Posted by Michael Wong on September 25, 2012 at 18:47
To mark the centenary of Samuel Bourne’s death, a special exhibition of this 19th century photographer will be open to the public shortly.
The exhibition aims to raise awareness of The Bromley House Studio Heritage Project, directed by Geoff Blackwell. Alfred Barber set up the first ever photographic studio in the Midlands in the attic rooms of Bromley House in 1842. The aim of Geoff's project is to create a photographic research centre in these rooms and raise awareness of Nottingham's important contribution to photography.
During the launch evening on Wednesday 26 September the College will be presenting prizes and certificates to photographers who gained awards in the 2012 Bromley House Photographic Competition. South Nottingham College Student Tim Johnson from the Foundation Degree in Photography Practise course won first place. A selection of prize winning images will be on display.
An enquirer is seeking information about the 'Greatest collection of photos of Novelties and Freaks' which was collected and exhibited by Showman Harry Addison between 1872-1912. Half of this collection was bought by showman Tom Norman and the other half was purchased and put on permanent exhibition in the windows of the Marquis of Granby public House, Shaftesbury Avenue, London.
My great grandfather was Harry Addison (see photo, right) and I am wondering what happened to his photographs.
The Art Newspaper carries an interview with the curators of the National Gallery's upcoming exhibition Seduced by Art. The piece also gives a wider perspective on how photography has been collected in Britain over recent years. The short extract below gives a flavour of the piece:
Most strikingly, the National Gallery holds its first photography show, “Seduced By Art: Photography Past and Present”, this month.Why has the National Gallery taken this step now? “It is the right moment in that we are continuing to look at all the ways in which the European Old Master painting tradition continues to be relevant for artistic practice today in its broadest definition,” says Christopher Riopelle, the show’s co-curator.
His collaborator, Hope Kingsley, a curator at the Wilson Centre for Photography, London, points out that photography at the National Gallery should not seem so novel, given that the museum’s first director, Sir Charles Eastlake, was also the inaugural president of what became the Royal Photographic Society, and his wife, Elizabeth, was an important writer on photography.
“They were embedded in the nascent photography scene in London,” Kingsley says.The National Gallery’s show charts the effect of the museum’s collection on photographers in that early period, including French pioneer Gustave Le Gray and Julia Margaret Cameron, and on contemporary artists, including Richard Billingham and Martin Parr.
“By choosing the very beginning of photography, the first 30 years, and the past 30 years, we can focus this as a specific and visually intense show rather than it being a diffuse survey of points at which photography and painting intersect,” Kingsley says.
Since 1897, when Sir Benjamin Stone established the National Photographic Record Association (NPRA), photographers have had a fascination with the rites and rituals of Britain. Photography and folklore practice have a complimentary relationship – the medium of photography captures the ephemeral moment. Despite existing in the here and now, both photography and folklore are an act of remembrance. Photographs act as a repository of these fleeting happenings, and constitute an artefact of folklore in themselves.
With contributions from Faye Claridge, Matthew Cowan, Doc Rowe, the Benjamin Stone Collection, Flickr and more.
Founded in 2009 by renowned art director, Simon Costin, the Museum of British Folklore aims to promote, celebrate and re-evaluate the folk culture of Britain.
The Museum is currently producing a two year exhibition programme in conjunction with regional art organisations across the UK, giving audiences a taste of what will be on show when the Museum of British Folklore is established in a permanent home.
Collective Observations:
Folklore & Photography from Benjamin Stone to Flickr Towner Art Gallery, Eastboune
Bexley Heritage Trust unveils Illuminated World exhibition at Hall Place. A unique exploration of early photography from an extraordinary local man Hall Place, situated in Bexley, a Tudor mansion set in magnificent sixty five hectares of gardens, is this autumn welcoming a unique photography exhibition; Illuminated World.
Opening October 6, it showcases local man, Arthur Boswell’s (1880-1966) rare collection of early Victorian photography that he took and compiled throughout his lifetime. Visitors will be taken on a fascinating journey of people and places from African plains, Norwegian fjords to Italian cities, contrasted with Bexley and the local area all as they were a century ago. Illuminated World will provide a magical encounter of life in Victorian times and an appreciation of the customs and cultures that would have enchanted observers during an era when people were travelling more than ever before. Visitors can also learn about photographic techniques of the time with original apparatus on display.
The exhibition will lead visitors through a series of splendid rooms in Hall Place each more captivating than the last as it charts Boswell’s exploration through imagery of the world, coming back to his beloved Bexley. Unearthed from the town’s local archive, this is the first time the images created from original glass lantern slides have been on show to the public and the selection represents only a fraction of the total of some 14,000 images.
Piecing together this curious collection was Kirsty Macklen, Collections Manager, Hall Place: “Little is known of both Boswell and indeed of many of the subjects shown in the pictures which makes them both captivating and mysterious. By definition photography was so different then which makes for an interesting counterpoint to the pervasiveness of digital photography today.”
What is known anecdotally of Boswell was his apparent joie de vivre which extended to every part of his life as he took on a variety of professions from historian to palmist. However, no passion was so apparent as his love for his local area and for visual arts, working both as an amateur photographer and cinema projectionist.
The exhibition that runs until March 17 aims to put Hall Place firmly on the map of must sees in Kent, and marks its recent inclusion in the National Trust Partners scheme. Caroline Worthington, Chief Executive of Bexley Heritage Trust commented: “Illuminated World is an exhibition we are delighted to unveil. We know it will appeal equally to photography and history lovers as much as it will to local residents. This continues a series of innovative and engaging exhibitions as we aim to cement Hall Place as a must-visit tourist destination and attract more visitors from the capital and around the UK.”
The exhibition was made possible with support from the Esmée Fairbairn Foundation and Max Communications Ltd. in association with Bexley Local Studies and Archive Centre.
Visitor Information
Opening hours October 6 – March 17, 2013 (daily 10am-5pm, last entry 4.30pm)
Location Illuminated World, Hall Place, Bexley, Kent, DA5 1PQ By road Just off the A2 at the Black Prince interchange 5 miles from Junction 2 of the M25 towards London. Free parking. By train: From London via Cannon Street, Charing Cross, London Bridge. Oyster card applicable route from London
Admission Adults £7, concessions/under 16s £5, family £20 Admission is free with a National Art Pass. National Trust members discount applies Gift Aid your ticket for unlimited entry for one year
A major photographic exhibition, Man Ray Portraits, opens at the National Portrait Gallery on 7 February 2013. Devoted to one of the most innovative and influential artists of his generation, the exhibition will include over 150 vintage prints from Man Ray’s career taken between 1916 and 1968. Drawn from private collections and major museums including the Pompidou Centre, the J. Paul Getty Museum and New York’s The Museum of Modern Art and Metropolitan Museum of Art, and special loans from the Man Ray Trust Archive, the majority of the works have not previously been exhibited in the UK.
First museum exhibition to focus on Man Ray’s photographic portraiture
Includes works never before exhibited in the UK including studies of Barbette, Catherine Deneuve, Ava Gardner, Lee Miller and Kiki de Montparnasse.
Portraits of Man Ray’s celebrated contemporaries will be shown in the exhibition, alongside his personal and often intimate portraits of friends, lovers and his social circle. His versatility and experimentation as an artist is illustrated throughout all of his photography although this was never his chosen principal artistic medium. The exhibition brings together photographic portraits of cultural figures and friends including Marcel Duchamp, Berenice Abbott, Andre Breton, Jean Cocteau, Pablo Picasso, Georges Braque, James Joyce, Erik Satie, Henri Matisse, Barbette, Igor Stravinsky, Yves Tanguy, Salvador Dali, Le Corbusier, Virginia Woolf, Aldous Huxley, Coco Chanel and Wallis Simpson. Also on show will be portraits of his lovers Kiki de Montparnasse (Alice Prin) and Lee Miller, who was also his assistant, Ady Fidelin and his last muse and wife Juliet Browner.
Philadelphia-born Man Ray (1890 – 1976) spent his early life in New York, turning down a scholarship to study architecture in order to devote himself to painting. He initially taught himself photography in order to reproduce his works of art but in 1920 he began to work as a portrait photographer to fund his artwork. In 1915, whilst at Ridgefield artist colony in New Jersey, he met the French artist Marcel Duchamp and together they tried to establish New York Dada. His friendship with Duchamp led to Man Ray’s move to Paris in 1921, where, as a contributor to the Dada and Surrealist movements, he was perfectly placed to make defining images of his contemporaries from the avant-garde. In this period he was instrumental in developing and producing a type of photogram which he called ‘Rayographs’, and is credited in inventing, alongside his lover and collaborator Lee Miller, the process of solarisation. The use of solarisation can be seen in the portraits of Elsa Schiaparelli, Irene Zurkinden, Lee Miller, Suzy Solidor and his own Self-Portrait with Camera included in the exhibition.
Following the outbreak of World War II, Man Ray left France for the US and took up residence in Hollywood. Although officially devoting himself once more to painting, new research has revealed that Man Ray made a number of significant photographic portraits during his Hollywood years, and several are shown for the first time in this exhibition. Film star subjects included Ruth Ford, Paulette Goddard, Ava Gardner, Tilly Losch and Dolores del Rio. Returning to Paris in 1951 he again made the city his home until his death in 1976. His portraits from the 1950s include experiments with colour photography, such as his portraits of Juliette Greco and Yves Montand, and the exhibition closes with his portrait of film star Catherine Deneuve from 1968.
Man Ray Portraits is curated by the National Portrait Gallery’s Curator of Photographs, Terence Pepper, whose previous exhibitions at the Gallery include the award-winning Vanity Fair Portraits (2008), Beatles to Bowie: the 60s exposed (2009), Angus McBean: Portraits (2006), Cecil Beaton: Portraits (2004) and Horst: Portraits (2001).
EXHIBITION AND TOUR
The exhibition will run from 7 February – 27 May 2013 at the National Portrait Gallery, London.
Advanced booking is recommended. Gift Aid admission £14. Concessions £13 / £12. Standard price admission £12.70. Concessions £11.80/ £10.90. Tickets: www.npg.org.uk/ManRay or 020 7766 7331
Man Ray Portraits will tour to the Scottish National Portrait Gallery from 22 June – 8 September 2013 and the State Pushkin Museum of Fine Arts, Moscow from 14 October 2013 – 19 January 2014.
Actress Alex Kingston knows that her great-grandfather, William Keevil, died during the First World War, leaving behind a wife and young family - including Alex's then 4-year-old grandmother. Alex sets out to investigate exactly what happened to William, and discovers how his pre-war career as a photographer put him in an unusual position.
Alex has also heard rumours of Jewish ancestry in her family tree. Her quest to discover if this is true takes an unexpected turn, leading to a story involving her four-times great-grandmother, Elizabeth Braham, another widow with young children. As Alex delves further into Elizabeth's life, she is astonished to discover the unconventional enterprise Elizabeth undertook to avoid sliding into poverty.
BPH's Michael Pritchard discusses Alex's ancestor in the stores of the National Media Museum.
In conversation with Andrew Lacon, Stuart Whipps, Pete James. Pete James, Head of Photographs at Birmingham Central Library talks to Andrew Lacon and Stuart Whipps about the work they are making for REFERENCE WORKS: the Library of Birmingham Photography Project.
The project, Birmingham’s largest photography commission, sees four photographers and four students/graduates from Birmingham City University making creative responses to the existing and new library building. The discussion will outline the scope of the commission; describe the process of making new work and the vital role of the Library’s nationally and internationally significant collections at the heart of the new iconic cultural institution.
The event is the first in a series of Photographers Talks linked to REFERENCE WORKS, the Library of Birmingham Photography Project. www.reference-works.com Thursday 1 November 2012 6.00 – 7.30pm Library Theatre, off Chamberlain Square, Birmingham B3 3HQ Admission Free
The Scientific Instrument Society is pleased to announce that the Society's twentieth Medal Lecture will be delivered by Dr Willem Hackmann, who will speak on Spectacular Science through the Magic Lantern on 23 November at 6pm, at the Society of Antiquaries, London.
The lecture is free and open to the general public, with no booking required. Doors open 5.30pm, and the lecture will be followed by a bookable buffet reception from 7pm. For further details on this event, including how to book for the buffet, please see the Society’s website:
Archisle: The Jersey Contemporary Photography Programme, hosted by the Société Jersiaise (Jersey Society) in Jersey, Channel Islands promotes contemporary photography through an ongoing programme of exhibitions, education and commissions. The Archisle project connects photographic archives, contemporary practice and experiences of island cultures and geographies through the development of a space for creative discourse between Jersey and international practitioners.
Archisle is currently inviting applications for the position of Photographer in Residence launching in 2013. This is an exciting new post commencing in April/May running for six months through to September/October 2013.
The residency provides the following key benefits and opportunities:
- £10,000 bursary for the commission/production of a body of work and solo exhibition
- Studio space with access to inkjet printing and office/internet resources - Living accommodation and expenses - Travel costs
Posted by Michael Wong on September 19, 2012 at 10:44
This new exhibition of images, organised by Alliance Francaise de Delhi and Alkazi Foundation for the Arts, tries to recreate the history of photography in this former French colony of Pondicherry from the late 19th to 20th century. It includes an 1860 photo by French photographer, Charles Molne.
Only one year old History In Progress Uganda holds a large digital collection of photographs from and about Uganda. The stronest emphasis is on 'from', but since Uganda has been photographed by visitors, tourist and of course as part of the British empire there are also many resources outside of Uganda. In addition there are diaspora stories, and relevant memories of people who at some point in their lifes spent time in East Africa. We hope to add stories to interesting by often mute photographs through exhibitions, our facebook page and our (under construction!) website.
London and Bradford, 13 September 2012 – The National Media Museum in Bradford has unveiled the earliest colour moving pictures ever made. The Museum will now invite the public to see these vivid images from its Collection for the first time in over a hundred years in a new display which opens today.
These films were made by photographer and inventor Edward Turner using a process he patented with his financial backer Frederick Lee in 1899. Experts at the Museum have dated the films to 1901/2, making these the earliest examples of colour moving pictures in existence.
Lee and Turner’s invention has always been regarded by film historians as a practical failure but it has now been ‘unlocked’ through digital technology, revealing the images produced by the process for the first time in over a hundred years. It’s also a story of young death and commercial intrigue in the earliest days of the film industry.
Turner developed his complex three-colour process with support, first from Lee and then from the American film entrepreneur, Charles Urban. Using a camera and projector made by Brighton-based engineer Alfred Darling, Turner developed the process sufficiently to take various test films of colourful subjects such as a macaw, a goldfish in a bowl against a brightly striped background and his children playing with sunflowers, before his death in 1903 aged just 29. Urban went on to develop the process further with the pioneer film-maker George Albert Smith which resulted in the commercially successful Kinemacolor system, patented in 1906 and first exhibited to the public in 1909. Sadly, Turner’s widow never received a penny from her husband’s invention.
On discovering the film, Michael Harvey, Curator of Cinematography at the National Media Museum worked with film archive experts Brian Pritchard and David Cleveland to reconstruct the moving footage in colour following the precise method laid out in Lee and Turner’s 1899 patent. They turned to experts at the BFI National Archive who were able to undertake the delicate work of transforming the film material into digital files, and so the team were able to watch these vivid colour moving pictures for the first time, over one hundred years since they had been made.
Michael Harvey said: “We sat in the editing suite entranced as full-colour shots made 110 years ago came to life on the screen. The image of the goldfish was stunning: its colours were so lifelike and subtle. Then there was a macaw with brilliantly coloured plumage, a brief glimpse of soldiers marching and, most interestingly, young children dressed in Edwardian finery. I realised we had a significant find on our hands. We had proved that the Lee and Turner process worked but it remained to identify who those children were and establish as precisely as possible when these first colour images were made.”
Through analysis of documentary evidence including the fact that the camera was completed in 1901 and that Turner died in March 1903, as well as genealogical research into the Turner family, the National Media Museum was able to confidently date most of the films to 1901/2 making them the earliest colour moving pictures made.
The public can see the Lee and Turner footage for the first time in more than one hundred years as it premieres today, 13 September, as part of a free display, at the National Media Museum in Bradford. Bradford was designated the world’s first UNESCO City of Film in 2009. The display also features the story of the Lee and Turner footage and shows the unique and complicated projector used for the system along with related items from the Charles Urban Archive which is part of the National Cinematography Collection.
Paul Goodman, Head of Collections at the National Media Museum said: “This wonderful rediscovery highlights the untapped potential of the National Media Museum’s Collection, and the Lee & Turner films can now take their rightful place alongside other unique artefacts and world–firsts which the Museum holds. Moreover, it highlights the Museum’s leading role in validating and challenging received wisdom about the subject matter it represents: film history can now be rewritten as a result of this marvellous find.”
The project was supported with funding from Yorkshire Film Archive and Screen Yorkshire - project partners for the restoration of the Lee and Turner collection.
A BBC documentary about the discovery of the Lee and Turner footage will screen on 17 September in the South East and Yorkshire.
With exclusive access to the National Media Museum, BBC South East tells story of this remarkable discovery in ‘The Race For Colour’. Presented by broadcaster, journalist and film critic Antonia Quirke, the documentary follows the astonishing discovery of the earliest colour moving pictures ever; and looks back at the wonder of movies in the Edwardian age and the history of the colour film industry. ‘The Race For Colour’ is on BBC One (South East and Yorkshire) on Monday 17 September 2012, at 7.30pm and can also be viewed via the BBC iPlayer.
Christie's is to offer Tryggve Gran's (1889-1980) ICA Ideal 325 plate camera, in an auction on 9 October 2012. The camera was supplied by H. Abel, Christiania, and used on Scott's Terra Nova expedition, 1910-14; leather covered case, with Carl Zeiss Jena Nr.125838 Doppel Amatar 1:6,8 F16,5cm DRP196734lens, with Gran's canvas carrying case -- 9in. (23cm.) high, in case
with Gran's 4 x 5in. copy negative, Grave on The Great Ice Barrier (The Last Rest, the grave of Scott, Wilson and Bowers) (2)
Leicester: New Walk Museum & Art Gallery are delighted to announce one of the most comprehensive exhibitions of August Sander’s work in England, presenting 175 works by one of the twentieth century’s most important photographers. The exhibition of German photographer August Sander (1876-1964) draws together 175 photographs and a wide range of archival material from the collections of Tate, National Galleries of Scotland, Anthony d’Offay and Gerd Sander.
This presentation creates a unique opportunity to see the different facets of August Sander’s photographic practice, including his celebrated portraits alongside less well known aspects of his work.
August Sander’s most significant project was ‘The People of the Twentieth Century’. Sander wanted to create an encyclopaedic survey of different types of people from the first half of the twentieth century. His working life in Germany spanned the First World War, the interwar years, the rise of the Nazi party, the Second World War and its aftermath.
His photographs are unflinching documents of a society going through huge change. The work reflects both the catastrophic political convulsions that Germany was enduring and a society slowly coming to terms with the impact of industrialisation. The clarity and breadth of his vision remains powerful and his vocational portraits still resonate today.
Curated by August Sander’s Grandson, Gerd Sander, the selection of work reflects his understanding both of Sander’s technical genius and the context in which the photographs were produced, knowing many of the stories behind the sitters and their relationship to Sander.
August Sander is a key figure in the history of photography and his influence as a photographer can be felt across the 20th century through the work of Diane Arbus, Walker Evans and Bernd and Hilla Becher. It continues to fascinate today.
August Sander’s exhibition will be presented alongside Leicester’s internationally acclaimed collection of 20th century German Expressionist art and touring exhibition of George Grosz from the Hayward Gallery. Offering a unique opportunity to view Sander’s work alongside German artists from the same period.
ARTIST ROOMS: August Sander 29th September 2012 - 6th January 2013 New Walk Museum & Art Gallery, Leicester Presenting one of the most comprehensive exhibitions of August Sander’s work in England.
Posted by Michael Wong on September 15, 2012 at 19:30
The Louvre Abu Dhabi has started collecting photography, making its first acquisitions in the field, which include a daguerreotype by Joseph-Philibert Girault de Prangey showing a veiled woman, Ayoucha, around 1843 and Roger Fenton's Pasha and Bedouin, 1858. The works are among the latest round of acquisitions announced by the Abu Dhabi Tourism and Culture Authority, which is overseeing the museum project. Ayoucha was sold at Christie's, London, on 18 May 2004 for £19,120 (see: http://www.christies.com/lotfinder/LotDetailsPrintable.aspx?intObjectID=4278468)
Other works entering the collection include and two negatives of ancient temples by Reverand George Wilson Bridges. The Louvre Abu Dhabi has also acquired a sculpture of a Bactrian princess dating from the third millennium BC, a pavement and fountain set from the early Ottoman period, as well as the paintings Breton Boys Wrestling, 1888, by Paul Gauguin and The Subjugated Reader, 1928, by René Magritte.
New York – An exhibition of early work by William Henry Fox Talbot, the inventor of the photographic negative, will be on view at Hans P. Kraus Jr. Fine Photographs from September 25 through November 2, 2012. Talbot’s World: A Gallery of Natural Magic will present more than 25 photogenic drawings, calotype negatives, and salt prints, 1839-1844, comprising a rare selection of photographs on paper from these early years. Most of the works have never before been displayed. A fully illustrated catalogue with text by the Talbot scholar Larry J. Schaaf accompanies the exhibition.
William Henry Fox Talbot (1800-1877), a brilliant scientist, conceived of the art of photography during the 1830s, combining the use of a camera obscura with light-sensitive chemistry. Unlike the other early photographic processes, heliography and the daguerreotype, Talbot’s negative-positive process on paper became the basis of all modern photography.
The title of this exhibition is drawn from a recently discovered 1839 pamphlet, A Description of the Instruments Employed in the Gallery of Natural Magic, which includes a sonnet in honor of Talbot’s achievement. As Schaaf writes in the exhibition catalogue, “No one was more surprised at the magical dimensions of photography than the inventor himself, William Henry Fox Talbot. His scientific side realized that he had simply harnessed natural magic. Everything that he had accomplished could be explained within Nature’s laws, yet that made the new art no less a marvel to him.”
Among the highlights of Talbot’s World: A Gallery of Natural Magic will be Maidenhair Fern, most likely made in early 1839, within months of the public announcement of photography. This crisply delineated plant form is a strikingly robust photogenic drawing in lavender and mauve. Unique photograms such as this are precursors to modern abstractions.
To find a salt print combined with its original paper negative is particularly rare. This exhibition will feature three such pairs. Among the most recognized Talbot images is Footman at Carriage Door, taken October 14, 1840, just weeks after Talbot discovered the calotype negative process. It depicts a liveried footman inviting the viewer into an elegant coach waiting outside Lacock Abbey, Talbot’s home. The salt print in this exhibition will be newly reunited with its original negative, dated in Talbot’s hand. This is the first significant photograph on paper depicting a standing human figure.
Another print recently joined with its negative is Woodhouse and Cart, 27 August 1840. The negative of this picturesque scene is a photogenic drawing made one month before Talbot discovered the latent image.
Two Men in the North Courtyard of Lacock Abbey, 1841-1844, is a staged narrative composition capturing a daily scene in the Abbey. The main characters are shown in a natural pose through the several seconds needed for making this calotype negative. It survives in splendid condition, together with a salt print. Talbot’s calotype marked the shift from the printing-out to the developing-out process, in which a latent image produced in the camera was turned into a visible image through chemical development.
Talbot toured England and France for his pioneering publication, The Pencil of Nature (1844-1846), the first book illustrated with photography and the first mass production of photographs. A majestic view of theChâteau de Chambord is the subject of a richly toned salt print, recording Talbot’s visit to the French castle on 16 June 1843.
In response to the increasing appetite for the first photographs from Talbot and his circle, the exhibition will include other photographs on paper dating from 1839 to 1844. These come mostly from the personal collections of the most distinguished Talbot collectors and scholars who established the field.
Talbot’s World: A Gallery of Natural Magic will be on view at Hans P. Kraus Jr. Fine Photographs from September 25 through November 2, 2012, 962 Park Avenue at 82nd Street, New York, NY 10028, 12:00 to 6:00pm and by appointment.
A monthly meeting for discussions about photography led by photographer, journalist, author and teacher, Paul Hill. Each month will present a different aspect within the field of photographic practice, including publishing, technique, individual artists, reading images, and encourage discussion and debate that is relevant to the image makers of the region. The first introductory session will focus on photographers' work in relation to 'using our own lives as subject matter'.
FORMAT photoforum
Last Tuesday of every month. Starting 23rd October 6.30pm - 8.30pm in QUAD, Derby Tickets £3. Booking essential through QUAD box office QUAD & FORMAT International Photography Festival QUAD | Market Place | Cathedral Quarter | Derby | DE1 3AS | UK
A special event was held last night to celebrate the important contribution that Michael G Wilson OBE HonFRPS has made as a Trustee and Patron of the Science Museum. Science Museum Director Ian Blatchford and government minister Ed Vaizey were amongst the guests present. Wilson is to be the first chair of a new Science Museum Foundation tasked with major fundraising and generating support for significant projects within the Science Museum Group. He has been the driving force behind the realisation of the National Media Museum and Science Museum's Media Space and described the space as 'a centre for learning and discussion'.
Media Space is located on the second floor of the Science Museum and overlooks Exhibition Road. Concept drawings have been shown here (see: http://britishphotohistory.ning.com/profiles/blogs/media-space-the-first-view-of-the-space) but when one sees the actual space it is physically stunning and offers a wealth of exciting possibilities for the display of historic and contemporary photography and associated objects.
BPH has been asked by the museum not to disclose further information about the space and Media Space's opening date which it has agreed to respect.
Photo: A small part of the Media Space space. Not to be reproduced without permission.
Two post-doctoral Research Fellow positions are available at De Montfort University, Leicester, to work on the AHRC funded FuzzyPhoto project that is developing and testing computer-based “finding aids” for recommending potential matches between historical photographic exhibition catalogue records and images of photographs that appear in online collections. One will have a knowledge of the Semantic Web, metadata schemas and Web site development, the other will be responsible for investigating and trialling modern database engines and management systems. For further details see http://www.jobs.ac.uk/job/AFD578/research-fellow-semantic-web/ and http://www.jobs.ac.uk/job/AFD581/research-fellow-data-warehousing/
