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The Mohamed Ali Foundation Fellowship is hosted by Durham University and is awarded to early career (post-doctoral) or established scholars. The Mohamed Ali Foundation is a UK charity whose aims include advancing the education of the public in the history of the Islamic World, of Egypt and of the Mohamed Ali Family in particular, especially the period of the reign of Khedive Abbas Hilmi II (1892-1914).

In June 2018 the Mohamed Ali Foundation announced the launch of this Fellowship Programme, and which is established to devote scholarly attention to the Abbas Hilmi II Papers held at Durham University and to make the collection’s strengths more widely known to scholars. It is hoped that the fellows’ work will foster deeper understanding of an important period of Egyptian history, and of a transformative era in East-West relations.

The fellowship programme is based at Durham University and managed by an international Advisory Panel comprising academic subject specialists. The programme began in 2019 with the residency of the first fellow Dr Pascale Ghazaleh of the American University in Cairo: her inaugural lecture is now available online. Fellowships will be awarded over the next 5 years. An Advisory Panel, chaired by Professor Anoush Ehteshami will appoint one or two fellows each year.

Fellows will be early career (post-doctoral) or established scholars. The nature of the collection will often require good reading knowledge of Arabic, Ottoman Turkish, French, and English. The online catalogue of the collection indicates the languages of each file of material.

Fellows will research the Abbas Hilmi II Papers, on an agreed topic, and deliver a lecture at Durham University. Each lecture will ultimately form a chapter in a volume of high quality and original research to be edited by Dr Ghazaleh. In the interim the lectures will be published in the university’s Middle East Papers series. The breadth of material in the Abbas Hilmi II Papers will reward an interdisciplinary approach.  Such is the richness of the photographic material in the archive that fellows are strongly encouraged to highly illustrate their work with examples from the collection.  In order to guide candidate fellows an outline of the collection’s subject strengths is now provided in the fellowship application documentation. This is not intended to be prescriptive and the Advisory Panel will consider alternative suggestions so long as they are well-grounded in the Abbas Hilmi II Papers and this is evidenced in the application proposal.

The Fellowship, tenable in the Institute for Middle Eastern & Islamic Studies, entitles the holder to full access during their residency to departmental and other University facilities such as Computing and Information Services and the University Library. Accommodation is provided at Durham during the Easter term (late April-late June), but fellows may request to reside elsewhere for the duration of the fellowship. All fellows will visit Durham, if only briefly, in order to deliver their lecture. Lectures and other activities elsewhere during the fellowship will be encouraged.

Fellows who do reside at Durham will also be encouraged to take a full part in academic and collegiate life, delivering the already mentioned lecture and perhaps also contributing to seminars.

Fellows will be awarded an honorarium and accommodation and all meals will be provided for the duration of the fellowship; a research travel grant is also available to each fellow.

Full details: https://www.durham.ac.uk/departments/academic/school-government-international-affairs/research/fellowships/the-mohamed-ali-foundation-fellowship-programme/

For the second time, the Bibliotheca Hertziana, the Max Planck Institute for Art History in Rome, and Folkwang University of the Arts, Essen, invite emerging doctoral and post-doctoral scholars, working in the interdisciplinary field of theory and history of photography, to participate in and contribute to a photo-historical seminar. Next year’s topic is

Archival Absences.  An Incomplete History of Photography
It will be organized and led by Tatjana Bartsch (Bibliotheca Hertziana), Elizabeth Otto (University at Buffalo), Johannes Röll (Bibliotheca Hertziana), and Steffen Siegel (Folkwang University of the Arts, Essen) and is supported by the Alfried Krupp von Bohlen und Halbach Stiftung, Essen.

Rome, Bibliotheca Hertziana, Max Planck Institute for Art History
March 20–24, 2023
Deadline for applications: October 20, 2022
Here is a PDF of this call.

Details: https://foto.folkwang-uni.de/de/journal/news/archival-absences/detail/

Ruth Quinn is the new Curator of Photography and Photographic Technology at the National Science and Media Museum, Bradford. The role was advertised earlier in the year. The new NS+MM post holders of Head Curator and Assistant Curator have yet to be announced. 

Ruth was Programmes Curator at the Thackray Museum of Medicine, Leeds, from, January 2022, She has a MA in Victorian Studies and a PG Cert in Art Gallery and Museum Studies. She is also registered for a PhD examining aspects of the Saltaire World Heritage site. 

The Photographers’ Gallery presents An Alternative History of Photography: Works from the Solander Collection, a bold new perspective on the history of photography, which will go on display from 7 October 2022 - 19 February 2023. 

As it is conventionally told, the history of photography is a chain of relationships connecting one great maker to the next. From its invention in the UK and Europe, the real history is much more complicated: it is a vast web of interconnected stories stretching from East Asia to West Africa, and from New Zealand to Uzbekistan, and a complex interplay of fine art, scientific, anthropological, documentary and amateur traditions.

Drawn from the Solander Collection, An Alternative History of Photography presents famous works and major artists seen with fresh eyes, whilst giving unknown pictures and newer discoveries the platform they deserve. Bringing together over 130 works, it parallels acknowledged greats with forgotten masters, and lesser-known works with regional champions.

Featuring unexpected images by legendary figures including Ansel Adams, Diane Arbus, Robert Frank, Man Ray, and Edward Weston, the exhibition positions these alongside those of Helen Stuart and John Lindt, early, self-trained practitioner Lady Augusta Mostyn, and African studio photographers Sanlé Sory, Michel Kameni, and Malick Sidibé.

The exhibition also contains many rarities and ‘firsts’, spanning photography’s early decades, with linchpin works by Sir John Herschel, William Henry Fox Talbot, Hippolyte Bayard, and Julia Margaret Cameron. Highlights also include a stunning photographic ‘altarpiece’ by Austrian performance artist Valie Export, shown alongside an extraordinary hand-coloured assisted self-portrait by the Countess of Castiglione. The American West is seen through the eyes of indigenous artist Richard Throssel. Major early works in Australian photography are shown alongside vintage examples from Chile, China, India, Jamaica, Japan, Mexico, Singapore, Russia and others.

Contemporary in outlook and visually captivating, An Alternative History of Photography: Works from the Solander Collection is essential for those seeking an introduction to the field, as well as anyone looking for new ways of reconsidering the traditions and reimagining the expected trajectories of photography.

An Alternative History of Photography: Works from the Solander Collection is curated by Philip Prodger and organised by Curatorial Exhibitions in collaboration with The Photographers' Gallery. The exhibition is accompanied by a major new book published by Prestel. 

An Alternative History of Photography: Works from the Solander Collection
London, The Photographers' Gallery
7 October 2022-19 February 2023
See: https://thephotographersgallery.org.uk/whats-on/alternative-history-photography-works-solander-collection

Laura Brown has been appointed as Curator, Photography at St Andrews. The role was advertised in the summer and she succeeds Rachel Nordstrom. Laura is an experienced culture and heritage professional working within museums, historic buildings, and university special collections. She has a Master’s Degree in Fine Arts and a post-graduate certificate in Preservation and Archival Practice.

Her previous roles have includes at the American Museum, Bath, at the Footprint Project, Bath Abbey; at teh George Eastman Museum and University of Rochester. 

The Harry Ransom Center, home of the Gernsheim Collection, is accepting applications for its 2023–2024 research fellowship program. The application deadline is November 14, 2022, 5 p.m. CST. More than 60 fellowships are awarded annually by the Ransom Center to support research projects in all areas of the humanities, including literature, photography, film, art, the performing arts, music, and cultural history. 

I am trying to find some information and a very special stereoscope called the Clairvoyant and enclosed in a box named the Swan's Stereoscopic Treasury. Any help is welcome. Thank you

Birkbeck has an opportunity for an Associate Lecturer in the History of Photography to teach on the following module/s:

• You will be contributing sessions on photography on team-taught level 4 modules ‘Survey’ and ‘Materials and Process’
• You will be contributing sessions on photography on team-taught level 5 modules ‘Art and Society in the Nineteenth Century’ and ‘Art and Society from 1900 to the Present’
• You will be teaching the autumn term of the level 6 module ‘Photography between Art and Document, 1839-now’ (C19th-early C20th)

You will have knowledge of the history and theory of photography and experience of teaching undergraduate and mature students and be qualified to the corresponding level of the award as required to teach (or demonstrate equivalent professional/industry level experience).

Further to the person specification, essential requirements for this role are:

• You should have a good first degree in a relevant discipline/area

Please refer to the person specification for further selection criteria.

Remuneration

Payment is based on an hourly rate depending on length of continuous service with the College £63.55 per hour inclusive of pro-rata London Allowance and holiday pay) for contact hours worked. This hourly rate is based on the starting point of Grade 7 and is inclusive of a ‘Duties Related to Teaching Multiplier’ which covers preparation, teaching, administration, assessment marking and other examining duties in connection with the course.

Enquiries

If you would like to know more about the role please click on apply below or contact Professor Patrizia Di Bello, Head of Department, at p.dibello@bbk.ac.uk

Details: https://cis7.bbk.ac.uk/vacancy/associate-lecturer-in-history-of-photography-499700.html

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

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

Jerwood Arts and Photoworks are delighted to announce two major forthcoming commissions by Heather Agyepong and Joanne Coates, the awardees of the latest edition of the Jerwood/Photoworks Awards.  The exhibition takes place at the Jerwood Space, from 23 September until 10 December 2022.

Heather Agyepong is working on a commission that is deeply personal and universal at the same time. ego death is a project about self-discovery, imperfection, compassion, and radical acceptance. Meanwhile, Joanne Coates is building a body of work,  The Lie of the Land,   addressing the erasure of contemporary working-class histories and culture in the countryside, particularly interrogating notions of rurality and women, and the perceived stigma associated with them.

Now in their fourth edition, the Jerwood/Photoworks Awards are a major commissioning opportunity supporting early-career artists working with photography to make ambitious new work and significantly develop their practice at a pivotal moment in their career. 

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For the Jerwood/Photoworks Awards, London-based Heather Agyepong has developed ego death, a project inspired by psychiatrist Carl Jung’s concept of ‘The Shadow’. According to Jung, the shadow is composed of aspects of one’s personality deemed inappropriate, that have been shamed and repressed, generally during childhood and adolescence, by family, education, social norms and other external factors. Jung argues that these authentic attributes evolve into specific behavioural patterns in adulthood that attempt to overcompensate for the undesirable qualities, making one more socially integrated and accepted. In ego death, Agyepong has been on a journey to discover and explore her own shadow; confronting, and making peace with it through this body of work. 

Exploring techniques including free writing and freepainting, observation, and self reflection, Agyepong has identified seven different characters that she confronts in the ego death series: The O Daughter, The Saboteur, D is for…, Georgina, Lot’s Wife, Only Pino and Somebody Stop Me. In an immersive installation comprising photographs, fabric, sound and text, she creates an arresting visual language using double exposure to reveal how her shadow characters show up unconsciously in the world. Inspired by Tarell Alvin McCraney’s play In Moonlight Black Boys Look Blue, Agyepong instinctively chooses to use blue hues as the colour palette for her self-portraits, symbolising the state of vulnerability and deep truth telling she put herself through in creating ego death. 

Yorkshire-based Photographer Joanne Coates has created The Lie of the Land, a body of work that explores the social history of the land and narrates a story of gender and class that has long been forgotten - or simply never told -  in relation to the countryside of the North East. Coates works at the intersection of socially-engaged practice and traditional British documentary photography, fusing them together in a creative visual language that combines landscape, portraits, still image, and non-photographic elements such as sound. For this commission, Coates has collaborated with twelve women who identify as working class, living and working in rural or agricultural settings, to develop a series of portraits that represent their individual lived experience. Using ‘the wander’ or stroll as a meditative tool and a notebook as the holder of daily reflections, they also reflect on the changes happening in the rural areas, particularly with the new arrivals of wealthy people, and how this invisibilises the work of those in charge of sustaining life in the rural areas, creating and disseminating a distorted version of what life in the countryside really is. 

The characters in The Lie of the Land are real people, yet they have been excluded from a mainstream portrayal of the countryside. Through this commission Coates navigates her own personal stories whilst working with communities that she is a part of in the rural North East of England - seeing the work as an exploration of unresolved questions, and a process of connections.   

The resulting photographs will be displayed at a variety of scales, including portraits of the women Coates has worked with, alongside landscape photographs of the hunting moors. A new sound piece accompanies a short film, focusing on close-up shots of women’s hands in domestic and manual labour – moments of work on the farms. Diary entries reflect on the changes happening in rural areas and a full-size wooden grouse-butt typically constructed to be used on shooting trips gives a subtle notion of the political and class disputes in rural land.

The accompanying catalogue designed by graphic designer and artist Rose Nordin includes essays from cultural theorist and critic Nathalie Olah and curator, researcher and writer Pelumi Odubanjo. Through autumn 2022 Jerwood Space will host a public programme that draws out key critical themes in the exhibition, enabling new ways of experiencing the commissions and hearing from the artists themselves.

The two artists were chosen by a panel, made up of Christine Eyene (Lecturer in Contemporary Art at Liverpool John Moores University and Research Curator at Tate Liverpool), Joy Gregory (artist), Sunil Gupta (photographer), Julia Bunnemann (Curator, Photoworks) and Harriet Cooper (Head of Visual Arts, Jerwood Arts). During selection, the panel were unanimously impressed by both artists’ powerful proposals which address important current issues while representing a pivotal opportunity for experimentation and development for both artists' own photographic practice. Applicants were long listed prior to the final panel meeting by staff from Photoworks and Jerwood Arts, along with members of ReFramed, a Midlands-based network for Black, Asian and other people of colour interested in producing photographic visual art.  Both artists received a £15,000 award (comprising £10,000 fee and £5,000 production budget) with a support package from Photoworks and Jerwood Arts to create new work over a 12-month period. 

Previous recipients of the Jerwood/Photoworks Award include: Silvia Rosi, Theo Simpson, Alejandra Carles-Tolra, Sam Laughlin, Lua Ribeira, Matthew Finn, Joanna Piotrowska and Tereza Zelenkova.

The Jerwood/Photoworks Awards are a collaboration between Jerwood Arts and Photoworks, supported by Spectrum Photographic.  

#JPA 

@photoworks_uk 

@Jerwoodarts

@spectrumlab

@aceagrams

ABOUT THE ARTISTS 

Heather Agyepong is a visual artist, performer/actor and maker who lives and works in London. Her art practice is concerned with mental health and wellbeing, invisibility, the diaspora and the archive. Agyepong uses both lens-based practices and performance with an aim to culminate a cathartic experience for both herself and the viewer. She adopts the technique of re-imagination to engage with communities of interest and the self as a central focus within the image.  

Agyepong has worked within photographic and performance arts since 2009 with a range of works that have been published, performed and exhibited around the UK and internationally.  She has been nominated for Prix Pictet & Paul Huf Award in 2016, 2018 and 2021. Her work exists in a number of collections including Autograph ABP, Centre national des arts plastiques, Hyman Collection, New Orleans Museum of Art, Bristol Museum & Art Gallery and Mead Art Museum. She has been commissioned by a number of organisations including the Mayor of London, Photoworks, Artichoke and Tate Exchange. In her television/film and theatre work, Agyepong is drawn to challenging and compelling writing with an intrigue for unique voices. She has previously been an associate artist of black led theatre company Talawa and continues to perform both nationally and internationally.  Agyepong was nominated for the South Bank Sky Arts Breakthrough Award 2018, awarded the Firecracker Photographic Grant 2020, was selected as part of Foam Talent and The Photographers Gallery New Talent Award in 2021, and was awarded the Photo London x Nikon Emerging Photographer Award 2021.

Joanne Coates is a working-class photographer born and based in North Yorkshire. Working across the North of England, Coates explores rurality, social histories of class, and inequalities relating to low income through photography, installations and audio. Coates was educated at The London College of Communication (BA Hons Photography). Her practice revolves around process, participation, and working with communities. She is interested in questioning stories around power, identity, wealth and poverty.  

In 2020 Coates was commissioned as artist in residence at The Maltings and Newcastle University where she developed Daughters of the Soil, exhibited at The Maltings and at Vane Gallery in 2022. In 2017, she was one of the artists working in Hull for the UK City of Culture. In 2016, she was awarded the Magenta Flash Forward Top 30 emerging talent in the UK, and in 2012, during her Foundation year, she was awarded a Metro Imaging Portfolio Prize, a Magnum Portfolio Review and The Ideastap innovators award.  

Jerwood Arts

Jerwood Arts is the leading independent funder dedicated to supporting early-career UK artists, curators and producers to develop and thrive. We enable transformative opportunities for individuals across art forms, supporting imaginative awards, bursaries, fellowships, projects, programmes and commissions. We are committed to supporting artistic freedom of expression and being as inclusive as possible across all our work. We present new work and bring people from across the arts together through our exhibitions and events at Jerwood Space, London, as well as across the UK and online. 

Photoworks

Photoworks champions photography for everyone. We are an international platform, global in reach, and have provided opportunities for artists and audiences since 1995. We do not have a physical venue, but our online channels are always open. Our programme brings new experiences to audiences and opens up new ways to encounter photography.

Photoworks is a registered charity and the only organisation with a national remit for photography in England. Our work is supported by public funding through Arts Council England’s National Portfolio. Photoworks is led by Shoair Mavlian, Director.

Spectrum Photographic

Spectrum is a longstanding professional imaging lab specialising in high quality fine art and photographic printing, as well as archival mounting. They are proud of the reputation that they have established for themselves and are known for their high quality, passion, and above all, excellent service to their customers.

We are really appreciating the feedback and compliments we are receiving for those who have signed up for our online course, Causes of Degradation of Photographic Materials, please be assured we will endeavour to respond to each one. In the interim if you haven’t already done so please sign up for our Newsletter     www.conservephotography.com   which will keep you informed about updates and any future courses as they develop.

The Centre’s collections are made up of images not selected because they are dramatic or artistic or beautiful, though many are, but because they tell us so much about the processes, materials and physical make up of this most vulnerable socio-historic heritage material, which also helps us to understand their long term needs and preservation.

Many of the images we have acquired over the last fourty-nine years we have used in The Centre’s, in person, professional development courses and also to illustrate the over 36 episodes, including work studies and examples, of our online course, which focuses in detail on the Causes of Degradation of Photographic Materials that impacts not only the identification of historic photographs, but also, their preservation and conservation. To see the course video and find out more details visit:     

www.conservephotography.com

This October, a Victorian daylight photographic portrait studio in Hastings forgotten for over a hundred years, will re-open for one month only. Visitors will be invited to sit for portraits or to make selfies. Pets and props welcome.

The Memorial Studio is a rare survival. More than a thousand photographic portrait studios were established in the UK between 1839 and 1901. Fewer than two dozen are known to remain. Purpose built in 1864, The Memorial Studio was an attraction in Hastings for 54 years until 1918, then disappeared for 104 years. Among many other things it became storage for British Telecom, an insurance company office and a workshop making orthopaedic supports.

In 2012, artist Beatrice Lacey took it over as her studio and removed the false ceiling that had long concealed the North skylight. In 2022 Beatrice invited photographers Alexander Brattell and Toby Shaw to collaborate in exploring, reviving and celebrating this exquisite space.

Visitors will be invited to become part of The Memorial Studio Project, a portrait record for future exhibition and publication. Toby Shaw and guest photographers will offer free individual and group sittings, to include a still or moving image file. Visitors will also be invited to contribute their own portraits and selfies made in the studio.

A changing exhibition in the studio’s waiting room will showcase The Memorial Studio’s activities and history, just as it did in the nineteenth century. The visit to the photographer’s studio, a formal and intimate moment of recording presence and identity for posterity in a way that also connects us with our past, is now in danger of becoming forgotten as a participatory event. An experiment with time, The Memorial Studio Project is inspired by the conditions of the past to record the present, creating memories for the future

 The Memorial Studio

12-5, Fridays to Sundays throughout October 2022. Free entry. 7 Cambridge Road, Hastings, East Sussex TN34 1DJ.

We apologise for no disabled access, there are three flights of stairs (originally the trade entrance. The main entrance in Robertson St no longer survives).

For further information see Photolacey.com

instagram @thememorialstudio2022 

Facebook The Memorial Studio 2022 

Contacts:

Beatrice Lacey: bea@laceyfineart.com / 07775 734874

Toby Shaw: tobyshaw.co.uk

Alex Brattell: alex@brattell.com (for hires images) / 07767 611388

On Monday 3rd October at 8pm there will be an informal lecture in Hastings on Victorian portraiture and The Memorial Studio. See photology.info

Part of PhotoHastings 2022. photohastings.org

Photography scholar Tomáš Dvořák will be Visiting Fellow at Trinity while he takes up the role of Sloan Fellow of Photography at the Bodleian Library. The Sloan Fellowship supports a research visit by a scholar in the history of photography.

Tomáš Dvořák is an assistant professor in the Department of Photography at FAMU in Prague and a research associate at the Institute of Philosophy, Czech Academy of Sciences. His research focuses on philosophy and history of media and philosophy and history of science and the interrelations of these fields, especially media archaeology of science and knowledge. He recently edited, with Jussi Parikka, Photography Off the Scale: Theories and Technologies of the Mass Image (Edinburgh University Press 2021). 

His research at the Bodleian libraries will focus on the publishing history of William Henry Fox Talbot’s Pencil of Nature and the relationships between photography and the aesthetics of the picturesque.

See: https://www.trinity.ox.ac.uk/news/visiting-fellowship-photography-scholar-and-sloan-fellow

Edinburgh auction house Lyon and Turnbull is offering a newly discovered album of salt prints from calotype negatives, c.1846-8 containing 117 photographic salt prints from calotype negatives. The album and associated material has come via a family descendent of Kinnear. 

C G H Kinnear (1830-1894) was a founder member of the Photographic Society of Scotland in 1856, and in the same year entered into partnership with Edinburgh architect John Dick Peddie. In 1857 he went on an architectural and photographic tour of northern France using a new form of camera with a conical bellows which 'set the pattern for nearly all subsequent cameras' and was described in the Photographic Journal and press of the period. 

Separately, the auction also includes a copy of the Art Union from 1846 and other photographs.

Rare Books, Manuscripts, Maps & Photographs
Lyon and Turnbull, Edinburgh
28 September 2022
lot 60. See the full lot description here. 

UPDATE: sold for £68,000 (hammer price). 

This new book looks at the history of the pinhole camera. Traditionally the pinhole camera has been linked with the camera obscura, but this publication sets out to separate the two, to appreciate and understand both from their respective evolution as technical objects and from their creative potential.

The book's author, Denis Bernard, is a researcher, photographer and teacher of the history of photography and Associate in Applied Arts.

Sténopés. Histoire et théorie d’une machine naturelle
[Pinholes. History and theory of a natural machine]
Denis Bernard
Éditions Mimésis Collection Images, Médiums
ISBN 978-8869763410
€22.00, 302 pages
Order from: http://www.editionsmimesis.fr/catalogue/stenopes/

Impressions Gallery is a charity that helps people understand the world through photography and acts as an agent for change. Established 50 years ago in 1972, we have grown to become one of the UK’s leading centres for photography.

We are seeking to appoint a Curator to work as part of our small and dedicated team in Bradford.

The Curator will manage our exhibitions and contribute ideas to the future programme, with opportunities to curate and lead on exhibitions that champion high-quality, risk-taking photography that is accessible to all. Other duties include management of our touring exhibitions, developing partnerships, implementing press and marketing systems, supporting our learning and engagement work, and assisting with the charity’s fundraising aims.

The successful applicant will join us at an exciting time; Bradford is UK City of Culture 2025. This is a game-changer, putting the city firmly on the national and international stage. Impressions continues to be a key partner and the successful candidate will play an active role in shaping our programme for Bradford 2025.

We are looking for a professional, ambitious individual with strong project management skills, who is able to balance multiple priorities. Applicants must have relevant photographic knowledge and experience of working within a professional visual arts environment.

We believe this role is an exceptional opportunity for someone with the right mix of experience, enthusiasm and initiative. The role is perfect for someone looking to take their career to the next level.

The salary for this role is £27,000 to £30,000 p.a. dependent on experience.

If required, reasonable relocation costs will be available for the successful candidate.

For more information and how to apply download our Application Pack.

Closing date: Monday 10 October 2022 at midday.

You will receive an email to confirm receipt of your application.

Interviews will be held Thursday 20 October 2022 via Zoom.

Final stage candidates will be invited to a further in-person interview at Impressions Gallery in the week commencing 24 October 2022.

See: https://www.impressions-gallery.com/opportunity/curator/

Michael Kurtz who undertook a summer placement with Four Corners in July 2022, as part of its ongoing collaboration with Birkbeck, University of London, has written a blog piece about the Half Moon photography workshop's touring exhibitions. The blog begins: In 1976, the recently established Half Moon Photography Workshop developed an innovative new form of photography exhibition, with radical implications for the accessibility of alternative photographic work nationwide. Rather than framing and glazing prints, as had been standard practice, members of the workshop began assembling images and text on card panels which were then laminated in plastic and hung from eyelets...

Read the full piece here: https://www.fourcornersfilm.co.uk/blog/an-introduction-to-the-half-moon-photography-workshop-s-laminated-touring-exhibitions

The latest issue of British Art Studies carries two papers of interest to photo-historians. As noted earlier Luke Gartlan's 'Inventing Provinciality: St Andrews and the Global Networks of Early Victorian Photography' which examines the advent of photography in the Scottish university town of St Andrews in the context of local ties to the British Empire.

The second paper is Margaret J. Schmitz's  'Capturing Futurity: The Artistic Exchange of Alvin Langdon Coburn and H. G. Wells'  which demonstrates that Coburn’s experimentation with radical aesthetics began before 1910 and was instigated by his friendship with English science fiction writer, Wells. 

Both are available free of charge here: https://britishartstudies.ac.uk/issues/issue-index/issue-23

This new book examines the role of photography and visual culture in the emergence of ecological science between 1895 and 1939. It is about photography and the origins of ecology - about the practice of ecology as visual science. Picturing Ecology explores the contribution of visual experience and practice to scientific knowledge. It aims, in particular, to demonstrate the critical role played by photography in mediating and configuring new forms of knowledge emerging from ecology in the early twentieth century.

It concentrates mostly on the story of early British ecology, it recreates the field practices and social contexts of ecological science as a discipline carried out in excursions, public meetings, international gatherings and publications. Visual culture, and especially photography, is explored as central to all these discursive spaces. The study is underpinned by substantial research in a number of archives.

Picturing Ecology. Photography and the birth of a new science
Damian Hughes
Palgrave Macmillan
ISBN: 978-981-19-2515-3
£109.99 (hardcover) or £87.50 (epub)
Details here

The article "Inventing Provinciality: St Andrews and the Global Networks of Early Victorian Photography" is now available open access with the online journal British Art Studies. I've attached the direct link for interested members. 

https://www.britishartstudies.ac.uk/issues/issue-index/issue-23/st-andrews-and-the-global-networks-of-early-victorian-photography

This is part of my current ongoing research on St Andrews and Fife family albums of Victorian Britain -- primarily in the 1840s for this article -- and their local, national, and international connections.

I hope this might interest some members, especially those with an interest in regional small-town and rural photographic archives and their histories.