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12201119658?profile=originalBristol Vintage Photograph Fair is a new event; offering for the first time in the West of England, an opportunity for collectors of early photography to meet the leading specialist vintage photograph dealers from the UK & Europe, and browse through an exceptional display of rare original photographs, documenting the first 150 years of Photography, from 1840 to 1990.

A wide ranging selection of fine prints, from Britain, Europe, Asia, the Americas, and around the world:

Portraiture, Social documentary, Military & Naval campaigns, Architectural studies, Travel, Topography & Landscape, Natural History and wildlife, and much more.

  • Daguerreotypes & Ambrotypes,
  • Calotypes, (Salt Prints)
  • Albumen and Gelatine prints,
  • Lantern slides,
  • Cartes-de-visite & Cabinet print portraiture,
  • Stereographs, Photographic Postcards etc.
  • New, Secondhand, and Antiquarian Books on Photographers & the History of Photography.

Photographs offered for sale will be original vintage prints & images (no modern copies, facsimiles or reproductions allowed!)

Prices range from a few pounds, up to examples of some of the rarest and most valuable prints, produced by some of the greatest names in 19th and early 20th century photography.

See: http://www.bristolphotofair.uk/

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Which photographers were included? How were the photographs selected? And Why?

The Lives of Great Photographers was a compelling exhibition drawn exclusively from the Museum's extensive and diverse Photography Collection, including works from The Royal Photographic Society Collection and the Daily Herald Archive. Together this exhibition presented a selection of photographs by some of the greatest photographers of the nineteenth and twentieth centuries. 

From photographs by William Henry Fox Talbot, Julia Margaret Cameron and Eadweard Muybridge to Tony Ray-Jones and Weegee, this exhibition highlighted some of the most famous and memorable images ever produced. It illuminated the extraordinary and sometimes exceptional lives these photographers led.

Director of the Impressions Gallery, Bradford, Anne McNeill questions Brian Liddy, the curator of the exhibition, about the choices he faced and the decisions he made in the video below:

 

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12201184055?profile=originalThe 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 

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12201177497?profile=originalForum Auctions, London, is offering a copy of John Thomson's Illustrations of China and its People which dates from 1873-74. The volumes include 96 photographic plates. The lot is estimated at £15,000-20,000. 

12201177701?profile=originalIf you're interested check out the lot here

UPDATED: The lot sold for £16,000 plus buyer's premium. 

This year marks the centenary of Thomson's death and later this week a plaque will be unveiled at his childhood in Edinburgh. Thomson was an alumnus of Heriot Watt's predecessor body and an exhibition of his photography opens at Heriot-Watt's Riccarton campus until 22 March 2022.

See:https://www.hw.ac.uk/uk/services/is/heritage/china-through-the-lens-of-john-thomson.htm

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12201173661?profile=originalWhen early photographic pioneers Robert Adamson (1821 – 1848) and David Octavius Hill (1802 – 1870) were busy producing their pathbreaking calotypes in 1840s Edinburgh, a rallying call was heard on the streets of the Scottish capital: ‘Send back the money!’ Leading the call was American abolitionist Frederick Douglass who, in 1846, had embarked on a tour of Britain and Ireland. He directed his aim at the Free Church of Scotland, which had accepted funds from the profits of enslavement in the American South. Douglass demanded the ministers send it back

Read more in this blog from Caroline Douglas at the V&A Museum: https://www.vam.ac.uk/blog/museum-life/pictures-and-progress-frederick-douglass-and-early-scottish-photography

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12201135298?profile=originalOne of the great pleasures in collecting old negatives is finding the odd 'ruby in a mountain of rock'. Whilst recently scanning a group of glass negatives I had recently purchased and had loosely titled 'Camberwell, Southwark and Richmond Collection' I came across the image of a middle-aged gentleman sitting with a young girl in the back garden of a house somewhere in the outskirts of London.

A not uncommon picture of Edwardian life found in similar collections of informal middle-class family portraits, but for some reason this gentleman looked familiar. A quick look at the list of captions found on the inside of the negative box lid revealed that the subjects were, 'Mr Cobham & Vera with hat', dated May 27th, 1906.

I instantly recognised him to be Sir Alan Cobham, the intrepid aviator and entrepreneur, but then immediately realised that it couldn't be him as he would surely have been a much younger man than the one in my picture, taken in 1906. A quick check on the internet of images of Sir Alan indicated that he did indeed resemble the image of the man in my negative, and after further research it turned out that the man in the garden was Frederick Cobham, father of Alan, so the young girl must have been Vera, Alan's younger sister.

I subsequently discovered further images of the Cobham family in the collection, including the one attached of the whole family, with dog. Possibly this has been published before, but I would doubt it. I haven't been able to ascertain who took the photograph but I am currently researching the collection, so hopefully I will discover their identity, or at least the name of the family at whose residence the Cobhams visited in the late spring of 1906.12201134900?profile=original

Little could any of them have known then, just how this young boy would begin to influence the development of commercial aviation some 15 or 20 years hence.

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12201115068?profile=originalThe College of Optometrists has updated its museum website to provide a legacy page for its temporary exhibition on Victorian cartes-de-visite and cabinet cards of people wearing spectacles or showing signs of visual impairment.

We Called to See You featuring loan items from the Ron Cosens Collection alongside the College's own photographic collection, ran for two years until 16 September 2019. In common with all past exhibitions at the College, an edited version of the exhibition labelling has now replaced the online publicity page for the exhibition.

12201115497?profile=originalInspired by Ron, the College Museum has also renewed its interest in collecting items in this particular field and would be pleased to receive offers to donate relevant material. Cards showing spectacles, monocles, pince-nez, or the eyes of blind people or those with strabismus or ocular injuries and disfigurement would all be suitable for this, as would cards on which the backs give details of photographers who were also opticians.

The image, a detail from a carte-de-visite in the Ron Cosens Collection, shows the blind Member of Parliament Henry Fawcett, who lost his sight in a shooting accident but went on to invent the postal order. The College Museum also includes many other images on this subject, found in paintings, drawings, engravings and lithographs, and on coins, medals or postage stamps. It also has a camera collection, with a particular strength in products by J. Lizars, Opticians of Glasgow.

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eBook: A Higher Branch of the Art

12201061690?profile=originalAnthony Hamber's long out-of-print book 'A Higher Branch of the Art' (1996) which has been long out of print and rarely available on the secondhand market has been made available as a download by the author at Academia.com. The book can be downloaded here: https://www.academia.edu/33838583/Hamber_A_Higher_Branch_of_the_Art._1996..docx If you do not have an Academia account you will need to register for one. 

"A Higher Branch of the Art": Photographing the Fine Arts in England, 1839-1880
Anthony J Hamber
542 pages, 1996

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Article: Dry Plates for Canada

31017000085?profile=RESIZE_400xThe Canadian Science and Technology Historical Association (CSTHA) has awarded its Jarrell Prize for the period 2022-2024 to Shannon Perry for “Perfect Dry Plates for Canada”: Gelatine Dry-Plate Manufacturing in Canada in the Late Nineteenth Century published in Volume 44, number 1, 2022, the special issue Photography: Science, Technology and Practice, edited by Joan M. Schwartz. It is a available on open access. 

The abstract notes that the article seeks to identify the commercial efforts of Canadian photographers to manufacture and distribute gelatin dry-plates in the 19th century. Using archival material and published advertisements, several companies including the Stanley Dry Plate Company of Montreal are identified and positioned within the photographic manufacturing landscape in Canada. In doing so, the commercial efforts of Canadian manufacturers are contrasted with the parallel developments in dry-plate manufacturing in the United States and England, further situating Canada’s photographic manufacturing history within a broader context.

The full issue with other papers of interest can be seen and downloaded here

Shannon Perry teaches history of photography, and archival theory and practice at Carleton University. She has worked at Library and Archives Canada in Ottawa, Ontario, for over a decade as a private and government archivist, specializing in photography. Her research focuses on Kodak, and the photographic industry in Canada more broadly, in the 19th and early 20th centuries, and was the focus of her PhD thesis The Eastman Kodak Co. and the Canadian Kodak Co. Ltd: Re-structuring the Canadian photographic industry, c.1885-1910 (De Montfort University, 2016), and a forthcoming monograph,When Kodak Came to Town (U of T Press).

The Prize was established in 2015 in honour of CSTHA founding member, Dr. Richard Jarrell, who passed away in 2013. The biennial prize recognizes the best article published in Scientia Canadensis over the previous two years and comes with an award of $500.

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13740738279?profile=RESIZE_400xEdinburgh auction house Lyon & Turnbull if offering a set of William Stirling-Maxwell's four-volume Annals of the Artists of Spain (1848). The fourth volume consists of Talbotype illustrations of art works. The set is considered the first art history book to be illustrated with photographs. The lot is estimated at £10,000-15,000.

The lot descrption notes: 

[And:] Talbotype Illustrations to the Annals of the Artists of Spain. London: John Ollivier, 1848-7. 4 volumes (Annals in 3 volumes, Talbotype Illustrations in 1 volume), 8vo (22.5 x 13.2cm), original blue cloth by Bone and Son (with their ticket), spines lettered in gilt, heraldic devices to covers in gilt, xliii 508, [3] 510-948, [3] 950-1481 ii, xii [2] pp., each volume of Annals with engraved additional title-page with aquatint and hand-colouring, title-pages printed in red and black, initials printed in red, engraved dedication leaf printed in red and black to volume 1, volumes 1 and 2 with a total of 12 engraved plates on india paper (mounted as issued) and 2 lithographic plates, Talbotype Illustrations with 66 Talbotype plates (i.e. salted paper prints from calotype negatives) executed by Nicolaas Henneman under the supervision of the author (various dimensions, from 8 x 6cm to 13 x 19cm), mounted as issued (with printed frames and numbers to mounts), Talbotype title-page and dedication (both also mounted), armorial bookplates of James Stirling, mild toning to spines, Talbotype Illustrations with faint mottling to covers, spotting to edges of textblocks, a few scattered instances of spotting internally, variable fading to Talbotypes, slight undulation to mounts of Talbotypes [Gernsheim 9]

Footnote

13740738300?profile=RESIZE_400xFirst edition of ‘the first art-historical work illustrated by photography’ (Gernsheim), presentation copy from the author, inscribed ‘To James Stirling Esqr … from W. S., Keir, Jan. 1 1849’ in Talbotype Illustrations on the verso of the title-page.

‘In 1848, William Stirling, later Sir William Stirling Maxwell (1818-1878), published his three-volume Annals of the Artists of Spain, the first scholarly history of Spanish art in English, as well as the first contextual history of Spanish art in any language. Another pioneering feature of this work was that the three text volumes were accompanied by a limited edition fourth volume of Talbotype illustrations. The existence of this fourth volume of Talbotypes has enabled the Annals of the Artists of Spain to be hailed as the first art history book to be illustrated with photographs. Despite the Talbotypes’ shortcomings as reproductions of works of art, this volume marked the beginning of a revolution in the methodology of art history, in which photographs and photographically illustrated books would become essential tools’ (Macartney).

This appears to be the first copy of the Talbotype Illustrations to have come to auction in over 10 years, and only the second in 60 years. Fifty copies were printed, of which 25 were in the present octavo format, and 25 on large paper (28 x 180cm), with 16 surviving copies being counted in Hilary Macartney's survey. The three text volumes, Annals of the Artists of Spain, were printed in a run of 750 sets in octavo and 25 on large paper; the present set is one of 25 special sets of the octavo issue, which were probably intended for presentation, and contain 'proof impressions of the plates on india paper, and two extra plates, being the dedication, and the Virgin and Child, facing page 795’ according to a limitation statement facing the title-page of the first volume.

Literature: Hilary Macartney, ‘William Stirling and the Talbotype Volume of the Annals of the Artists of Spain', History of Photography 30 (4), pp. 291-308.

The Library of James Stirling, Mathematician
23 October 2025 at 1300.
Lot 50 - See: https://www.lyonandturnbull.com/auctions/books-and-manuscripts-878/lot/150

 

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13570283866?profile=RESIZE_400xThis special issue of PhotoResearcher aims to inspire scholars, curators, and artists to reflect on photography festivals in an academic context and to investigate them as a phenomenon; a particular mode of presentation, circulation, and production of images.

Although photography festivals are not yet an established field of research in the history or theory of photography, readers of PhotoResearcher No. 43 will encounter a combination of international voices positioning festivals in a variety of socio-cultural settings: As engines of collaboration with local museums, as contributors to the visibility of the climate crisis, as engines of artistic production, etc. The inspiration behind this publication stems from the desire to honour the legacy of Belfast Photo Festival, which was founded back in 2009, and to take stock of how it changed the ecosystem which gave rise to it. Also, this collaborative publication expands BPF’s experiences through the journal’s authors and their unique perspectives in order to learn from them and to keep this unique form of experiencing photography alive and thriving.

PhotoResearcher No. 43
"Photography & Festivals: 15 Years Belfast Photo Festival"
Guest-editor: Michael Weir, CEO Belfast Photo Festival

Editor-in-chief: Dr. Hanin Hannouch, President of the European Society for the History of Photography 
Graphic Design: Bernhard Schorner
Image Editing: Robert Vanis

The journal’s editorial is open-access and can be downloaded here.

To order this special issue of PhotoResearcher: 
UK Residents order here or you can also visit Belfast Photo Festival's Photobook library in Botanic Gardens, Belfast from 5-30th June to buy a copy.
EU + Rest of the World Residents order here

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Hannah Crowdy
New Resonances in Museum Collections: The Ulster Museum and Belfast Photo Festival

Vivienne Gamble
Vital Exchanges and Encounters: Photography Festivals and the City

Michael Weir in Conversation with Pål Otnes
Elective Affinities

Mafalda Ruão & Krzysztof Candrowicz
A Photography Festival Cosmology: On Social and Environmental Responsibility and Visual Activism

Toby Smith
Festivals as Climate Protest: An Opportunity?

Tom Seymour
The Future of Photography Festivals: A British-Irish Perspective

Founder Michael Weir in Conversation with Sebah Chaudhry
Looking Forward and Looking Back: 15 Years of Belfast Photo Festival

Louise Fedotov-Clements
Afterword

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12201222679?profile=originalRichard Jenkins was born in 1890 on a farm ten miles from Hay: and he became a brilliant pioneering photographer. He longed to escape the drudgery of farming – to go away and study. Instead he had to console himself by learning to wield a cumbersome camera,  taking and developing spontaneous and moving portraits of his friends and neighbours going about their everyday lives. He had a gift for capturing his subjects’ personalities, paying tribute to their fortitude and skills.
Miraculously, nearly a thousand of his glass-plate images survived decades of neglect; and since the publication of Golden Valley Faces in 2020, his work has begun to be recognised as a remarkable record of life in rural Herefordshire at the start of the twentieth century.
Café Gallery - Golden Valley Faces
Until 23 September 2023, daily 1000-1700
Hay Castle, Oxford Road, Hay-on-Wye, HR3 5DG
See: https://www.haycastletrust.org/current-exhibitions.aspx


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12201161864?profile=originalThis review in the current issue of Race & Class (62:4), published by Sage on behalf of the Institute of Race Relations draws a straight line from social and political PROTEST in the 1970s, to today:

'Stacey has written a rare and important book which integrates word, image, artistry and activism in the real lives of working people and those who documented their lives and struggles, and although it records events and initiatives nearly half a century ago, its relevance to now-times is total.'

Read the review here

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Partington and Pateson, Preston pioneers

John Garlington has done some sterling work over the years researching his biography of Robert Pateson, https://prestonhistory.com/preston-history-library/john-garlington-robert-pateson-biography/ However, I regret that there has been a misattribution as regards Pateson’s partner Partington.

In their well-illustrated book to accompany the 2004 exhibition at the Harris, Robert Pateson a scientific philosopher,  Emma Heslewood and John Garlington wrongly assumed that the artist Joseph Partington, who was recorded visiting Preston photographer John Holderness in the 1861 Census, was Pateson’s partner.  Robert Pateson’s partner was actually John Milner Partington (1831 – 1865).

John Milner Partington was baptised on 7 November 1831 at the Parish Church of St. Laurence, Chorley. His parents were William and Sarah Partington, his father was a hairdresser. By June 1841 they were living on Lune Street, Preston; William, still a hairdresser, was 35, Sarah was 40, they had three children Sarah aged 11, John 9 and Jane 6.

William had died by 1851, his widow Sarah, aged 50, was the head of the household, her three children were still residing with her at 1 Tuson Street, Preston; John, aged 19, was now a Chemist and Druggist.

J. M. Partington and Robert Pateson (1827 – 1910) separately commenced taking photographic portraits from their respective residences, 12 Maudland Bank and 51 Bow Lane, Preston at the beginning of October 1853. On 21 October 1853 they announced that they had entered into partnership and were now taking portraits from 10 to 4 daily, by the collodion process, at Pateson’s parental home, 51 Bow Lane.

On 19th November they announced that they had opened “their new, commodious and well lighted” Raphael Photographic Gallery at 10 Chapel Street, Preston. Portraits were taken “by the Daguerreotype, Calotype or Xylographic process, from 3s. 6d. upwards; coloured, if desired.” They offered stereoscopic views, prepared photographic papers, photographic chemicals and personal instruction in photography. “Portraits taken upon glass for 3s. 6d. upwards. Daguerreotypes from 2s.6d. Portraits upon paper…. Portraits taken for lockets, rings, &c. Families and private parties waited upon when required.” This address was later used by Alfred Beattie from 1869.

Their new venture coincided with a seven month lock out of millworkers by Preston mill owners unwilling to restore previous pay cuts; the commercial and professional classes would have consequently also had a corresponding diminution of disposable income.

So on 24 March 1854 Messrs. Partington and Pateson arrived for a two week visit to Lancaster, their base was Mrs. Cass’s, she let apartments at 87 Market Street. These were the same premises used by J. J. Ponder in July 1850, then run by Mrs. Woodhouse. Their prices were the same as they charged in Preston. A review in the Lancaster Gazette considered them first rate “and for accuracy of likeness and beauty of style these productions cannot be surpassed.” The Lancaster Guardian also pronounced them to be “of first-rate order and remarkable cheap.”

Owing to their apparent “immense success” they were induced to prolong their visit twice, first by another week and then for a few days more after 21st April. By May they were in Ulverston, residing at Mrs. Isabella Hunter’s, Upper Brook Street. In July they announced their intention to visit Dalton for a week.

They arrived for a second professional visit to Lancaster in early October 1854, again residing at Mrs. Cass’s, Market Street. Prices and products were as before, they attended daily from 9.a.m. till dusk. Again they were well patronised and extended their stay into mid-November.

Notice was given in the London Gazette that the partnership between John Milner Partington and Robert Pateson as photographers at Preston, Ulverston, Lancaster and Blackburn was dissolved by mutual consent on 14 February 1855. All debts due or owing to the said partnership in Preston would be paid and received by John Partington, and elsewhere by Robert Pateson.

Consequently in March 1855 Pateson returned alone to Lancaster, again taking apartments at Mrs. Cass’s “two doors above the Kings Arms”. This time he was here for a much longer stay. He rebranded himself as a “photographer and operative chemist” in December 1855. By July 1856 he had a photographic establishment on King Street, in front of the Assembly Rooms, and had engaged a "first rate artist" to colour his photographs. Later he also had a wooden studio with a glass roof at Morecambe.

This visit ended with his ill-fated attempted suicide on 30 June 1858 as he was in financial difficulties. He was caught in the act by his cousin and rushed by cab to the dispensary where his stomach was pumped out. He was brought before the town’s magistrates, most of whom he had probably photographed, and incarcerated over the weekend in the Castle hospital. Having apparently fully recovered, he was fortunate to be released into the care of his father, and returned to Preston. Robert resumed his career as a “photographer and operative chemist” from the parental home, 51 Bow Lane, in October 1858. The rest, as they say, is well documented history, he went on to achieve a lot over the next five decades.

Meanwhile, by the end of April 1855 Partington had moved to Bolton where he set up as a “chemist and practical photographer” at 77 Newport Street. By the end of the year he advertised that a priced catalogue of photographic apparatus and materials could be had gratis on application by enclosing a stamp.

John married Caroline Brooks on 8 October 1857 at the Parish Church of St. Mary, Bury. She was the second daughter of the late James Lowe of Bolton.

In 1861 Census John, a Chemist and Druggist, was living with Caroline and their two children, Walter Milner aged 2 and Adelaide Eugene, 3 months, at 46 Newport Street, Bolton.

John was still at the same address in June 1863  when he  offered for sale a superior photographic apparatus suitable for professional or amateur use, one suspects that this might have been his own camera equipment.

A fourth child, John Lowe, was baptised at St Chrysostom church, Everton on 28 January 1865, sadly he died in infancy. John was now a licensed vitualler living on Reservoir Street. John died at Everton on 3 April 1865, and was buried in St Michael’s churchyard, Great Lever on 8 April. Probate was belatedly granted to his son Walter Milner Partington on 1 September 1880.

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12201226057?profile=originalOn 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

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

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12201163455?profile=originalWhen Anna Bertha Röntgen first glanced at the radiographic picture of her hand she is supposed to have said “I have seen my death!” and refused to take part in any similar experiments. In a brief time however, this new way of seeing the body forever altered the landscape of both popular culture and the visual arts.

This talk explores how X-rays and other medical imaging techniques have had their diagnostic capacity repurposed and subverted, becoming an integral part of experimental artistic practices. It follows a historical trajectory, from the early works of the avant-garde to contemporary interdisciplinary projects and artist residences within imaging facilities. It discusses the interactions between artists and medical practitioners, as well as its impact on viewers of the general public: what changed from the time Mikhail Larionov and Francis Picabia were engaging in explorations of the radiographic gaze? How is the meeting point of art, medical science and technology framed in the works of contemporary artists such as Matthew Cox, Mona Hatoum and Paulina Siniatkina? The talk will also highlight lesser known creations and initiatives from the former Eastern bloc, highlighting X-ray depictions and the medical gaze as part of the state apparatus, through the works of artists such as A.I. Kurnakov, Morozov Anatoly Alekseevich, Obrosov Igor Pavlovich and Levichev Yuri Ivanovich.

Looking Inwards: The Role of Medical Imaging Technology in 20th and 21st Century Visual Art

Tuesday 16 March  1-2pm (UK time) on Zoom.

Join Zoom Meeting: https://zoom.us/j/91441604082

Meeting ID: 914 4160 4082

Passcode: 195522

See: https://chstmphdblog.wordpress.com/lunchtime-seminars/

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12201161079?profile=originalOver the last fifteen years, Nicky Bird has examined the themes of land, heritage, personal and social memory through a collaborative photographic practice. This show includes new works and brings together several of her site-specific projects for the first time, especially reimagined for Street Level, which largely focus on Scotland’s rural and small town communities.

She considers contemporary relevances of ‘found’ photographs and latent histories of specific sites, investigating how they remain resonant. Her work incorporates new photography, oral histories and collaborations with people who have significant connections to the original site and its photographic archive. Alongside commissioned projects, she has exhibited nationally and internationally, published essays on themes of erased place and digital exchange of photographs. Nicky is a Reader in Contemporary Photographic Practice at The Glasgow School of Art.

Legacy - Nicky Bird
27th April - 6th June 2021
http://www.streetlevelphotoworks.org/event/legacy-nicky-bird

An exhibition minigraph includes an in conversation between the artist and Annebella Pollen

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12201205273?profile=RESIZE_400xThe 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

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12201154488?profile=originalWe are pleased to announce that the gallery will be re-opening to the public on Thursday 10th September, with our Oscar Marzaroli exhibition extended to 20th December 2020.

Social distancing procedures will be in place for all within the gallery, including restrictions on the number of visitors allowed in at any one time and we request that visitors wear a face covering for the duration of their visit. Hand sanitising stations will be present throughout the gallery. For full information on our re-opening & Covid-19 safety precautions please click here

Please note our revised gallery opening hours are Thursday through Sunday from 12pm - 5pm.  The production facilities remain closed at present and we will announce their re-opening in due course.

http://www.streetlevelphotoworks.org/event/oscar-marzaroli

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