Una intervista di Madhu Kapparath a Nathaniel Gaskell, 33 anni, associate director del Museum of Art & Photography di Bengaluru e co-autore con Diva Gujral (28) di Photography in India: A visual history from the 1850s to the present.
Un articolo interessante in uscita sul prossimo numero di Art History.
Sono ora disponibili nella pagina riservata gli esiti del test del 18.03.2019.
Scusandomi per il brevissimo preavviso, comunico che per improrogabili impegni sopraggiunti la lezione di domani, mercoledì 27 marzo 2019, è rimandata.
La prossima lezione si terrà il 1 aprile 2019.
Chiedo cortesemente a tutti coloro che avranno modo di leggere questa comunicazione di condividerla, per quanto possibile, con gli altri studenti del corso.
PS Non è un pesce d’aprile!
How do you tell the story of an artist whose archive was destroyed? Tyler Green’s new book focuses on a major figure in the early history of photography.
Ronta, 1984, by Guido Guidi. Photograph: courtesy the artist and Large Glass
Guido Guidi, Per strada, Mack Books, London 2018 (3 voll.)
«Anna Atkins’s role in the narrative of early photography has been widely acknowledged only within the last 40 years. Since the publication of Larry J. Schaaf’s Sun Gardens: Victorian Photograms by Anna Atkins, scholars have built on this groundbreaking research and fortified the larger context of her work. Although now famous for being the first book produced with photographic illustrations, Photographs of British Algae: Cyanotype Impressions has been viewed as an artwork, a scientific document, a rare book, and more. This multi-faceted appeal has helped to ensure Atkins’s enduring legacy.
On the occasion of the exhibition Blue Prints: the Pioneering Photographs of Anna Atkins, The New York Public Library has invited distinguished scholars in the fields of photography, conservation, natural history, and rare books to discuss her photography and its resonance. During this symposium panelists and speakers will discuss this broader context in which she created her momentous production, as well as characteristics unique to Atkins’s pioneering work.»
Anna Atkins, Grateloupia filicina, cianotipo, 1848-1849. Photographs of British algae: cyanotype impressions, Part IX, Spencer Collection, The New York Public Library.
New Brunswick, NJ, April 12, 2019
Deadline CFP: 15.01.2019
Graduate Student Colloquium on the History and Theory of Photography
The Developing Room, a working group at the Center for Cultural Analysis (Rutgers University) announces its second annual graduate student colloquium. This event is for Ph.D. candidates from any field of study who are working on dissertation topics in which photography – its histories and theories – play a central role. We encourage presentations on underrepresented histories globally. Students selected to present will have an opportunity to share their work with their peers and an official respondent who is a leader in the field. Students may be at any stage of dissertation research, but ideally presentations will consist of a dissertation chapter or section and an account of how that chapter/section fits within the larger project. The format involves a formal presentation of 25 minutes in length, followed by 30 minutes of discussion. Although only five presentations are given at each colloquium meeting, the Developing Room invites a large audience of students in order to ensure a rich conversation, and to build a constituency from which papers can be drawn in subsequent years. Last year, our inaugural event brought together an international group of researchers working across a wide range of topics related to photography.
This year’s respondent will be Leslie Wilson, Assistant Professor of Art History at Purchase College, State University of New York. Professor Wilson’s teaching and research focuses on the global history of photography, modern and contemporary art from Africa and the African diaspora, American art post-1900, and museum studies. Her current project charts the development and popularization of color photography in South Africa, from its inception in the early twentieth century to contemporary practice. From 2015 to 2017, she was a 24-Month Chester Dale Predoctoral Fellow at the Center for Advanced Study in the Visual Arts at the National Gallery of Art in Washington, DC.
More information about the Developing Room can be found at developingroom.com
To apply, please send the following to firstname.lastname@example.org by January 15th, 2019:
– An abstract of 250 words or less
– A summary of your dissertation progress, 250 words or less
– A short biography of 150 words
Il call for papers è disponibile qui: Photo-Archaeology_International_Conference e qui https://www.academia.edu/37645022/Photo-Archaeology_International_Conference_Call_for_Proposals
Konstantinos Athanasiou, Stèle antique au cimetière Céramique (Athènes), circa 1875, tirage albuminé d’après négatif verre au collodion, 266 x 203 mm (restaurations). Numéroté « 4 » dans le négatif. Bibliographie: Das Land der Griechen mit der Seele suchen, Photographien des 19. und 20. Jahrhunderts, Agfa Foto Historama, 1990.
Attraverso il sito del Musée Nicéphore Niépce di Chalon-sur-Saône, la digitalizzazione completa dell’importante rotocalco settimanale “Vu” (1928-1940).
Sull’argomento, si veda Michel Frizot, Cédric de Veigy, VU: le magazine photographique, 1928–1940, La Martinière, Paris, 2009 (disponibile anche in inglese) e Danielle Leenaerts, Petite histoire du magazine VU, Peter Lang, Brussels, 2010.
«Phototrace 2018 Roma. PHOTOTRACE è un evento a carattere nazionale e si svolge ogni anno in una diversa città Italiana, ospite di un gruppo di animatori dell’evento impegnati per la cultura fotografica. PHOTOTRACE è una festa di orgoglio argentico, un “silverpride” in cui i partecipanti sono insieme animatori, spettatori e protagonisti. Ciascuno e tutti insieme partecipiamo per pura gioia di condivisione e festa fotografica».
L’annuncio è disponibile qui.
Harry Ransom Center, The University of Texas at Austin, June 1, 2019-August 31, 2020
Application deadline: Nov 15, 2018
«Art historiography is an integral part and the subject of art historical research. Moreover, since the 1970s, there has been growing interest in the specific configurations of different media in art history. The Marburg conference would like to make a first attempt at systematizing these efforts by formulating the key ideas for providing a firm media-theoretical basis for the research area ‘history of art history’. Beyond the problem of the image, which is a central concern of art history, the project will address the specificity of the different constellations of media and their use within art-historical teaching with a particular focus on multi-, inter-, and transmedia aspects. The international conference, at the outset, will be directed at the academic discourse of the discipline, but will also widen the focus to the philosophical, archaeological, and media-studies perspective, seeking to gain an understanding of the boundaries and the limits of art historical educational practices. Conference languages are German and English.»
«The Ryerson Image Centre (RIC) exists for the research, teaching and exhibition of photography and related media. We are an active partner within the academic fabric of Ryerson University, the cultural network of greater Toronto, and the national and international artistic community.»
L’Istituto Centrale per il Catalogo e la Documentazione ha pubblicato la Relazione metodologica relativa alla procedura di valutazione patrimoniale dei propri fondi fotografici, corredata da un significativo numero di esempi.
Si tratta di una fonte significativa per una riflessione sul rapporto tra valore culturale e valore economico di beni non alienabili di proprietà pubblica, nonché sulla loro valorizzazione.