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Richard Ovenden, Bodley's librarian, has reported the gift of the earliest image of the Radcliffe Observatory, now ⁦Green Templeton College, to the photography collections at the Bodleian Library. The image is a paper negative by William Henry Fox Talbot, from 1842.

The negative is shown in The William Henry Fox Talbot catalogue raisonné as Schaaf 2675, date inscribed in pencil, in Talbot's hand, verso, 29 July/42 [29 July 1842]. See: https://talbot.bodleian.ox.ac.uk/search/catalog/artifact-5183

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The main call for papers has now closed with seventy proposals received. As this is a global event for International Womens Day 2025 the organisers are still open for proposals from scholars or academics from under-represented areas of Asia, both East and South, and Africa, or papers dealing with photography, by or of women, from those areas. 

Use the link on the original call: 

https://britishphotohistory.ning.com/profiles/blogs/cfp-women-in-photography-celebrating-international-women-s-day-20

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13016252685?profile=RESIZE_180x180Visit the Library for a spooktacular collection encounter featuring spirits, ghosts, auras and ectoplasm. Seeing is believing…. Join Tony Richards and Jamie Robinson from the library's imaging team to discuss the late Victorian craze of spirit and supernatural photography including books and photographic examples from our collections. Drop in to the Historic Reading Room for this free event.

This close up encounter may not be suitable for children, viewer discretion is advised.

Spirit and supernatural photography
With Tony Richards and Jamie Robinson
31 October 2024 from 1400-1600
Reading Room, John Rylands Library, Manchester
Free, drop in
https://events.manchester.ac.uk/event/event:zwt-m23alq0v-uv9dzy

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This lecture takes as a case study the Czechoslovak surrealist group, formed in 1934 and still active to this day in Prague, through the lens of its distinctive tradition of surrealist documentary photography as a tool to reflect and critique its geographic and historical contexts.

A long-time specialist in the history, theory and practices of the international surrealist movement, Krzysztof Fijałkowski is Professor of Visual Culture and senior lecturer on the BA Fine Art programme, Norwich University of the Arts.

Organised by Professor Gavin Parkinson (Professor in European Modernism, The Courtauld) as part of the 2024-25 Frank Davis Memorial Lecture Series, ‘A Century of Surrealism: Resistance and the Image Since the Manifesto of Surrealism’.

Surrealism / Surrealismus: Documentary photography and the conditions of Czechoslovak surrealism 1934-1959
Krzysztof Fijałkowski
Tuesday 15 October 2024, 17:30 - 19:00
London: The Courtauld, Vernon Square Campus, Lecture Theatre 2
Free but booking required - book here

Image: Jindřich Štyrský, untitled, 1930s. Museum of Decorative Arts, Prague.

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12998917483?profile=RESIZE_180x180The Centre for British Photography is seeking a Director of Development and Strategy. Established in 2020, the Centre (UK registered charity no. 1190955) presents an expansive overview of the diversity of photographic practices in Britain from a range of voices past and present. Its mission is to support all kinds of photographic practices in Britain and to provide platforms for these contributions that are educational, inclusive and inspiring for the benefit of all audiences. It has a particular focus on supporting the practices of women and emerging artists working in photography. It accomplishes these aims through community engagement, mentoring, grants, educational resources, exhibitions and events.

We are looking for a dynamic Director of Development and Strategy who will be critical to the delivery of Centre for British Photography’s mission and vision. The Director of Development and Strategy will work closely with the Founding Director and other Trustees in all aspects of strategic planning, with the specific responsibility of advancing the charity’s mission and fundraising for CBP’s permanent home.

The successful candidate will be an effective face-to-face fundraiser with extensive experience in securing high value donations and managing the full lifecycle of significant donor relationships across corporate, foundation, private and public sectors. You will have up-to-date knowledge of best fundraising and regulatory practices. As an advocate, you will be committed to the charity’s mission, vision and values; interested in and passionate about shaping the future of a young charity; and play a pivotal role in the development and execution of its fundraising strategy. Experience with CRMs a plus.

At present, the charity does not have a physical space; initially this role is a hybrid one where the successful candidate will WFH and attend meetings and events in Greater London area. The role’s emphasis is to build the charity and secure the funding for a permanent space.

Director of Development and Strategy
Full-time (35 hours/week), Permanent role
Hybrid ways of working as the role allows
£34,000 - £40,000 per annum, dependent on experience
Application deadline: 12pm (midday) on Friday 1 November 2024
Details: https://britishphotography.org/news/161-we-re-hiring-director-of-development-and-strategy/

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Identify and Care for Your Photographic Collections, is a hands-on workshop designed to assist community archivists and enthusiasts in learning how to identify, care for, and preserve photographic materials. Hosted at Cupar Library, the workshop features experts from the University of St Andrews, including Laura Brown, the Curator of Photography, and Erica Kotze, an accredited conservator with over 20 years of experience.

Participants will gain practical knowledge on recognizing various photographic techniques, from historical to modern-day prints, and learn essential skills in handling, storing, and exhibiting photographic collections.

Morning Session:
Led by Laura Brown, participants will learn how to:
Identify different photographic techniques, ranging from early Daguerreotypes to modern colour gelatine prints, as well as negatives on both glass and plastic film.
Examine and handle photographs using practical tools like microscopes and torches.
Engage in a hands-on approach to identifying materials in photographic collections.

Afternoon Session:
Erica Kotze will cover:
Care and storage methods for photographic collections.
Basic conservation techniques.
Considerations for exhibiting photographs, including best practices for display.

What You Will Gain

  • A foundational understanding of different photographic materials and how to handle them.
  • Practical tips on how to store and preserve photographs safely.
  • Insights into exhibiting and sharing photographic collections with the public.
  • A certificate of achievement supported by SCA, CAHG, ARA & ICON.

The workshop is an excellent opportunity for those with no prior experience, especially for volunteers or groups working in community archives. If the workshop reaches capacity, it may be held again in early 2025.

Identify and Care for Your Photographic Collections
Wednesday, 30 October 2024

Cupar Library, Crossgate, Cupar, KY15 5AS

Details: https://www.eventbrite.co.uk/e/identify-and-care-for-your-photographic-collections-tickets-1021733551557

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This year's Home Movie Day is going to be extra special... London's participation in the worldwide Home Movie Day takes place on Sunday 20 October 2024 at The Cinema Museum, 2 Dugard Way (off Renfrew Road), London SE11 4TH UK.

Our archivists will be on hand to examine, evaluate and if ok, project your home movies on 9.5mm, Standard 8 and super 8mm. If you've home movies sitting in your attic or under your floorboards and you don't know what's on them, bring them along to London's Home Movie Day. Running from 10:30am until 4pm, this is a free, family friendly event and you don't even need a film to attend.

To tie in to this year's BFI London Film Festival Gala film, Steve McQueen's Blitz at 1pm, we'll be showing a very special home movie kindly lent from our friends at the Imperial War Museum London. Shot in 1941, Rosie Newman's film catalogues the devastation wrought on London's streets during the Blitz in April of that year. To bring some light and glamour to the day, we'll also be showing some exclusive home movies from the archive of ranconteur, actor, playwright and film director Noël Coward This specially curated programme will be accompanied by film composer and pianist, Neil Brand.

The day will be an astonishing love letter to all things #homemovies #films #london #family #cinema Plus, there'll be tea and homemade cakes! What's not to like?!

Please contact Louise Pankhurst at londonshomemovieday@gmail.com for further details. 

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12993248489?profile=RESIZE_400xThis new book was the subject of a call for papers last year. It features twenty chapters discussing different aspects of Edith Tudor Hart's life, photography and her impact, plus a timeline and selection of her photographs. It includes essays from Zelda Cheatle, Tania Cleaves, Mike Crawford, Rachel Dickson, James Hyman, Sian Mcfarlane, Drew Milne, Merilyn Moos, Elizabeth Otto, Stefanie Pirker, Beate Pittnauer, Larry Ray, Rachel Rosin, Daria Santini, Lou Taylor, Emery Walshe, Julia Winckler, Jenny Wilson, and Shirley Read. 

Poverty for Sale. Edith Tudor Hart in Britain
Edited by Shirley Read
Museumsetc, 2024
ISBN 0-978-1-912528-45-5
290 pages, paper covers
https://museumsetc.com/

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Preserved in Print is an exhibition of photography by E Chambré and Margaret Hardman, both of whom were accomplished photographers in their own right, alongside artefects from the Hardman studio. The studio premises is now preserved by the National Trust with the the negatives and photographs housed by Liverpool Record Office. There is an active programme of cataloguing, conservation and digitisation taking place.

The exhibition has been extended until 19 October 2024.

In addition Amy Carney, Cultural Heritage Curator for the National Trust, and archivist Lindsey Sutton spoke about the E Chambré Hardman studio, the collection and conservation at a recent talk which can be viewed here

The exhibition has been produced alongside the the launch of the Trust's 100 Photographs book which featured Hardman's photography. 

Preserved in Print - The photography of Chambré and Margaret Hardman
Liverpool Central Library
extended to 19 October 2024
https://liverpool.gov.uk/libraries/explore-central-library/central-library/

Photograph courtesy of Jonathan Wallis, and thanks for bringing it to BPH's attention. 

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Belfast Exposed, in collaboration with the Centre for British Photography, will unveil two shows this month featuring artists Jo Spence and Arpita Shah. Jo Spence: A Woman's Place?, an exhibition spotlighting the ground-breaking phototherapy work of the celebrated British photographer and feminist Jo Spence (1934–1992), provides an intimate and powerful look at Spence’s exploration of the roles and experiences of women within society.

Jo Spence was not just a photographer but a cultural critic and activist who used her medium as a tool for emotional and political self-exploration. A central aspect of this exhibition focuses on Spence’s practice of phototherapy, developed primarily with collaborator Rosy Martin. Spence’s phototherapeutic sessions combined photography with therapeutic practices, allowing her to confront the deeply personal and often painful aspects of her life in a social context that sought to marginalise and silence women’s experiences. The exhibition shines a light on Spence’s engagement with the complexities of womanhood, class, sexuality, and health, addressing themes often left unspoken.

Spence's work in A Woman's Place? showcases her lifelong exploration of the idea that the personal is political. It gives viewers a rare opportunity to engage with her deeply introspective yet socially critical perspectives. Her ability to draw attention to private moments - such as grappling with the shame of illness, body image, motherhood and sexuality - resonates profoundly today as we continue to question the roles women are expected to play in both the private and public spheres.

12993203893?profile=RESIZE_400xModern Muse by acclaimed photographic artist Arpita Shah is a compelling exhibition that Belfast Exposed is delighted to bring to Ireland for the first time in collaboration with the Centre for British Photography. Originally commissioned by GRAIN projects, this ongoing series of portraits explores the evolving identities and visual representation of young British-Asian women. At the heart of Modern Muse is Shah’s desire to address and challenge notions of the 'muse' in art. By replacing the Mughal emperors of classical South Asian painting with modern British-Asian women, Shah subverts those historical representations and celebrates the strength, diversity, and individuality of each woman depicted in her series.

Deirdre Robb, CEO of Belfast Exposed, said: “At a time when femicide and racism dominate our headlines, we want to use our gallery to showcase this powerful work, which highlights the inequalities in our society. Jo Spence used photography as a form of therapy, a practice that we also use within Belfast Exposed to help communities with their mental health. Her messages about women’s roles have never been more important. Arpita Shah’s ‘Modern Muse’ looks at British-Asian identity and, in light of the recent racially motivated attacks across Northern Ireland, we think this show has a vital message to convey. We want visitors to Belfast Exposed to take time to reflect on ideas and preconceptions they have around ‘A Woman’s Place?’ in society.

James Hyman, Founding Director, Centre for British Photography, said: “We are delighted to have collaborated with Belfast Exposed to bring these two important exhibitions to Belfast. These complimentary exhibitions bring to attention significant personal and political issues and are part of our mission to support the most powerful and challenging photographers past and present.

José Neves, Curator of Photography, Belfast Exposed, said: “Curating these two exhibitions has been an enriching journey, allowing me to explore the intersections of identity, memory, and healing through the perspective of two distinct yet very powerful artistic voices. At the core of Spence and Shah’s work is the capacity for photography to be a transformative tool for self-exploration and cultural reflection. I am certain that the personal and collective histories on display will resonate with audiences in a profound way.

Jo Spence: A Woman’s Place? | Arpita Shah: Modern Muse
Belfast Exposed, in Collaboration with the Centre for British Photography
17 October – 21 December 2024

For more information, visit www.belfastexposed.org

Main image: © Jo Spence / CBP. Below: © Arpita Shah. 

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Shining Lights is the first critical anthology to bring together the ground-breaking work of Black women photographers active in the UK during the 1980s and 1990s, providing a richly illustrated overview of a significant and overlooked chapter of photographic history. Seen through the lens of Britain’s socio-political and cultural contexts, the publication draws on both lived experience and historical investigation to explore the communities, experiments, collaborations, and complexities that defined the decades.
 
This symposium, hosted by Shining Lights editor and artist Joy Gregory, provides an opportunity to further examine and debate the issues raised in the book, through the voices of the publication’s contributors and leading intergenerational thinkers.

Confirmed speakers include: Christine Checinska, Poulomi Desai,  Bernardine Evaristo, Lola Flash, Mumtaz Karimjee (virtually), Roshi Naidoo, Symrath Patti, Eileen Perrier, Lola Olufemi.’

Full program to be announced. The event will be live streamed.

The publication is co-published by MACK & Autograph ABP. With thanks to Joy Gregory Studio.
 
Produced in partnership with the V&A Parasol Foundation Women in Photography Program, Fast Forward: Women in Photography at University for the Creative Arts and the Paul Mellon Centre for Studies in British Art
 
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12962852268?profile=RESIZE_400xBradford's National Science and Media Museum has unveiled its plans for a phased reopening and revealed renders of some of its new spaces. The museum has been closed since June 2023.  First to open in January 2025 will be reconfigured foyer (shown above) with a new visitor welcome desk, seating and redesigned shop. A new lift - which was part of the cause of the extended delay in reopening - which will provide access to all floors.

The museum has stated an ambition to attract 500,000 visitors in 2025 and to bring 500 objects from the permanent collection, many of which have not been seen before, to be on display.

As part of the Bradford 2025 city of culture programme the artist collective Marshmallow Laster Feast is creating a new immersive installation for the museum's temporary exhibition galleries, laumnching in April 2025. Inspired by Born in Bradford, a major research programme that has been tracking the lives of more than 40,000 people across the district since 2007, the installation will take visitors on a multimedia ride through time and space, exploring who we are and what makes us human.

The new Sound and Vision galleries (shown right and below) will launch in summer 2025 and will celebrate all aspects of the museum's permanent collection including photography, film, audio, animation and gaming.

On reopening visitors will see the return of the interactive Wonderlab gallery, along with the IMAX – the biggest screen in West Yorkshire. its 2025 programme will also see the return of the museum’s annual Yorkshire Games Festival, the Widescreen Weekend film festival, and the Bradford Science Festival. 

12962852674?profile=RESIZE_400xCommenting on the plans for reopening, Director Jo Quinton-Tulloch said: “We’re looking forward to welcoming visitors back into the museum in January just as Bradford takes on the role of City of Culture. With an enhanced public programme, newly revamped spaces and improved accessibility including a new passenger lift, we’re ready to welcome many more visitors in 2025 and beyond. It’s going to be a momentous year for the district, and we’ve planned a fantastic lineup of exhibitions, festivals, and events including a new immersive exhibition in partnership with Bradford 2025; a supercharged Bradford Science Festival and the opening of our new Sound and Vision galleries in the summer.”

See: https://www.scienceandmediamuseum.org.uk/

and https://www.bbc.co.uk/sounds/play/p0jsnfdh

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12960143075?profile=RESIZE_400xLydia Heeley has been appointed the Bern and Ronny Schwartz Curator of Photography at the Bodleian Libraries, Oxford, and will start in post on 2 October 2024. She replaces the inaugural curator Phillip Roberts who was appointed in 2022 and left earlier this year. The post was advertised in May. 

Lydia brings curatorial experience from her most recent post as Assistant Curator, Photography, at the museums of St Andrews University a role she has held since December 2022. Prior to this she was Digitisation Officer responsible for 3D and 2D digitisation at the museum, and has been at the university in various part-time and voluntary roles, including work on the James Valentine collection and on the St Andrews Photography Festival.

Her MPhil thesis which was undertaken at St Andrews, supervised by Luke Gartlan was titled Scottish documentary photography and the archive: George M. Cowie, Franki Raffles and Document Scotland in the University of St Andrews Photographic Collection. The first major retrospective of Raffles' work was shown at the Baltic Centre for Contemporary Art and remains on view until 16 March 2025. Lydia blogged about her work on the exhibition. 

The curatorial post at the Bodleian was first announced in 2021 with the objective of caring for, and developing, the libraries' growing photography collections. It was realised through a 'transformational' gift of £2 million from The Bern Schwartz Family Foundation. The endowment accompanies the Foundation's donation of the archive of renowned American portrait photographer and businessman, Bern Schwartz, and the Bodleian will be delivering an exhibition of Schwart's photography.

The Bodleian houses a significant and growing collection of photography. It has major holdings of significant photographers such as William Henry Fox Talbot, Julia Margaret Cameron, Helen Muspratt, Bern Schwartz, Daniel Meadows, and Paddy Summerfield; photobooks from the Sir Charles Chadwyck-Healey Collection; prints gifted by James and Claire Hyman; albums from the Michael and Jane Wilson Collection of Nineteenth Century Photographs; as well as huge volumes of photography present in the Libraries' wider archive and print collections, for example the extensive photographic component within the archive of Oxfam GB. The study of and research into photography is increasing in prominence at the University of Oxford, and the post will be key to bringing together different strands of the University for research collaborations with various faculties, museums within the University, other organisations in the city, and with the History of Art department under the leadership of Professor Geoffrey Batchen, whose work focuses on the history of photography.

See Lydia's Linkedin profile here
The Baltic's Franki Raffles exhibition details are here

Portrait image: Lydia Heeley / Linkedin. 

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Yolande, wife of Lucien Clergue, dies at 95

Yolande Clergue passed away on 18 September at the age of 95. Alongside photographer Lucien Clergue, her husband of fifty years, she helped establish the Arles Festival in the 1970s when I took this photo of her with Lee Miller and Roland Penrose. 
 
But it was in 1983 that she alone created the wonderful foundation dedicated to the painter Vincent Van Gogh.
 
 
Photograph: © Paul Hill
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Photo-Secession: Painterly Masterworks of Turn-of-the-Century Photography celebrates an intrepid group of photographers, led by preeminent photographer Alfred Stieglitz, who fought to establish photography as fine art, coequal with painting and sculpture at the turn of the 20th century. The Photo-Secession movement took cues from European modernists–who seceded from centuries-old academic traditions–to demonstrate photographic pictures' aesthetic, creative, and skillful value as art. An homage to Stieglitz, Photo-Secession includes some of the very images that established the appreciation of photography's artistic merits.

The UMFA will present this exhibition concurrently with Blue Grass, Green Skies: American Impressionism and Realism from the Los Angeles County Museum of Art to draw attention to the cyclical dialogue between painting and photography in the late 19th and early 20th centuries. During this period, photographers manipulated their images at various stages of production to imitate painterly effects, while painters worked and reworked their oils to imitate the immediacy of photography, demonstrating a remarkable reciprocity between these two art forms.

Collection of Michael Mattis and Judith Hochberg / Exhibition organized by art2art Circulating Exhibitions.

Photo-Secession: Painterly Masterworks of Turn-of-the-Century Photography
29 December, 2024
Utah Museum of Fine Arts

Details: https://umfa.utah.edu/photo-secession

Image: Gertrude KÄSEBIER (American, 1852–1934), The Picture Book, 1903, Platinum print on paper

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Side Gallery / Amber Collective update

12958096062?profile=RESIZE_400xSide Gallery has released an update and a goodbye letter from its partners as the founders step down and the Gallery develops a sustainable governance model, and delivers on its National Lottery Heritage Fundxed programme. The update notes: 

Many of you might not know our history as an organisation. The Amber Collective  was formed in 1968 by a group of film and photography students who met while studying in London and opted to set up a working base in Newcastle. The original collective purchased the buildings in 1974 and in 1977 they opened the Side Gallery & cinema space you still know and love today. The Amber Film & Photography Collective CIC have rented the building from the 5 remaining collective members, officially the Amber Partnership, since the early 2000s, but it’s time for a new chapter for our founders and building’s caretakers. The building is officially for sale but will still be the home of Side Gallery. 

The letter sets out some important history of the organisation and relationship between the collective, the Amber Partnership and AmberSide Collective Trust and the new CIC: 

Amber Films was formed in 1968 by a group of film and photography students who met while
studying in London and opted to set up a working base in Newcastle. From 1971, the fledgling
organisation rented premises on Side, close to Newcastle Quayside. In 1974, the choice had to be
made between quitting the rented premises or buying the entire buildings. The group decided to
attempt the latter, negotiating a commercial loan which necessitated the creation of a formal legal
structure. Additional funds were raised via loans from family and friends, all of which were
subsequently repaid over the following ten years. Thus the Amber Partnership was born.


Although documentation of working-class experience was not fashionable in the 1960s and 70s, we
were determined to do this using a range of documentary media – primarily film and photography.
Since independent film groups and photographic galleries barely existed outside of London at the
time, our aims were quite ambitious. Public funding was extremely limited, so our projects had to
be financed by various means, such as through small production grants, crewing for TV, working in
education and via our first ‘commercial’ venture, Lambton Visual Aids. Our wages were based
around equal shares of what was left after the repayment of loans, building upkeep and funding of
projects.


A major step change came in the late 1970s and early 1980s. First, grants from the Arts Council and
the British Film Institute facilitated building conversions to create the Side Gallery and Cinema,
which were completed around 1978. Second, in 1984 the Channel Four/ACTT Workshop
Declaration established longer-term funding for major film projects. The Workshop Declaration
enshrined Amber’s own principles of non-profit distribution and an egalitarian wage structure.
The next 20 years would see an expansion of film and photography production. New photographers,
gallerists and film-makers joined the organisation, some opting to remain as employees, and three
joining the partnership. This brought responsibilities as well as rights. Partners were expected to
contribute a third of their wages towards the upkeep and development of the buildings. This was
supplemented by rents from other parts of the buildings. This reserve also provided the flexibility
needed in times of financial difficulty, for example when the Gallery lost its core funding.


With partners approaching retirement age in the early 2000s, thoughts turned to preserving the
Amber legacy. In order to ensure that all the work, both self-funded and publicly funded, was
retained in the public realm, we established The AmberSide Collection Trust to manage and
maintain the archive of photography and film work. A new Amber structure, a Community Interest
Company was established. All of the tools of Amber’s film and photography production were
donated by the partnership, as well as the right to use our work from the archive.


Thus, we the 5 remaining partners are left only with the buildings we originally bought in 1974. A
long-term lease for the new Amber CIC is in place. So now it is time for us to fully retire from the
caretaking responsibilities and sell the buildings. The premises have been an amazing resource over
the years and it is good to know that they will continue to facilitate important creative work. It is
time for a new generation to take up the challenge. We wish the CIC all the best on its forward
journey.


Finally, we want to say a big thank you to all those communities and organisations with which we
have worked over more than 50 years. Your voices have meant everything to us, and we are
confident that they will continue to be heard through the work of Amber/Side.


Richard Grassick, Ellin Hare, Sirkka-Liisa Konttinen, Pat McCarthy, Peter Roberts

Read the full letter here: https://www.amber-online.com/a-fond-farewell/?mc_cid=7786c25151&mc_eid=b48467438a

https://www.amber-online.com/

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12958090864?profile=RESIZE_400xEveryone who wishes to learn, explore and enjoy photography, is welcome to visit and browse our photography library.

Since the establishment of Stills in 1977, the organisation has accumulated over two thousand books on photography. This has largely been through artist donations, as well as donations from gallery visitors, production facilities users and other members of the Stills’ community. Many of these are now rare, out of print or hard to find in shops or in other libraries.

We have one of the largest publicly accessible collections of books on photography in Scotland and we offer:

  • Open, accessible and welcoming access to publications for everyone 
  • A unique heritage resource of photographies in Scotland and international photographies, from 1840s to the present day
  • A safe space in which to access information, to learn about and look at photography
  • Welcoming and knowledgeable staff who will help you use the library based on your interests
  • Exhibition catalogues and information on previous Stills exhibitions since 1977

In 2024, we began the Stills Open Access Library Project. Through this project, we aim to significantly build on the accessibility of our library in a variety of different ways, including the creation of a lending library service and the digitization of exhibition catalogues from Stills exhibitions since 1977, which you can view here.

You can now borrow a wide range of monographs, anthologies, practical photography books, exhibition catalogues and critical writing on photography. Books can be borrowed for a period of two weeks with a possibility for renewal. You can borrow up to 6 books at once.

Want to start using the lending library?

Before borrowing books, library registration is required at a one-off cost of £15. We do not have any additional membership fees.  Please note that you must be 18 years or above to borrow books. To book a time for your library registration, email library@stills.org 

We continue to welcome donations for our library. If you have any donations, please email library@stills.org 

The Stills Open Access Library Project is supported by the Scottish Library and Information Council (SLIC)’s Innovation and Development Fund.

Browse the library catalogue here: https://www.libib.com/u/stillslibrary?mc_cid=72f5cd938c&mc_eid=271af15832

https://stills.org/

 

 

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The Centre for Arts, Memory and Communities at Coventry University extends an invitation for expressions of interest from candidates wishing to apply for a funded PhD studentship supported by the AHRC Midlands 4 Cities (M4C) consortium. These prestigious, competitive studentships offer a fee waiver and a maintenance grant for 3.5 years (full time) or 7 years (part time), as well as access to unparalleled training, additional funding, and networking. The Centre is particularly interested in potential candidates wishing to study photography history and cultural memory (from 1839 onwards), for example in remediation through film, television, and popular culture

Our aim is to work with a small number of applicants to help them prepare to submit an application to the M4C for a January 2025 deadline. There are therefore no guarantees, but successful applicants would start PhD study in September 2025.

We welcome expressions of interest in any of the fields represented by CAMC:

  • Cultural Memory: Research within the cultural memory strand is concerned with the importance and meanings of sites, monuments, museums, art-works, objects, images and texts in shaping histories and identities of memory and belonging across cultures, with a core focus on transnational memory contexts.    
  • Wellbeing and the Arts: This strand draws together researchers from various disciplines (including art, design, photography, literature and history) who are interested in the contribution creative subjects can make to the understanding and promotion of health, wellbeing and inclusion.  
  • Critical Practices: The Critical Practices strand brings together practitioner-researchers in the fields of visual arts, the curatorial, and performance arts interested in working across disciplines and exploring innovative and speculative interdisciplinary enquiries that address and intervene in the world around us.  

Eligibility:

  • Open to UK and International applicants
  • Applicants must hold a Masters qualification (or be nearing completion), or relevant professional experience

We advise that candidates check carefully the detailed guidance to ensure they are eligible:

  • M4C Guidance is available here
  • Coventry University eligibility criteria are available here

All expressions of interest should be addressed to m4c.icc@coventry.ac.uk, with the subject line ‘CAMC EoI’. In your email, please include:

  • A summary of your academic background and CV;
  • A summary of your research interests and proposed PhD project, including:
    • Your research questions and a brief explanation of their importance and significance;
    • A brief summary of the relevant literature that has informed your proposed project;
    • The methodology you might use, and why.
  • An indication of potential supervisor(s). A list of academic specialists in the Centre for Arts, Memory and Communities can be found here.

Deadline for Expressions of Interest: Monday 30 September 2024
Deadline for Submission of Applications: 10 January 2025

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Studies in Photography Gallery in Edinburgh is delighted to announce In Search of the Blue Flower, a brand new exhibition and publication by renowned cyanotype artist Alexander Hamilton. In Search of the Blue Flower is set to coincide with World Cyanotype Day 2024 on September 28th, when a special launch event will take place at Studies in Photography Gallery, 6 William Street, Edinburgh, between 2pm and 7pm.

In Search of the Blue Flower: Alexander Hamilton and The Art of Cyanotype brings together almost half a century of Hamilton’s cyanotype based practice, which has seen the Edinburgh based artist explore the wonders of nature and the use of plants as symbols of male power through the cyanotype’s unique photographic properties. The book is the first extensive study of Hamilton’s practice, and features 140 colour and black and white images across 168 pages.

Over half a century, Alexander Hamilton’s extensive cyanotype work has included his critically-acclaimed Peace Rose series in the early 1990s, and his 4 Flowers series, exhibited at the Photographers Gallery in 1994. Moving into the twenty-first century, Hamilton explored complex social issues in The Great Divide (2002), a groundbreaking exhibition at Edinburgh’s Fruitmarket Gallery, which looked at the often-unseen effects of airborne pollution on plants.

Hamilton works only with plants, each flower creating a single, unique image through the direct contact process. The plant leaves a trace on the surface of the paper resulting in a cyanotype that cannot be replicated. Between 1989 and 1999, after twenty-five years of research, he perfected these beautiful cyanotypes using this early photographic process.

For Hamilton, the cyanotype process allows him to reveal the story of each plant under his observation. His cyanotypes are not print 'multiples'. As an artist, he is devoted to the practice of creating unique ‘unrepeatable’ images.

Since being discovered in 1842, by Sir John Herschel, the cyanotype is a process involving two chemicals – ammonium iron (lll) citrate and potassium ferricyanide – which, when combined with ultraviolet light, results in a beautiful Prussian Blue image. Images are made without a camera and use a direct contact process.

Early practitioners of the photographic arts, such as Anna Atkins, made images using plant and fabrics-based materials to create similar prints. A more modern-day equivalent would be the artist Man Ray with his ‘Rayograph’ prints.

Since 2015, World Cyanotype Day has been celebrated on the last Saturday in September, with artists and galleries across the globe taking part.

In Search of the Blue Flower: Alexander Hamilton and The Art of Cyanotype is a rich and valuable contribution from Scotland towards raising the profile of this neglected art form.

 

In Search of the Blue Flower runs at Studies in Photography Gallery is at 6 William Street, Edinburgh, EH3 7NH September 29th- October 20th, 2024. Tuesday – Saturday, 12 noon – 6pm.

A special opening event will take place on September 28th between 2pm and 7pm.

In Search of the Blue Flower: Alexander Hamilton and The Art of Cyanotype
Published by Studies in Photography April 2023 as part of Studies in Photography’s Scottish Photographic Artists Series.

It features 140 colour and black and white images across 168 265mm x 210mm pages.
Available in hardback £30, softback £20.
ISBN 978-1-8383822-6-1
www.studiesinphotography.com

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