The National Media Museum's In the Blink of an Eye Media & Movement exhibition opens from 9 March. Featuring classic images and new commission work the show is part of the 2012 Cultural Olympiad. One of the new works can be seen here:
The exhibition has been curated by Colin Harding and runs until 2 September 2012. For more information: http://www.nationalmediamuseum.org.uk/PlanAVisit/Exhibitions/Future.aspx
Purpose of the Job: Delivers the work for the NMSI Collections Information team at the National Media Museum and National Railway Museum in accordance with policies, procedures, data standards and best practice
• creates and enhances the primary and authoritative collections record
• undertakes collections projects
Key Deliverables/Accountabilities
1. Takes care of personal health and safety and that of others, reports and takes action to resolve any health and safety concerns
2. Undertakes Collections Management administration tasks adhering to procedures and data standards for Acquisition, Damage, Disposals, Inventory, Loans (including loans in, loans out, indemnities, insurance, security checks and historic loans), Location Audit, Location & Movement Control, Loss and Object Catalogue upgrade.
3. Creates and enhances an authoritative collections record to ensure that NMSI is accountable for its collections and collections information. Follows procedures to ensure NMSI fulfils legal responsibilities for Due Diligence and Immunity from Seizure. Assists with a programme of data cleaning and building up of authority files to optimise the usefulness of the MIMSY XG object database and iBase image database.
4. Supports and delivers creative offerings, such as web and exhibition projects, to increase access to the collections to achieve the aims of the Science, Media and Railway brands. Contributes to the delivery of NMSI business objectives in line with collections management best practice as outlined in the MLA Accreditation standard.
5. Works with objects to record object and condition data, particularly for projects that involve object movement such as exhibitions, loans (including couriering) and gallery decants. Ensures that information and object movements are properly documented and recorded in accordance with policy. Undertakes record photography. Facilitates object assessment so that the collections can be rationalised and utilised effectively.
6. Documents hazardous materials and objects to ensure that the museum manages them, operates safely and complies with Health & Safety legislation.
7. Provides help, advice and training for all database users that conforms to best practice and follows established procedures. Assists with the revision of procedures, policies and protocols and development of the database. Assists with object and documentation enquiries (internal and external) and the provision of statistical data.
8. Assists with the scoping of Volunteer projects. Supervises volunteers working on Documentation projects and monitors their work and outputs.
Working Relationships and Contacts
• NMSI Collections Information Manager for direction, guidance and support
• Head of Corporate & Collections Information (senior line manager) for direction, guidance and support
• NMSI Collections Information Officers in Corporate & Collections Information team (co-workers)
• NMSI Corporate Information & Enquiries Officer (files)
• Conservation and Collections Care, including Collections Hazards Officer (object handling, preventative care, hazards), Storage and Movement (Logistics) teams (object and manual handling)
• Science Museum Photo Studio & Imaging team (photographs; copyright and IPR)
• Curators/Curatorial Services (stakeholders)
• Exhibitions and Development teams (exhibitions/temporary exhibitions at all sites)
• Workshops (specialist assistance with objects at NRM and ScM)
• Donors, vendors, lenders and borrowers
• Arts Council England - Indemnity Manager and Security Officer
• Shipping Agents
• Volunteer Co-ordinator (recruitment of volunteers)
• Volunteers and interns (supervision whilst working on Documentation projects)
• Other Project Directors and Managers, as appropriate
Line Management and Budget Responsibility
Directly line manages: 0
Indirectly line manages: 0
Contractors/freelancers: 0
Budget Holder of £ 0
Candidate Profile
Experience
• Experience in documenting collections including collections registration and object cataloguing
• Experience of handling museum objects
• Experience of using collections management procedures
• Experience of using a collections database, e.g. MIMSY XG
• Experience of using Authority files and thesauri
Skills, Knowledge and Relevant Qualifications
• Knowledge of the procedures for documenting museum collections including application of data standards
• Excellent written and oral communication and information sharing skills
• Ability to plan and schedule programmes of work and activities to ensure a timely delivery of the team’s work programme
• Ability to meet tight deadlines whilst maintaining agreed standards
• Ability to work to an excellent standard of accuracy, particularly when creating database records
• Good problem-solving skills
Behaviours
• Demonstrates excellent interpersonal skills
• Pays meticulous attention to detail
• Ability to use judgement and make decisions within policy and precedent
• Supportive and collaborative team working style
• Ability to follow procedures and protocols consistently
• Actively explores ideas for improvement
• Takes pride in delivering work to a high standard
• Uses initiative
Scope for Impact
The National Museum of Science & Industry Collections Information team ensures and delivers best practice collections documentation and management activities, policies and procedures which support our ownership of the collections and underpin our status as a national museum; thereby enabling the Science Museum, The National Railway Museum and The National Media Museum to deliver the public offer. It ensures that each museum meets the MLA Accreditation Scheme requirements.
As a member of the NMSI Collections Information team the jobholder contributes to the delivery of core functions which underpin the programme of, acquisitions, loans in and out, exhibitions (real and virtual), gallery clearances, audits and efficient management of the collections. Failures in this area could jeopardise the achievement of major projects (including the Corporate Plan and Business Plan) and objectives and lead to regulatory lapses and potential legal and/or financial liability.
Please note:
• This job description is not exhaustive and amendments and additions may be required in line with future changes in policy, regulation or organisational requirements, it will be reviewed on a regular basis.
• This role is subject to a Disclosure Scotland basic criminal record check
Required Skills:
National Media Museum, Bradford
Collections Information Officer
21 hours per week Salary £16,605 pro rata
23 months fixed term contract
The Corporate & Collections Information team is seeking a committed and experienced individual to work with our collections while delivering the highest standards in collections registration and documentation practice.
You will be based at the National Media Museum and play a key role in developing and maintaining the primary record of the collections across NMSI’s family of museums.
You will have previous experience of working on a collections registration, documentation or inventory project, and object handling in a museum or gallery setting. You will have demonstrable knowledge of relevant standards and procedures.
You will work with objects to record object and ensure information, hazardous materials and object movements are properly documented and recorded.
You will be self-motivated, very organised and able to work under pressure while maintaining a thorough attention to detail. You will be an excellent team player and an effective communicator. You will have a high level of computer literacy and experience of using a collections management database, such as MIMSY XG, and Microsoft Office applications.
For further information about NMSI, details on how to apply and a full job description, please visit https://vacancies.nmsi.ac.uk
Job Description:
NMSI Job Description
Salary: £16,605 p.a.
Reference CIO/12
Closing date: 19 March 2012
Interview date: 29 March 2012
Application Instructions:
To apply, please visit our recruitment websire https://vacancies.nmsi.ac.uk
Closing date is 19th March 2012 with interviews only being held on 29th March 2012.
Contact Name: Mrs Elizabeth Sloan van Wyk
Contact Tel: 01904686249
Contact Fax:
Contact Email: recruitment@nmsi.ac.uk
Website: https://vacancies.nmsi.ac.uk
Address: National Media Museum, Pictureville, Bradford, BD1 1NQ.
Source magazine reports that Charlotte Cotton is resigning from her position as Creative Director for London Galleries at the National Media Museum, a position she took up in October 2009 (see:http://britishphotohistory.ning.com/profiles/blogs/uk-exclusive-cha...). The Galleries called MediaSpace have been beset with delays and difficulties with raising funds and are currently due to open at London’s Science Museum in March 2013. In a conversation this evening a source close to the museum has explained to BPH that Cotton had stepped down as she feels that the work she was asked to do in terms of establishing the vision for MediaSpace had been completed and she felt it was time to move on. There is further substantive and exciting news which BPH will be in a position to report on early next week.
There have been tensions between Cotton's view as articulated in various seminars and the National Media Museum's broader view. Cotton developed the MediaSpace concept as a venue which represented, and employed, a wide range of media which was a change from the previous plan for a temporary exhibition gallery, mainly used to show photography. The current plans are to showcase material from the Bradford-based museum's collections in London and to use the temporary exhibition area to show exhibitions which would then move to Bradford, as well as showing Bradford exhibitions in London. Cotton also specified that the proposal was for a space which operated for ten years and embraced the situation of the gallery in the Science Museum rather than in an art institution. Work has recently started on adapting the space although significant fundraising is still required to complete the project.
However, after delivering her blueprint for the Media Space in December 2009 the project increasingly ran into difficulties. In April 2010 Board members expressed their ‘strong concerns about the budget of the overall project and its feasibility’.
The Museum is currently recruiting for a new Head to replace Colin Philpott who leaves in April. The post is being downgraded from Director and will report directly to the Deputy Director of the Science Museum. The Science Museum is keen to establish closer operational ties to the National Media Museum as the MediaSpace project develops - a project that the Science Museum had initial reservations about - and to ensure it comes to fruition.
Cotton has declined to comment to Source. The Science Museum and National Media Museum would not confirm the news and were referring all enquiries to Brunswick the PR agency for MediaSpace which has been unavailable for comment to BPH.
See: http://source.ie/sourcephoto/?p=737 for the full report. '
Amateur Photographer magazine carries a further report on Cotton's departure: http://www.amateurphotographer.co.uk/news/Media_Space_director_did_not_quit_over_funds_claim_museum_chiefs_news_311739.html
A basic introduction to Winterbourn, Watkins, Morgan and others. This lecture will look at the technology available to these pioneers of photography in Hereford, who were instrumental in capturing and freezing moments in time. We will see the recent discoveries of images taken by these photographers that enable us to find out more about our Victorian and Edwardian past in the County.
Details can be found here.
Photo: Copyright Norro.
Much has been written about this anticipated BBC production between the pages of BPH. Well, the wait is finally over as the first two episodes will be broadcast on BBC 2 next Monday 12th and Tuesday 13th March at 6:30pm, in full HD glory.
Broadcaster John Sergeant follows in the footsteps of Victorian pioneer photographer Francis Frith who, in the 1860s embarked upon a monumental mission to attempt to document every city, town and village in Britain. John travels the country to discover more about this extraordinary man and his team and the unique record they left behind. John finds out what's changed, what's stayed the same and what has gone forever, and along the way he takes his own photographs inspired by the image taken by a Frith cameraman.
For the first episode (Chelsea to Tower Bridge), this round-Britain trip begins in London, where John will meet the first ever lady Chelsea Pensioner, find out about the real Eliza Doolittles who inspired My Fair Lady and descend deep under Tower Bridge to witness Victorian engineering at its most impressive.
In the second episode (Gravesend to Broadstairs), John travels along the North Kent coast from Gravesend to Broadstairs and finds out how much it has changed since Frith was there over a century ago; he also takes his own modern day photographs. He hitches a ride on a Thames sailing barge, finding out what people used to do in their leisure time in the 19th century and drops in on the new owners of Charles Dickens' favourite holiday home.
The National Museum of Science and Industry today confirms that its media galleries will open in spring 2013. The Media Space will be sited on 2nd floor of the Science Museum and it will consist of a breathtaking gallery for the exhibition of visual media surrounded by cultural spaces for exploring, discussing, testing and exhibiting creative technologies. The project will cost £4 million and is the fruit of the partnership between the Science Museum and the National Media Museum.
Commenting on the announcement, Ian Blatchford Director, National Museum of Science and Industry said “Establishing a home for creative practice and the creative industries in one of London’s most vibrant and innovative spaces has long been our ambition and I am pleased to see it realised. The National Media Museum’s world class exhibitions and collections will be a fantastic new offer for our visitors.”
Charlotte Cotton will step down as the Creative Director of the space from March 2012 having developed the curatorial vision for the space.
Heather Mayfield said, “Working with Charlotte has been an enlightening and inspirational experience. We are privileged to have worked with one of the finest curatorial minds in the fields of photography & the wider media.”
Charlotte Cotton said, “Bringing this vision into reality alongside the Science and National Media Museum teams has been a pleasure. I look forward to its opening in 2013.”
Hello All,
Last year I purchased a collection of photographs that are mostly 19th century albumen format. In this collection are two photos of India with the photographer's named scratched into the negative. I've included both photos, as well as both signatures. The signature that's just the last name looks to me like "Carrey, Currey, etc?" The other signature, which is partially trimmed, looks like "W. L. Carr...?" They appear to by the same hand.
Can anyone out there provide me with any information concerning this photographer? I might be "way off' as far as the last name is concerned, but I can't find anything here in the United States. I do appreciate any feedback.
Kind regards,
John Minichiello
I have a small antique metal fold-out camera which carries the name 'The London Stereoscopic Co., 106 & 108 Regent St W'. I wonder if you have any interest in it.
I think it is working, at least the shutter is working. It has a black metal faceplate with a rectangular sliding viewfinder glass with crosshairs that projects to the left of the camera when one slides it out. The sliding plate containing the viewfinder cocks the shutter when it is slid to the right fully - the release button on the top right causes the shutter to open, allowing light through the round aperture, to expose the slide at the back of the bellows. But there is no lens in the round aperture: can this result in a focussed image, or is there a part of the camera missing? I can't see where a lens could fit: it couldn't go on the front without blocking the sliding plate, and I don't think it could go inside; is there such a thing as a lensless camera?
It is a beautifully packaged and seemingly complete set, down to the ivory notepad and pencil, and in beautiful condition; the bellows is like new. There are some screws missing from the faceplate - someone obviously had it open in the past, and there is a mechanism broken at the bottom left of the faceplate. But until I had some idea of how it is supposed to work, it's hard to say if it is complete or not.
Maybe one of you can identify the camera, and I can figure out what needs to be done to restore it.It is very compact, measuring about 114mm x 70 mm x 50mm when closed, but the width increases to 125mm when the bellows is extended. It uses 74mm x 110 mm ELGE Brevite S606 plate holder slides. When the viewfinder plate is slid to the left, it exposes a circular aperture in the centre of the faceplate, but no lens is visible. The number No 4348 is printed on the bottom of the faceplate. The camera folds down very neatly, and it and 12 slides fit very snugly into a fine tan leather case with royal blue lining and shoulder strap. It is complete with an ivory strip and a pencil for notes which fit inside the lid, and a key which is still attached. 'The LONDON STEREOSCOPIC & PHOTOGRAPHIC CO. LIMITED, 106 & 108 REGENT ST W AND 54 CHEAPSIDE EC. is on an oval badge inside the lid. The box has a crown over the initials E.I. stamped on the top of the lid, and the whole box containing the folded camera and the 12 slides measures only 175mm x 125mm x60 mm when packed.
The whole package seems to be a portable camera of some sort - it is completely original and in beautiful condition. Can anyone cast some light on the 'camera' and it's provenance?
regards,
Terry Pattison
And that excludes all the female BPH readers - I hope so! Unless you know of any with a great looking beard. Short or long, young or old! - it doesn't matter.
If you have one, or know someone who does, you're in luck 'cos you could have your image captured in glass by Julia Margaret Cameron, and pocket £250 along the way! Well, not by her directly, but Dimbola Museum and Galleries in Freshwater, Isle of Wight - the home of the famous 19th century photographer. The museum is running a competition for up to eight men to have their facial hair captured on glass using a 150-year-old Victorian method.
Julia Margaret Cameron photographed many eminent ‘celebrity’ Victorians including Charles Darwin (the image on the back of your £20 note!), Alfred Lord Tennyson, GF Watts and the Pre-Raphaelites William Holman Hunt and William M Rosetti. Many artistic Victorians, young and old sported beards as a personal outward sign of their bohemian and creative nature. Julia frequently immortalised these often impressive specimens. Now here’s your chance to contribute to the gathering of the best beards around today, authentically captured in the same processes as Julia used in her original home and workplace here at Dimbola.
The museum will use a specially adapted Victorian camera, as none of Julia Cameron's cameras are thought to exist, and a lens from 1866. The sitter and accompanying friends and family (3 max) must be able to come to Dimbola Museum and Galleries during the day on either the 14th, 15th, 17th or 18th April 2012 for the portrait sitting. Sittings will last between 2 ½ - 3 hrs. Sitters will each receive their own 10 x 8” print of their portrait.
The friends will be able to follow the progress of the making of each individual plate from scratch, from pouring the liquid negative, sensitising in the darkroom, watching the portrait being taken, to seeing the plate being developed.
The 8 portraits will be exhibited at Dimbola Museum and Galleries during May 2012 where members of the public can vote for their favourite, there will then be a prize giving evening awarding the overall winner £250! The last day for nominations for the competition is 31 March. Entry details can be found here. And so, the search begins.
Make way, Movember......
Photo: Charles Darwin, (detail), Julia Margaret Cameron 1868.
Courtesy Royal Photographic Society.
The Herschel collection at the Harry Ransom Center of the University of Texas at Austin now has its complete inventory online. Many colleagues will know of the important material in this archive relating to J.F.W. Herschel's experiments with photographic processes such as argentotype, cyanotype, chrysotype, celaenotype and anthotype.
http://uthrc.convio.net/site/MessageViewer?em_id=9921.0&dlv_id=17761
Newly cataloged collection of science materials now open for research
A collection of science materials from the family of Sir John F. W. Herschel (1792–1871) is now open for research after a $10,000 grant enabled the Center to rehouse the collection and create an online inventory. John Herschel has been called Britain's first modern physical scientist, and his correspondence has been described as one of the most valuable archives for nineteenth-century science. LEARN MORE or VIEW online inventory.
The Gernsheim Collection, co-published by the Harry Ransom Center and the University of Texas Press, received an Alfred H. Barr Jr. Award, which honors a distinguished catalog in the history of art published during the past year. To celebrate this recognition, the Ransom Center is offering editor-signed copies of The Gernsheim Collection at a reduced price of $60 through March 15 at the visitor desk or online. Orders placed by this date will also receive a set of five notecards featuring images from the Gernsheim collection. LEARN MORE.
A collection of 84 glass lantern slides dating from the early part of the twentieth century has been donated to Bath & North East Somerset Council. The photographs depict various scenes in and around Bath including Prior Park, Bath Abbey, the Guildhall and the Botanical Gardens. They are thought to have been taken around 1905, possibly by a surveyor with an interest in Bath's architecture who was engaged in work at Prior Park, the Assembly Rooms and the Guildhall.
They were donated to the Council’s Library Service by a local family who were keen to see them preserved for the future, and to give more people the opportunity to see these fragile images. The slides are now part of the Bath Local Studies Collection housed at Bath Library. The images from each slide can be seen on the Bath In Time Website at www.bathintime.co.uk.
Councillor David Dixon (Lib-Dem, Oldfield), Cabinet Member for Neighbourhoods, said: “We are delighted that this fantastic collection now forms part of the Local Studies collection and that the images can be appreciated by everyone via the Bath in Time website. Bath & North East Somerset Council’s Library Service continues to play a vital role in ensuring that the story of our local area is preserved, made accessible and understood by everyone.”
The Council is always pleased to receive donations of material connected with the history of Bath and North East Somerset. Please contact Libraries@bathnes.gov.uk or call Council Connect on 01225 394041.
The Whitehouse Collection held by the Ruskin Foundation at the Ruskin Library contains 125 Daguerreotypes – one-off plates using the first popular process of permanent photography. The third display in a series of four, this focuses on the Swiss scenes. John Ruskin travelled to the French and Swiss Alps more often than any other place in Europe, from a childhood visit in 1833, when he was just fourteen, to a few days on the return from his last continental trip in 1888.
His favourite places were Chamonix, where he found perfect mountain scenery, and the towns of Lucerne on its lake, hilly Fribourg, and Rheinfelden with its bridge over the river Rhine. An early devotee of the Daguerreotype, Ruskin had acquired his own camera by 1849 and made some 40 Swiss subjects before 1858, of which 23 are now in the Ruskin Library. These are being shown alongside drawings, watercolours, letters and diaries complementing each subject – sometimes exactly, as in the watercolour of the Mer de Glace at Chamonix and drawings of Fribourg.
On show: 16 January-15 April 2012 at the Ruskin Library, University of Lancaster
See: http://www.lancs.ac.uk/depts/ruskinlib/Pages/beautiful.html
Opening times: Gallery: Monday-Friday 10am-4pm - during Exhibitions (closed weekends and Bank Holidays)
Of unconnected - but related interest - is the collection of daguerreotypes purchased in 2006 be Ken Jacobson which are the subject of a forthcoming book see: http://www.jacobsonphoto.com/news/viewnews.html?id=20 and the original news report of the £75,000 sale: http://www.telegraph.co.uk/news/uknews/1514218/Mystery-photographs-part-of-Ruskin-collection.html
Professor John Plunkett from the University of Exeter will explore Queen Victoria and Prince Albert’s interest in photography as collectors. This lecture also shows them as subjects of the photography industry which was fast becoming a commercial and popular media for disseminating the images of distinguished people and ‘celebrities’.
Details of the lunchtime talk can be found here.
Photo: Copyright Royal Collection.
I've read with interest the Guardian article of last Thursday on the incredible story of the photographic collections of Tate and V&A, and also your comment on British Photographic History (http://britishphotohistory.ning.com/profiles/blogs/tate-s-scandalous-rubbish).
As director of the Photo Library of an art historical research institute (a German institution with seat in Florence) working also theoretically on photo archives, I would like to draw your attention to the "Florence Declaration - Recommendations for the Preservation of Analogue Photo Archives" (see link below).
To the many reasons that were mentioned in the article and in the blog, why throwing away such photographic holdings is an unforgivable crime against the scientific community and the entire society, I would like to add some new research perspectives on photographs and photo archives as material objects that cannot be substituted by digital surrogates. These new studies go beyond the disciplinary borders of art history and see photographs and archives as research objects on their own.
The "Florence Declaration" aims at an integration between the analogue format and the digital format, which only can guarantee the correct conservation of the photographic heritage for future studies and at the same time the implementation of digital instruments.
Here you can find the text of the Florence Declaration (in 5 languages) and the list of subscribers:
http://www.khi.fi.it/en/photothek/florencedeclaration/index.html
It would be very supportive if you and other members of British Photographic History would sign the "Florence Declaration" and help us to spread it! As facts are showing, a greater and more widespread understanding of the inescapable value of analogue photographs and archives for the future of research is a primary need!
With best regards,
Costanza Caraffa
On the Florentine Photo Library, its projects and publications:
http://www.khi.fi.it/en/photothek/index.html
http://www.khi.fi.it/en/photothek/projekte/index.html
http://www.khi.fi.it/en/publikationen/imandorli/mandorli_Photo_Archives/index.html
The New York Times didn’t always use photographs to its best advantage, as it only first published an illustrated Sunday magazine in 1896. But since then it has built up a true treasure house of photographs with a staggering five million to six million prints and contact sheets (each sheet, of course, representing many discrete images) and 300,000 sacks of negatives, ranging in format size from 35 millimeter to 5 by 7 inches — at least 10 million frames in all.
The picture archive also includes 13,500 DVDs, each storing about 4.7 gigabytes worth of imagery. When the Museum of Modern Art set out to exhibit the highlights of the Times archive in 1996, it dispatched four curators. They spent nine months poring over 3,000 subjects, working with two Times editors, one of whom spent a year on the project. In the end, they estimated that they’d seen only one-quarter of the total.
They have now started to post them onto Tumblr bit by bit. This is because if they posted 10 new archival pictures every weekday on Tumblr, just from their print collection, they wouldn’t have the whole thing online until the year 3935!
You can see the first few ones here.
We have a number of new opportunities to join The Photographers' Gallery. The post-holders will be joining us at a pivotal time in our history, as on 19 May 2012 we will unveil a new £8.9m Gallery for international and British photography in London. Please look on our website http://www.photonet.org.uk/index.php?pid=243
This looks like a battle of the rock groups. Queen needs to step aside for another head thumping band, and this time it is Radiohead.
You may not know this but their bassist, Colin Greenwood, has an interest in analogue processes and 19th century photography. Radiohead approached Sebastian Edge, a UCA Maidstone graduate with a distinction in MA Fine Art, to work on their publicity photograph for The King of Limbs LP. The black and white print was captured on glass using 19th century processing techniques and a large home-made camera.
Now the world-famous group, fronted by Thom Yorke, has given permission for Sebastian to sell prints of the image to fund a project to safeguard traditional photography techniques, known as the North London Darkroom. It is based on Milmead Road, Tottenham Hale, and houses specialist equipment and materials for those interested in hand-made photographic and printing techniques. You can read the rest of the article here.
Photo: Sebastian Edge's Radiohead photo.
Applications are invited for a three year full time PhD, working within the Irish Photobook research project in the School of Art and Design. The project focus is the representation of Ireland through photographic publishing. The project team; Paul Seawright, Donovan Wylie and Martin Parr will supervise the research. The Irish PhotoBook project develops Parr and Badger's internationally acclaimed work on the history of the Photobook, using their methodology to evaluate the development of Irish Photography. Seawright and Wylie are key figures in Irish photography and have long standing research interests in both the representation of Ireland and the photographic book. Plans are in place for a major exhibition and publication in partnership with the Photo Ireland Photography Festival and the Gallery of Photography, Dublin and the creation of a special book collection at Ulster. The successful candidate will play a key role in the project and we welcome research proposals that develop a body of research within this framework.
Project Title /Subtitle
The Photo Book in Ireland
Supervisor 1 Professor Paul Seawright
School of Art and Design, Faculty of Art Design and the Built Environment.
Research Institute Art and Design.
Supervisor 2 Donovan Wylie
School of Art and Design, Faculty of Art Design and the Built Environment.
Research Institute Art and Design.
Adviser
Professor Martin Parr
PRIORITY RESEARCH DEGREE TOPICS
The Research Institute Art and Design and the Faculty of Art and Design and the Built Environment Research Graduate School advertises priority topics on which applications for research degrees are particularly invited. Applications may be for full time or part time study.
The recruitment process often co-coincides with recruitment to research degree studentships managed by the University. These are normally full time.
Applications are also welcomed from students who are self funding or who are applying for other external studentships, grants, bursaries and awards.
While priority topics are advertised, applications on topics proposed by the applicant are also considered where there is supervisory capacity and relevant resources. Applicants are advised to discuss this with the head of the Faculty of Art Design and Built Environment Research Graduate School.
Undertaking a research degree is significant commitment. Applicants may contact the potential supervisor of the priority topic for clarification during the development of their application. There is no requirement to do so and applicants who do not do so are not penalised.
APPLICATION
Applications are normally submitted online.
https://srssb.ulster.ac.uk/PROD/bwskalog.P_DispChoices <https://srssb.ulster.ac.uk/PROD/bwskalog.P_DispChoices>
Information for prospective research degree students, including application forms, can also be found on the university Web pages
http://research.ulster.ac.uk/info/status/prospective.html <http://research.ulster.ac.uk/info/status/prospective.html>
Professor Neil Hewitt heads the Research Graduate School (RGS) of the Faculty of Art Design and Built Environment.
http://www.adbe.ulster.ac.uk/schools/graduate_school/ <http://www.adbe.ulster.ac.uk/schools/graduate_school/>;
The Research Institute Art and Design (RIAD) Director is Professor Karen Fleming. There are 3 research centres within RIAD - the Centre for Applied Art Research, the Design and Architecture Research Centre and the Centre for Fine art Research. Research students are members of RIAD.
http://www.riad.ulster.ac.uk/index.php <http://www.riad.ulster.ac.uk/index.php>
Art versus Industry? Is An international conference at Leeds City Museum, being held 23-24 March 2012. Of particular interest are two papers Nicole Bush (Northumbria University) Mechanical Patterns: The Role of Brewster’s Kaleidoscope in the Age of Morris and the Machine and Patrizia Di Bello (Birkbeck) ‘Camera-Medusa’: Stereoscopic Photographs of Statuettes. The full programme and further information is below.
Organised by:
Dr Kate Nichols (University of Bristol)
Gabriel Williams (University of York)
Rebecca Wade (University of Leeds)
Full details at http://artvindustry.blogspot.com/
Registration deadline: 9 March 2012. CLICK HERE TO REGISTER
Friday 23 March 2012
9.00-9.30
Registration and coffee
9.30-9.45
Welcome and introductions
9.45-10.45
Lara Kriegel (Indiana University)
Filaments of History: Ladies, Lace, Labour and Nation at the Fin de Siecle
10.45-12.45 Panel One: De-Centering the Narrative
Chaired by Sarah Turner (University of York)
Lara Eggleton (University of Leeds)
Surface Deceits: Owen Jones and John Ruskin on the Ornament of the Alhambra
Sally Tuckett (University of Edinburgh)
Colouring the Nation: Scottish Turkey-Red Design and Manufacture
Natasha Eaton (University College London)
Subaltern Colour? Art, Industry and Colonialism in Britain and India
Renate Dohmen (University of Louisiana at Lafayette)
The Calcutta International Exhibition of 1883-4: A Differenced Vision of the Great Exhibition?
12.45-1.45 Lunch (provided)
1.45-3.45 Panel Two: The Aesthetics of Technology
Chaired by Mark Westgarth (University of Leeds)
Alistair Grant (University of Sussex, Victoria and Albert Museum)
Galvanic Engraving in Relief: The Origins of the Art of Electro-Metallurgy
Angus Patterson (Victoria and Albert Museum)
For the Promotion of Art: The Formation and Influence of the Victoria and Albert Museum’s Electrotype Co&ection
Graeme Gooday and Abigail Harrison Moore (University of Leeds)
Decorative Electricity: The Gendered Aesthetics and Ethics of Domestic Electric Lighting
Anne-Marie Millim (University of Luxembourg)
“A substitute for moonlight”: The Cultural Value of Mining in The Graphic (1870s)
3.45-4.00 Coffee
4.00-5.00
Tom Gretton (University College London)
Industrialised Graphic Technologies Feature the World of Art: The Illustrated London News and The Graphic
c. 1870 - 1890
5.00 Please join us at the Victoria (behind the Town Hall) to continue our conversations!
8.00 Conference Dinner (not included, but we hope you will still join us).
Saturday 24 March 2012
9.30-10.00
Registration and coffee
10.00-11.00
Colin Trodd (University of Manchester)
Affinity and Alienation: Civility, Barbarism and Discourses of Design Culture, 1862-1894
11.00-1.00 Panel Three: Making and Mechanical Perception
Chaired by Danielle Child (University of Leeds)
Ann Compton (University of Glasgow)
Building a Better Class of Craftsman? Re-examining Issues of Education, Craftsmanship and Professional Practice
in Sculpture and Related Trades, c. 1880-1925
Gabriel Williams (University of York)
‘Mechanical Dexterity’ and Sculpture Machines at the Great Exhibition
Nicole Bush (Northumbria University)
Mechanical Patterns: The Role of Brewster’s Kaleidoscope in the Age of Morris and the Machine
Patrizia Di Bello (Birkbeck)
‘Camera-Medusa’: Stereoscopic Photographs of Statuettes
1.00-1.45 Lunch (provided)
1.45-3.15 Panel four: Labour, Class and Invention
Chaired by Kate Hi& (University of Lincoln)
Jasmine Allen (University of York)
The Status of Stained Glass at the International Exhibitions
Frances Robertson (Glasgow School of Art)
Crank-Pin Tracks and Corinthian Columns: Engineers and Draughtsmen as Visual Technicians
Ben Russell (Science Museum)
James Watt’s s Workshop: A Nexus Between Art and Industry
3.15-3.30 Coffee
3.30-4.30
Steve Edwards (Open University)
Picture Capitalism
4.30-5.00 Roundtable discussion and closing remarks
The Israel Museum, Jerusalem and the Shpilman Institute for Photography announce the opening of the 2012 edition of the Shpilman International Prize for Excellence in Photography and welcome nominations and submissions.
Awarded every second year, the Shpilman International Prize for Excellence in Photography aims to catalyze groundbreaking work in the field by providing scholars and photographers with financial support in the amount of $ 45,000.- in order to pursue original work and ideas in the medium. A first of its kind, the prize is awarded exclusively for the creation of new research rather than the recognition of previously completed projects. It is presented to an artist and/or scholar who aims to expand the boundaries of the medium and contribute to the understanding of photography.
As detailed in the regulations prospective candidates may include artists and scholars in photography with a rich and well established record of past achievements who intend to create new work or undertake new research in the field, ideally combining the theory and practice of photography.
Please visit the website http://www.imj.org.il/shpilmanprize for more information and spread the news among the photography community.
The deadline for submissions id September 1, 2012.
