Networking Symposium 2010 participants
Contact Details: firstname.lastname@example.org
Martin Barnes is Senior Curator of Photographs at the Victoria and Albert Museum, (V&A) London which he joined in 1995. Previously, he worked for the Walker Art Gallery, Liverpool and studied at the University of Leicester and the Courtauld Institute of Art, London. Since 1997 he has worked on the Photography Gallery at the V&A which draws exhibitions from the Museum's national collection of the art of photography. He has also curated numerous UK touring exhibitions, including, Aspects of Architecture; Where Are We?: Questions of Landscape and Something That I’ll Never Really See: Contemporary Photography from the V&A and was the V&A curator for the Diane Arbus Revelations (2005-6) and co-curator of Twilight: Photography in the Magic Hour (2006) exhibitions. He is currently working on the V&A exhibitions and publications, Shadow Catchers: Camera-less Photography (2010) and Figures and Fictions: Contemporary South African Photography (2011).
His publications include Benjamin Brecknell Turner. Rural England through a Victorian Lens, (V&A Publications, 2001); Illumine. Photographs by Garry Fabian Miller. A Retrospective (Merrell, 2005) and Twilight: Photography in the Magic Hour (V&A / Merrell, 2006). He was editor of Talking Photography, a catalogue of the audio and visual collections of the British Library National Sound Archive, where he is an interviewer for the Oral History of British Photography project. He has written articles and essays on various contemporary photographers for publications and journals including Aperture and Portfolio, entries for The Folio Society Book of the 100 Greatest Photographs (2006) and the Encyclopaedia of Nineteenth Century Photography (2007) and contributed to international exhibition catalogues on the role of photography in the Pre-Raphaelite and Arts and Crafts Movements.
1. Why does networking matter to you and your institution in the coming 5-10 years? Nationally funded institutions need to work together to create a coherent national provision for the medium we deal with, the nature of which has many overlaps and intersections. Networking will allow us not only to avoid duplication and to put in joint bids to funding bodies but also to have a creative and mutually supportive dialogue. The 'encyclopaedic museum' ambition of the 19th century has been supplanted by a much more permeable and flexible notion of collections and expertise. Networking will allow the kind of permeability that we need, not just nationally, but also in the light of a more globalized international approach, tapping into where resources and knowledge lie at the right moments for our respective needs.
2. What topics do you think the network, once it is formed, should address? Scholarly exchange, creative dialogue, collegial support, bureaucracy-free agility, funding, conservation, archives, publications, web projects, learning, visual literacy.
Marc Boulay is the Photographic Archivist within the Special Collections Department of the University of St Andrews Library. Originally from Canada, following postgraduate studies in Photographic Preservation and Collections Management at George Eastman House and Ryerson University in Toronto, Marc was tempted away from his work at the Canadian Museum of Civilization in Ottawa to pursue more ambitious challenges in the UK. Immigrating to Scotland in May of 2008, Marc has been modernising the University’s approach to its Photographic Collection and its collections management strategy. Advocating for the Collection both within the university and beyond, he has been focused on building the necessary technological as well as administrative infrastructure in order to increase access, develop awareness and help realise the great potential of this rich photographic collection as a primary resource to both public and academic interests. File:DeMonfort St Andrews presentation.ppt
Stephen Brown is Professor of Learning Technologies, Head of the Department of Imaging and Communication Design and Director of Knowledge Media Design at De Montfort University, UK (http://kmd.dmu.ac.uk). His career includes course design, research and tutoring for the Open University; Head of Distance Learning, BT Training; Royal Academy of Engineering Visiting Professor in Engineering Design; Director of the International Institute for Electronic Library Research, De Montfort University; Senior Technology Adviser at the JISC Technologies Centre; and President of the Association for Learning Technology. His research centres around understanding and applying information design principles to the activity of knowledge construction in the context of new media technologies. He is responsible for the growing corpus of online digital photohistorical resourcesat DMU.
Stephen Brown's Networking Grants presentation: File:NetworkGrants.ppt email: email@example.com
John Falconer has worked as a curator of photographs at the Royal Commonwealth Society and the National Maritime Museum. He joined the India Office Collections of the British Library in 1993 and is presently the Library's Lead Curator, Visual Arts. This post carries responsibility for the Library's photographic collections. His principal specialism lies in the history of photography in Asia, particularly the Indian subcontinent.
Ulla Fischer-Westhauser, born in Vienna/Austria, studied History and English at Vienna University. From 1997-2003 free-lance academic assistant and curator at the Department of Pictures of the Austrian National Library, 2003-2010 curator for photography at Westlicht Museum in Vienna. Member of the board and first secretary of the European Society for the History of Photography (ESHPh: www.donau-uni.ac.at/eshph), co-editor of PhotoResearcher (together with Anna Auer and Uwe Schögl), the academic publication of the ESHPh. Numerous exhibitions and publications on the history of photography, history of economics and Habsburg topics.
Jane Fletcher is a photographic historian, writer and curator and leads the MA in the Still and Moving Image, Derby. She has held a number of research posts, most recently with Photography and the Archive Research Centre (PARC) at London College of Communication. She began teaching in Higher Education in 1997, and was Curator of Photographs, Royal Photographic Society Collection at the National Media Museum, Bradford from 2003 to 2008. Co-editor of I Spy: Representations of Childhood, she specialises in the history of British photography and has contributed to a number of exhibition catalogues and photographic encyclopaedias. She writes regularly for contemporary photographic journals.
Colin Harding is Curator of Photographic Technology at the National Media Museum Bradford, where he has worked since 1985. He has written numerous books and articles on the history of photography and writes a monthly column for Black & White Photography magazine. His most recent book, Classic Cameras, was published by the Photographers’ Institute Press in June 2009.
Pete James is Head of Photographs at Birmingham Central Library in which capacity he is responsible for one of the UK's national collections of photography. He is a Fellow of the Royal Photographic Society and a past Chairperson of the Committee of National Photography Collections. He has curated exhibitions at the V&A, Birmingham Museum and Art Gallery, Birmingham Library, The Royal Photographic Society, The Royal Palace, Milan and Museum Africa, Johannesburg amongst other venues. He has written on historical and contemporary photography in Birmingham. He is the author of books including Coming to Light: Birmingham’s Photography Collections (1998); World City: Birmingham and its People Portrayed (2003), and Home Fit for Heroes: Photographs by Bill Brandt (2004). He co authored, with Elizabeth Edwards, A Record of England: Sir Benjamin Stone and the Photographic Record Association 1897-1910 (2007). He has also contributed essays to a variety of books including Making Connections: Birmingham Black International History (2002), Time & Motion: Photographs by Edweard Muybridge, Harold Edgerton and Jonathan Shaw (2003), Bullring: the heart of Birmingham and Remaking Birmingham: Regeneration & Visual Culture (2004), and Richard Billingham: Zoo (2007). He is currently working on Brian Griffin, Face to Face; a retrospective which opens on 30th September 2010 and researching the Birmingham photographer George Shaw.
[http://dpcuk.oi-dev.co.uk/pub/apps/login/index.php Directory of Photographic Collections UK]
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Elizabeth Lambourn is a Reader in South Asian and Indian Ocean Studies. She was first trained in Art History at the University of Edinburgh before veering into the Indian Ocean to complete a PhD in Islamic Art and Archaeology at SOAS. Her research is resolutely cross-disciplinary and focuses on the history, visual and material culture of the Middle East, South Asia and Indian Ocean world from the pre-Modern to Contemporary periods. She has published extensively on these areas and has also taught and lectured widely in the US, Europe and Asia. Her work contributes to the global dimension of research and teaching at DMU as well as responding to Leicester’s unique cultural makeup. Above all she enjoys dialogues across disciplines and, though currently more of a “user” of photography than a Photo historian, she looks forward to developing research in this field.
Connie McCabe was just appointed the Head of the newly created Photograph Conservation Department at the National Gallery of Art in Washington, DC, where she spent nearly 20 years as Senior Photograph Conservator. Previously she worked at the U.S. National Archives and the Smithsonian Institution, and was co-director of a firm dedicated to the preservation of historic negative collections. She has been active in Photographic Materials Group of the American Institute for Conservation, and authored numerous publications related to photograph conservation, ranging from the characterization and care of collodion negatives, to cold storage of photographs, to coatings on photographs by Alfred Stieglitz. She was the editor and production manager for the collaborative publication, Coatings on Photographs: Materials, Techniques, and Conservation.PublishedResourcesFeb1_2010
Michael Pritchard has been researching and working within photographic history since the 1980s. From 1986 to 2007 he worked at the auction house Christie's (http://www.christies.com) as a photographic specialist and then as Director of photographic auctions. This entailed travelling within the United Kingdom and internationally to source material, researching and cataloguing it as well as the associated functions around marketing, catalogue production and managing the department. He also had wider managerial responsibilities within Christie's and worked on a number of projects mainly to do with the internet, IT, training and revising business processes. He is undertaking consultancy work on a new cataloguing and stock control system for art works.
In 2007 he began work on a PhD study examining the growth of development of the British photographic industry between 1839 and 1914 from the perspective of consumer demand. His PhD is being supervised by Professor Roger Taylor and Mike Hiley and was completed in 2010. He will be leading the Photography and Industry module of the MA in Photographic History in the Spring term.
Michael acted as an advisor and contributed to the Encyclopedia of Nineteenth Century Photography (Routledge, 2007) and contributed to the Oxford Companion to the Photograph (OUP, 2005), and Phaidon Design Classics (Phaidon, 2006). He edited Photographica World between 1987-2001 and has published extensively on British photographic history. He was awarded a Fellowship of the Royal Photographic Society for his work in photographic history and he sits on the Society's History of Photography distinctions panel. Since 2009 he has run the British photographic history blog (http://britishphotohistory.ning.com). Michael has lectured extensively on photographic history including presentations at the National Media Museum in Bradford, George Eastman House in Rochester, as well as other venues in the UK, Europe, Japan and Australia.
His research interests centre around the history of photographic technology (cameras, processes, etc), the business of photography (studios, and companies), early photographic literature, the photographic society and camera club and other aspects of British photographic history during the nineteenth and twentieth centuries.
He can be contacted by email at: firstname.lastname@example.org
As a subject specialist in mid-19th century British photography, Roger Taylor has authored books on George Washington Wilson, The Royal Archives, Lewis Carroll, Roger Fenton, and most recently the first comprehensive history of the British calotype. Having been in photography and photographic education for over 50 years, he has been committed to the provision of primary resources since the 1970’s when he was editor for the World Microfilm series on photographic publications and archives. More recently, in conjunction with De Montfort University, he published Photographic Exhibitions in Britain 1839-1865, Exhibitions of the Royal Photographic Society 1870-1915, and Roger Fenton’s letters from the Crimea.
Clara von Waldthausen
Clara von Waldthausen received her BA in Art History and Studio art (photography) from DePauw University, Indiana, in 1992, and completed her masters in photograph conservation at the Netherlands Institute of Cultural Heritage in 2000 (now at the University of Amsterdam).
After completing a research fellowship at the Centre de Recherche sur la Conservation des Collections (CRCC) in Paris, France, which focused on the fabrication and conservation of the Autochrome process, Waldthausen established a photograph conservation practice in Amsterdam, serving various cultural institutions. Waldthausen also serves in an advisory capacity for the Ministry of Culture, where she is presently an assistant coordinator for the working group,Photograph Conservation and Research. Waldthausen teaches in the minor certificate program at Melbourne University and teaches the module for photograph conservation (part of the paper conservation curriculum) at the University of Amsterdam.
Since 2002 Waldthausen has served as the coordinator of the ICOM-CC Photographic Working Group, and serves on the Education Committee of the Dutch Association for Conservators (Restauratoren Nederland), which provides professional development for the members and forms the link between conservation professionals and the conservation program at the University of Amsterdam.
Kelley Wilder has worked and studied at the Paul Strand Archive, the George Eastman House, the Maine Photographic Workshops, Photo-eye, Glasgow University, Oxford University, the Max Planck Institute for the History of Science, and De Montfort University. She is the author of Photography and Science (Reaktion Books,2009), and leads the MA Photographic History and Practice at DMU. Kelley has an abiding interest in all things photographic, both artistic and scientific, in Germany, France the UK and America. She is engaged in bringing photographic research resources to the web, and has worked as research assistant and editor on three of the digital projects hosted by DMU: The Talbot Correspondence; Roger Fenton's Letters from the Crimea; and Photographic Exhibitions in Britain 1839-1865.
Susan Whitfield is the Head of the International Dunhuang Project at the British Library and Acting Head of Asia, Pacific and African Collections. IDP works closely with the curators of collections of historical photographs of the Silk Road worldwide to make them available online. She also works closely with conservators and chemists in the field. She has been working on digital online projects since the early 1990s and is currently exploring the creation of user-created virtual repositories combining dispersed datasets.
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