Blogs

It is 60 years ago this month since the first ever exhibition in the UK of Photography as a Fine Art was held in the Concert Suite at the Royal Festival Hall in London. Whilst photography had been recognized as a Fine Art by many galleries in USA, including The Eastman House and the Museum of Chicago, the “establishment” at the Royal Photographic Society in London were less progressive with their views at that time.

It was with this background that S.D.Jouhar (who had argued for many years that photography was, indeed, a Fine Art) formed The Photographic Fine Art Association in August 1961, and he was it’s Chairman. Others on the committee included Louis Demolin, Hubert Davey, Dennis Gasser and Bertram Sinkinson.

The Association had, as it’s definition of Fine Art:

"Creating images that evoke emotion by a photographic process in which one's mind and imagination are freely but competently exercised. From a technical point of view, therefore, personally controlled, disciplined interpretation and technical execution, showing fine perception and skill in the making shall be necessary requirements of such work in colour or monochrome.”

Works of art were provided for the Exhibition by Geoffrey Ashbourne FRPS, J Bell FRPS (Trichrome-Gum Process), H Cartwright, R H Cherry (Trichrome-Gum Process), Louis Demolin, Eric Freeborn FIBP FRPS, Miss Jeanette Klute, the late George Halford and S.D. Jouhar, (all of whose works for this Exhibition were Ektacolor Prints).

A second exhibition based entirely on S.D.Jouhar’s works was mounted and held at Ealing Technical College later in 1961. No less than 12,000 people visited it during a two-week period. Examples of S.D.Jouhar’s photographs can be seen at http://www.sdjouhar.com

The V&A Photography Centre has been entirely rehung with two new photography displays. Maurice Broomfield: Industrial Sublime presents the late photographer’s dramatic photographs of mid-century British and foreign industry, and Known and Strange: Photographs from the Collection highlight photography’s power to transform the familiar into the unfamiliar, and the ordinary into the extraordinary. 

Maurice Broomfield: Industrial Sublime showcases the late photographer’s dramatic photographs of mid-century British and foreign industry, capturing factories and their workers in an era of rapid transition. Born to a working-class family near Derby, Maurice Broomfield (1916-2010) worked at the city’s Rolls Royce factory after leaving school at the age of fifteen. He attended Derby Art College in the evenings, then worked in advertising before earning a position as Britain’s premier industrial photographer throughout the 1950s and 60s.

The display features over 40 original exhibition prints, drawn from Broomfield’s extensive archive housed at the V&A. These are shown alongside a selection of Broomfield’s cameras – lent from the private collection of his son, the renowned documentary film maker Nick Broomfield – as well as other contextual items which have never been exhibited before, including historic film footage, audio recordings, press cuttings, contact prints, negatives, trade publications and pages from works order books, shining a light onto the photographer’s working processes.

Most of Broomfield’s photographs were originally commissioned for publication in company reports, but he also selected and printed some of them at large scale for inclusion in photography exhibitions. From shipyards to papermills, textiles to food production, and atomic power stations to car manufacture, Broomfield emphasised the dramatic, romantic, sublime and sometimes surreal qualities of industry. Today, many of the factories he photographed – and the communities of workers and skills that supported them – have either vanished or been subsumed into global corporations.

His archive, containing over 30,000 images, comprising negatives, contact prints, exhibition prints, press cuttings, business records, and promotional materials, survives as a valuable record of this history, while his images can be appreciated for their artistry. Highlights include his spectacular image of a half million-volt charge on ceramic insulators for Royal Doulton potteries; a surreal scene of a woman inspecting the assembly of a generator for the English Electric Company; blast furnaces and fettlers at the Ford car factory at Dagenham; and the high-tech lighting laboratory at Phillips in the Netherlands. Broomfield’s photographs remain relevant today, prompting questions about digital technologies replacing manual labour, the UK entering an uncertain economic future in relation to the rest of the world, and the toxic social and environmental legacy of industry.

To accompany the display, the V&A has published a new book on Maurice Broomfield, written by V&A Senior Curator Martin Barnes and with a foreword by Nick Broomfield. Barnes discusses the life and work of Maurice, whom he came to know well as he worked to transfer his archive from his Hampshire home to the museum.

Images:
Top right: Maurice Broomfield, Woman Examining a Sample, Shell International, Holland Laboratories, 1968. © Estate of Maurice Broomfield.
Centre and lower: Installation shots of the Broomfield display. Courtesy: V&A Museum, London. 

Leicester's De Montfort University has re-launched its MA in photographic history with an innovative new distance learning approach to teaching that allows students to take the course at their own pace. The new course starts from January 2022 and then runs on a termly rolling basis meaning students can join at three points during the year, building up credits to a full MA.

The postgraduate course builds on remote teaching expertise developed over the past two years and will particularly suit students and those simply wishing to learn, especially from outside of the UK and unable to commit to full-time, or even traditional part-time, study. Teaching is asynchronous except for tutorials which are by appointment. All students will have anytime access to audio and/or visual material of lectures. 

Units of 15 learning credits can be completed on a standalone basis offering those simply wishing to develop knowledge in particular areas a rigorous and assessed pathway to do so. Any credits can be used to extend this in to a full MA. Those looking to study full-time can complete a MA in one year, or part-time in two years. 

The standard modules are: 

• Learning Photographic History Online (compulsory for all students)
• Photographic Historiography I (15 credits)
• Photographic Historiography II (15 credits)
• Photography and the Arts (15 credits)
• Photography, Science and Technology (15 credits)
• Photography, Ethics and Emotions (15 credits)
• Material Histories 1830s to 1930s (15 credits)
• Material Histories 1930s to Now (15 credits)
• Photography and Politics (15 credits)
• Photography and Digital Politics (15 credits)
• Fieldwork (30 credits)
• Dissertation or Heritage Project (60 credits)

Each 15 credit module encompasses 150 hours of learning, researching and assessment. The 30 credit module and 60 credit module are 300 and 600 hours respectively.

Full details can be found here: https://www.dmu.ac.uk/study/courses/postgraduate-courses/photographic-history-ma-degree/photographic-history-ma-degree.aspx

Do you have experience in developing and telling engaging stories to non-specialist audiences? Do you want to play a key role in an exciting project for the National Science and Media Museum?

The Sound and Vision galleries will bring our world-class collections of photography, film, television and sound technologies to the forefront of the National Science and Media Museum. New galleries will highlight the significant contribution sound and visual technologies have had on the world, and a programme of activities developed alongside the galleries will raise aspirations, develop skills and increase digital confidence in young people. Sound & Vision’s galleries and activities will be a driving force in the regeneration of Bradford.

We are now recruiting for a story weaver who can lead the creative content for the National Science and Media Museum’s transformation of its public offer through the Sound and Vision Masterplan Project. As Interpretation Manager you will develop and implement the gallery interpretation strategy for the project. Through your work with the project team, architects, designers and other contractors you will ensure that the interpretation elements are creative, engaging and connect with our audiences.

You will understand the importance of design, AV, interactives and text in the exhibitions, bringing skills for writing briefs, directing contractors and designers to achieve excellence in our interpretive approach. You will also work on our collaborative community projects to develop content that will be shown on gallery.

The role will sit in the exhibitions team, but will be operate across departments, particularly the curatorial, masterplan and learning teams to help deliver new and innovative ways to tell stories about our collections to a broad range of audiences.

For further information and to apply please visit: https://bit.ly/3BAQfhG

The V&A’s Collections Division comprises six curatorial, research, and conservation and collections care and access teams. The curatorial departments are arranged as Decorative Art and Sculpture; Performance, Furniture, Textiles and Fashion; Art, Architecture, Photography and Design; and Asia. The staff in these teams are at the heart of the founding purpose of the museum: to care for, research and develop the collections, to exhibit them to the public, to make them available for study and research, and to broaden access to the collections.

This is an exciting new role and the postholder will take responsibility for the development, care of, documentation and research, presentation, and interpretation of a part of V&A’s Collection, in this case, the Photography Collection. The role is especially focused on curating contemporary photography. The postholder will be expected to represent the Museum at the highest level and play an active role in the field of contemporary photography collecting, nationally and internationally.

As a member of the Art Architecture, Photography and Design, the postholder will also play a role in the wider work of the V&A, contributing to policy, projects and public programmes, supporting fundraising and income generation, and supporting senior colleagues in the running of the Department, including by creating a positive environment, encouraging collaboration across the museum, supporting change, leading and managing Assistant Curators and sharing knowledge, expertise and best practice to help them develop and perform.

Closing date for receipt of applications is 8 November 2021 at 23.59

Article on the female figure photographer, Eva Grant. She was born in Istanbul, grew up in Greece, and became a student nurse in London. To supplement her meagre income, she did a bit of swimwear modelling, only to find out she had a real passion for being on the other side of the camera. She was active during the 1950s and early sixties. She published her own magazine called Line and Form that ran for around 40 issues.  https://pamela-green.com/all-about-eva-grant/

Image © Eva Grant

Recently found this Tin Type on a notable online auction site and thought what lovely bonnets the couple are wearing. On that and nothing else I decided to buy the picture. When it arrived I removed the frame and glass protection and scanned the image at 1200dpi to see what I had bought.

A superb backdrop of three of the arches on Brighton Beach is what I suspect I might see and then there were the hats.



Next the precise location was to be found and this was established as on the beach outside an arch directly what is today 'The Brighton Fishing Museum'. It apppears the lady sitter is sitting on one of the still extant pieces of antique fishing boat winding gear.



Below is the view looking north from the sea and back to the arches - very similar to the original camera position.



If the original picture is combined with the Google view of the location it is most apparent the images are identical in location and perspective.

A number of recent interviews for the Pittsburgh Photo Fair may be of interest to BPH readers. They cover a range of topics including conservation, collecting, contemporary publishing, and historical photobooks by women. Details are below:

Challenging the Canon: Olga Yatskevich on Photobook History

What They Saw: Historical Photobooks by Women 1843–1999, focuses on historically significant photobooks produced by women. Officially released on 1 November 2021, the book was recently shortlisted for the Paris Photo - Aperture Foundation Catalogue of the Year Award 2021. I spoke with Olga Yatskevich about 10x10’s ongoing exploration of photobook history and the underrepresentation of women in this field. 

Reimagining Aperture: In conversation with Sarah Meister

Following an exceptional curatorial career at the Museum of Modern Art, New York, Sarah Meister joined Aperture as Executive Director in May 2021. I spoke with Sarah about Aperture’s history, her vision for its future, and the central role of photography in our contemporary experience.

Sotheby’s Photographs at 50: Brandei Estes on Collecting

This year Sotheby’s celebrated the 50th anniversary of its first photographs auction, which took place at Sotheby’s London in 1971. Coinciding with this occasion, I spoke with Brandei about the evolution of the art photography market. We discussed what drives her passion for photography and her advice for new collectors.

Photography in Four Dimensions: Paul Messier on Conservation

An interview with Paul Messier about the extensive collection of historic photographic papers he assembled, now held at Yale. We discussed recent projects from his expansive career in conservation and current challenges in the field.

Sotheby's latest sale of Travel, Photographs, Maps and Natural History is now available online and the auction runs 9-17 November. Notable 19th century photographs and photobooks include:

Lot 8. A newly discovered 1860s album of photographs of China and Japan by John Thomson, Milton Miller, John Dudgeon, J.C. Watson, and Charles Frederick Moore. 

Lot 9. Collection of thirty-six photographs of China by Thomas Child and others.

Lot 10. A rare 1872 Foochow printed vocabulary and handbook of the Chinese language with contributions by John Thomson and Dr John Dudgeon on photographic terms and apparatus in English and Chinese.

Lot 21. An early album of photographs of Japan by Felice Beato, circa 1868.

Lot 50. A first edition of Maxime du Camp's photobook Egypte, Nubie, Palestine et Syrie (1852) with 125 salted paper prints.

Lot 146. A rare example of the Photographic Club's Album for the year 1857, one of circa 50 copies published, containing salted paper and albumen prints by members including Roger Fenton, Oscar Rejlander, Hugh Welch Diamond, John Dillwyn Llewelyn, Benjamin Brecknell Turner and Francis Bedford.

Lot 148. A carbon print by Benjamin Brecknell Turner of The Mill Stream, Boulter's lock.

Lot 176. A signed photograph portrait of Robert Falcon Scott by John Thomson.

View the sale here: www.sothebys.com/travel

This new publication has been published by Bristol Ideas as part of Bristol Film 2021. It consists of specially commissioned essays written by people from across the city or with specialist knowledge of cinema, including William Friese-Greene. It is available to collect from venues across the city including the Royal Photographic Society, Watershed and Arnolfini. 

Opening up the Magic Box. Friese-Greene and Reflections on Film
Melanie Kelly (editor)
Bristol Ideas, 2021, 196 pages
Available free

The V&A London is seeking a Curator, Digital Art. This is one of nine Curator posts that sit in the Art, Architecture, Photography and Design Department. The post holder will take responsibility for the development, care of, documentation and research, presentation, and interpretation of a part of V&A’s Collection, in this case, digital art. The Museum holds one of the world’s largest and most important collections of computer-generated art, created from the 1950s onwards. As such, the postholder will be expected to represent the Museum at the highest level and play an active role in the field of computer and digital art collecting, nationally and internationally.

As a member of the Art, Architecture, Photography and Design Department, the postholder will also play a role in the wider work of the V&A, contributing to policy, projects and public programmes, supporting fundraising and income generation, and supporting senior colleagues in the running of the Department, including by creating a positive environment, encouraging collaboration across the museum, supporting change, leading and managing Assistant Curators and sharing knowledge, expertise and best practice to help them develop and perform. The postholder will also play a role in the community of practice digital art, design and photography Senior Curators, Curators and Assistant Curators that will span the four curatorial teams.

Details here: https://app.vacancy-filler.co.uk/salescrm/Careers/CareersPage.aspx?e=LMo8nnTwYNZ-kppOIIdifD8XhL7Lz3TggHk9gf4pbl76oGRijDFpkXVgxlUqvquuVwLKrZE9RVo~&iframe=true

Impressions Gallery are seeking to appoint a Curatorial Programme Manager to work as part of our small and dedicated team. The person will manage our programme of innovative, thought-provoking photographic exhibitions, commissions, touring and other projects that realise the gallery’s artistic vision, and its commitment to diverse, and often marginalised, audiences. Other key responsibilities include overseeing and implementing our press and marketing strategy, supporting our learning, engagement and event programmes, and championing Impressions Gallery nationally and internationally.

We are looking for a dynamic, creative and ambitious individual, who is highly organised and able to balance multiple projects and priorities. Applicants must have relevant photographic knowledge and experience of working within a professional contemporary visual arts environment.

See:https://www.impressions-gallery.com/opportunity/curatorial-programme-manager/

The Classic magazine has recently published two features of interest to British photography. The London Photograph Fair - 40 Years On looks at this pioneering fair which will mark its fortieth anniversary in 2022. Its first outing was on Sunday 12 September 1982, and it was held at The Photographers’ Gallery in Newport Street, just off Charing Cross Road. It was the brainchild of Peter Agius LRPS, Fenton Medallist, and former Chairman of the Historical Group of the Royal Photographic Society. His italic scripted posters will be familiar to those of us who were interested in collection in the 1980s and 1990s. 

"Talking French" is a conversation between Philippe Garner about the British fashion photographer John French who trained many photographers, not least David Bailey and Terence Donovan. 

See: https://theclassicphotomag.com/the-london-photograph-fair-40-years-on/ and 

https://theclassicphotomag.com/talking-french-conversation-with-philippe-garner-about-the-british-fashion-photographer-john-french/

Details of The Classic which is distributed free and available online are here: https://theclassicphotomag.com/

Image: Unknown photographer. Tea time in the studio, 1951. Left to right, Pat Goddard, John French, and assistant and Michael Toll.

Peering into a small, magical box an eager new audience in the 1850s was transported into another dimension. Stereoscopic 3D images allowed them to experience the wonders of the world without ever leaving their fireside, see the heroes of the day in realistic detail, enjoy sentimental scenes or watch the construction of Brunel’s Great Eastern ship on the banks of the Thames. Millions of images were published and voraciously consumed by the public in just a few glorious years.

Dr Brian May and Denis Pellerin reveal some of the highlights of this extraordinary scientific, artistic and social revolution in this special event, transmitted live from the beautiful chapel at King’s College London. The stereoscope was first demonstrated in 1838 by Charles Wheatstone, inventor and Professor of Experimental Philosophy at King's College, which is now the home of his remarkable archive.

Join two of the world’s leading authorities on this early form of virtual reality, Brian May and Denis Pellerin, on the publication of their major new book, Stereoscopy: the Dawn of 3-D.

Stereoscopy: The Dawn of 3-D. Brian May and Denis Pellerin
Wednesday, 10 November 2021, 19:30 - 20:45
British Library, online, book here. 

The auction catalogue for the sale of 251 lots of books, watercolours and photographic equipment from the estate of Eric Hosking is now available on the Tennants website. 

Eric Hosking OBE Hon. FRPS FBIPP (1909-1991) is a name which will require little introduction for ornithology enthusiasts. The first professional bird photographer, he photographed over 1,800 species, and his pictures have appeared in some 1,000 books, including the popular New Naturalist series, of which he was photographic editor. To complement his library, Eric Hosking also built a fine collection of pictures by leading 20th century wildlife artists including Archibald Thorburn, Keith Shackleton and C. F. Tunnicliffe. The sale of his photographic equipment provides an unmissable opportunity to own a remarkable array of high-quality cameras, lenses and other apparatus by manufacturers including Contarex, Hasselblad and Zeiss.

Books, Maps & Manuscripts including The Library, Cameras and Picture Collection of Eric Hosking
24 November 2021 10:30 GMT
The Auction Centre, Leyburn
See: https://auctions.tennants.co.uk/auction/details/bk180-books-maps--manuscripts-including-the-library-cameras-and-picture-collection-of-eric-hosking/?au=13900

The Photographic Collections Network has announced a series of events relevant to collections and archives of photography. These range from copyright to environmental sustainability. Details are below.  The PCN is working on a collaborative research project with The Photography and the Archive Research Centre at LCC, exploring what a new Directory of Photographic Collections could look like, how it would function and what it could provide. If you can spare a few minutes to be part of this research click this link https://fulcrm.link/2/15504/2712/95rr6ff0908l24r2cr621f2m708m4936 to answer a few short questions and help us shape a future directory.

Save the Date: Copyright,IP and archive photos Wednesday 1st December, 2-3pm GMT: online
We will be having an online talk led by the Intellectual Property Office on copyright and IP. If you have questions you can put them forward before the event by clicking this link leading to an online form. https://fulcrm.link/2/15505/2712/190849ru201m8408ulm8fmm9225680u8

Photo Histories PCN & Redeye collaboration: FREE Online events:
Redeye's Photo Histories is a new strand of events that looks at some of the many histories that photography can uncover. The strand features photographers, archivists, scholars and historians exploring some of the lesser-known and under-represented histories of photography.

Format Collective, 27 Oct 7-8:30 pm BST
Maggie Murray, founder of Format Collective. Established in 1983, Format was the first and only women's agency in Britain. If you’ve read the excellent recent book, Photography of Protest and Community by Noni Stacey, you might wonder how the radical collectives of the 1970s transitioned into the progressive photography of today. This talk sheds light on that era. Format Collective tended to focus on events and individuals who weren't being represented in mainstream media. From LGBTQ+ marches to The Miners' Strike to women's rights movements, these women photographed a range of important political events and social movements. 

In this talk Maggie Murray will take us through how and why Format was set up as a collective and agency for women photographers. As well as what it was like being a photographer, and especially a female photojournalist in the 1980s and 90s. Maggie will give us an insight into how the members juggled different aspects of their core aims such as creative, commercial and political. She takes us through the struggles they faced, how they overcame them with support, and how they developed, both collectively and individually. And finally, what led to the closure of the agency in 2003. 
https://fulcrm.link/2/15506/2712/1706r714c4m778rm46541005ur120516

Material Histories Online, 2 Nov 7-8:30pm GMT
The study of photographic history has often depended on interacting physically with materials - we learn a lot about prints, negatives, plates and equipment from handling them. But now much more of our life is online, and that’s likely to continue. So how do we adapt this subject to the restrictions of online learning - and what are the possible benefits and new opportunities of learning in the digital world?

We are delighted to welcome Professor Kelley Wilder to guide us through this renewed learning space. 

In this talk Kelley introduces some photographic materials and explores how we can interact with them in a meaningful way. She will invite us to consider how the digital world is changing what we learn about materials, and how we learn it. You are then welcome to take part in an open discussion, where she creates talking points, demonstrates a few things, and sets out some ambitions for a new world of learning. Come along and join in as much as you like; if you would like to sit back and listen, that is fine too!
https://fulcrm.link/2/15507/2712/f54r328cl89cu01mfu350m0u3855f2mu

Engage Gallery Education: 
Applying conversations on class and inequality in collections
28 Oct 10-11:30am £40 for non members

Workshop: Jon Sleigh will reflect on a recent project with the National Gallery on class, and its application in three physical tours at the gallery. Key questions and sharing will look at the value of applying contemporary lived experience to historical work. This workshop’s particular focus is around ideas of class and economic inequality. The workshop will also consider how the educator might orient themselves within such readings, in ways that support the educator’s own safeguarding. We’ll look at language, establishing ethics of content with audiences, and reading the pieces not as a form of division – but as a positive and usable tool that brings others together.

This session features artworks from the Government Art Collection. As well as contributions from the GAC’s Curator of Public Engagement, Chantal Condron, we will be applying art readings on class, to artworks, as practical examples. While each artwork holds significance as being part of a national collection, they also offer the potential of being incredibly emotive works with which to explore our arts practice.
https://fulcrm.link/2/15508/2712/9279lf5rcr3r723m17cc2llu0030488l

The National Archives: Archives supporting environmental sustainability 
8 and 10 November | Online  
Join TNA for an opportunity to be part of the sustainability conversation and reflect on climate change as COP26 – the world's most important climate change conference – takes place this November in Glasgow. Come hear about the past, present and future of environmental sustainability in the archives sector, share your ideas for change and take away tools to create a positive impact in your organisation. This event will take place over two mornings (Monday 8 November and Wednesday 10 November) and we encourage participation on both days. 
https://fulcrm.link/2/15510/2712/36l9967788922920ul6u9fc0l3fu343l

In this special event, which accompanies the exhibition Line and Texture: the photography of Nancy Sheung, currently on show at St Hugh’s College as part of the Photo Oxford Festival, and featured in The Guardian, an expert panel will consider the work of pioneering Hong Kong photographer Nancy Sheung FRPS within the broader contexts of Chinese and Western photography.

The event will open with a drinks reception at 5.30pm, followed by the panel discussion between 6pm and 7.30pm.

The panel will be chaired by Shelagh Vainker (St Hugh’s College), Curator of Chinese Art at the Ashmolean Museum, and Associate Professor of Chinese Art in the Faculty of Oriental Studies. The panellists are:

• Tiffany Wai-Ying Beres, granddaughter of Nancy Sheung, who will discuss aspects of the artist’s life.
• Adrian Bradshaw, photojournalist specialising in the photography of China, who will contextualise Nancy Sheung’s photography within that of China and Hong Kong from the late 1950s.
• Michael Pritchard, exhibition curator, Director of Programmes at the Royal Photographic Society, and photo-historian, who will discuss the artist’s work within that of the RPS from the 1950s-1970s.

The event will be held in person in the Mordan Hall at St Hugh’s College, Oxford, and recorded.

Book here: https://www.st-hughs.ox.ac.uk/events/the-photography-of-nancy-sheung-a-panel-discussion/

Image: Nancy Sheung, The Pigtail, 1966, silver gelatin print. Courtesy: Estate of Nancy Sheung

The National galleries Scotland will be showing a specially recorded conversation between internationally acclaimed photographer Thomas Joshua Cooper and Chief Curator of Photography, Anne Lyden. They will discuss the making and ideas behind his extraordinary photographs made at the most extreme points and locations surrounding the Atlantic Ocean. The conversation will be followed by a live Q&A.

The talk supports the exhibition: Thomas Joshua Cooper | The World's Edge which runs until 23 January 2022. 

https://www.nationalgalleries.org/event/worlds-edge-thomas-joshua-cooper-conversation

The National Archives at Kew has announced the release of the 1922 Census for England and Wales on 6 January 2022. Preparing the 1921 Census for online publication is the largest project ever completed by The National Archives and Findmypast, consisting of more than 30,000 bound volumes of original documents, stored on 1.6 linear kilometres of shelving. The 1921 census is of particular value as it will be the last census release for England and Wales for 30 years, with the 1931 Census lost in a fire and the 1941 Census never taken.

The census will be released online by Findmypast and will be charged at £2.50 for every record transcript and £3.50 for every original record image. . There is already disquiet at the cost from researchers for what are public records. which is justified as covering the cost of digitising and transcribing the 18,235,242 images created from the records. It is expected that they will be free to consult at the National Archives in Kew. 

See:

https://www.nationalarchives.gov.uk/about/news/1921-census-online-publication-date-announced/

https://www.findmypast.co.uk/1921-census

The National Science and Media Museum, Bradford new Sound and Vision galleries development is underway .A tender has been issued for to the value of £430,000 by the Science Museum Group for a team to develop the gallery designs for Sound and Vision. The design team must include the lead spatial designer, graphic designer and lighting designer, structural, acoustic and Mechanical Engineering design specialists. The work will include architectural base build and exhibition design. This lead consultant will be responsible for co-ordinating all disciplines involved in the design.

Separately, the museum is recruit a part-time Project Coordinator to support the project. 

The museum recently secured a National Heritage Lottery Fund first pass grant of £318,963 for the development phase of the project. 

The ‘galleries will include collections of photography, radio, film, TV, sound and digital technologies, and has been created in consultation with local communities. Jo Quinton-Tulloch, Director of the National Science and Media Museum, said its aim was to “realise the Science Museum Group’s mission of making STEM education open for all”. She added, “[they] will explore the relevance and impact of image and audio technology throughout history, connecting the museum’s collections not only to this global communications age, but also directly to our home city.”

For the tender: https://www.theconstructionindex.co.uk/tenders/view/1236

For the role see: https://bit.ly/3mp5lCr