The Daguerreian Society (Daguerre.org) invites authors to submit original papers that address and advance the understanding and appreciation of 19th century photography. Possible topics include the art, history, social impact, and practice of the daguerreotype and other photographic processes of this period.

All submissions will be considered for publication in the 2017 Daguerreian Annual.

Award for New Contributors

A $500 award will be given to the paper selected as best submission from an author who has not previously published in The Daguerreian Annual.

The Julian Wolff Awards for Student and Graduate Student Authors

The author of the highest-scored paper accepted for publication from a student or graduate student will receive $1,000, and second-highest scored paper will receive $500.  The two winners will also receive complimentary registration to the 2018 Daguerreian Society Symposium in New York City.  The prizes for student and graduate student authors are offered in memory of the late Julian Wolff, an educator, collector and dealer whose love for the daguerreotype contributed to many private and institutional collections.

Requirements

• Authors are responsible for securing all necessary rights and releases for images used as illustrations
• Authors must grant permission for both one-time print publication and for future electronic access  
• Papers must be in English and may range in length from 500 to 8,000 words

Selection Process

Juror Keith F. Davis (Senior Curator of Photography at the Nelson-Atkins Museum ) and the Society’s Publications Committee will use a blind peer review process to select papers for publication and to choose New Contributors and Julian Wolff awards. Authors will be eligible for only a single award. The decisions of the Publications committee will be final.  Judging criteria include:

Scope and Quality of Research

Contribution to Existing Knowledge

Potential for Future Development/Seeding New Research

Clarity of Writing

Use of Original Historical Sources

Use and Interpretation of Photographs As Primary Source Documents

Timeline

Submission of a 300-word abstract by January 15

Review and notification by February 1

Submission of completed manuscript with illustrations by March 1

Review process and notification of final selection by April 1

Submissions:

Send electronic submission to: Diane Filippi diane_dagsoc@comcast.net

Questions: Please contact Jeremy Rowe Jeremy.rowe@asu.edu

Please include in the subject line: Submission for 2017 Daguerreian Society Call for Papers

With the introduction of photography in the 19th century, printers no longer had to transfer the image manually onto the printing surface, but were offered the possibility to transfer the image by sensitizing the printing surface and exposing it to light, through a negative or positive depending on the printing technique.

With computer technology, negative or positive film is often no longer necessary. The image is transformed into dots by the computer and the image is transferred to the printing surface by light exposure in the machine.

Since their invention photomechanical printing techniques have continued to develop further. There are many similar variations of the same technique, each named differently by its inventor. This can be very confusing in the process of identification.

In this seminar the most important photomechanical techniques of relief, intaglio, planographic, screen and digital prints will be presented.

The different techniques (artistic and reproduction) will be examined by studying original prints under magnification. Two participants will share a stereomicroscope. The distinctive characteristics of each technique will be worked out through closely looking at the original prints, and exercises in identification.

The two day course provides an opportunity to look at a great number and variety of original prints and to develop skills in the identification of their techniques. There will also be the opportunity to compare photomechanical with manual prints.

Identification of photomechanical prints

April 12-13, 2018 at Papierrestaurierung Hildegard Homburger, 10555 Berlin, Germany

Hosted by Hildegard Homburger in cooperation with the Internationale

Arbeitsgemeinschaft der Archiv-, Buch- und Grafikrestauratoren

(IADA)  http://www.iada-home.org

The language of the Seminar will be English.

Maximum participants: 8

Costs: 330 Euro or 285 Euro for IADA-members 

Registration requests should be sent to: hombu@freenet.de

From 1 December, London's Bertha DocHouse cinema is screening Love, Cecil (2017 / 99 mins) the new film from documentarian Lisa Immordino Vreeland. The film is a portrait of the celebrated and sometimes controversial photographer and costume designer, Cecil Beaton, who won multiple Academy Awards for his work on Gigi and My Fair Lady.

Tracking his fifty year career which spanned multiple worlds from British royalty to fashion to Hollywood, Love, Cecil offers a warm yet frank reflection of his life. Filmmaker Lisa Immordino Vreeland (Diana Vreeland: The Eye Has To Travel, Peggy Guggenheim: Art Addict) weaves passages from Beaton’s diaries – voiced by Rupert Everett – with archival interviews featuring his famous friends and foes to bring Beaton’s world to life.

Further information about the film, including a trailer, can be found here: http://dochouse.org/cinema/screenings/love-cecil.

The British Journal of Photography carries an interview with the newly formed Canadian Photography Institute's Director Luce Lebart. The Institute is at the National Galleries of Canada, and is part-supported by David Thomson's influential Archive of Modern Conflict. 

Read the interview here

Find out more about the Institute here.  

November 2017: This was the best photography exhibition which wasn't an exhibition - because it was a "display" - that I saw on my recent trip to Europe. Why was it the best? Because this is what strong, insightful photography can do: it can capture life; it can document different cultures; and it can be a powerful agent for social change.

I remember London in the 1970s. I lived in Clapham (Claiff-ham Heights) and Stockwell (we called it St. Ockwell) near Brixton at the time. I remember the Brixton riot of 1981, as I was living in my little room down the road, as the cars burnt and the buildings were smashed. "Brixton in South London was an area with serious social and economic problems. The whole United Kingdom was affected by a recession by 1981, but the local African-Caribbean community was suffering particularly high unemployment, poor housing, and a higher than average crime rate." (Wikipedia) People felt oppressed by recession, racism, the police, and by the establishment, for this was the era of Margaret Thatcher and her bullies. But as these photographs show, there was such a vibrant sense of community in these areas as they sought to 'stand firm in England' because it was their home.

It is our great privilege that we have the images of this very talented group of photographers who documented Black communities in London during this time: Raphael Albert, Bandele 'Tex' Ajetunmobi, James Barnor, Colin Jones, Neil Kenlock, Dennis Morris, Syd Shelton and Al Vandenberg. And I find it heartening that all of these photographers were documenting their community at the same time. The African-Caribbean diaspora is part of the genetic makeup of the UK and multiculturalism, from where ever it emanates, should be valued in societies around the world. It enriches contemporary culture through an understanding and acceptance of difference.

Against racism; against fascism; against discrimination. For freedom from oppression and the right to be heard.

Dr Marcus Bunyan for Art Blart

SEE THE FULL POSTING AT https://wp.me/pn2J2-9yc

#StanFirminnaInglan #London #AfricanCaribbean #Brixton #documentaryphotography #photography #art #blackandwhitephotography #racism #oppression #Blackcommunity #Britain #multiculturalism

Syd Shelton (born 1947)
Southhall Carnival against the Nazis
1979, printed 2012
Gelatin silver print on paper
Gift Eric and Louise Franck London Collection 2016

Bandele Ajetunmobi (1921-1994)
East End, London
c. 1975, printed 2012
C-print on paper
Gift of Eric and Louise Franck London Collection 2016

LIKE ART BLART ON FACEBOOK

This conference addresses the rich relationship between photography and visual history at the intersection of material practices. Recent focus on materiality and material culture of photographs and films by such authors as Elizabeth Edwards, Chris Morton, Gregg Mittman, Paula Amad, Jennifer Tucker, Joan Schwartz, Steve Edwards and many others has resulted in the proliferation of histories that have at their centre a range of photographic processes. The actors in these histories could be said to belong to a sort of ‘gestural collective’ (Sibum, 1995), churning out the stuff of visual history. For historians who have benefitted from increasing access to the materials of visual history, the gap in knowledge about material practices has been rendered more defined.  At the same moment, it seems increasingly difficult to access these material practices as analogue is forgotten and digital is less well understood. Historians have examined the affective and fluid qualities of photographs, and have turned their attention to past chemical processes and processing, and have attempted recreating them. Photographic technologies such as cameras and lantern projectors have also experienced a renovated interest. Visual histories are more and more about the physical qualities of photographic production, circulation and dissemination.

Photography, video and film, however, are not only historical sources, but active research outputs. Historians like Gregg Mitman and Peter Galison have become filmmakers, producing films, websites, and documentaries (The Land Beneath our Feet, and Containment respectively). Their research is not only based on visual materials, but also articulated in a visual way. The visual is, in their case, a ‘form of reasoning’. This is not the only way in which material practices have changed visual history. The multiplication of digitisation projects in all historical fields demonstrates a pervading interest in visualising data, opening new avenues for the exploration of large collections of images. Aware of the potential of this approach, many universities have started to teach visual history in a range of departments.

The PHRC Annual Conference 2018 is seeking proposals for 20-minute papers on intersections of material practices and visual histories. It wishes to explore questions such as, how can we do visual histories, and how can visual history account for the material aspects of photographic practices.

We invite proposals related but not limited to the following themes:

• Material archives
• Visual history and pedagogy
• Processes and practices of digitalisation
• Visual communication through photography and/or film
• Re-creating the past
• Material aspects of computer programming in visual history

Proposals must be between 250 and 300 words, clearly indicating the applicant’s name, title, affiliation and email address.

Submission deadline: 5 January 2018

For any queries please email: phrc@dmu.ac.uk

See more here: https://photographichistory.wordpress.com/annual-conference-2018/

Last week saw the Cambridge News photography archive move to its new home at Trinity Mirror's central archive at Watford. The move was triggered due to the impending move of the Cambridge News from their Milton offices.

The negative archive starts in 1959, if anyone knows the whereabouts of the pre 1959 collection please drop me an email, also names of any photographer who worked for the Cambridge Daily News it would be greatly appreciated. 

The collection is Cambridgeshire focused but does contain images from north west Essex, north east Hertfordshire and western Bedfordshire. 

As the V&A prepares to make the RPS Collection accessible through the V&A study rooms and collections website, we have an exciting opportunity for a cataloguer for the collection. This fixed term position will run until end of March 2018 in the first instance to prepare documentation. The project will ensure the widest possible access to this important resource, both online via the V&A's 'Search the Collections' site and via the Prints and Drawings Reading Room. 

Read more here

Closing date for receipt of applications is 23 November 2017.

This Stereoscopy course is to be run again from today 13th November, for two weeks taking about 3 hours each week and can be done at a time convenient to you and at your own pace.  It is run online by Future Learn a private company wholly owned by The Open University, with the benefit of over 40 years of their experience in distance learning and online education.

Sign up to a FREE online course and discover why the stereoscope and stereo photography mesmerised Victorians when they first appeared at 1851’s Great Exhibition.

Many members of The Stereoscopic Society took part in this free on-line course on Stereoscopy in the past and found it very interesting.

You can learn by watching videos, listening to audio and reading articles. You can discuss topics with each other and educators will offer guidance and answer questions.

Some of the teaching material is supplied by Denis Pellerin of the London Stereoscopic Company with items from the Brian May collection of stereoscopic photographs.

Tim Greyhavens has launched North American Photographic History, modelled on BPH as 'a place where students, academics, scholars, and independent researchers of the history of photography in North America can connect with each other. Here you can reach out to others with your photographic news, announcements, commentaries, inquiries, job notices, and anything else you feel may be of interest to the broader photographic history community'.

See more and sign up here: https://northamericanphotohistory.ning.com

BPH is particularly pleased to see that Paris Photo-Aperture Foundation PhotoBook Awards Photography Catalogue of the Year  is New Realities: Photography in the 19th Century by Mattie Boom and Hans Rooseboom (Rijiksmuseum/2017). The BPH review of the exhibition was enthusiastic about both the exhibition and catalogue (see; http://britishphotohistory.ning.com/profiles/blogs/exhibition-new-realities-photography-in-the-nineteenth-century-am)

On the winner of the Photography Catalogue of the Year, Natalie Hershdorker said, “New Realities takes what might be considered ‘dusty’ material of the nineteenth century and brings new perspectives and fresh design to enliven this classical material. It’s an important example of how to preserve and capture new interest in the history of photography.” 

See all the winners and more here.

To mark the rebranding and renaming of the National Science and Media Museum, this year’s conference will explore research into sound and vision in museums. It will also showcase research from across the Science Museum Group, its partners, and collaborators in HEIs.

See link below for the full programme, which includes a mix of SMG staff members and CDA students, as well as researchers from UK and international universities.

As well as papers in the plenary sessions, the conference will include round-table discussions, lightning talks and optional live performances, as well as the opportunity to experience the Museum of Portable Sound and ADAPT Live!

Delegates are also invited to a drinks reception and private view of the museum's new exhibition.

See the full programme and book here: https://www.scienceandmediamuseum.org.uk/whats-on/2017-science-museum-group-research-conference

This autumn, the V&A will explore how trees have been a source of inspiration to photographers all over the world, from the earliest practitioners to the present day. This display features photographs by celebrated artists such as Ansel Adams, Alfred Steiglitz and Agnes Warburg who consistently responded to trees as a subject in their work. Into the Woods: Trees in Photography will be the first display that draws on works from both the recently transferred Royal Photographic Society (RPS) collection and the V&A permanent photographs collection ahead of the opening of the new Photography Centre in 2018.

From an early example of manipulated photography made in 1839 by Johann Carl Enslen, a German painter inspired by Henry Fox Talbot’s work in England, to recent photographs such as Tal Shochat’s work in which she applies the conventions of studio portraiture to photographing fruit trees, the display will demonstrate the fascination that trees have held for artists. It will include a study of an ancient oak tree (1854) by William, Second Earl of Craven, who custom-built a horse-drawn van which acted as both camera and darkroom on his estate in Berkshire; recent work by Tokihiro Sato made in the forests of the Hakkoda Mountains in Japan; and prints by Awoiska van der Molen who created long exposures of the dramatic volcanic terrain in the Canary Islands.

Trees were among the first photographic subjects collected by the V&A as a resource for artists and designers, such as Edward Fox’s pairings of summer and winter trees seen from the same vantage point that became part of the collection in 1865. The V&A has continued to acquire photographs of trees in various contexts: within landscapes and forests, as lone subjects, in relationship to humans, in rural and urban settings, and as symbols of cultural significance. The display will also include historic works by Edward Steichen, Henri Cartier Bresson, Paul Strand and Lady Clementina Hawarden, alongside contemporary artists Simone Nieweg, John Davies and Stephen Shore.

While photographs of trees have served as botanical and topographical illustration, contemporary photographic artists have also looked to trees for creative expression. Like portrait subjects, isolated trees convey individual and national identities and can mirror our characters and moods. Robert Adams highlights the human impact on the environment in an image showing a pair of deciduous trees contending with the smoggy Californian cityscape beyond, dominated by rows of palms. Sheva Fruitman captures an urban scene where a pair of tree trimmers appear like a performance of marionettes in silhouette. Gerhard Stromberg’s felled Sussex woodland shows traditional coppicing in action: cutting back to encourage new growth. Carried out in the UK since at least the 16th century, the practice creates poles used for buildings, furniture, fencing, charcoal and many other functions.

The display marks the 800th anniversary of the Charter of the Forest, signed in 1217 by King Henry III, to protect the rights of free men in England to access and use the Royal Forests – and the launch of the 2017 Charter for Trees, Woods and People to protect trees and woods in the UK.

V&A Museum, Room 38A
from 18 November
see: https://www.vam.ac.uk/exhibitions/into-the-woods

Image: Samuel Bourne, Poplar Avenue, Srinuggur, Kashmir, from the end, 1864

At a time when individual rights are being contested and those on the fringes of society feel ever more marginalised from mainstream political and social narratives, the exhibition Another Kind of Life: Photography on the Margins, celebrates and explores photography’s enduring relationship with individuals and communities who operate on the margins or openly flout social conventions through the work of photographers including Paz Errazuriz, Casa Susanna Collection, Mary Ellen Mark, and Pieter Hugo amongst others.

Driven by motivations both personal and political, many of the photographers in the exhibition sought to provide an authentic representation of disenfranchised communities, often conspiring with them to construct their own identity through the camera lens. Featuring a cast of transsexuals, cross-dressers, prostitutes, hustlers, bikers, junkies, eccentrics, circus performers, street urchins and tearaways, gang members, back-street peddlers and survivalists, the works in the exhibition present the outsider as an agent of change. The non-conventional subject is here a prism through which to view the world afresh. 
 
Artists have historically been instrumental in presenting the image of the outsider for a wider public. Employing a diverse set of aesthetic strategies from portraiture to social documentary and vernacular to street photography, the artists in the exhibition approach their subject with a humanity and empathy that is both empowering and inclusive. 
 
Reflecting a more diverse, more complex and more authentic view of the world, Another Kind of Life: Photography on the Margins touches on themes of gender and sexuality, drugs, youth culture and minorities of all kinds and includes bodies of work from Japan to the US, and from Chile to Nigeria. By recording and documenting those on the margins, the images in the exhibition bear witness to how social attitudes change across time and space, charting how visual representation has helped shape current discourse in relation to marginalised or alternative communities.

Another Kind of Life 
Photography on the Margins
Barbican Art Gallery, Barbican Centre
Wed 28 Feb – Sun 27 May 2018 

See more here: https://www.barbican.org.uk/another-kind-of-life-photography-on-the-margins

Over two-days a series of papers will discuss different aspects of French paper negatives including their history, their production and conservation. French institutions and museums hold impressive collections of negatives, and this conference is a way to look at these objects from several perspectives.

The two days are organized in three multidisciplinary and thematic sessions. The historical significance of these negatives will be complemented by their chemical and physical characterization (Session 1). Then, conservation challenges will be discussed, in regards to exhibition matters (Session 2). Finally, a last session will be dedicated to contemporary and artistic practices of paper negative and related processes (Session 3). A panel discussion will close the conference.  

This conference is a follow up on a research programme on French paper negatives (1841-1860) conducted at the Centre de Recherche sur la Conservation, in partnership with the Centre de Recherche et de Restauration des Musées de France and the Bibliothèque Nationale de France, funded by the Fondation des Sciences du Patrimoine in 2016 and 2017.

The conference will be held on December 7 and 8, 2017 in the Jean Rouch auditorium at the Musée de l’Homme, in Paris, that re-opened in 2015. Registration is free but the seats limited (157 seats). Simultaneous translation into English will be available. This conference is organized with the support of the International Research Network on Photography « Photographs: Perception and Changes », funded by the Centre National de la Recherche Scientifique (CNRS).

See more and sign up here: https://calotype-2017.sciencesconf.org/

The sessions will be filmed and will be made available in 2018. 

The life of Robert Hunt FRS (1807-1887), a one-time Falmouth resident who made great contributions to early photography, has been celebrated with the unveiling of a plaque at his former home in Kimberley Park Road.

Robert Hunt was chemist, writer and early photographer, and a blue plaque was officially unveiled at 4 Kimberley Park Road, where Hunt used to live when it was part of Berkeley Vale.

There were speeches by Charles Fox, whose ancestor, Robert Barclay Fox, had a close connection with Robert Hunt, Professor David Hosken of the University of Exeter, and by the mayor, Grenville Chappel, and thanks were given by Professor Mike Jenks, chair of Falmouth Civic Society. The plaque had been initiated by Falmouth Civic Society and sponsored by the University of Exeter.

See more here: http://www.falmouthpacket.co.uk/news/15624683.Photographic_pioneer_honoured_with_blue_plaque/

Professor Nina Lager Vestberg (NTNU: Norwegian University of Science and Technology) will be in the United Kingdom this coming week and will give three seminars. On 6 November at the Photographic History Research Centre in Leicester she will discuss Analogue Ancestors and Digital Descendants: On Genealogy and the Archival Cultures of Photography. On 8 November the London School of Film Media and Design Thinking the Image Research Group will host Professor Vestburg who will discuss Photography as a technology of history: the medium and its materialities in the digital museum. On 9 November at Birkbeck's History and Theory of Photography Research Centre she will discuss Images at Work: Digitisation and the Archival Cultures of Photography.

PHRC, De montfort University, Clephan Building, room CL0.17, Monday 5.30-7pm

November 6, 2017, Free, open to all

This presentation addresses genealogy as an epistemological trope in the archival cultures of photography, using case studies both from the historiography of photography and from contemporary digital culture. Some of the classic writings on photography abound with genealogical metaphors and impulses, from Walter Benjamin observing that all nineteenth-century portraits seem to carry a ’family resemblance’ to Roland Barthes recognising photography’s noeme in an image of his own mother. Similarly, online archives and image resources are steeped in the logic of genealogy, from the ’parent directories’ and ’child pages’ that organise content at file level, to content-based search algorithms, like Google Image Search, which retrieve and sort digital image files based on machine-recognisable visual – ’family’– resemblance. Outlining a current research project on online museum collections, which explores how photographic images insert themselves between museum objects and the digital user interface, the presentation invites discussion of how originals beget reproductions, and surrogates perform reproductive services, in the increasingly multi-layered and large-scale image collections that constitute the online avatars of museums and archives.

University of West London, St Mary’s Rd, Ealing, London W5 5RF 

November 8th at 2pm Room BY.01.018

Photographic images function as something between a record and an artefact in online collections of art and cultural heritage. This quality is all the more apparent in digitised objects which themselves represent or form part of photographic culture. Starting from the broad conception of photography as a key technology of history, and focusing on examples from the Norwegian online museum portal, DigitaltMuseum, this presentation will discuss the digital mediation of photographic documents as sources to the history of the photographic medium itself.

ALL WELCOME but please RSVP so we have an idea of numbers to michelle.henning@uwl.ac.uk

History and Theory of Photography Research Centre

Free and open to all, at 43 Gordon Square, London WC1H 0PD

9 November 2017, 6:00-7:30pm

Room 106 (Vanessa Bell and Lydia Lopokova studio)

The digitised research cultures of today are deeply dependent on technologies that count photography among their immediate ancestors. Whether consulting a digitally scanned image of a book page through the Google Books facility, or examining a digitised photograph of a material object in an online museum collection, professional and amateur researchers alike encounter an overwhelming share of their sources in the form of digital surrogates, which are either derived from pre-existing photographic records or created through lens-based imaging technologies that trace their lineage back to photography. This work-in-progress presentation takes the view that photography and its archival cultures may be seen as active agents rather than passive objects of digitisation. Engaging the work of Steve Edwards (2006) and Mercedes Bunz (2013), it particularly explores how the notion of skill and knowledge as contested territories within capitalist production is equally applicable to recent and ongoing practices of digitisation, as to earlier practices of industrialisation.

Centro de la Imagen is pleased to announce the call for speakers for the II Meeting of Photographic Archives “Photographic Assets: A heritage at risk”, that will be held from May 25th to 27th in Lima, Peru.

Background

On 26th and 27th of April 2016, the First Meeting of Photographic Archives of Lima took place thanks to the collaboration between public and private institutions such as Centro de la Imagen, MALI and the National Library of Peru (BNP) as venue of the event.

With a total of 18 national and international speakers, we managed to have an attendance of about 480 people and address relevant subjects to promote a better approach to the management of photographic heritage in the areas of conservation, dissemination, research, cataloging, digitization and legal framework.

II Meeting of Photographic Archives “Photographic Assets: A heritage at risk”

In this occasion, the Meeting will comprise two days of conferences (May 25-26) and one day of workshops with international specialists (May 27). The topic of this meeting will be around the vulnerability in which much of the photographic heritage is currently found and the urgency to apply preventive conservation measures to promote its long term permanence.

It is intended to address this concern by analyzing and knowing the risks of stability of the material of the photographs. Experiences of the past will also be shared to describe losses, mutilations, falsifications, dismemberment of collections, etc. The dangers to which the photographs are currently exposed will be analyzed and identified such as the geographic and environmental conditions, natural disasters and dangers generated by humans. Emphasis will be placed on the importance of preparing recovery plans in emergency situations specially designed for photographic materials.

The key topics are: 

- Cases that describe losses, mutilations, falsifications dismemberment of collections, looting, negligence, etc.
- Analysis and identification of dangers to which the photographs are currently exposed, such as the geographic and environmental conditions of the country, natural disasters and dangers generated by humans.
- Preparation of recovery plans in emergency situations specially designed for photographic material.
- Knowledge and analysis of the stability risks of the photographic material.
- Projects of recovery, valorization, conservation, dissemination and access of photographic archives at risk.
- Policies for the defense of photographic heritage.
- Fundraising for the recovery and dissemination of archives.
- Educational projects to improve good practices in archives, libraries, collections and museums.
- Importance of photography as a historical and aesthetic document.

The Meeting will have the aim of promoting the reduction of the risks that threaten the permanence of the photographic heritage from a perspective not only of the conservation of photographic material but also of the awareness of the value of their images and the need to implement educational and fund raising projects.

Find our more here: https://centrodelaimagen.edu.pe/blog/ii-encuentro-de-archivos-fotograficos-convocatoria-para-ponentes

This exhibition spotlights the work of Clarence White (1871-1925), a founding member of the Photo-Secession, a gifted photographer celebrated for his beautiful scenes of quiet domesticity and outdoor idylls, and an influential teacher and photographic mentor. The first retrospective devoted to the photographer in over a generation, this exhibition and accompanying publication will survey White’s career from his beginnings in 1895 in Ohio to his death in Mexico in 1925 and, importantly, will locate his work within the contexts of the international Arts and Crafts movement, the development of photographic magazine illustration and advertising, and the redefinition of childhood and the domestic sphere.

Drawing on the Clarence H. White Archives at the Princeton University Art Museum, and thus uniquely suited to development by Princeton, as well as loans from other public and private collections, Clarence White and His World will juxtapose White’s skillfully posed portraits and studies of his family and friends with those of his colleagues, such as Paul Haviland, Gertrude Käsebier, and F. Holland Day, and will also be the first exhibition to explore a little known series of nudes and figure studies done with Alfred Stieglitz in 1907. White’s two decades as a teacher will be highlighted by the work of artists who studied with him and by extensive documentation of his schools in Maine, Connecticut, and Manhattan. Completing White’s visual world, the exhibition will also feature a selection of paintings and prints by William Merritt Chase, Thomas Dewing, Max Weber, Edmund Tarbell, John Alexander, and others. A fully illustrated catalogue will accompany the exhibition.

Clarence H. White and His World: The Art and Craft of Photography, 1895-1925
Saturday, October 7, 2017 - Sunday, January 7, 2018
Princeton University Art Museum

See: http://artmuseum.princeton.edu/art/exhibitions/1751

Since its very beginnings, professional as well as non-professional photographers have used photography in Central and Eastern Europe to record all aspects of life. Photography has thus participated in spreading and shaping knowledge about the region, its people, and the rest of the world. In spite of the central role photography has played in the diverse socio-cultural environments of Central and Eastern Europe, research on its history in this part of the continent is still little appreciated and remains understudied. The 2018 conference in Ljubljana will be the third in a series of international conferences initiated in Warsaw in 2016 with the aim of developing and promoting interdisciplinary studies about photography and its histories in the region.

In 2018, we seek to enhance understandings of the mechanisms and realities that have influenced the development of local photographic practices and their relationship with uses of photography elsewhere. We also aspire to expand knowledge about social and cultural customs that facilitated the circulation and legacies of photographs throughout the medium’s history in the region. Paper proposals may therefore address a range of interrelated topics, including but not limited to:

• The history and state of photographic collections/archives, the opportunities they present and the challenges they face
• The history and state of local research practices and academic discourses on photography (research topics, theory and methodology)
• The circulation of photographs and photographic images in public and private spheres and their impact on collective imaginations in Central and Eastern Europe (e.g. the uses of photography in art, media, politics…)

We invite proposals for 20-minute presentations from scholars working in areas such as: photography, art history and theory, visual sociology, anthropology, museology, philosophy, ethnography, cultural studies, visual and media studies, communications, and fine and graphic arts.

To propose a paper, please send your abstract (no less than 250 and no more than 300 words including the title) by the 31st December 2017 to photographycee@liberproarte.eu

In addition, please include a short biographical note of no more than 150 words with full affiliation, the title of your presentation and contact details as a separate document.

The presentation will be given in English

Submission deadline: 31 December 2017

Notification of acceptance: 1 February 2018

Registration: 15 February-30 April 2018

Venue:

The City Museum of Ljubljana, Museum and Galleries of Ljubljana, Gosposka 15, Ljubljana, Slovenia   http://www.mgml.si

See the full call here: https://photographycee.wordpress.com/call-for-papers-2018/