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.
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I thought you might be interested in the exhibition I've been working on with my colleagues at Land of Iron in Skinningrove, North Yorkshire. It's been a labour of love and a joy to be involved with. I feel very privileged! An exciting new photographic exhibition comes to Skinningrove’s Land of Iron on Saturday 16th March 2024.
Running for six months until Saturday 14th September, Life in The Iron Valley will display, for the very first time, a selection of early work prints from two renowned British documentary photographers who worked extensively in the village - in the case of Graham Smith from 1969 to 1975, and Chris Killip from 1981 to 1984.
Celebrating the lives and landscapes of this small North Yorkshire village, Life in The Iron Valley is a document of a time when fishing and steelworking were the lifeblood of the community.
Supplementing the early prints, a collection of archival digital prints of Skinningrove - generously placed with the museum by Chris Killip - will also be on display.
The collection of images were collected by local artist and historian Stan Binks and were gifted to the museum by him. Many of the prints have been annotated by him with the names of the people pictured and the approximate dates they were taken. These notes – written on the border of the prints themselves – add a charm and authenticity which distinguishes the images from more traditional gallery displays.
The exhibition precedes the long-awaited publication of Skinningrove by Chris Killip in May 2024.
Chris Killip was born in the Isle of Man in 1946. He began his career as a commercial photographer before turning to his own work in the late 1960s. His book, In Flagrante, a collection of photographs made in the North East of England during the 1970s and early 1980s, is now recognized as a landmark work of documentary photography. Other bodies of work include the series Isle of Man, Seacoal, Skinningrove and Pirelli. In 1991 Killip was invited to be a Visiting Lecturer at the Department of Visual and Environmental Studies, Harvard University. In 1994 he was made a tenured professor and was department chair from 1994-98. He retired from Harvard in December 2017 and continued to live in Cambridge, MA, USA, until his death in October, 2020. His photographs feature in the permanent collections of many major institutions, including the Museum of Modern Art, New York; The J. Paul Getty Museum, Los Angeles; Museum Folkwang, Essen; the Stedelijk Museum, Amsterdam; Tate Britain and the Victoria and Albert Museum, London.
Graham Smith, born in Middlesbrough, studied at the Middlesbrough College of Art and later the Royal College of Art in London. In the 1970s he was among the photographers central to the creation of Side Gallery in Newcastle. He photographed over a period of twenty years in Middlesbrough and nearby South Bank, two major steelworks towns. His father, grandfather and great-grandfather worked in the South Bank ironworks. His writing, a story about his father, has appeared in Granta and his photographs feature in the permanent collections of major institutions including the Museum of Modern Art in New York, the Victoria and Albert Museum, London, and the National Gallery of Art, Washington.
Life in The Iron Valley – an exhibition of work prints and rarely seen photographs depicting the village of Skinningrove by Chris Killip and Graham Smith
Saturday 16th March 2024Saturday 16 March - 14 September 2024
Land of Iron, Deepdale Mill Lane, Skinningrove, TS13 4AP
Regular admission to Land of Iron includes access to the exhibition and tickets can be booked via the website.
Looking for stickybacks! For the past few years, I have been researching stickybacks together (partly with Róman Kiejet). The research has resulted in an exhibition and booklet on stickybacks in the Netherlands. This exhibition was shown last year at the Nederlands Fotomuseum in Rotterdam.
Now I have conceived the plan to make a European exhibition on stickybacks, which includes all the countries of the time. So I am looking for stickybacks from whole over Europe. I found the "easy-to-find-collectors' through google, but know I am looking for more people who have stickybacks in their collection.
For people who are not familiar with the term stickybacks;
'Stickybacks' - also called American Automatic Photo, snelfotografie (Dutch) and Leimrücken (Germany) are small (size passport) photos from roughly the 1910s. Usually they are single portraits, but there are also double-sized photos with multiple people. Stickyback can be recognizable by the photographed bar with the address and/or name of the photographer above the head of the subjects. And on the bar a number that could be changed.
If you have stickybacks or want to now more please contact me!
*You can find more about the Dutch stickyback exhibition and book on my website; https://dirkkome.nl/snelfotografie-de-rage-van-1912-tot-1925/
I have a pair of tinted daguerreotypes that have me very puzzled. I bought them in the UK and the sitters look to be British but the case is American and something about the highly polished hallmarked plates, the subdued tinting and a complete lack of sealing tape doesn't seem very British to me. I can't believe that many daguerreotypists would have produced work quite as involved, precise and theatrical as this. Does anyone have any ideas as to who the daguerreotypist might be, or even just as to whether they are American or British? I can add a lot more images if it helps.
Hello Members, recently consigned to auction with us was this drawing which will make many photography fans think of Julia Margaret Cameron. It is indeed a very fine copy after Cameron's photograph The Infant Bridal (1864), this version being Cox & Ford cat. no. 864. The one with arched top that you can find in the V&A Collection online (accession number 216-1969) was one of a group that were given to her mentor and friend, the artist George Frederic Watts. The drawing here is in black and white chalk and pencil on blue wove paper, sheet size 252 x 212 mm (the albumen print at the V&A is 240 x 210 mm). It is tipped onto an old album leaf and card and until just now has been undisturbed in in an old (?Edwardian) gilt picture frame that suggests it has been there for very many decades.
We think the drawing/paper is contemporary or near-contemporary to the photograph and the upper half of the drawing is particularly skilful. The only discernible difference of any note appears to be that the sitter on the right (Freddy Gould; Elizabeth Keown is on the left) has his eyes slightly more open and stares more directly to camera/artist than in the photograph. The owner has had this for several decades, he thinks bought in a provincial auction, but never taken it out of the frame or done any research into it beyond speculating on the Freddy Gould likeness.
There are no other clues as to who drew this. Have any members come across any similar contemporary drawings after Cameron photographs before, and any as accomplished as this? Might it be by Watts himself? Cameron often sent Watts examples of her work, including imperfect prints (at his own request).
This drawing will be in our Fine Art Sale on 13 March. If anyone has any further suggestions or queries please do get in touch:
Chris Albury, Dominic Winter Auctioneers
chris@dominicwinter.co.uk | 01285 860006
Four Corners is offering a paid 12-month internship as part of its new National Lottery Heritage Fund project, The People’s Gallery. This is an exciting opportunity to work on Four Corners' Archive collection whilst gaining skills in archiving and collections management, and experience in delivering community and exhibition projects.
A memorial service and get together to celebrate and remember the life and man, that was Brian Griffin is being held on 6 March in London. Firstly, is a service at 3pm at Holy Trinity Church, 3 Bryan Road, London SE16, then a social event at the Ship and Whale, 2 Gulliver Street, London, SE16. Details on the poster right (click to enlarge). As space may be limited can those who wish to go please contact info@ravichandarana.com
Natonal Science+Media Museum curator Vanessa Torres discusses how she and other colleagues at the museum prepare four Julia Margaret Cameron photographs for display at the National Portrait Gallery's forthcoming exhibition, Francesca Woodman and Julia Margaret Cameron: Portraits to Dream In, which opens on 21 March 2024.
Read the blog here: https://blog.scienceandmediamuseum.org.uk/blog-from-the-basement-julia-margaret-cameron-loans/
The Bodleian Library has reported on some of its photography acquisitions over the past two years via a series of posts on X - formerly Twitter - from its photography curator Phillip Roberts. He highlighted the following, which he says are are all available to view with a library card. He adds that exhibitions from some of the material are likely over the next few years.
- a set of prints from Jim Mortram'‘s Small Town Inertia project, along with films and podcasts
- a set of prints by Dafydd Jones, showing Oxford students in the 1980s
- a vast collection of vintage vintage news photos by Kenyan photojournalist Mohamed Amin who documented every political crisis in Africa for forty years (see image above)
- a sequence of 350-odd photos documenting the unfolding Tiananmen Square protests by Edgar Huang, taken from among the protesters themselves
- a handmade one-of-a-kind artist’s book by Deborah Parkin using cyanotypes to explore her father's death
- the complete archive of master portraitist Bern Schwartz
- the complete archive of Paddy Summerfield, 'Oxford’s greatest ever photographer'
- The Wilson Collection. 200 boxes of masterpieces from the late-19th and early-20th century. The early history of photography, told with a global focus
- the Handsworth Self-Portraits from Ten-8 which set up a studio on the street in Birmingham and let everyone who walked past photograph themselves. This is the only complete record of the project (left)
- every Cafe Royal book there, now and in the future. A vast history of British photography in 600+ books
- 2000+ modernist photobooks collected by Charles Chadwick-Healey
- part of the archive of portrait photographer Pamela Chandler
- Pictures From the Garden, an intimate collective study of Paddy Summerfield’s world, by Alex Schneiderman, Sian Davey, Alys Tomlinson, Jem Southam, et al
- Victorian cat photographs by Harry Pointer
- 6,000 dog photographs from the 19th century
- Lewis Bush's Depravity's Rainbow project
- Gary Fabian Miller's books
- Brian Heseltine's photograpphs of the Caribbean from the 1950s
- Henri Cartier-Bresson in Oxford
BPH also understands that there is other photography heading the way of the Bodleian including a British Magnum photographer's archive and another thematic collection.
The second edition of the Vienna Vintage Photo Fair takes place on 7 April 2024. The inaugural event at the MuseumsQuartier Vienna drew over 1,000 visitors in June 2023. This one-day event offers a unique opportunity in German-speaking countries to explore and acquire original photo-historical rarities. Thirty-five dealers from Austria, Germany, France, the Netherlands, Belgium, the Czech Republic, Slovakia, and Argentina will showcase art and vernacular photography spanning two centuries. The offered pieces range from the first daguerreotypes (the pioneering photography process from 1839) of the 19th century to subsequent black and white photographs, up to color photographs from the second half of the 20th century.
The Vienna Vintage Photo Fair is a sales fair for creative people looking for inspiration, for curators, historians, regional researchers, nostalgics, interior designers and generally for an art and culture-loving audience. The event is not only a platform for like-minded people, but also aims to stimulate interest in historical photography. Engage in conversations with collectors and experts in the field to discover more about their approaches and passion. The supporting programme will feature photo conservator Janka Krizanova from Bratislava who will teach about the daguerreotype, the earliest photographic process. Photographer Markus Hofstätter will offer live portrait shootings using the historical collodion wet plate photo process (www.markus-hofstaetter.at). Vienna based Photoinstitut Bonartes will present scientific publications on historical photography topics and the Friedl Kubelka School of Artistic Photography will present current works by its students. Take the opportunity to travel back in time from the perspective of the first photographers of the 19th and early 20th centuries and acquire a piece of history.
The Vienna Vintage Photo Fair assembles memorabilia and found objects from three centuries creating a visual cabinet of technical and artistic curiosities. Nostalgia, hunting instinct and thirst for knowledge tempt you to browse extensively. For the smartphone generation, this immersion in the physical cosmos of images is no longer a given: the analogue photo has now become a rarity. The Vienna Vintage Photo Fair provides the ideal contrast program for this. It offers a tactile experience, allows room for serendipity, and provides space for a diverse range of ideas. The aura of the original encourages reflection on its origins and history, as well as imaginary journeys into the past.
All photographs offered are so-called “vintage prints”. These are prints from the respective era that were made immediately after the negative was created, usually by the photographers themselves or under their personal supervision.
Vienna Vintage Photo Fair 2024
Sunday, April 7, 2024, 1000 – 1800
MuseumsQuartier Vienna - Architekturzentrum/Podium
Vienna 1070, Austria
Free admission!
Trade fair with 35 domestic and international dealers and experts.
mail: info@photofairwien.com
Instagram: photofairwien
Image: ”Gehfotograf”, Graz, around 1930, gelatin silver print, 8.5 x 17 cm, coll. Mila Palm 2024
Meet Dr. James Hyman... James is a man of many parts; art historian, author, editor, critic, curator, dealer, advisor, collector, philanthropist, visionary founder of the Centre for British Photography alongside husband and father. he is interviewed by David Glasser.
James Hyman in conversation with David Glasser
Hosted by Ben Uri Research Unit /https://www.buru.org.uk/
£7.50, online, 27 February 2024 from 1830-2000 (UTC)
Booking:https://www.trybooking.com/uk/events/landing/55598?
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
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
The National Portrait Gallery’s new publication, Francesca Woodman and Julia Margaret Cameron: Portraits to Dream In draws parallels between both photographers with new fresh research, rare vintage prints, and previously unseen archival materials alongside some of their best-known photographs.The book accompanies the exhibition of the same name opening at the National Portrait Gallery, London (21st March – 16th June).
Living and working over a century apart, Julia Margaret Cameron (1815–1879) and Francesca Woodman (1958–1981) experienced very different ways of making and understanding photographs. Yet the two share more similarities than expected. This publication presents the artists’ exploration of portraiture as a ‘dream space’, but also includes exciting new research and contributions on both artists, as well as number of works that are being published for the first time.
Francesca Woodman and Julia Margaret Cameron: Portraits to Dream In makes new connections between their work, which pushed the boundaries of the photographic medium, and highlights their experimentation with ideas of symbolism, transformation and storytelling.
“Both Woodman and Cameron worked for a relatively short and concentrated period; neither was active for more than a decade and a half. Not either enjoyed significant critical or popular success in their lifetimes. Yet both left an influential body of work that has shaped the history of photography and has posthumously received widespread attention and reassessment.” Magdalene Keaney
The book includes ten thematic sections interspersed with the works of both artists, but the publication begins with three feature essays, which consider Cameron and Woodman simultaneously. One of which is written by curator of the exhibition Magdalene Keaney and is an extended in-depth piece that is a major new contribution to the field, offering new ways to think about the work of both photographers and about the relationships between 19th and 20th century photography and portraiture.
Also writing for the exhibition publication is leading and highly-respected photo historian and writer specialising in women photographers Helen Ennis who was awarded the Royal Photographic Society J Dudley Johnston medal in 2021.
Portraits to Dream In includes works by Julia Margaret Cameron from the collections of major international museums including the J. Paul Getty Museum, Los Angeles; the Metropolitan Museum, New York; the Victoria and Albert Museum, London; the Science Museum Group; the Ashmolean Museum, Oxford and the National Portrait Gallery’s own collection. Prints made by Francesca Woodman in her lifetime, nearly 20 of which have not been previously published or exhibited, as well as presenting a number of letters, sketches and contact sheets from the Woodman archive which have been provided primarily by the Woodman Family Foundation in New York, who have collaborated closely on the creation of the publication.
The National Portrait Gallery is delighted to be able to bring this exhibition and accompanying book to new audiences and devoted followers of both Woodman and Cameron, to offer an inspiring and fresh take on their inimitable work.
Francesca Woodman and Julia Margaret Cameron: Portraits to Dream In published on the 21 March alongside the opening of the National Portrait Gallery’s exhibition, and is available to pre-order from the Gallery’s online shop: https://npgshop.org.uk/collections/books/products/francesca-woodman-julia-margaret-cameron-portraits-to-dream-in-hardcover
The Photographers' Gallery, London, has announced that its new digital archive is live. The digital archive is a free online resource to dig into the rich and varied past of The Photographers’ Gallery and to support future learning about photography, and includes exhibiton poster, documents and photographs.
See: https://archive.thephotographersgallery.org.uk/ or email: tpg.archive@tpg.org.uk
The Darwin Online project has launched a major addition which may interest BPH readers: The Complete Library of Charles Darwin. It includes various photography references. The catalogue is a reconstruction of Darwin’s library as it was in his lifetime, hence not just recording extant books in institutional collections today (1,480 is the usual number, it turns out that many books have been overlooked). Combining these important works with hundreds of other titles derived from a huge array of sources- especially the work of many scholars, librarians and archivists and by including family catalogues to rare books sales from 1889 to the present and by including all print sources Darwin owned (not just bound ones) such as journals, pamphlets and clippings- we arrive at a collection of 7,400 titles across 13,000 volumes/items. Hundreds of these were not known to scholars before.
After combining and collating many sources and identifying thousands of incomplete references, we have also assembled 9,500 links to electronic copies of the works. Of these, 5,035 are items within Darwin Online (850 are fully transcribed) and 4,500 are links to freely accessible internet copies.
Thus the Darwin Library is now integrated with his entire corpus of published works, his manuscripts and private papers, the Beagle library, and the database with complete bibliographical records of his publications in 56 languages and union catalogue of his manuscripts across 80 institutions and collections.
An introduction to the reconstructed Darwin Library and link to the complete catalogue is here: http://darwin-online.org.uk/EditorialIntroductions/vanWyhe_The_Complete_Library_of_Charles_Darwin.html
20/20 brings together work by British photographers Chris Killip (1946-2020) and Graham Smith (1947) for a reconceived telling of their seminal show, Another Country, originally exhibited at the Serpentine Gallery, London, in 1985. Through snapshots and ephemera, the show also recognises their lifelong friendship with one another.
Killip and Smith first met in 1975 through Amber, a film and photography collective in Newcastle upon Tyne. They both photographed in North East England during a period when heavy industry was still thriving, followed by an unforeseen and devastating collapse. The photographers documented the individuals and communities whose lives depended on these industries, people who were facing a politically forced change to the landscape and their ways of life that had been settled for generations.
The idea for 20/20 was conceived by Augusta Edwards in 2019 and at that time Killip and Smith each selected 20 images taken between 1975 and 1987 for the exhibition. In the same powerful way as Another Country, the work by Killip and Smith is shown anonymously together on the walls in 20/20.
20/20 was first shown at Augusta Edwards Fine Art, London, in 2022.
20/20: CHRIS KILLIP / GRAHAM SMITH
11 April - 30 June 2024
Martin Parr Foundation, Bristol
See: https://www.martinparrfoundation.org/events/20-20-chris-killip-graham-smith/
Image: left / Another Country exhibition poster, Serpentine Gallery, 1985; right / Graham (left) and Chris (right), Wallsend, North Tyneside, 1976 © Markéta Luskačová
Nick Warr and Simon Dell – the curators of a fascinating exhibition Norwich Works: The Industrial Photography of Walter and Rita Nurnberg currently on at Norwich Castle Museum until 14 April - will talk about the too little known German-born émigré photographers Walter and Rita Nurnberg.
Walter (1907-1991) and Rita (1914-2001) Nurnberg established a commercial photographic studio in London in 1934 after relocating from Germany. Walter, a former pupil and tutor at the prestigious Reimann School of Art and Design in Berlin, made a name for himself in product photography. After the Second World War, the Nurnbergs concentrated their collective skills in documenting and celebrating the workers of Britain.
Over the subsequent decade, the Nurnbergs made photographs for many of the nation’s most significant companies and their distinctive style of black and white images transformed the image of post-war British industry. While the work they produced for three Norwich manufacturing institutions - Boulton and Paul, Mackintosh-Caley and Edwards and Holmes – form the centrepiece of the current exhibition, the speakers will set this work in the broader context of Walter and Rita Nurnberg's lives and careers.
Dr.Nick Warr is Lecturer in Art History and Curation in the School of Art, Media and American Studies at the University of East Anglia, Norwich. He is also Curator of Photographic Collections, Course Director of Art History and World Art Studies, and Academic Director of the East Anglian Fim Archive.
Dr.Simon Dell is an art historian who taught at the University of East Anglia for over twenty years. His key research interests include photography, with special reference to France, Germany, the Soviet Union and the United States, and the relationship of the visual and the political in interwar Europe.
From Berlin to London: The Industrial Photography of Walter & Rita Nurnberg
Online, 12th February 2024 at 6:00PM
Free, or make a donation
Image: Walter and Rita Nurnberg, Check weighing and closing cartons, Mackintosh-Caley, Chapelfield Works, Norwich, 1958 (detail)
Insiders/Outsiders is an ongoing celebration of the indelible and pervasive contribution of refugees from Nazi-dominated Europe to British culture.
The Guardian newspaper reports that an archive of more than 10,000 photographs capturing everyday life in England’s north-west has been saved for the future, and is now being made available to the public. From 1885 to the 1970s thousands of photographs were taken by the Barrow-in-Furness-based father and son Edward and Raymond Sankey, who captured a wide range of subjects, including working-class women, childhood, royal visits, sport, working horses, motor vehicles, shop fronts, shipping and tourism in the Lake District. Their original glass plate negatives, postcards, albums and documentation have now been rescued, digitised and catalogued.
The archive is housed by Cumbria Archives and has been made possible with support from the National Lottery Heritage Fund and Signal Film & Media.
BPH reported on the launch of the Archive website in September 2023. See: https://britishphotohistory.ning.com/profiles/blogs/archive-sankey-family-photography-collection
See The Guiardian report here: https://www.theguardian.com/artanddesign/gallery/2024/feb/09/archive-photos-capture-life-in-england-north-west
Visit the Sankey Photography Archive.
The Institute of Art History of the Czech Academy of Sciences, Prague, as part of The PhotoMatrix Project has arranged a series of four hybrid talks as part of the Collegium Historiae Artium lecture series between February and May 2024 looking at aspects of photomechanical reproduction. They are:
14 February 2024
Meghan Forbes (independent scholar, New York)
Devětsil and the Aura of Mechanical Reproducibility
28 February 2024
Camilla Balbi (IAH CAS, Prague)
A Forgotten Media Interest: Erwin Panofsky and Photography
24 April 2024
Anthony Hamber (independent photographic historian, London)
The 1840s: Transformations in Reprographics
15 May 2024
Kim Timby (École du Louvre, Paris)
Bringing Home the Museum: The Colour Turn in Art Reproduction in the Mid-Twentieth Century
The talks will take place at the Institute of Art History of the CAS, Prague, Husova 4, general meeting room (117), 1st floor at 1630 and online.
For details and abstracts, visit https://photomatrix.cz/outputs#events
For the Zoom link, please contact by email: masterova@udu.cas.cz
About PhotoMatrix Project
Going back to the advent of photomechanical reproductions of art in periodicals at the beginning of the 20th century, PhotoMatrix examines the far-reaching consequences of this media revolution on the distribution and popularization of art among both experts and the general public. The project focuses on art and art historical journals published in Czechoslovakia, Germany, France, and Russia from 1900 to 1950. The reproductions featured in these journals will be examined quantitatively, through the methods of digital art history, and qualitatively, based on archival sources (publishers, photo agencies, photographers, printers). What new narratives of art emerge if we look into this period through the lens of reproductions printed in period journals? What new insights does this historical inquiry open into the use of remote access to art in the digital age?
