Blogs

Peter Kennard is a London-based artist and activist, and Emeritus Professor of Political Art at the Royal College of Art. A new exhibition, Archive of Dissent, marks one of the most extensive displays of Peter Kennard’s work to date and has been specially conceived for Whitechapel Gallery. Taking over three galleries within the former Whitechapel Library space, the exhibition brings together work from across the artist’s prolific and influential five-decade career, offering an important repository of social and political history while illuminating an artistic practice that has continuously countered and protested the status quo.

Since the 1970s, Kennard has produced some of our most iconic and influential images of resistance and dissent. From the Vietnam War, Anti-Apartheid Movement, Campaign for Nuclear Disarmament (CND), and Stop the War Coalition campaigns in the 2000s, through to the present wars in Ukraine and Gaza and his ongoing commitment to environmental activism, Kennard has developed a unique visual practice that bridges art and politics for a broad range of audiences.

Reflecting the history of the spaces’ former library function, Kennard’s proposition for the exhibition takes the form of an active and constantly evolving archive, much of which will be presented as printed material displayed on walls, placards, in vitrines or on lecterns. These include the newspapers where his images were first published, as well as the posters and books through which they continue to circulate.    

The exhibition delves into the artist’s process of making, beginning with a selection of the distinctive photomontages he has been making since the 1970s. Inspired by the work of John Heartfield (1891–1968), who pioneered montage as a political tool in the 1930s, Kennard’s montages deconstruct familiar and ubiquitous images and re-imagines them through different formats and scales of publication. The works not only serve to expose the relationship between power, capital, war and the destruction of planet Earth but also ‘to show new possibilities emerging from the cracks and splinters of the old reality’. 

Archive of Dissent also includes two of Kennard’s most recent and ambitious installations Boardroom (2023) and Double Exposure (2023) which use light, glass and projection to deconstruct the medium of photomontage, as well as a new work, The People’s University of the East End (2024). Taking its title from the colloquial name for the former Library space, the work draws attention to its original purpose as a democratic local resource, while continuing to harness and evoke the iconography and forms of protest.  

Peter Kennard comments: “My art erupts from outrage at the fact that the search for financial profit rules every nook and cranny of our society. Profit masks poverty, racism, war, climate catastrophe and on and on…Archive of Dissent brings together fifty years of work that all attempt to express that anger by ripping through the mask by cutting, tearing, montaging and juxtaposing imagery that we are all bombarded with daily. It shows what lies behind the mask: the victims, the resistance, the human communality saying ‘no’ to corporate and state power. It rails at the waste of lives caused by the trillions spent on manufacturing weapons and the vast profits made by arms companies.”

Peter Kennard - Archive of Dissent
23 July - 24 November 2024
London: Whitechapel Gallery
https://www.whitechapelgallery.org/exhibitions/peter-kennard-archive-of-dissent/

Image: Peter Kennard, Thatcher Unmasked, 1986, Photomontage – Gelatin silver prints with ink on card. a/political collection. Courtesy the artist.​

Associate Professor Donna West Brett will give a lecture on the collection of photobooks donated to the Bodleian Library in 2020 by Sir Charles Chadwyck-Healey. Conveying meaning through photos alone, the photobook is a radical format that enabled the widespread dissemination of modernist aesthetics. This lecture will take a closer look at the way photobooks portray the ‘everyday’ – the familiar, the practical, the ordinary – and its intersection with the visual languages of politics and propaganda.

Donna West Brett is Associate Professor and Chair of Art History at The University of Sydney. She is author of Photography and Place: Seeing and Not Seeing Germany After 1945 (Routledge, 2016); co-editor with Natalya Lusty, Photography and Ontology: Unsettling Images (Routledge, 2019), and has published widely on photographic history. She is Research Leader for Photographic Cultures at Sydney, and Editorial Member for the Visual Culture and German Contexts Series, Bloomsbury. Brett is a recipient of the Australian Academy of the Humanities, Ernst and Rosemarie Keller Fund, and Sloan Fellow in Photography at the Bodleian Libraries for 2024.

Modernist Photobooks, Propaganda and the Everyday
In person, Tuesday, 27 February 2024, from 1300-1400 (UTC)
Weston Library, Oxford
Free or donation
Book here: https://visit.bodleian.ox.ac.uk/event/feb24/modernist-photobooks

Can anyone help me identify these anonymous (but eminently identifiable) albumen prints each approx 4-3/4 x 6-3/8 in? Tempting to read as Pre-Raphaelite, but surely not. Tableaux after Arthurian legend, presumably, but who are the participants, who is the maker, and what is the occasion?

The Jan/Feb 2024 issue of Stereo World carries new research by Rebecca Sharpe in to the Stamford photographer and stereographer Elizabeth Higgins (1828-1899). The research was prompted by the discovery of stereocards by Higgins dating from c1859.  

Rebecca Sharpe, 'The hidden depths of Elizabeth Higgins (1828-1899). Early Lincolnshire stereo photographer'
Stereo World, v.49, no. 4 (Jan-Feb) 2024, 12-19

There is also some information on Higgins here: https://www.stamfordsightsandsecretstours.com/virtual-tour-stamford-women/2020/11/28/elizabeth-higgins-photographer 

Image: Elizabeth Higgins, St Peter's Collis Almshouses, All Saint's Street, Stamford, c1859., one-half of a stereo pair.

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 text below is provided in response to a request from Roger Hyam for a fuller explanation of the “Reversal F” ( a Kodak term ) direct-positive emulsion technology used in Kodak PR10 instant Film and Ektaflex products which I referred to in the “Interesting Imaging Systems” article I posted on my page a week ago which came with a free download of my recollections document. 

I didn’t explain the mechanism of the Reversal F process in detail. The name is misleading because it is not a “reversal” system but uses a positive-working emulsion. I mentioned the discovery of the effect when inadvertently, the dark-room lights were switched on while a film was being developed. The emulsion concerned had high internal sensitivity. That is, much of the latent image silver was produced in the interior of the emulsion crystals or “grains”. In this case it was because the precipitation process which produced the grains created a lot of disorder in the structure of the crystal lattice. These defects form “sensitivity centres” or localised regions which trap electrons formed during exposure to the imaging light. This is the first step in the normal process of latent image formation and is followed by the migration of silver ions within the crystal to the trapped electron and the formation of an atom of silver. The presence of the silver atom increases the effectiveness of the sensitivity centre which retains subsequently trapped electrons for longer thus giving more time for a silver ion to add another atom on combination with the second and later trapped electrons. The process continues until the cluster of silver atoms reaches a number sufficient to render the crystal more susceptible to reduction during the development process. Usually, the crystal surfaces are treated with chemical sensitisers, typically sulphur or gold compounds or a combination of both. These usually produce more competitive sensitivity centres which result in most of the latent image being formed on the surface.

If this had been the case when the discovery was made, the film would have simply fogged. Because most of the latent image had been formed internally the situation was different. The dark-room lights provided a flood of released electrons into the conduction band of all the coated grains. In the grains exposed during imaging these mobile electrons were trapped by the latent image. In the now swollen wet emulsion layer the balance between the surface and interior of the grains was changed. Unexposed grains now had surface sensitivity sufficient to compete successfully for electrons and therefore formed latent image silver on the surface. This is probably because the “positive holes” ( bromine atoms ) formed when silver atoms are formed can escape from the crystal surface rather than be available to reverse the formation of silver atoms while still near the latent image.

In the absence of silver halide solvents or substances which can disrupt the crystal structure and reveal the internal image, the surface latent image is the only catalyst for the development process so the grains which had been exposed to image light and had been prevented from forming surface silver by the internal latent image during the second non-image exposure were not developed. The response of the emulsion was therefore positive.
When it came to producing positive-working emulsions for the instant film products decades had passed and the control over emulsion precipitation and chemical sensitising had been transformed. Frank Evans in Rochester produced beautiful, pure silver bromide emulsions like the example I included in my piece which I made when working on the Ektaflex project. These were made in two precipitation stages. Firstly an emulsion was produced to provide a core. This was then chemically sensitised with sulphur ( and gold I think ) after which an outer shell of silver bromide was added. Finally the surface was sensitised with sulphur.

The other major change was to replace light as the generator of the non-image-wise electron injector with a chemical source. Like the developing agent this, so-called “nucleating agent” ( a poor name in my view ) is a reducing agent but a little less subtle. The developing agent is gentle enough not to reduce grains not decorated with latent image, relying on the latent image’s catalytic action to speed up the process and so distinguish exposed from unexposed grains. The nucleating agent was on the other hand not so powerful that it reduced any silver halide available like a fogging agent in a reversal process. Also, in the case of Ektaflex, the same simple solution had to process both positive and negative versions so the nucleating agent had to be incorporated in the film structure.

You will probably now appreciate why I didn’t include this in my article!

Image: Silver Bromide 'reversal F' grains. 

This article describes a Birt Acres film recorded on the 9th of November 1896. It was commissioned for The Variety Theatres and was shot in the road as the parade passed The Tivoli Theatre. If any reader is aware of this films existence I would be grateful to receive a post or PM.

Hello All, I am having an exhibit of stereographs taken in Tenerife following in the footsteps of Charles Piazzi Smyth and his wife, Jessie.

This project is close to my heart because I have a few family connections in 1856 Puerto de la Cruz. It is up at the University of Alabama in Huntsville until 7 of March. Many of you are not near Alabama but I hope theres a chance for this to travel one day.

I am currently planning another trip this summer and continue to work on a timeline of the expedition.

Thanks to all who have helped along the way. Here's the exhibition text: 

A Photographer’s Experiment:
Rephotographing Charles Piazzi Smyth in Tenerife

On June 24, 1856, Charles Piazzi Smyth, Astronomer Royal of Scotland, set sail on the ship Titania. He traveled to the Canary Islands with a crew of sixteen men and equipment to view the skies above the clouds. Piazzi, as he was called, wanted to investigate what Newton had described as atmospheric interference. This trip would help prove that the skies were clearer at higher altitudes. It would be one of his biggest gifts to astronomy and why we now see observatories on high mountain tops.

 “Twenty-seven horses and mules, and as many men” helped with the ascent to Guajara (8,903 ft above sea level), the first of the two sites. The winds were so fierce that local guides and helpers from the Port of Orotava built stone walls to help protect their tents. Today, most of the barrier walls have been reconstructed, some keep a similar footprint to the originals.

The second site was called Alta Vista (10,702 above sea level). The winds and the blowing dust did not make Guajara the ideal location so they decided to camp on the slopes of the peak, Teide. This time lava flows on either side helped protect them from the elements. The local men again built walls, but this time the structure was covered with tarps except for a small courtyard that housed the Pattinson telescope. The views of the skies were a success.

Charles Piazzi Smyth was not only an astronomer, he was also a photographer. He chose to document his expedition with a stereo camera specially constructed for his trip. His stereographs from the island of Tenerife were published in Teneriffe, An Astronomer’s Experiment: or, Specialties of a Residence Above the Clouds, London, L. Reeve,1858. This was the first book to use stereoscopic photographs as illustrations. Revisiting this expedition and its photographs attempts to shed light on this story and my family’s history on Tenerife.

José A. Betancourt

January 2024

Photographer Ans Westra had a long and rich relationship with the Alexander Turnbull Library, depositing her significant collection of documentary photographs over many years. Following her death on 26 February 2023 Turnbull staff members Mark Strange (Senior Conservator Photographs) and Paul Diamond (Curator Māori) reflected on her legacy. You can read their blog on the National Library of New Zealand website and browse Ans' digitised work.

Many other tributes were paid to Ans' by the photographic community and the arts and culture sector, including this blog by Athol McCredie (Curator of Photography at Te Papa Museum of New Zealand).  {Suite} Gallery are the agents for Ans' work, and their site includes more biographical information, examples of her extensive photographic legacy and a link to the recording of her funeral.

On at Hillhead Library, Glasgow, until the 20th August, A Window on Ukraine offers distinctive observations and reflections of the country over several years by Glasgow-based photographer Robert Burns, who has been visiting Ukraine since 2007. Whilst on holiday in Crete in 2006, a chance meeting by Robert Burns with three Ukrainians kindled an interest that took the photographer back to the country again and again. The exhibition demonstrates his keen interest and empathy for the ordinary people in Kyiv and other nearby towns and cities. He has recorded the joys of Ukrainian life, the weddings, the festivals, children at play and vibrant street life.

Born in Glasgow in 1944, Robert studied at the Glasgow School of Art from 1962 to 1966, and it was at this time he became serious about photography, having first worked in his father’s home darkroom in the mid-1950s. After a spell in advertising, Robert became an art teacher but continued with personal work in photography, documenting the Glasgow International Jazz Festival since the early 1990s and making portraits of artists, writers and friends. Robert is internationally recognised as a master fine art printer for his ability to get the best results, not only from his own creations but also from the negatives of other photographers. "In the 90's I was printing for many international clients and magazines in Japan, Italy, Germany and France. Regularly for Italian Elle and Madam Figaro in Paris. In the past ten years I have been printing the archive of Margaret Watkins 1884-1969 and the archive of David Peat 1947-2012.” Robert was one of the originating members of Glasgow Photography Group, an enthusiastic collective of photographers who sought recognition for the medium in Glasgow and Scotland. The group's first exhibition was in January 1988 at Hillhead Library, hosted by the arts group Open Circle, with work by Alan Dimmick, Robert Burns, Ola Bambgboye, Stewart Shaw, Gwyneth Leech, and others. The advocacy of GPG eventually led to the establishment of Street Level Gallery and Workshop in September 1989.

This exhibition was first shown in 2015 at the Hidden Lane Gallery, Finnieston, Glasgow. 'Sweeping the Lavra' © Robert Burns

See: https://www.streetlevelphotoworks.org/event/robert-burns-window-on-ukraine

Image: Sweeping the Lavra Robert Burns, courtesy of Street Level Photoworks

Peter Domankiewicz has written a blog in which he suggests, and cites evidence, that William Friese-Greene was a supporter of women's rights. Friese-Greene was active when such issues were very topical and the subject of wide debate and in a lecture he gave to Bath Photographic Society in 1890 he stated: '‘Now the next subject I shall connect with this paper, or at least the movement or movements of photography, is the ladies. . .’. 

The blog can be read here: https://www.bristolideas.co.uk/read/friese-greene-protofeminist/?fbclid=IwAR3CmLidCZjL4CjWDRS23dHTNoIQh2m6bFlyHemtT_ozVkY7DRfx2qm9tr0

The Photographic Collections Network is a specialist subject network, providing support for UK photographic collections. PCN aims to ensure that the value of photographic collections is acknowledged and maximised for the public benefit, in order that people can understand their own heritage and that of others.
 
We are on the journey to becoming a Charitable Incorporated Organisation (CIO), and this will bring great opportunities for us to expand our reach and provide support for the UKs photographic collections and heritage. We are looking for people to help us to build this potential so we can better deliver on our aims. Are you the person that can help lead this change? We are looking to recruit Trustees to help steer our organisation during an exciting period in its development.

As part of PCNs commitment to supporting photographic collections and heritage, we need to develop our organisation and our sustainable future. As part of this journey we are looking to create a new board of trustees. We are also looking to secure long term sustainable premises that better support our activities and ambition. 
Currently we are seeking an interim Treasurer while we set up PCN as a CIO. There is the opportunity for the interim Treasure to apply to remain as PCN Treasurer when CIO status is achieved. At this time we will recruit additional Trustee roles. 

Our ideal candidate for the interim Treasurer would have accountancy qualification or an equivalent level of experience and expertise in accountancy and charity finance and reporting. A person working in Finance, Governance, Legal, with Charity experience either through an executive or previous Trustee role would be suitable. The candidate Ideally would have professional experience with organisational Governance and Financial management. A background in the photography or understanding of collections sector is not necessary but an enthusiasm and interest in the charitable sector is. If you have any of the skills listed above, we would love to hear from you.

Interim Treasurer Role:
Key to our fiscal responsibility we require a treasurer to oversee our finances as we become a CIO and continue to deliver our engagement programme for the Museums, Collections and Photographic Heritage sector supported by Arts Council England. The interim Treasurer will liaise with relevant staff, advisory board and Board members to ensure the financial viability of the organisation.

You will oversee the financial matters of the Photographic Collections Network in line with good practice and in accordance with the governing document and legal requirements, and report to the Board of Trustees at regular intervals about the financial health of the organisation. The interim Treasurer will ensure that effective financial measures, controls and procedures are put in place, and are appropriate for the charity.

PCN welcomes applications from people of all backgrounds and would love to hear from applicants who belong to groups underrepresented in the charitable sector.

Full details here: https://www.photocollections.org.uk/news

An exhibition of photographs by renowned British photographer John Bulmer has broken all recent visitor records at Hartlepool Art Gallery – and now those important images have found a permanent home there. Over 12,000 people have so far seen the exhibition – ‘John Bulmer - Northern Light’ - which runs until Saturday, 4 May, and captures the fortitude of Hartlepool people during the hardship of the 1960s.

Thanks to a substantial award from the Arts Council England/V&A Purchase Grant Fund and the support of John Bulmer himself, Hartlepool Borough Council has been able to purchase the images for Hartlepool Art Gallery’s permanent collection. Angela Thomas, Hartlepool Art Gallery Curator, said: “The response from visitors to the exhibition has been phenomenal. People have left lots of comments on our comment cards, sharing their memories of the scenes in the photographs and identifying people they recognise. I’ve never known a response like it. 

“So we’re thrilled that, thanks to the generous support of Arts Council England/V&A Purchase Grant Fund and John Bulmer himself, these photographs will become part of our permanent collection. “By acquiring these images, we will ensure they are preserved for future generations to look back at that moment in time before much of the local landscape changed beyond recognition.”

Leanne Manfredi, National Programmes Lead at the Victoria and Albert Museum, said: “The Arts Council England/V&A Purchase Grant Fund supports the purchase of a wide range of material for the permanent collections of non-nationally funded organisations in England and Wales. We are delighted that this collection of photographs by John Bulmer has been acquired by Hartlepool Art Gallery and featured in the current exhibition John Bulmer: Northern Light. They will benefit audiences for years to come.”

John Bulmer said: “I’m so glad the photographs will have a permanent home in the town where they were taken. I’m honoured that Arts Council England/V&A Purchase Grant Fund have supported the purchase and would like to thank all involved.”

Born in 1938, John Bulmer is best-known for his pioneering colour photojournalism in the Sixties, when he worked for, among others, the Sunday Times magazine. In the winter of 1962-63 he visited Hartlepool for Image magazine, taking more than 40 photographs. At the time of his visit, during a bitterly cold winter, Hartlepool was suffering from mass unemployment. Gray’s shipyard had just closed with the loss of 1,400 jobs and the future looked bleak.

His images record the town before it changed, but also the daily life of men and women who were out of work and gathering sea coal from the beach, waiting in the dole queue or visiting the labour exchange. Despite the hardships people were facing, John Bulmer’s photographs convey a sense of resilience, humour and even optimism.

Northern Light / John Bulmer
Hartlepool Art Gallery
until 4 May 2024
Tuesdays to Saturdays 10am – 5pm
Free entry
https://www.culturehartlepool.com/art-gallery/

Images: (top) John Bulmer pictured at the Northern Light exhibition. (lower) Hartlepool Art Gallery Curator Angela Thomas and John Bulmer at the exhibition. Photography: Dave Charnley Photography.

Topfoto, the remarkable historical picture agency and archive founded in 1927, has revealed a reimagined brand identity to welcome the next chapter of this nearly 100-year young firm.  

Defined by a vast legacy and pioneering attitude, the Topfoto brand embraces both our impressive heritage and trailblazing spirit. The profound challenge of generative AI means this is the exact moment to show why and how we are amongst the best independent photographic archives in the world, passionately committed to authenticity, exclusive collections and commercial thinking on our clients’ behalf. 

The new home page includes a short video clip of the Topfoto Archive based in Kent, UK - topfoto.co.uk

In his lifetime, Leeds-born Wordsworth Donisthorpe patented a motion-picture camera, helped found the British Chess Association, wrote prolifically on libertarian politics and even invented a language.

The great What If will tell the story of Donisthorpe’s strange, one-of-a-kind camera, which was based, extraordinarily, on the flax spinning machines in the Leeds mills of his father, George Edmund Donisthorpe. It will look at a film sequence shot by Donisthorpe in 1889, just weeks after another inventor, Louis Le Prince, shot his own sequences in Leeds as well as Donisthorpe’s last-ditch efforts to fund his experiments by attempting to blackmail one of Bradford’s most respected industrialists.

A forgotten pioneer, Donisthorpe’s story will be presented by local historian, Irfan Shah, along with revelatory new material, as we pose the question: would the history of cinema have been different if Wordsworth Donisthorpe had been better at blackmail?

The talk will be given in the wonderful cinema of the Leeds School of Arts at Leeds Beckett University and introduced by Professor Robert Shail.

Details and register here: https://www.leedsbeckett.ac.uk/events/heritage-open-days/hod-wordsworth-donisthorpe-and-the-great-what-if/

As part of the Women and Worlds of Learning in Europe: From the Medieval to the Modern Day conference, Rose Teanby, a PhD student at De Montfort University, will present a paper on Friday, 12th April, titled 'A Woman’s Place?: Photographic Education in England 1839 – 1861'

Women and Worlds of Learning in Europe: From the Medieval to the Modern Day
12-13 April 2024 (|registration closes 31 March 2024)
Oxford, History Faculty Building, George Street
£8 (without conference dinner)
Details: https://www.womenandworldsoflearning.com/

The call for a £500 stpiend to support research in to the Bill Douglas Centre for Cinema History collections closes at 12 noon on 18 March.  

The Bill Douglas Cinema Museum at the University Exeter, UK, is both a public museum and a rich research resource for scholars of moving image history. The museum is named after the renowned filmmaker Bill Douglas and was founded on the extraordinary collection of material he put together with his friend Peter Jewell. In the twenty-five years since its opening, the museum has received donations from many sources and now has around 90,000 artefacts on the long history of the moving image from the seventeenth century to the present day. 

Thanks to the support of the Bill Douglas and Peter Jewell Fund we are again able to offer a small number of stipends for 2024 for scholars, researchers, and practitioners to enable research using the collections at The Bill Douglas Cinema Museum. We are inviting applications for two categories of award: 

UK stipends - available to academics, postgraduate students and other researchers based in the UK, and are worth up to £500 each. 

International Stipends – available to scholars and other researchers from outside the UK and are worth up to £1500 each.

The monies are to be used for travel and accommodation costs incurred while visiting the Museum to undertake significant research that will be enhanced by access to its collections. Proposed research should contribute to publications or other demonstrable outcomes, such as films or artworks. Successful applicants will be required to write a blog post for the museum’s website about their research following their visit.   You will find details of previous years’ stipends and the blogs that stipend holders contributed at http://www.bdcmuseum.org.uk/research/research-at-the-bill-douglas-cinema-museum/stipends-at-the-bill-douglas-cinema-museum/  The monies should be spent by the end of December 2024.

Read more: https://www.bdcmuseum.org.uk/news/new-call-for-stipends-to-visit-the-museum-in-2024/

National Science and Media Museum conservator Vanessa Torres is the subject of a blog post where she discusses how the museum uses cold storage to preserve materials held within the collection. 

Read the blog here: https://blog.scienceandmediamuseum.org.uk/blog-from-the-basement-cold-storage/

Join the V&A for an exploration of the work of one of Vogue’s first and most influential fashion and portrait photographers. During his glittering career in Europe and America, George Hoyningen-Huene collaborated with the likes of Cecil Beaton, Horst P. Horst and Lee Miller, and befriended Hollywood’s brightest stars. V&A Curator Lydia Caston and Condé Nast Corporate Photography Director Ivan Shaw join author Susanna Brown to discuss Hoyningen-Huene’s extraordinary life and legacy.

This event celebrates the publication of the major new book from Thames & Hudson, George Hoyningen-Huene: Photography, Fashion, Film.

George Hoyningen-Huene: Photography, Fashion & Film
Wednesday, 27 March 2024, 1900-2045
London: V&A Museum
https://www.vam.ac.uk/event/PaeDyR2xd3B/photography-fashion-film