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12200979884?profile=original12 November 2013 – Royal Museums Greenwich (RMG) today acquired a world renowned and nationally significant collection of photographic and archive material. The Gibson archive presents one of the most graphic and emotive depictions of shipwrecks, lifesaving and its aftermath produced in the nineteenth and twentieth centuries. The material was acquired at the Sotheby's Travel, Atlases, Maps and Natural History Sale.

The archive of dramatic and often haunting images, assembled over 125 years (1872 to 1997) by four generations of the Gibson family, records over 200 wrecks - the ships, heroic rescues, survivors, burials and salvage scenes - off the treacherous coastline of Cornwall and the Isles of Scilly.

The acquisition of this collection comprising of over 1360 glass and film negatives, complements the Museum’s existing, extensive historic photography collection, and creates an unprecedented opportunity for the Museum to further examine and explore the story of life at sea and the dangers experienced by seafarers through research, education and display projects.

John Gibson (1827 – 1920) founded the family photographic business in the 1860s and took his first photograph of a wreck in 1869. He apprenticed his two sons Alexander (1857 – 1944) and Herbert (1861 – 1937), who perfected the art of photographing wrecks, creating perhaps some of the most remarkable and evocative images of misadventure at sea. Among the items included in the collection is the ledger the Gibson brothers kept when taking the photographs, which contains records of the telegraph messages sent from Scilly and is full of human stories of disaster, courage and survival.

Having secured the archive RMG will initially conserve, research and digitize the collection, leading to a number of exhibitions to tour regional museums and galleries, especially those in the South West of England.

Lord Sterling of Plaistow, Chairman of the Royal Museums Greenwich, said:

“The acquisition of this remarkable archive will enable us to create a series of exhibitions that will travel across the country, starting with the South West. I am very pleased that the National Maritime Museum has been able to secure this wonderful collection for the nation, and I know that the Gibson family are delighted that their family archive will remain and be displayed in this country”.

The newly acquired material was purchased by the Museum for £122,500 (the estimated sale price was £100,000 - £150,000).

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NMeM redefines its mission

The National Media Museum, Bradford, has redefined its mission statement following the events of the summer which saw it being a candidate for closure before being reprieved. The museum's stated mission is to: explore the science, technology and art of the still and moving image and its impact on our lives

The statement is simple, clear and easy to understand and encapsulates its objectives removing some of the unnecessary baggage that had been added to its remit in recent years.  

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12200974266?profile=originalGeorge Eastman House announced today the appointment of Lisa Hostetler, PhD, as Curator-in-Charge of its Department of Photography. She will assume this role prior to year-end. 

Hostetler brings almost 20 years of academic and museum experience to her new position with George Eastman House. She is currently the McEvoy Family Curator for Photography at the Smithsonian American Art Museum in Washington, D.C.

Hostetler was previously curator of photographs at the Milwaukee Art Museum for seven years. Color Rush: 75 Years of Color Photography in America, her final exhibition and book project in Milwaukee, included 22 photographs from the George Eastman House collection. During her tenure at the museum, she also organized several other exhibitions, including Taryn Simon: Photographs and Texts, which toured internationally; Street Seen: The Psychological Gesture in American Photography, 1940–1959Unmasked & Anonymous: Shimon & Lindemann Consider PortraiturePhotographs from the End of the EarthIn Living Color: Photographs by Saul Leiter; andThe American West 1871–1874: Photographs from the American Geographical Society Library.

“I met with many talented curators during our search process, but from its inception I considered Dr. Hostetler to be the leading candidate for this important position,” said Bruce Barnes, the Ron and Donna Fielding Director at George Eastman House. “I had spent time with her on several occasions while she was at the Milwaukee Art Museum and was extraordinarily impressed with her knowledge of the history of photography and sharp eye for contemporary art. Her Color Rush exhibition was perhaps the most beautiful photography survey I have seen, and her early career retrospective of the works of Taryn Simon was a stunning revelation.”

“I am honored to take the role of leading George Eastman House’s photography department into the future,” said Hostetler. “The museum’s collections are among the best in the world, and offer tremendous opportunities for scholarship, touring exhibitions, and online access. I am eager to make the most of the historic collection and share the institution’s renewed commitment to building its holdings of works by contemporary artists.”

Hostetler was co-author (with Katherine Bussard) of Color Rush: American Color Photography from Stieglitz to Sherman, author of Street Seen: The Psychological Gesture in American Photography, 1940–1959, and contributor to Animals Are Outside Today; Unmasked & Anonymous: Shimon & Lindemann Consider PortraitureLouis Faurer, edited by Anne Tucker; and Reflections in a Glass Eye: Works from the International Center of Photography Collection.

From 2001 to 2005, Hostetler was a research associate in the department of photographs at the Metropolitan Museum of Art, where she curated exhibitions on August Sander, Charles Sheeler’s contemporaries, and selections from the Gilman Paper Company Collection. She was registrar at the Howard Greenberg Gallery in New York City from 1999 to 2001.

Hostetler received a bachelor’s degree in art history, magna cum laude and Phi Beta Kappa, from New York University and earned both a master’s degree and a doctorate in the history of art from Princeton University, where she studied under Professor Peter C. Bunnell and wrote her dissertation on the photographs of Louis Faurer. She has taught at New York University, Princeton University, and the University of Wisconsin–Milwaukee.

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12200927099?profile=originalThe National Media Museum is seeking a dynamic, creative and results-driven communications specialist to fulfil our (part time) Senior Marketing Executive job share role. As Senior Marketing Executive you will make a significant contribution to the realisation of our ambition of becoming the best Museum Group in the world. You will work with the Communications Manager and the Senior Marketing Executive to develop strategy, which has innovation and visitor insight right at its heart. You’ll lead, devise and deliver multiple integrated communications campaigns that have a strong digital bias, which when combined with traditional activity will exceed targets whilst enhancing the reputation of the Museum.

Working alongside your job share partner you will have shared line management responsibility for the Marketing Executive. We’re looking for a talented, highly motivated communications specialist with a proven track record for delivery, to fulfil the Senior Marketing Executive job share role. You will be required to work 15 hours per week, Wednesday to Friday.

The National Media Museum is part of the Science Museum Group (SMG) which is devoted to the history and contemporary practice of science, medicine, technology, industry and media. Incorporating the Science Museum, the National Railway Museum, the National Media Museum and the Museum of Science and Industry, we are a unique family of museums offering truly unique career opportunities.

Closing Date: 25 November 2013
Interviews: week commencing 9 December 2013.

Details: http://jobs.theguardian.com/job/4739882/senior-marketing-executive-job-share-/?utm_source=jbe&utm_medium=email&utm_campaign=2013-11-08&ProcessedTrackID=730805&cmp=EMCJOBEML281

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Auction: Leica Cameras

12200972499?profile=originalBonhams' auction of Leica and Classic Cameras on 22 November in Hong Kong includes two very rare Leica Luxus models, one of which is accompanied by the even rare Luxus carrying case. 

Following the huge success of the inaugural auction of Leica cameras held by Bonhams Hong Kong in November 2012 where a world record of HK$7,460,000 was achieved for a Leica Luxus I, The Leica and Classic Camera Auction will be held on 22 November at 6 pm at the Island Ballroom of the Island Shangri-La Hotel.

Leading the sale of this highly collectable commodity are again cameras made in very limited numbers. In addition to the legendary Leica Luxus, cameras from other top marques such as Nikon, Canon and Hasselblad will tempt aficionados. Highlights of the 83-lot sale include:

An extraordinarily rare Leica Luxus II, 1932
No. 88840. with 50mm f/3.5 Elmar lens, faux lizard skin body covering and gold plated fittings, and Leica Luxus crocodile camera case with brass fastening clip

HK$6,000,000-9,000,000

According to Leitz factory records, only four Leica Luxus IIs were made with serial numbers: 88840, 94573, 97313 and 98248. The whereabouts of the other three examples is currently unknown. 

Although the crocodile ever-ready case appears in various advertisements for Leica Luxus, this is the first example ever to come to light. The British owner of this camera was a keen amateur photographer who acquired this Leica soon after World War II and used it for many years.

The ledgendry Leica Luxus I, 1930
No. 37260 with 50mm f3.5 Elmar lens, faux lizard skin body covering and gold plated fittings 
HK$5,000,000-7,000,000

The Leica Luxus cameras were produced on special order only in very limited numbers - just 95 of them - between 1929 and 1930 and it is not know for certain how many have survived.

A Leica IIIf Black Swedish army body, 1956
A series of 100 Kaltefest ("winterized") Leica IIIf were produced in 1956 for the Swedish Army for arctic operations. 
HK$400,000-600,000

A Leica MP Hermes Edition, 2003
The "Edition Hermès" is a special edition of 500 silver-chrome LEICA MP cameras covered with exquisite Barenia calfskin supplied by the famed Parisian high-fashion house Hermès.
HK$85,000-125,000

A 'Jesse Owens' Leica R4 presentation camera set, 1986
600 sets were issued in 1986 to commemorate the golden jubilee of Jesse Owens' achievements at the 1936 Olympic Games.
HK$15,000-20,000

For more information please contact
Bonhams 
Mabel Au-Yeung
+852 9038 8939 
mabelay@gmail.com

See: 

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12200981258?profile=originalA Research Seminar given by David Campany in the history of photography is taking place on 13 November. Admission is open to everyone.  ‘With photography the essence is done very quickly with a flash of the mind, and with a machine. I think too that photography is editing, editing after the taking. After knowing what to take you have to do the editing’. So said Walker Evans. Arguably the significance of modern photography is as much to do with the editing together of pictures as it is the pictures themselves. And in many ways the rise of the curator in contemporary art was foreshadowed long ago by the rise of the editor of photographs across visual culture, from magazine art directors, to art historians relying on reproductions, to photographers assembling their images into definitive bodies of work. David Campany will explore this question from a number of directions, historical and contemporary.

David Campany writes, curates exhibitions, makes art and teaches at the University of Westminster. His books include Walker Evans: the magazine work (Steidl 2013), Gasoline (MACK, 2013), Jeff Wall: Picture for Women (Afterall, 2010), Photography and Cinema (Reaktion, 2008) and Art and Photography (Phaidon, 2003). This year he has curated Mark Neville: Deeds Not Words at The Photographer's Gallery and a major show of the work of Victor Burgin at Ambika P3, London.

The History of Photography research seminar series aims to be a discursive platform for the discussion and dissemination of current research on photography. From art as photography and early photographic technology to ethnographic photographs and contemporary photography as art, the seminar welcomes contributions from researchers across the board, whether independent or affiliated with museums, galleries, archives, libraries or higher education, and endeavors to provide scholars with a challenging opportunity to present work in progress and test out new ideas.

The seminars usually take place once a term, on Wednesday evenings at 5.30pm in the Research Forum. The papers, and formal discussion, are followed by informal discussion and refreshments.

Organised by Sara Knelman and Prof Julian Stallabrass (The Courtauld Institute of Art)

Open to all, free admission

Wednesday, 13 November 2013, 5.30pm, Research Forum South Room, The Courtauld Institute of Art, Somerset House, Strand, London WC2R 0RN

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12200982075?profile=originalThe 9th Seminar is organised by the Museu del Cinema, The Department of Geography, History & History of Art at the University of Girona (UdG), and the Spanish Ministry Economy and Competitiveness "La construcción del imaginario bélico en las actualidades de la Primera Guerra Mundial".

Girona, Spain - 14 and 15 November 2013. 

Details: http://www.museudelcinema.cat/eng/institut_seminari_2013.php

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London Photograph Fair - Sunday 10th November

12200979683?profile=originalThe next London Photograph Fair is this Sunday, November 10th and on our website you can now see a small selection of the images that will be offered on the day. To see the preview please click here. This is just a fraction of the many thousands of items: prints, cased images and books that will be available on the day.  We have no fewer than 45 individual dealers scheduled to take part, with every inch of available space now let. Admission is £3, or as usual, it is free after if you email us for a voucher on :info@photofair.co.uk

Image:

Detail, New Louvre, Edouard Baldus, Transitional Salt Print, 1855

Price: £575 (se-photo.com) 

 12200980275?profile=originalMeanwhile the Fair will be the venue for a preview of some of the selected highlights from Bonhams Travel and Exploration sale to be held in London on December 4th.  The auction will include a good selection of photographs by William Saunders, Samuel Bourne, John Sache, Felix Beato, Francis Frith, Francis Bedford, Herbert Ponting and Deen Dayal, among others. Views include, Gibraltar, China, Hong Hong, Burma, Borneo, Afghanistan, Himalayas, Pakistan, India, Tibet, British Columbia, Antarctica etc.

In addition, Denis Pellerin and Paula Fleming, two of the co-authors of the book Diableries : Stereoscopic Adventures in Hell, will be present at the London Photograph Fair from 12.00 to 1.00. They will be signing copies of this newly released devilish publication. These will have been pre-signed by the third co-author, Dr. Brian May, who cannot attend, but will be there in spirit.

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The concept and metaphor of ‘translation’, as an approach to practices and effects, has become increasingly widespread across a range of disciplines: archaeology, history, anthropology, cultural studies and, of course, the field of translation studies itself, in a symbiotic flow of key concepts.

This panel will bring together a group of interdisciplinary scholars to consider the act and object of photography as an form of cultural translation that moves a set of experiences - the war zone, the ritual event, the everyday - from one space of understanding to another.

The panel asks for whom, and under what circumstances can photographs be seen as acts of translation? How does this intersect with our understanding of ‘representation’? To what extent is photography assumed to be a universal language? To what extent is photography, as an act of translation, assumed, that is at the same time, to transcend that translation in the global flow of representations/ images? To what extent does photography claim or challenge universal categories of comprehension? Does it assume unproblematic and mutually exchangeable accessibility? What is its cultural shaping in the act of apprehension? How is the act of translation disrupted by moments of incomprehension?

Contributors will be asked specifically to bring recent thinking in translation theory to new thinking on photographic analysis to explore synergies and problems. Is ‘cultural translation’ an exhausted metaphor that assumes the universality of photographic meaning, or does it open a space in which the analysis of the cultural work of photographs can be enriched and refigured by thinking through the act of translation itself?

It is significant how many ‘trans-‘ words cluster around attempts to understand the social and cultural efficacy of photography – not only translation itself but transaction, transcription, transfiguration, transubstantiation, even transgression. Linguistic models have had a profound influence on photographic analysis in the past few decades. Translation promises to enrich photography studies because it adds a dynamic, diachronic, and dialogic dimension to our understanding of photography and the multiple acts of interpretation to which it perforce gives rise.

Convenors


Call for Papers is now open. Paper abstracts should be no more than 300 words in length, and should be submitted by 30 January 2014 using Easy Chair ( also see https://www.dur.ac.uk/ias/2014conference/callforpapers/ for instructions).

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Exhibition. Brian Ollington.

Retired photographer Brian Ollington, who opened his Gorleston on Sea photographic studio in 1963, will be hosting a 5 day exhibition of his photographs at Great Yarmouth Central Library from Tuesday 5th November until Saturday 9th November. The Ollington studio took photographs of a wide variety of subject mater, typical of the work of a provincial photographer based in an East Coast town. From family weddings, to family pets and civic portraits, to industrial photography for the North Sea gas industry Brian and his team tackled it all.More details about the exhibition available from the Great Yarmouth Mercury web site:-http://www.greatyarmouthmercury.co.uk/what-s-on/exhibition_of_treasured_pictures_by_long_standing_gorleston_photographer_1_2954845
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PhD studentship funding

12200943683?profile=originalThe Midlands3Cities Doctoral Training Partnership will be awarding 410 PhD studentships over a five year period to excellent research students in the arts and humanities. The DTP, a collaboration between De Montfort University and the universities of Nottingham, Nottingham Trent, Leicester, Birmingham and Birmingham City, provides research candidates with cross-institutional mentoring, expert supervision including cross-institutional supervision where appropriate, subject-specific and generic training, and professional support in preparing for a career.

The Photographic History Research Centre at De Montfort is inviting applications from students whose research interests include:

• Social and Cultural Practices of Photography
• Practising Photography in the Sciences
• History of Photographic Technology
• Historiographical Studies in Photography
• Industrial and Business History of Photography
• Cross-cultural Histories of Photography
• Amateur Photography
• Photography, Nationhood and Identity

The deadline for AHRC funding applications is 9 January 2014, by which time students must have applied for a place to study and have provided two references to a university within the DTP. For full details of eligibility, funding and research supervision areas, please visit www.midlands3cities.ac.uk or contact enquiries@midlands3cities.ac.uk

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In the context of the North East Photography Network's forthcoming festival ‘The Social: Encountering Photography’, Inheritance Projects will convene a symposium attending to the cultural legacy of the British photography practices, organisations and collectives who aligned themselves with left political movements throughout the 1960s, 70s and 80s.

The event responds to the issues that Terry Dennett and Jo Spence characterised in their 1986 account of the Photography Workshop:

"One of the ironies of the Left and women’s movement must surely be this: that groups which are set up and do innovative work usually split into differing political segments; these segments then go on and found new dynasties, or just fade away. In time, the original differences, cracks, fissures and explosions come to be neatly laundered over, erased from the memory of those involved because they are too painful, not fully known to those who came later because ‘nobody told us about it’ and, finally, mythologised through the accounts of others writing about them from the outside."

The event will bring together various researchers who are attempting to do photo-history ‘from the outside’ in order to share methodological approaches with a focus on the histories of regional as well as London based practices.

8 November 2013, 1.30 - 5pm

Northern Gallery for Contemporary Art

£10/5 Booking essential

Participants include Louise Shelley, Participatory Projects Co-ordinator at The Showroom, Noni Stacey, PhD candiate at London College of Communication and Dr. Matthew Hearn, Independent Curator and Researcher.

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12200976853?profile=original2013 marks the 125th anniversary of the Wolverhampton Photographic Society. To celebrate the occasion, an exhibition traces the rich and influential history of photography in Wolverhampton from the mid-19th century to the present day.

The exhibition features six key local figures of influence in the medium’s development, including the ‘father of art photography’ Oscar J Rejlander, and others such as Haseler, Whitlock, Bennett-Clark, Eisenhofer and Susser. This historical component is complemented by a display of contemporary photographs demonstrating the expertise of Society members in capturing the constantly changing face of the city.

The exhibition has been generously supported by Heritage Lottery Fund.

On Saturday 16 November 2013 at 10.30am the RPS Historical Group has a special event arranged. Group members Roy Hawthorne and David Kingston will take attendees round the exhibition. Roy and David have also compiled an AV relating to Rejlander’s Two Ways of Life and their research into how he might have constructed it.

Lunch will be available at the nearby Bantock House Museum cafeteria and for those who wish to join us in the afternoon, viewings of photographic archives of Wolverhampton may be arranged by the Curator (depending on numbers).  For others, this is also an ideal opportunity to visit nearby Wightwick Manor (See National Trust website for details).There is no charge for the Gallery visit but booking is essential.  Please contact Geoff Blackwell, not later than 7th November 2013 if you wish to attend. (gblackwell@fastmail.fm or 0114 266 8655)

See: http://www.wolverhamptonart.org.uk/events/wolverhampton-photographic-society-presents-darkroom-digital/

Image:Oscar G. Rejlander - The Two Ways of Life, 1857. The Royal Photographic Society Collection © National Media Museum, Bradford / SSPL 

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12200974488?profile=originalBeelden van een vergeten ontmoeting. De Belgische missie in India, 1850-1950. (Images of a forgotten meeting. Belgian missionaries in India, 1850-1950).  KADOC presents its archive of 150 years of Belgian presence in India. This collection not only includes traditional archive materials (letters, notes...), but also photographs and films. Together, they form a fascinating chronicle of a forgotten history and provide insights into the Belgian vision of Indian culture.   

From:  9 November 2013 - 25 January 2014

More info: kadoc.kuleuven.be, Tel : 016 32 35 00

Where? KADOC, Vlamingenstraat 39, 3000 Leuven (free entrance)

When? 9.11.2013 > 25.01.2014 (excluding 11.11, 24.12 > 2.1) Monday > Friday: 9.00 > 17.00 ; Saturday: 9.00 > 12.30 , closed on Sunday

Vernissage: 9.11.2013, 19.00

More info: kadoc.kuleuven.be, 016 323 500

See: http://www.indiahouseleuven.be/en/activities/images-forgotten-meeting-1850-1950

 

 

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12200972294?profile=originalThe Royal Photographic Society is hosting an exclusive 3D presentation and lecture on 1 November in London to celebrate the publication of the London Stereoscopic Company's Diableries: Stereoscopic Adventures in Hell by Dr Brian H May CBE, Denis Pellerin and Paula Fleming.  

The authors - led by Queen guitarist, astronomer and photo-historian Brian May - will present a Gothic Victorian underworld of temptation, seduction, retribution and devilish fun brought alive in colour and 3D. Learn about the origins and hidden meanings of these rare 1860s French photographs which depict an imaginary underworld populated by devils, satyrs and skeletons. 

Put on your 3D glasses and prepare to be surprised! 

The evening will also provide an opportunity to buy copies of the book and to have them signed by the authors.

This will be the first opportunity to hear the fascinating story of the diableries and to purchase the book which is published on Halloween, 31 October. The book is 280 pages with 500 photographs in colour and black and white and comes complete with an OWL stereo viewer designed by Brian May. 

Read more here or buy tickets online from The RPS shop here priced £15. 

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Publication: Niépce conference papers

12200973881?profile=originalThe latest issue of The Royal Photographic Society's Imaging Science Journal carries three papers from the 2010 Niépce conference. The majority of the conference papers are published in two special issues of the ISJ (includes those in the issue shown right) and PhotoHistorian and can be purchased as a set from The Society's online shop here: http://www.rps.org/group/Historical/Niepce-conference

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