University of Brighton
Ignacio Acosta is a Chilean born, London based visual artist and researcher. His practice explores and reflects on the geo-political power dynamics in mineral industries, geographies and historical narratives. Acosta uses site-specific working methodologies. His interconnected research projects involve extensive historical research, fieldwork, diverse forms of mapping, the collection of archival materials and new photographic documentation with analogue large and medium format view cameras. He was awarded his practice-based PhD in 2016 from the School of Arts and Humanities of the University of Brighton. His thesis titled The Copper Geographies of Britain and Chile: A Photographic Study of Mining is part of Traces of Nitrate: Mining History and Photography between Britain and Chile, a research project developed in collaboration with Art and Design Historian Louise Purbrick and photographer Xavier Ribas, which has been funded by the Arts and Humanities Research Council (AHRC). Acosta is currently working on two mayor bodies of work Intuitive Projects and Mapping Domeyko and has recently initiated new research on Finnish timber titled Green Gold. See also: www.tracesofnitrate.org
Birkbeck College, University of London
Juliet Baillie gained her undergraduate and master’s degrees in History of Art from the University of Glasgow, where she developed a particular interest in the history of photography. She is currently working on her AHRC funded PhD in the Department of History of Art and Screen Media at Birkbeck College, supervised by Patrizia Di Bello. The working title of her thesis is ‘British Interwar Camera Clubs: The Photography of Dedicated Amateurs’. She is particularly concerned with notions of amateurism in relation to photography and the impact of changes in camera technology during the period. She has undertaken internships at the National Gallery of Art, Washington DC and Gallery of Modern Art, National Galleries of Scotland, Edinburgh.
Susan Bright is a curator and writer. She has taught extensively and regularly convened major international conferences and seminars on many aspects of art and photography. She was formally Assistant Curator of Photographs at the National Portrait Gallery (London), Curator at the Association of Photographers and Acting DIrector for the MA at Sotheby’s Institute of Art in London. Her previous exhibitions include: Something Out of Nothing (Fotogalleriet, Oslo), How We Are: Photographing Britain (Co-curated with Val Williams, Tate Britain, London) and Face of Fashion (National Portrait Gallery, London). She is the author of Art Photography Now and Auto Focus – The Self Portrait in Contemporary Photography, both published by Thames and Hudson. She is currently a PhD candidate at Goldsmiths pursuing PhD by Practice in Curating.
University of Sussex
Ben Burbridge is Lecturer in Art History at the University of Sussex, where he teaches the history and theory of photography and post-war American and European Art. He holds degrees in Art History from the University of Sussex (B.A. Hons. 2003; M.A., 2005) and The Courtauld Institute of Art (Ph.D., 2011). His research focuses on relationships between photography’s artistic and instrumental applications, and how the medium is implicated in wider social, cultural and political transformations. Burbridge is the curator of exhibitions including We Are Witnessing the Dawn of an Unknown Science (Permanent Gallery, Brighton, 2007); No Passaran! Robert Capa and the Spanish Civil War (Charleston Farmhouse Gallery, Firle, 2007) and The Daily Nice Take Away (Kunsthaus, Essen, 2010) and Brighton Photo Biennial 2012, Agents of Change: Photography and the Politics of Space. He is co-editor of Photoworks magazine and co-founder of Ph.
Anne Burns is a Ph.D. candidate at the Loughborough University School of Art. Her thesis examines how women’s photographic self-representations are used on social media to enact practices of gender discipline. Whether defining the ‘authentic’ self, proscribing the ‘duckface’ expression, or deriding the use of selfies, popular discourse in relation to women’s photographs can be seen to embody the normalisation of regulation, presented as a participatory form of entertainment. Prior to commencing her PhD, Anne was a photography demonstrator at the University of Salford, and worked as a photographer at a high-street portrait studio. Click here to view Anne’s blog
Camberwell College of Arts and London College of Communication (University of the Arts London)
Martina Caruso is an art historian, writer and curator based between London and Rome. She currently lectures at Camberwell College of Arts and London College of Communication (University of the Arts London). Martina received a B.A. (2001) in English and French literature from the University of Oxford and an M.A. (2006) and PhD (2012) from the Courtauld Institute of Art, London. Martina’s research interests include the history and theory of photography, with a focus on documentary and landscape photography, as well as modern and contemporary Italian art. In Rome, she works as an art consultant for the Giulio Turcato Archives, where she co-curated Giulio Turcato. Stellare at the Museum of Contemporary Art (MACRO) in 2012. In 2014 she is curating My Sister Who Travels at the Mosaic Rooms in London, an exhibition on women practitioners using lens-based media in the Mediterranean landscape.
The American University in Cairo
Ronnie Close is an Irish artist and filmmaker living in Cairo. His interests lie in the possibilities of film and photography as a political practice. His works explore art and politics in order to address the roles of speaker and spectator in the contemporary world. Through making projects his work creates a space for collaboration and representation to take place. His work has been widely exhibited and published throughout Ireland, UK, Europe, North America and the Middle East. His video work, Ultras, is part of the ‘Brighton Photo Biennial’ (2012) and ‘The Politics of the Everyday’ is published in Ireland and Photography, ed. J. Carville (Reaktion Books, 2011). Ronnie was awarded a PhD in Photographic Research in 2011 by the University of Wales Newport, UK. The Ultras project has been funded by the Irish Film Board and will developed into a documentary film feature over the next two years. He is Associate Professor of Photography at the American University in Cairo, Egypt.
Kathryn Del Boccio
Wilson Centre for Photography
Kathryn Del Boccio is assistant curator at Wilson Centre for Photography, London, where she is involved with the research and conservation of historical and contemporary photographs. She is an MPhil/DPhil student in History of Art at University College London, researching the role of female photojournalists in the social and political climate of 1980s South Africa, and a nominator for the Prix Pictet photo prize.
The University of Huddersfield
Liam Devlin is a writer and lecturer at the University of Huddersfield. His research explores the use of documentary imagery in relation to art practices that explicitly operate in social and political realms and is interested in how antagonistic socially engaged art practices are a vital force in democratic society. Liam is interested in the discursive qualities of photography within the context of the convergence of digital imaging devices and the increased speed of data transmission that has come to be known as web 2.0. This convergence has had the function of transforming our understanding and use of photographic images from objects that could be described as factual statements, into flows of data, becoming ephemeral gestures more equivalent to speech.
Liz Johnston Drew
Birkbeck College, University of London
Liz Johnston Drew is currently working on representations of place and dis-placement in post war England for her research degree Imaging Albion: Changing Environments and Photography in England 1975-2000. This examines the central role of photography, in visual representations of the impact of government policies implemented at the cusp of a second, accelerated era of globalization. As well as the work of collectives and individuals there is analysis of an unpublished archive of vernacular images from a major port in the North of England. The contribution to existing work on post war realism, including on disparate works described as poetic or lyrical, is to appropriate the term ‘poetic realism, as applied to films emerging in France during the 1930s, and to evidence a longer history for the trajectory of a poetic ‘countervisuality’.
Liz graduated (Modern English Literature with Visual Arts) in the 1980s and has worked in studios, galleries and publishing as well as with environmental groups and, since the late 1990s, in Higher Education. She has registered her research degree with Birkbeck, University of London where she has been staff for several years, most recently as a course designer (flexible learning) and tutor in the School of Arts. Independent visual practice,including her own, remains central to her interest in the imaging of contested and fragmented topographies.
Birkbeck College, University of London
Janine Freeston is currently pursuing a research Ph.D through the History of Art Department at Birkbeck College, University of London specialising in the history of colour photography prior to 1935 with supervision by Dr Patrizia Di Bello. Janine has a BA in Industrial Design and Engineering from Sheffield Hallam University and an MA Photography: Contemporary & Historical from the Sotheby’s Institute of Art through Manchester University. She has worked as designer, photographer, researcher, archivist and educator. She writes for the Royal Photographic Society’s Photographic Journal and is currently involved in the inaugural Photography Oxford Festival 2014 and as an Associate Lecturer Art History and Theory at Birkbeck College where she is an active supporter of the History and Theory of Photography Research Centre based in the Birkbeck School of Arts.
University of Westminster
Layal Ftouni is currently in the final stages of her PhD at the University of Westminster, where she was awarded a CREAM doctoral scholarship. She is a visiting lecturer at the same university. Her research, titled ‘Dismantling or Reproducing the Orientalist Canon’, examines Neo-Orientalism in contemporary visual arts. Her research is interdisciplinary, crossing fields such as Cultural and Gender Studies, Photographic and Film Studies, Art History and Philosophy. Layal’s forthcoming chapter, ‘Rethinking Gender Studies: Towards an Arab Feminist Epistemology’, will be published in 2011 in Arab Cultural Studies: Mapping the Field, edited by Tarik Sabry (I.B. Tauris). She has recently presented her research in a number of different forums, including The Courtauld Institute of Art, Ruskin School of Art –University of Oxford and the University of Copenhagen.
University of Westminster
Paula Gortazar is an artist, lecturer and PhD candidate at the University of Westminster, where she was awarded a CREAM doctoral scholarship. Her photographic work has been exhibited internationally in the UK, USA, Canada, Germany and Spain, including venues such as The Photographers’ Gallery in London and Bildkultur Gallerie in Stuttgart. Gortazar’s PhD project investigates the evolution of independent photography in East-Central Europe after the collapse of Communism in the continent. She is interested in forms of tensions between art and politics that tend to prevail within totalitarian regimes, and how different political systems have historically shaped the meanings of art production.
Courtauld Institute of Art and Goldsmiths
Catherine Grant is a Visiting Lecturer at the Courtauld Institute of Art and Goldsmiths, University of London. Her research interests include the representation of adolescence and femininity in photography, the theorisation of spectatorship and identification in relation to the photographic portrait, and the intersection between queer theory and feminism. She completed her PhD, entitled ‘Different Girls: performances of adolescence in contemporary photographic portraits’ at the Courtauld in 2006, and was the Courtauld Research Forum Postdoctoral Fellow in 2007. She co-ordinated the seminar group and lecture series ‘Writing Art History’ at the Courtauld between 2007-2009, and will be co-editor of a special issue of Art History on ‘Creative Writing and Art History’. She is currently working on an edited collection of essays entitled Girls! Girls! Girls!: girlhood in contemporary art and recently published an article on Anna Gaskell in Feminism Reframed (2007). She has written on contemporary art for magazines and books including Flash Art and Vitamin Ph and has been a Visiting Lecturer at the Courtauld, LCC, Sotheby’s Institute and The Photographers’ Gallery.
University of Sydney
Amelia Groom is an art writer and has contributed to Frieze, e-flux journal, ArtAsiaPacific, Art Monthly Australia, and others, as well as contributing exhibition catalogue texts. She is completing her doctoral dissertation in Art History and Theory at the University of Sydney. She is currently working on an anthology of texts related to the theme of ‘time’ for Whitechapel Gallery’s Documents of Contemporary Art series (2013). She has several years of experience teaching in Art History and Theory at the University of Sydney and has given guest lectures at the University of Technology Sydney and the College of Fine Arts UNSW.
University College London
Dina Gusejnova holds a doctoral degree from the University of Cambridge. From 2009 to 2011, she was a Collegiate Assistant Professor in the Social Sciences at the University of Chicago, before joining the History Department at UCL as a Leverhulme Early Career Fellow. She has published, amongst other things, ‘Concepts of Culture and Technology in Germany, 1916-1933′, Journal of European Studies, 36 (2006), and ‘Olympian or Pathologist? Cassirer, Gundolf and the Hero Myth’, in Cultural Studies and the Symbolic, Paul Bishop and R.H. Stephenson (Eds.) (Glasgow: Northern University Press, 2008). Her current research project on institutional uses of world culture in the interwar period draws attention to early twentieth-century uses of photography in constructing public notions of historical events and group identities. Particular topics of interest include the uses of anonymous group subjects in the work of photographic agencies, and the allegorical use of early photography in constructing historical events.
Goldsmiths College, University of London
Laura Guy’s research interests include recent histories of British documentary and community photography with particular focus on issues of representation raised by queer and feminist practices. She has been engaged in long term research about the British photography magazine TEN.8 and organised a conference The Legacy of TEN.8 at mac, Birmingham in 2011. As a curator she has contributed to various programmes including Jane Drew (1911 – 1996): An Introduction at the ICA, London; Intentions – Strategies – Works at TATE Liverpool; and Inessential Fathers at Archive, Berlin (all 2014). She holds degrees in photography from the University of Westminster (B.A. Hons, 2008) and Durham University’s Centre for Advanced Photography Studies (M.A., 2012) and is a Ph.D. candidate at Manchester School of Art. Laura has previously held teaching positions at Manchester School of Art and University of Creative Arts, Rochester and is currently a Lecturer in Critical Studies for Fine Art at Goldsmiths College, University of London.
University College London
Sarah is a Lecturer in the History of Art at UCL, where she teaches courses on the relationship between art and photography in the 20th and 21st centuries; the history of photography; art, culture and the Cold War, and Eastern European art. She received a B.A. in Social and Political Sciences and the History of Art from the University of Cambridge (2001), and an M.A. (2002) and PhD (2007) in the History of Art from the Courtauld Institute of Art, London. She was an Alexander von Humboldt Postdoctoral Fellow at the Humboldt Universität zu Berlin (2008-2009), and a Lecturer at the University of Oxford (2009-2010). Sarah’s current research interests include: German photography; photo-essays and documentary practices; East German art, and the relationship between aesthetics and politics in contemporary practice. Her book ‘Common Ground: Photography in Germany during the Cold War’, will be published by Yale University Press in 2013. Sarah has published numerous articles, chapters and catalogue essays on photography and contemporary art. She also writes on contemporary art as a critic, contributing regularly to the magazines Art Monthly, Art Review and Frieze.
University of Brighton
Uschi Klein is a London-based photographer, researcher and writer. She studied media studies and linguistics at undergraduate level at Victoria University of Wellington, New Zealand, followed by a practice-based MA in photography at Goldsmiths, University of London. She was awarded her PhD titled Seeing self and world: everyday photography and young male adults with Autism Spectrum Disorder from the School of Media, University of Brighton in 2017. In recent years, Uschi has delivered conference papers on her research at the MeCCSA conference in Coventry (2015); Photomedia Helsinki, Finland (2016 and 2018) and the International Conference for Photography and Theory, Cyprus (2016). Her publications include an essay, titled Sharing Selfies, in an edited book (Routledge 2016) and a journal article on her initial research findings published in Networking Knowledge 9(1), 2016. She continues to research the everyday photographic practices of marginalised people, and her research interests encompass the relationship between photography, visual communication, visual culture, identity and visual research methods.
Alongside her research, Uschi works as a part-time lecturer at University of Brighton and a photographer in London. More information can be found here: www.uschiklein.com
Courtauld Institute of Art
Sara Knelman is a writer and curator based in London. She was Curator of Contemporary Art (2006-2009) at the Art Gallery of Hamilton, Canada, has been a juror and curator for the Magenta Foundation’s Flash Forward prize for emerging photographers, and is a jury member for the 2012 Grange Prize for contemporary photography. Currently a PhD candidate at the Courtauld Institute of Art researching photographic exhibition and curation in the art museum, she is the Talks Programmer at The Photographers’ Gallery and writes regularly about contemporary art for Daily Serving.
London College of Communication and University of the Arts London
Wiebke Leister is a German artist and writer living in London. She studied photography at the University in Essen and holds a PhD from the Royal College of Art in London. As well as lecturing on the photography programmes at the London College of Communication and at the University of Applied Sciences in Bielefeld, she has exhibited and published her work internationally. Her research investigates the nature of photographic portraiture beyond the limits of inpidual likeness – currently focussing on representations of faciality, including the laughing, mocking or kissing mouth in relation to its facial canvas. She is a Research Associate of the Photography and the Archive Research Centre at the University of the Arts London, and has also worked in different museum contexts, organizing conferences and exhibitions.
Courtauld Institute of Art
David Low is completing his Ph.D. research at the Courtauld Institute of Art, working on the topic of ‘Framing Genocide: Photography and the Revisualisation of the Ottoman Empire, 1890-1923’, supervised by Dr Shulamith Behr. His work focuses upon Ottoman Armenia, with broader research interests revolving around the role of photography in the construction, destruction and reconstruction of collective histories. He has MAs in History of Art from the University of Glasgow and the Courtauld. His research is supported by the AHRC; he has been a research fellow at the Library of Congress, Washington DC, and Raphael Lemkin scholar at the Armenian Genocide Museum-Institute, Yerevan, Armenia.
University of Brighton
Sally Miller is a Senior Lecturer in Historical and Critical Studies at the University of Brighton. She studied photography at the University of Westminster and the Royal College of Art, and has a PhD in English and Comparative Literature from Goldsmiths. Her research interests include trauma and memory, psychoanalysis, gender studies, and popular culture.
Birkbeck College, University of London
Caroline Molloy has an MA in photography from the Royal College of Art and an MA in visual anthropology from Goldsmiths University of London. She is currently working on MPHIL/PhD research at the Centre of Photography in Birkbeck, University of London, supervised by Patrizia DiBello and Emma Sandon. The working title of her thesis is Reimagined communities: The visual habitus of transcultural photographs. Her research interests are photography, cross-cultural identity, visual culture, visual anthropology, transnational imagination and notions of belonging. She recently delivered conference papers on her research at Format festival of photography symposium:Under the Dark Cloth, Derby (2017). The International Conference for Photography and Theory: Photography and the Everyday, Nicosia, Cyprus (2016). The Photography History Research Centre, De Montfort University, Leicester (2016). MeCCSA annual conference: Communities, Canterbury Christchurch University (2016) and the Lisbon Consortium conference on transvisuality (2016).
Caroline participated in the JAIPURPHOTO festival (2017), alongside which she gave an artists’ talk. The festival was featured in the British Journal of Photography Feb (2017). She also participated in the Leverhulme funded Oxford Diaspora program, arts event (2014) and was featured in the subsequent publication (2015). Previous work has been exhibited at Arles photography festival and the festival of women photographers in Ireland.
Alongside her research Caroline is a senior lecturer in Photography at Coventry University and a senior fellow of the higher educational academy.
University of Sussex and National Maritime Museum
Charlotte Mullins is a writer, broadcaster and art historian. She is currently an AHRC Collaborative Doctoral Award holder at the University of Sussex/National Maritime Museum and is researching the nineteenth-century photographer Felice Beato. A former editor of Art Review and V&A Magazine, her recent books include Painting People (Thames & Hudson, 2006, an investigation into contemporary figuration), and a monograph on Rachel Whiteread (Tate Publishing, 2004). She writes on art for the Telegraph, Financial Times and specialist titles, and is a regular contributor to BBC arts programmes. Her most recent radio documentary for BBC Radio 4 explored the life and work of artists Heather Ackroyd and Dan Harvey. She was a judge for the 2009 BP Portrait Award (National Portrait Gallery, London) and her second children’s book on art, Story of the World’s Greatest Paintings, will be published by Thames & Hudson in autumn 2010 under the name Charlie Ayres.
Durham University and Impressions Gallery
Pippa Oldfield is a photography curator and researcher with interests in women’s histories and experiences, war and conflict, and Latin America. She is Head of Programme at Impressions Gallery, Bradford, and a Doctoral Fellow at Durham University, where she is researching women’s engagement with war and photography in the American hemisphere. She has curated numerous touring exhibitions including Melanie Friend: The Home Front (2013); Bringing the War Home (2010); The Factory of Dreams: Inside Mexico’s Soap Operas by Stefan Ruiz (2005); and co-curated with Camilla Brown Once More, With Feeling: Recent Photography From Colombia (2007). She is currently developing an exhibition examining the photographic responses of women in Britain to conflict from the First World War to the present, drawing on both archival sources and contemporary work. Pippa has contributed essays to monographs on artists including Trish Morrissey, Farhad Ahrarnia, Martin Newth, and Paul Floyd Blake. She has given lectures and talks at universities and arts organisations including Centro de la Imagen, Mexico City; Newcastle University; University of Hertfordshire; Swansea Metropolitan University; Sunderland University; Open Eye Gallery; The Photographers’ Gallery; and is a member of the Centre for Visual Art and Culture at Durham University.
Andreia Alves de Oliveira
University of Westminster
Andreia is a photo artist and researcher in photography based in London. She was awarded her practice-based PhD in 2015 from the Centre for Research and Education in Arts and Media (CREAM) at the University of Westminster. Supervised by Professor David Bate and supported by a CREAM scholarship, her thesis, titled The Politics of the Office, explores how power is exercised through the space in/of the image, both in relation to work and working conditions in service-based society, and their representations. The project has been exhibited internationally and was published by Domus magazine, Photomediations Machine and Photomonitor, among others.
Andreia holds an MA in Photographic Studies from the University of Westminster and studied at the International Center for Photography (ICP) in New York and the Calouste Gulbenkian Foundation in Lisbon, where she was selected for the Creativity and Artistic Creation Programme. Before pursuing photography full time, Andreia studied law and worked as a lawyer.
Andreia’s practice explores subjects related to contemporary life in so-called Western, service-based society. She is interested in what is happening to us both as a society and as individuals in this moment, and why. In conjunction with her practice, she is a regular speaker at artist talks and academic conferences. Her research interests include the notion of artistic research, and the theory of photography and theories of representation, in relation to the concepts of space and the everyday. www.andreiaoliveira.net Andreia is also co-convener of Ph.
Falmouth University (University of the Arts London)
Lizzy is an artist and PhD researcher at Falmouth University. She makes self-portraits in an investigation into the gap between “I” (subject) and “me” (object/image) with the working title of Photography and Reflection: Images of My Self. Observing, during an earlier practice using photographs from the family archive, that her sense of self appears to disperse in the exchange between subject and object and noting the subtext of a statement about ‘a good picture’ can be weighted towards a recognition value as opposed to a technical one. By adopting performance of self across archetype (i.e. Rembrandt’s tronies); stereotype (the Madonna) and various photographic genres expressed via digital technology, she is researching the space between self and portrait in a series of visual assays or attempts in deference to the undertaking of the Essays of Montaigne in which “Je suis moi-même la matière…” (Book 1: To the reader, 1580) and using a framework drawn from photography, psychology, performance and gender theories. During the last 20 years Lizzy has worked in magazine journalism as a features photographer and visuals editor, most recently as deputy picture editor on a national newspaper. Click here for more information
Thames Valley University
Sukey Parnell received an MA in photography in 2007 and was awarded a PhD studentship in September 2009 by Thames Valley University, to study ‘The transaction of the photographic portrait and its role in contemporary narratives of ‘femininity’ and the representation of age’. Her PhD combines theory with a practical element. Her work has sprung out of a desire to reveal the hidden psychic transitions that accompany female middle- and old age and the attendant change in relation of the individual to their mortality and the gaze of society. Primarily a portraitist, she is particularly
interested in allegory and the symbolic and psychological currents within the scopic everyday. She has received a number of awards, notably, as a two time finalist in the Photographic Portrait Prize at the National Portrait Gallery.
Photographic History Research Centre (PHRC), De Montfort University
Gil Pasternak is Reader in Social and Political Photographic Cultures in the Photographic History Research Centre at the De Montfort University, where he also leads the MA in Photographic History programme. He was awarded his Ph.D. from the History of Art Department at University College London (UCL), specialising in the history and theory of photography. Gil’s research focuses on the participation of (professional, fine art, amateur, snapshot) photography in the negotiation of inter-cultural as well as state-society relations. His interest in this subject emerged during his earlier career as photojournalist and war photographer, when he recorded aspects of the Arab-Israeli conflict in the West Bank, the Gaza Strip, Israel, and in South Lebanon. Alongside articles and book chapters on photographic historiography, his published work has mainly revolved around photographic cultures that developed in contexts such as Israeli society and state politics, the Israeli-Palestinian conflict, and the sociopolitical life of Polish Jewry in Poland of the interwar and post-Cold-War eras. He has published his research in numerous journals and book publications within the field of photography studies and beyond and in 2011 he co-edited the book Visual Conflicts: On the Formation of Political Memory in the History of Art and Visual Cultures. In addition to a monograph, he is currently completing two more edited volumes: Visioning Israel-Palestine: Encounters at the Cultural Boundaries of Conflict (London & New York: I. B. Tauris, forthcoming 2018) and The Handbook of Photography Studies (London & New York: Bloomsbury Publishing, forthcoming 2019). In 2016/17 Gil worked as consultant for the BBC film Smile! The Nation’s Family Album (2017). More recently he developed an interest in the employment of photography in historical and contemporary cultural heritage practices. In 2018 he began leading the DigiCONFLICT research consortium and secured a large European Commission research grant (Horizon 2020) of over £500,000 to explore uses of digital heritage in zones of cultural conflict. Gil is also co-convener of Ph.
University of Roehampton
Julia Peck is Senior Lecturer in Photography at the University of Roehampton, London. Her doctoral thesis examined the visual construction of the Australian landscape in commercial photographic practices. Her photographic work has been exhibited in the UK and she has contributed articles, images and reviews to Next Level, Source, Journal of Australian Studies and History of Photography and has co-edited the special issue of photographies: photography, archive and memory.
University of Brighton
Annebella Pollen is Senior Lecturer in the History of Art and Design and Director of Historical and Critical Studies, Faculty of Arts, University of Brighton. Her research covers a range of territories including the history of photography, and in particular histories of amateur photography and popular image culture. Annebella’s writings on photography have appeared in journals such as Photography and Culture, History & Memory, New Formations, Photoworks and Source: The Photographic Review. They have appeared as book chapters in The Photobook: From Talbot to Ruscha and Beyond and The Wiley-Blackwell Companion to Photography(forthcoming). Annebella is the co-editor of a series of essays on the history of the silhouette portrait (Profiles of the Past: Silhouettes, Fashion and Image 1760-1960) and co-edits, for Ph, Reconsidering Amateur Photography. Her monograph, Mass Photography: Collective Histories of Everyday Life, will be published by I. B. Tauris in 2015. Annebella’s other research interests include dress and design history. She is a Trustee and Executive Committee member of the Design History Society, the author of several articles on the history of printed ephemera, ceramics and fashion, and is co-editing the forthcoming volume Developing Dress History for Bloomsbury. Finally, Annebella has a longstanding research interest in Mass Observation; her publications on this topic can be found in History Workshop Journal (2013) and Sociological Research Online (2014).
Sandra Plummer is an artist and writer with a background in photographic practice and theory. She has a BA and MA in Fine Art from Middlesex University and has recently completed a PhD at Birkbeck (The London Consortium). Her doctoral thesis ‘Photography after Deleuze: Ontology, Reflexivity and Materiality’ examined the ontology of contemporary self-referential photography via the philosophy of Gilles Deleuze. In 2007 her article on the artist Vik Muniz was published in Textile: The Journal of Cloth and Culture. Her current research explores the photograph as object and she has spoken at a number of academic and arts institutions including the University of London and the Hayward Gallery. From 2008-9 she was a Visiting Lecturer at Middlesex University. She is a Course Leader on the MA Photography at Sotheby’s Institute of Art and a Lecturer in Art and Design History at Kingston University.
Harriet Riches completed her PhD at University College London in 2004. Her thesis was entitled ‘Surface, Skin, Subjectivity: the Self-Representational Photography of Francesca Woodman’, and articles from this have been published in the journals Object and Oxford Art Journal, and in the edited collection Girls! Girls! Girls! Girlhood in Contemporary Art (forthcoming 2011). She has also written for magazines such as Exit Express and regularly reviews exhibitions for Afterimage. Her current research continues to focus on issues of self-representation, problems of autobiography and narratives of selfhood, feminist theory and questions of intersubjectivity in contemporary fine art practice, and she is writing a book on this topic. Harriet is also interested in how research in this area can inform pedagogy and teaching practice in the art school context. She has been a Visiting Lecturer at London College of Communication, UCL, Imperial College London, University of Warwick and Sotheby’s Institute, and held posts at the University of Warwick and Middlesex University. She joined Kingston University’s Faculty of Art, Design and Architecture in 2009 where she is currently Senior Lecturer in Art History and Visual Culture.
University College London
Stephanie Schwartz is a Lecturer in Arts of the Americas at University College London. Her principal area of research is documentary photography and she is currently working on two projects which address the geopolitics of documentary work. The first project is Cuba Per Diem: Walker Evans and American Photographs, a book-length study of Walker Evans’s 1933 Cuba portfolio. The first comprehensive study of Evans’s portfolio, the book situates the development of photographic modernism at the center of the politics of Cuba’s Americnaization. Stephanie’s second area of research is contemporary Cuban photography. Working closely with a range of Cuban artists living in Cuba and abroad, she is investigating the resurgence of documentary practices in Cuban art following the political and social shifts of the 1990s.
Courtauld Institute of Art
Sylwia Serafinowicz is a PhD Candidate at the Courtauld Institute of Art in London. The working title of her thesis, supervised by Prof. Sarah Wilson, is “More than Documentation: Photography in the Polish People’s Republic between 1965 and 1981.” She studies various forms of engagement of photography with material and immaterial arts. Her main focuses are the encounters between photographers and artists of other genres, temporality of the photographs and the notion of ‘documentation’. Between 2006 and 2008 she curated a series of exhibitions including Zuza Krajewska & Bartek Wieczorek, Ewa Partum, Jerzy Grotowski, Tatsumi Hijikata and R&Sie Architects. Currently, she is a member of the ICA Student Forum and works as a reviewer for the Artforum International Magazine.
University of the Arts London
Recent commissions include site-specific installation Girls Green & Democracy (Manifesta European Biennial of Contemporary Art, 2010); Wandering Abroad (Leeds Art Gallery, 2009); From War to Windrush (Imperial War Museum, London, 2008) and Róisín Bán (Leeds Irish Health and Homes, UK, 2006). She has work in the collections of the Imperial War Museum and the National Photographic Archive, Eire. Corinne is currently visiting lecturer at Leeds Metropolitan University. She is one of the winners of the Magenta Foundation’s Flash Forward Awards 2010 and is showing in Noorderlicht Photofestival 2010.
UK-based artist Corinne Silva explores the interrelationship between human mobility and the physical environment. Using photography and moving image, she works with these themes through an engagement with architecture and topography. By focusing on the formation and reconstruction of geographical and photographic landscape aesthetics, Silva creates a space for the consideration of imagined landscapes. These landscapes bring to the fore traces of past narratives and the potential for their future political sustainability or modification. Forthcoming and recent exhibitions include Brighton Photo Biennial 2012; 11th International Photo Festival, Aleppo (2012); The Photographer’s Gallery, The World in London, (2012); Flash Forward festival, Toronto and Boston (2011/2012); Wandering Abroad, National Media Museum/Ways of Looking Festival, Bradford (2011); Imported Landscapes, Manifesta 8, (2010); Badlands, Noorderlicht Photofestival (2010); Wandering Abroad, Leeds Art Gallery, UK (2009). Most recently she won the Magenta Foundation Flash Forward Award (2010 and 2011); and received an AHRC Travel Award (2011). Silva is a visiting lecturer at London College of Communication and Leeds Metropolitan University and is currently completing a practice-led Doctorate at the University of the Arts London (LCC).
Humboldt University, Berlin
Olga Smith is a Postdoctoral Fellow at the Humboldt University, Berlin. She has previously held positions at the University of St Andrews and Tate Gallery, London. Olga’s doctoral thesis, prepared at the University of Cambridge, was devoted to the study of the photographic practices and critical approaches to photography in France since the 1970s. In conjunction with this research she has held a visiting fellowship at the École normale supérieure, Paris. Olga has published a number of articles on contemporary artists such as Pierre Hyghe, Christian Boltanski and Valérie Jouve, and she is the co-editor of Anamnesia: Private and Public Memory in Modern French Culture (Peter Lang: 2009). She is the co-founder of Ph.
Annalisa Sonzogni is an artist and lecturer in at Kingston University. She received a Masters in Photography from the Royal College of Art in 2008 and submitted her practice-based PhD (Title: ‘Reconfigurations of interior spaces. An investigation through photography, architecture and site-specific installation’) supervised by Alexandra Stara and Charles Rice at Kingston University in 2015. She has been a Guest Lecturer at the Royal College of Art; University of Creative Arts, Farnham, University of Cambridge, University of Westminster and Anglia Ruskin University. She was residence artist at Gasworks, London; Guangzhou, China and École Nationale Supérieure de la Photographie, Arles, France.
Her work has been exhibited internationally, such as Pinacoteca di Brera, Milan (2014), The C(h)roma show, Bangalore (2014), The Trampery London Fields, London (2013) and Alkovi Gallery, Helsinki (2012). In 2005 she published a monigrafic artist book titled ‘Teorema. Praha, Torino, Lyon’ with essays by Règis Durand and Andrea Branzi. Annalisa is also co-convener of Ph.
Photography and the Archive Research Centre, London College of Communication
Noni Stacey is researching her PhD: “Community Photography”: Radicalism and a Culture of Protest in the London-based Photography Collectives of the 1970s. These collectives include the Hackney Flashers, Exit Photography Group, Camerawork, Blackfriars Settlement and North Paddington Community Darkroom. Her research is funded through the Arts and Humanities Research Council. She is carrying out her research as part of the Photography and the Archive Research Centre in London College of Communication, University of the Arts London. She completed her MA in the history and theory of photography at Sotheby’s Institute of Art in 2010 (awarded Distinction, 2011). Before returning to education, she worked as a freelance picture editor and researcher for publications such as Guardian Weekend Magazine, The Guardian and The Independent on Sunday. She has also worked as a TV news producer and journalist.
University of Westminster
Jelena Stojković is an art historian, writer and curator. Her research interests include multidisciplinary and transnational approaches to the study of history and theory of visual arts, with a particular focus on avant-garde and experimental photography in Japan. She holds MA in History of Art from SOAS (2009) and PhD in Art and Media Practice from the University of Westminster (2014), and was a Japan Foundation Fellow affiliated with the University of Tokyo (2012-2013). She contributed to the volume Minor Photography: Connecting Deleuze and Guattari to Photography Theory (2012) and published for the History of Photography journal (2013). She curated Photo Reference: Photographic Image in Contemporary Japanese Art Practices (2012) and co-programmed the section Archiving on the Line: Photography, Collecting and the Web for Either / And (2012-2013).
Royal College of Art and London College of Communication
German-American artist Esther Teichmann received a Masters of Fine Art from the Royal College of Art in 2005. She continues to live and work in London where she is studying for a PhD by project at the RCA. She is a senior lecturer at the London College of Communication/ University of the Arts London and Brighton University, lecturing across BA and MA Photography courses on both theoretical and practice based units. Teichmann’s work has been exhibited and published internationally, with group shows in London, Los Angeles, Berlin and Modena and solo exhibitions in the UK, Australia, Germany and Switzerland including at Man&Eve (2007 and 2009) and Galerie Karlheinz Mayer in Karlsruhe, Germany (2008). Her research (thesis title; ‘Falling into Photography; of Loss, Desire and the Photographic’) examines the relationship between loss, desire and the photographic within both her writing, photographic works and film pieces.
The Bridget Riley Art Foundation
Alexandra Tommasini is an art historian based in London. Her research interests include the history and theory of photography, with a focus on the work of Italian photographer Gabriele Basilico, as well as post-war British art. Her work has been published in Immediations, Visual Studies, Modern Italy, and Journal of European Studies. Recently she co-organised the seminar A Photographer’s Sense of Space: Looking at the Work of Gabriele Basilico held at the University of Westminster, London (2016). Alexandra holds a B.A. in Art History and Italian from UCLA, an M.A. from University of Exeter and a PhD from the Courtauld Institute of Art. She currently works as Collections Manager for Bridget Riley and the artist’s endowed foundation. Alexandra is also co-convener of Ph.
Lauren Winsor is Senior Lecturer in Photography at Kingston University, lecturing across BA and MA courses, on both theoretical and practice based units, as well as supervising on the Ph.D programme. She previously held positions at the London College of Communication (UAL), University for the Creative Arts and University for the Arts Norwich, and has led workshops for a number of organisations including PhotoFusion and the V&A.
Lauren received a Masters of Fine Art from the Royal College of Art in 2010, for which she was awarded the Leverhulme Trust award for creativity. She is currently a Ph.D candidate in the school of Philosophy and Art History at the University of Essex where she holds the SPAH doctoral scholarship. Her thesis, supervised by Dawn Ades, (Title: ‘Fictional Flesh: Transformations of Imagery in Bataille, Ubac & Bellmer’) explores the themes of metamorphosis, masquerade, materiality and multiplicity within the fictional writings of Georges Bataille and the photographs of Surrealist artists Raoul Ubac and Hans Bellmer. Her broader research interests revolve around the manipulation of the analogue photographic surface, the constructed photograph, the fashion image and pedagogies within the context of the art school. Lauren is also an artist and writer. Her work has been exhibited and published internationally. In addition, Lauren is co-convener of Ph.
University College London
Duncan Wooldridge is a PhD candidate in the History of Art Department at University College London, where he is researching the work, publishing and exhibitions of German artist Hans-Peter Feldmann, supervised by Sarah James and T.J. Demos. In 2011, Duncan curated the group exhibition ‘Anti-Photography’ for Focal Point Gallery in Southend-on-Sea. The exhibition revisited Nancy Foote’s 1976 Artforum text ‘The Anti-Photographers’, seeing it as a starting point for understanding recent photography’s return to conceptual modes of practice. The exhibition brought together key figures from the 1960s and 70s, including Mel Bochner, Jan Dibbets, Hans-Peter Feldmann, John Hilliard, and Ed Ruscha, alongside recent projects by artists including Walead Beshty, Adam Broomberg and Oliver Chanarin, Anne Collier, and Wolfgang Tillmans. Duncan is also an artist and writer, who was written for publications including Source and Eikon.
University College London
Mi Zhou is the UCL Mellon Postdoctoral Research Fellow working primarily in intermedial studies. She obtained her PhD from University of Cambridge in the English faculty with a dissertation on the use and implications of music in E. M. Forster’s novels. Currently, her work concentrates on the representation of the Balkans in photography and literature from the late nineteenth century to early twentieth century. She is interested in the way in which, during this period, photography of, and writing on, the Balkans have been bound up with war and conflict: as subject, theme, and means of production.
Ph: The Photography Research Network was established and developed by Ben Burbridge and Olga Smith. It is now directed by Andreia Alves de Oliveira, Alexandra Tommasini, Lauren Winsor, Annalisa Sonzogni, and Gil Pasternak
2016-2017 Andreia Alves de Oliveira, Alexandra Tommasini, Lauren Winsor, Liz Johnston Drew, and Gil Pasternak
2013-2016 Annebella Pollen, Juliet Baillie, and Gil Pasternak
2010-2013 Ben Burbridge and Olga Smith