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/

Photography arrived in India in 1840 and ever since it has remained rooted in the distinctive aesthetics and cultural iconography of the sub-continent while also serving as a reflection of the political context of the times. The symposium will be chaired by Rahaab Allana, consultant curator of Illuminating India: Photography 1857–2017, curator of the Alkazi Foundation for the Arts in New Delhi and Fellow of the Royal Asiatic Society in London

Booking is now open here: http://www.sciencemuseum.org.uk/visitmuseum/Plan_your_visit/events/exhibition_events/illuminating-india-events/indias-place-in-photographys-world

India’s Place in Photography’s World

Science Museum

Friday 6 October, 14.00-19.00

Free, ticketed / All ages

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/

In an informal setting and in dialogue with experienced and imaginative guests, The Colin Rowe Lectures aim to discuss the role of the image in architecture, particularly the crucial role of architectural photography. The lectures are considered as an open forum of discussion for architects, photographers, students and the simply curious. All are welcome.

Our next lecture will be delivered by acclaimed South-African photographer Guy Tillim. Tillim started photographing professionally in 1986, working with the Afrapix collective until 1990. His work as a freelance photographer in South Africa for the local and foreign media included positions with Reuters between 1986 and 1988, and Agence France Presse in 1993 and 1994.Tillim has received many awards for his work, and is the 2017 recipient of the HCB Award presented by Fondation Henri Cartier-Bresson. Solo exhibitions have taken place at several institutions internationally; the 2014 Barbican exhibition Constructing Worlds: Photography and Architecture in the Modern World included Tillim’s work on the Congolese city of Kinshasa and its late-modernist colonial buildings.

Colin Rowe lecture

Hello everyone, I am currently working on an archival project, The Family Museum, focused on amateur family photography. Over the past 25 years, my project co-founder, Nigel Shephard, has collected around 25,000 photos and 300 family albums dating from the mid-19^th century to the present day. Inspired by the richness and size of this archive, we’d like to use it as a resource for exhibitions and presentations exploring themes related to family, popular culture and amateur photography. Its present content is focused almost wholly on British photography and amateur photographers.

The first exhibition we’re researching and planning for 2018 is centred on ‘Stickybacks’, the popular Edwardian studio portraits produced as a strip of six images on gummed paper, each portrait measuring approx 2in x 1.5in. The spur for this show was a selection of these photos originating from a Swindon studio, and we’re in touch with the Swindon Musuem and Art Gallery and local history networks there to collaborate on the exhibition.

Our fascination with the Stickyback phenomenon stems from its itinerant and ‘pop-up’ nature (the studios sprang up around the UK, on the Isle of Man and in Dublin), and the portraits themselves, many of which have intimate and playful aspects borne out in later photo-booth and even selfie photo culture. The ‘travelling box’ or ‘sliding box’ technology used in the Stickyback studios (developed principally we believe between the late 1890s and 1910 by Spiridione Grossi, originally from Liverpool, and later patented by him in 1916, as ‘Improvements in Strip Printing Photographic Apparatus’) is also an aspect we’re researching.

There are some excellent notes on the Stickyback phenomenon on a few local photography websites (notably Sussex PhotoHistory and Cambridgeshire Photographers), and Michael (Pritchard) thank you very much for your help on a couple of questions. If any other members have researched or come across Stickybacks, it would be great to hear from you.

Rachael
The Family Museum

See more here: https://www.recruit.ox.ac.uk/pls/hrisliverecruit/erq_jobspec_version_4.jobspec?p_id=131230

Dominic Winter's biannual auction of Photography takes place at their salerooms in Gloucestershire on Wednesday 4 October. The sale comprises 140 lots (297-347) and includes a mixture of 19th and 20th century material from salt prints and daguerreotypes to Polaroids and C-prints. Estimates for single and group lots range from £100 to £5000. Catalogues are available in various digital formats and can be accessed at the auctioneers' website. 

Official viewing takes place Tuesday 3 October, 9-6 and morning of sale from 9am. The sale starts at 10am with lot 1 and the Photography section is estimated to start at about 1.30pm. Bidding can be made in person, by phone, commission and online in real time (additional charges apply).

Pictured here is one photograph from an album of approximately 470 photographs by W. Rausch of Bulawayo. Covering the period from the time of the Second Matabele War to the Second Boer War, 1896-1900 the monstrous 16.5kg album is a veritable archive for the work of the Rausch studio. Estimate £3000-5000.

For further information and enquiries please contact Chris Albury chris@dominicwinter.co.uk / 01285 860006

Dominic Winter Auctioneers, Mallard House, Broadway Lane, South Cerney, Cirencester, Gloucestershire GL7 5UQ

www.dominicwinter.co.uk

I am seeking any information about this albumen photograph: "The Confessional" Printed by Frith, "Goodman Phot.

"21 x 16.5 cm photo on a 37 x 29.5 cm mount.

I am assuming that this was published in "Gems of Photographic Art" by Frith.

My attempts to find a copy online have been fruitless. The George Eastman House and The Ransom Center apparently have copies, but neither is digitized.

I have many questions about this image:

Is the photographer Claudius E. Goodman? He is referenced here on this site, but as a stereoscopic photographer.

This genre scene seems to me, to be a cut above most. Was this his only large scale photo? Why ? The busy composition reminds me of Don Quixote by William Frederick Lake Price.

Is this an enlargement of a stereo view scene? The vertical composition seems to indicate, no.

Which Frith version of "Gems" was this included in? What year? Are there digital copies of Gems of Photographic Art online?

Thanks in advance for any info- or guesses.

David

The Tate's annual report for 2015/16 reports a large growth in the photography collections. As part of the donation of photographs from the Eric and Louise Franck London Collection, an important group by black British photographers was accessioned during the year. Jane and Michael Wilson donated a body of British and international photographic works, among them important works by Taryn Simon. A purchase of a large body of work by Chris Steele-Perkins was supported by the Photography Acquisitions Committee. Following the Rauschenberg exhibition at Tate Modern, a boxed portfolio of twelve photographs by the artist was presented by the Robert Rauschenberg Foundation.

Across the Tate some 1,113 new works entered the collection with a collective value of £27.4 million.

The full report can be read here: http://www.tate.org.uk/download/file/fid/113367 and an itemised list of all the acquisitions with values can be read here: http://www.tate.org.uk/download/file/fid/113372

Kate Bush has been appointed by Tate Britain to the new post of Adjunct Curator of Photography, starting in October 2017. Kate is a curator and critic specialising in contemporary art and photography. She was most recently Head of Photography at the Science Museum Group – including the Science Museum in London and National Media Museum in Bradford which she joined in 2014 – and was previously Head of Art Galleries at the Barbican Centre in London. 

She will work with Ann Gallagher (Tate’s Director of Collections for British Art), Alex Farquharson (Director of Tate Britain) and Simon Baker (Tate’s Senior Curator of Photography and International Art) alongside Tate Britain’s wider curatorial team, researching and building the collection of British photography and curating exhibitions and displays at Tate Britain.

Image: Science Museum Group / Jennie Hills, 2014

Simon Baker is Tate’s first Curator of Photography. Since his appointment in 2009 he has worked on acquisitions, displays of the permanent collection and exhibitions at both Tate Modern and Tate Britain, and in advisory roles for Tate St Ives and Tate Liverpool. Major exhibitions on which he has worked include William Klein + Daido Moriyama (2012); Conflict, Time, Photography (2014); and Performing for the Camera (2016).

Simon has been invited by Stills to present a talk in Edinburgh as part of their programme of 40th anniversary events. With reference to recent projects, he will discuss strategies for exhibiting and collecting photography at Tate and the processes of identifying and selecting work for acquisition or display.

Ticketed: £4 + booking fee

See more and book here: https://www.eventbrite.co.uk/e/stills-40th-anniversary-lecture-simon-baker-senior-curator-international-art-photography-at-tate-tickets-36276232187

The Martin Parr Foundation, a new centre for British photography and the works of Martin Parr, will open in Bristol on 25 October 2017. The Martin Parr Foundation was established in 2014 and will open to the public in the Paintworks complex, Bristol, and comprises a studio, gallery, library and archive centre.

The aim of the Foundation is to support and promote photography from the British Isles. It will do so by preserving the archive and legacy of Martin Parr, and by holding a growing collection of works by selected British and Irish photographers as well as images taken in the British Isles by international photographers. The Foundation will also house an expanding library of British and Irish photographic books.

Martin Parr (b. 1952) is one of the most significant documentary photographers of post-war Britain. He has developed an international reputation for his innovative imagery, his oblique approach to social documentary, and his contribution to photographic culture both within the UK and abroad. Alongside his reputation as a photographer, Parr is known as an important collector, especially of photobooks. Over the past 40 years, Parr’s dedication to discovering and promoting the overlooked, and his support of both photographers and photography has contributed to the way the history of the medium is understood and defined. His collection of around 12,000 photobooks, one of the most inclusive photobook collections in the world, has been both gifted to and acquired by Tate with assistance from the Luma Foundation, The Art Fund and Tate’s supporters. Some of the proceeds from this acquisition have been invested in the Martin Parr Foundation.

The Foundation gallery space will be open to the public on a regular basis and will present work related to British photography as well as images by Martin Parr. The first exhibition from 25 October – January 2018 will be ‘Black Country Stories’ by Martin Parr, followed by ‘Town to Town’ by Niall McDiarmid and the David Hurn ’Swaps’ show in Spring 2018.

The Martin Parr Foundation will house a collection of post-war documentary photography relating to the British Isles, both prints and book maquettes, including works by Keith Arnatt, Richard Billingham, Elaine Constantine, John Davies, Paul Graham, Ken Grant, John Hinde, Peter Mitchell, Tony Ray-Jones, Paul Reas, Simon Roberts, Graham Smith, Tom Wood and Eamonn Doyle. The collection will include two original maquettes of ‘In Flagrante’ by Chris Killip, the full sets of ‘Belgravia’ by Karen Knorr and of ‘Hackney Flowers’ by Stephen Gill and the original prints from Victor Sloan’s 1989 exhibition, ‘Walls’, from the Orchard Gallery in Derry.

Martin Parr’s archive held by the Foundation will consist of works spanning Parr’s career from his student days to the present, including ephemera, correspondence, books and published editorial work.

The Martin Parr Foundation will offer the facility to book group visits and individual research sessions alongside a programme of public talks, educational events, book signings and seminars, all related to photography in a wider sense. Parr commented, ‘Post-war British documentary photograph continues to be underappreciated and I wanted to make a small contribution to rectify this. The Foundation will support and preserve the legacy of photographers who made, and continue to make, important work focused on the British Isles.’

Jenni Smith has been appointed Director of the Martin Parr Foundation. Six trustees have also been appointed and will meet twice a year. The Foundation is also working closely with the University of the West of England, and will exhibit the final show of their newly established MA Photography course.

The Martin Parr Foundation is open to the public from Wednesday–Saturday.

Martin Parr Foundation, 316 Paintworks, Arnos Vale, Bristol, BS4 3AR, UK
(+44) 0117 329 3270

www.martinparrfoundation.org

Photos: Louis Little

UPDATED: There is an extensive interview with Parr by Gemma Padley in the BJP which gives more background to the Foundation and its objectives. It can be read here.

Considered one of the most important photo historians of the 20th century, Peter E. Palmquist (1936-2003) had a keen interest in the photography of the American West, California, and Humboldt County before 1950, and the history of women in photography worldwide. He published over 60 books and 340 articles and was a strong proponent of the concept of the independent researcher-writer in the field of photohistory. With co-author Thomas Kailbourn, he won the Caroline Bancroft Western History Prize for their book, Pioneer Photographers of the Far West. Professor Martha Sandweiss, Princeton University, wrote, “He (Peter) established new ways of pursuing the history of photography, and with his collections and research notes soon to be accessible at Yale, he will be speaking to and inspiring new generations of students and researchers forever.” Established by Peter’s lifetime companion, Pam Mendelsohn, this fund supports the study of under-researched women photographers internationally, past and present, and under-researched Western American photographers before 1900.

A small panel of outside consultants with professional expertise in the field of photohistory and/or grant reviewing will review the applications in order to determine the awards. Applications will be judged on the quality of the proposal, the ability of the applicant to carry out the project within the proposed budget and timeline, and the significance of the project to the field of photographic history. Each recipient of the award will agree to donate upon completion of the project a copy of the resulting work (i.e., published book, unpublished report, thesis, etc.) to the Humboldt Area Foundation to submit to the Peter Palmquist Archive at Yale University’s Beinecke Rare Book & Manuscript Library and a report to Humboldt Area Foundation at the end of the grant period. We ask that award recipients acknowledge the financial assistance provided by the Palmquist Memorial Fund in publications or other work products supported by that fund.

RANGE OF AWARDS: $500 - $1,500

ELIGIBILITY

Individuals researching Western American photography before 1900 or women in photography as well as nonprofit institutions conducting research in these fields are eligible to apply.

Completed applications must be postmarked by: November 1, 2017 by 5:00 pm, and submitted to:

Humboldt Area Foundation • 363 Indianola Road, Bayside, CA 95524 Award Recipients will be notified by January 15, 2018

For more information contact:

Humboldt Area Foundation at (707) 442-2993

Application available here in Fillable PDF format. All Humboldt Area Foundation grant opportunities are listed here.

We are looking for a  Curator to take responsibility for the conceptual development, organisation and co-ordination of exhibitions and publications assigned by the Director and Chief Curator, including budgetary management and fundraising. The Curator also contributes ideas to the Gallery’s programme, liaises with other internal departments as appropriate and represents the Whitechapel Gallery at relevant networking events. 

Conditions of Work

•    Full time permanent position
•    Hours of work: 9.30am – 5.45pm, Monday - Friday plus some occasional weekend and evening work, which will be compensated by time off in lieu
•    Salary: £32,000-35,000 per annum
•    The period of notice is 3 months in writing on either side
•    Probation period: 6 months

For further details, and how to apply visit www.whitechapelgallery.org

Deadline for applications is midnight on Monday 9 October 2017.

This major survey exhibition focuses on artists who have shaped our understanding of the British landscape and its relationship to identity, place and time. Exploring how artists interpret urban and rural landscape through the lens of their own cultural, political or spiritual ideologies, the exhibition reveals the inherent tensions between landscape represented as a transcendental or spiritual place, and one rooted in social and political histories.

Though primarily photography, A Green and Pleasant Land includes film, painting and sculpture by over 50 artists, illustrating the various concerns and approaches to landscape pursued by artists from the 1970s to now.

Artists included in the exhibition: Keith Arnatt, Gerry Badger, Craig Barker, John Blakemore, Henry Bond and Liam Gillick, Paul Caponigro, Thomas Joshua Cooper, John Davies, Susan Derges, Mark Edwards, Anna Fox, Melanie Friend, Hamish Fulton, Fay Godwin, Andy Goldsworthy, Paul Graham, Mishka Henner, Paul Hill, Robert Judges, Angela Kelly, Chris Killip, John Kippin, Karen Knorr, Ian Macdonald, Ron McCormick, Mary McIntyre, Peter Mitchell, Raymond Moore, John Myers, Martin Parr, Mike Perry, Ingrid Pollard, Mark Power, Paul Reas, Emily Richardson, Ben Rivers, Simon Roberts, Paul Seawright, Andy Sewell, Theo Simpson, Graham Smith, Jem Southam, Jo Spence, John Stezaker, Paddy Summerfield, The Caravan Gallery, Chris Wainwright, Patrick Ward, Clare Woods and Donovan Wylie.

Towner Art Gallery
Eastbourne
29 September-21 January 2018

See more: http://www.townereastbourne.org.uk/exhibition/a-green-and-pleasant-land/

Image: John Davies ‘Agecroft Power Station, Salford’ 1983, © John Davies.