- 2 December 2021
- 10:30 – 4:15 pm
- The third and final day of an online conference marking 50 years of The Photographers Gallery.
10:30 Welcome by Clare Grafik (Head of Exhibitions, The Photographers' Gallery)
Panel 5: Exhibitions, Touring
10.45 James Boaden (Chair) introduces Panel 5
10.50 Ruby Rees-Sheridan, ‘On The Move: the Half Moon Photography Workshop’s Exhibitions Comments Book’ (Paper delivered by Carla Mitchell)
11.05 Catlin Langford, ‘Occupying Space: Signals, The Festival of Women Photographers, 1994’
11.20 Questions from the audience, chaired by James Boaden
11.50 Theo Gordon, ‘Putting Salford in the Picture: Viewpoint Gallery of Photography and the 1980s’
12.05 Laura Castagnini, ‘Stolen Glances: Lesbians Take Photographs curated by Tessa Boffin and Jean Fraser in 1991’
12.20 Questions from the audience and panel discussion, chaired by James Boaden
Panel 6: Archival Futures
14.00 Welcome by Janice McLaren (Head of Education, The Photographers Gallery)
14.05 Rahaab Allana (Chair) introduces Panel 4
14.10 Charlene Heath, ‘Archival Work: The Survival of Jo Spence’s Polemic’
14.25 Fiona Anderson, ‘To Eternity: Sunil Gupta and Archival Ambivalence in Queer British Photography’
14.40 Questions from the audience and panel discussion, chaired by Rahaab Allana
Panel 6: Keynote
15.20 Keynote introduction by Arieh Frosh (Producer: Digital at The Photographers' Gallery)
15:20 Artist Keynote, Antonio Roberts
15.50 Keynote discussion and questions from the audience, moderated by Arieh Frosh
16.15 Wrap up with conveners
Exhibitions, Touring. 10.30–12.45
Archival Futures, 14.00–15.10
About the speakers
James Boaden is Lecturer in Modern and Contemporary Art at the University of York where he teaches the History of Photography at MA level. In 2016 he worked with Paul Rousseau and Jonathan Law to make a series of films about the photographer John Deakin for the Paul Mellon Centre. James has published essays in journals including Oxford Art Journal, Art History and Tate Papers. He has organised film screenings at BFI Bankside, Tate Modern, Nottingham Contemporary, and The Hepworth Wakefield.
Ruby Rees-Sheridan is the Curatorial and Archive Coordinator at Four Corners, where she co-curates exhibitions exploring hidden histories of photography, and works on Four Corners Archive. She is currently the Project Coordinator on Four Corners’ Hidden Histories project, carrying out research into the fascinating history of Half Moon Photography Workshop’s laminated touring exhibitions. She previously completed an MA in Museum Curating and Photography at the University of Sussex.
Catlin Langford is the inaugural Curatorial Fellow in Photography, supported by the Bern Schwartz Family Foundation, at the Victoria and Albert Museum. She is presently working with the V&A’s autochrome collection, which will inform an upcoming publication with Thames & Hudson/V&A. Langford was previously Assistant Curator at the Royal Collection Trust where she specialised in nineteenth-century photography. She completed her Masters at the Courtauld Institute of Art in 2016, focusing on the curation of vernacular photographs. Her research interests include colour photography, vernacular photographs and women photographers and the intersections between these.
Theo Gordon an art historian, currently working as the Terra Foundation for American Art Postdoctoral Fellow at the Smithsonian American Art Museum, Washington D.C. He gained his PhD from The Courtauld Institute of Art in 2018 and has since taught at the University of Sussex. His current research focuses on photography and AIDS in the UK in the 1980s and 1990s, and on Duane Michals, Sunil Gupta, and 1970s’ gay photography in the USA.
Laura Castagnini is a curator and writer interested in the histories of feminism and their current articulations, especially as they intersect with the politics of sexuality and race, and their expression in modern and contemporary art. She has over a decade’s experience working as a curator, most recently at Tate as Assistant Curator, Modern and Contemporary British Art, where she curated monographic displays on Lubaina Himid and Liliane Lijn, as well as assisted on major exhibitions including Frank Bowling’s first retrospective. She also played an active role in building Tate’s collection of feminist and queer art and led on a major acquisitions of work by several unrepresented artists including Maud Sulter. She has since moved into freelance work, with a particular interest in LGBT+ exhibition histories in Britain, and was recently awarded a Research Continuity Fellowship from the Paul Mellon Centre to trace an exhibition history of the touring exhibition Stolen Glances: Lesbians Take Photographs (1991–1992).
Rahaab Allana is Curator, Alkazi Foundation for the Arts; Fellow of the Royal Asiatic Society (London) and advisory committee member of the Asia Society, India. He is on the board of the Trans-Asia Photography (TAP) Review; Founding Editor of PIX, a publication and exhibition for South Asia (enterpix.in); Founder of the ASAP/art app (asapart.in); and has recently guest-edited Aperture Magazine’s 2021 summer issue dedicated to image making practices/practitioners in Delhi.
Charlene Heath is a SSHRC Doctoral Fellow and PhD Candidate in the joint program in Communication and Culture at Ryerson/York University in Toronto and the Archivist & Research Coordinator at the Ryerson Image Centre (RIC), home to the largest portion of the Jo Spence Memorial Archive. She holds a BFA in Photography from the Nova Scotia College of Art and Design in Halifax, Nova Scotia, Canada and a MA in Photographic Preservation and Collections Management from Ryerson University in collaboration with the Eastman Museum in Rochester, New York, USA. She has written reviews and articles for BlackFlash Magazine, Photography & Culture, Aperture Blog, Revue d’art canadienne/Canadian Art Review (RACER), and Transbordeur photographie. Through an analysis of the now dispersed Jo Spence Memorial Archive, her forthcoming dissertation considers the enduring legacy of political photographic practice in Britain in the 1970s and 80s.
Fiona Anderson is Senior Lecturer in Art History at Newcastle University. She is the author of Cruising the Dead River: David Wojnarowicz and New York’s Ruined Waterfront (University of Chicago Press, 2019) and Co-editor, with Glyn Davis and Nat Raha, of Imagining Queer Europe Then and Now, a special issue of Third Text (2021). From 2016–2019, she was UK PI for Cruising the Seventies: Unearthing Pre-HIV/AIDS Queer Sexual Cultures (CRUSEV), a project which explored LGBTQ+ social and sexual cultures of the 1970s and their significance for contemporary public discourse and LGBTQ+ politics and identity across Europe.
25 Nov 2021
Concerning Photography, Day 1: Institutions, Infrastructures and Pedagogies
01 Dec 2021
Concerning Photography, Day 2: Material, Process and Magazine, Books