culturally, socially and politically. This paper aims to use the anniversary celebrations as a case study through which to understand photography’s place and purpose in Hungary’s broader socio-cultural landscape. It interprets the 1989 events as a lens into the Communist past and a forebear of the Democratic future, exploring how photography was posited within the framework of this political change.

Seminars take place from 1700-1830 in room 2.30 of the Clephan Building. They are free and open to all. See more here:  https://photographichistory.wordpress.com/2018/02/22/march-12-2018-research-seminar-in-cultures-of-photography/

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Events at the Martin Parr Foundation

12201073857?profile=originalThe Martin Parr Foundation has a number of  events coming up over the next few months. They include book signings from Niall McDiarmid, Bieke Depoorter and Peter Bialobrzesk. April 20-21 sees the film premiere of Do Not Bend - The Photographic Life of Bill Jay and a day seminar of British photography in the 1970s and on 12 May Parr will be leading a tour around the Foundation and archive. McDiarmid's Portraits exhibition continues until 12 May. 

To find out more see: https://www.martinparrfoundation.org/events/ or download the attached MPF_Upcoming_Events_March-May_2018.pdf.

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12201065486?profile=originalCamera Work: A Photographic Quarterly (1903-1917) committed itself to the establishment of photography as a form of art and in the course of its publication became an important distributor of European modernism in the United States. In both respects the international network of the journal was an important prerequisite. Camera Work’s global reach manifested itself in the content of the texts and images as well as in the production of the magazine, its distribution, and reception.

As one of the outputs of international research project this conference examines Camera Work’s internationality. It analyzes cultural specifics, intercultural relationships, and their theoretical reflection. With a special focus on the reception and distribution of Camera Work in Japan, the presentations investigate transpacific and transatlantic connections. The aim is to identify specific conditions, such as the extended duration of Pictorialism in Japan, its amalgamation with the aesthetic strategies of New Vision, and simultaneous integration of traditional Japanese pictorial formulas, materials, and motives. In addition, the technical and material requirements for the institutionalization of Camera Work in Europe and the U.S. are examined, for instance the international correspondence of the people involved and the reproduction techniques used—facts that shed light on the social background of Pictorialism and emerging modernism.

The Japanese case asks for a theoretical and methodological discussion on modernism in the plural whilst the second example requires an angle of vision from below, especially with regards to an elite venture such as Camera Work. The conference thus opens up a further emphasis: it invites the investigation of the localization of research on the topic of Camera Work itself.

Programme

Friday 9 March 2018
Swiss Institute for Art Research SIK-ISEA, Zollikerstrasse 32, 8032 Zurich
15:30 Viewing of original issues of Camera Work (for invited guests only)
16:30 Registration
17:00 Welcome address: Roger Fayet, director SIK-ISEA
17:05 Evening lecture: Bettina Gockel, University of Zurich: “Camera Work and Gender in a Globalized Photographic World.”
18:35 Reception (Apéro riche)

Saturday 10 March 2018
University of Zurich, Building Rämistrasse 59, 8001 Zurich. Auditorium, Room G01
9:30 Registration and coffee
10:00 Welcome address: Kaspar Fleischmann, Dr. Carlo Fleischmann Foundation
10:15 Opening remarks: Bettina Gockel, University of Zurich Seite 2/2 Kunsthistorisches Institut
10:30 Anne McCauley, Princeton University: "Production/Reproduction: Circulating Pictorial Photographs in the Era of Camera Work"
11:15 Lauren Kroiz, University of California, Berkeley: “Anne Brigman, Camera Work, and California”
12:00 Lunch
13:30 Julien Faure-Conorton, École du Louvre, Paris: “Making Camera Work an International Endeavor: Alfred Stieglitz and French Pictorial Photography”
14:15 Thilo Koenig, University of Zurich: “Camera Work in Europe: Italy and Germany”
15:00 Coffee
15:45 Catherine Berger, University of Zurich: “Camera Work: A Quarterly Containing All the Arts”
16:30 Reception (Apéro riche)
17:30 Evening lecture on the occasion of Bettina Gockel’s ten-year anniversary: Kelley Wilder, De Montfort University, Leicester: “The Furtherance of Modern Photographic History: On a Decade of Photo Historical Innovation.”

Sunday 11 March 2018
University of Zurich, Building Rämistrasse 59, 8001 Zurich. Auditorium, Room G01
10:00 Registration and coffee
10:30 Yuko Ikeda, The National Museum of Western Art, Tokyo: “Jugendstil and the Japanese in Camera Work: Their Aesthetic Exchanges”
11:15 Kerry Ross, DePaul University, Chicago: “Magic in the Darkroom? Pictorialism and Amateur Photography in Early Twentieth-Century Japan”
12:00 Lunch
13:30 Jennifer Coates, Kyoto University: “Pictorialism and its After-Images: Post-War Japanese Cinema Culture”
14:15 Stephanie Tung, Princeton University: “A Fusion of Feeling and Scene: Liu Bannong and Art Photography in Republican Era Beijing, 1923-1928”
15:00 Coffee, discussions, farewells and final tours in Zurich

Symposium organized as part of the project “Camera Work: Inside/Out,” University of Zurich, Institute
of Art History/Center for Studies in the Theory and History of Photography, in collaboration with the
Swiss Institute for Art Research (SIK-ISEA)

Find out  more here: https://www.khist.uzh.ch/de/chairs/bildende/tgf/Projekte_Publikationen/camera_work.html

Contact: Catherine Berger, Rämistrasse 73, CH-8006 Zürich e: catherine.berger@uzh.ch

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Events: Victorian Giants, London, NPG

12201083079?profile=originalVictorian Giants. The birth of art photography showing at London's National Portrait Gallery from 1 March includes a number of events based around the exhibition. They include: 

Lecture: Through the Camera Lens, and What Lewis Carroll Found There. 1 March at 1900.  Lindsay Smith, Professor of English at the University of Sussex, explores Carroll’s fascination for the technology of photography, and for the material and conceptual aspects of photographs, in the context of his larger creative achievement. Book here.

Weekend Workshop: The Victorian Studio. 10 and 11 MarchPhotographers Kasia Wozniak and Eddie Otchere lead a one-day workshop in which you will experience a Victorian Portrait Studio, focusing on the camera, print technology, production values and fashion of the era - with a few modern workarounds. Each participant will gain an appreciation of the patience and care Victorian photographers had to consider in order to create affordable portraits, working with a model in a recreation of a Victorian studio setting, and using a large format camera to capture that one perfect shot on direct positive paper. You will develop and process your portrait, ending the day with your print. Book for 10th or the 11th.

Lecture: Portraits for the Stereoscope: Seeing the Victorians. 22 March at 1900. Denis Pellerin, photo historian and curator of Dr. Brian May's collection of Victorian photographs, takes us on a stereoscopic journey through the studios of photographic artists including Antoine Claudet, William Kilburn, John Jabez Mayall and Thomas Richard Williams. Discover the Victorians as you have never seen them before, in full colour and in glorious 3-D. Book here

Lecture: Julia Margaret Cameron: 19th Century Photographer of Genius. 29 March at 1900Colin Ford CBE, photographic curator and historian, looks at the life and work of Julia Margaret Cameron, who was not only a brilliant photographer but aimed to photograph as many Victorians of genius as she could. Book here.

Lecture: Outside/In: Clementina Hawarden’s Domestic Portraits. 10 May at 1900. Art photographer or portrait photographer—or both? Clementina Hawarden (1822-1865) won awards for artistic costume tableaux of her daughters. Using images selected from the 775 Hawarden photographs in the Victoria and Albert Museum collection, Virginia Dodier discusses how Hawarden’s photographic style evolved while her family remained the focus of her life and work. Book here.

Weekend Workshop: Pop-Up Wet Plate Collodion Studio. 12 and 13 May 2018.Come and experience one of the most popular early photographic processes, discovered in 1851 and used by photographers including Julia Margaret Cameron. Artist Almudena Romero is taking up residence for the day to create unique individual portraits in timed sittings. Book your half hour slot during which you will sit for your portrait and observe the process in real time via a video link from inside the dark room. Book here

There are a number of other photography-related events taking place at the Gallery during March-May. Find out more here.

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