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.
Courtauld Institute of Art
Ben Burbridge is an AHRC Doctoral Award holder, researching the place of early scientific photography in contemporary photographic art at the Courtauld Institute of Art. Research interests include the place of photography in contemporary art, the instrumental histories of photography, and the politics of curation and display. He is the curator of 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). Ben has written widely on photography and its histories for catalogues and publications including Photoworks and Grafik, and has lectured at the Courtauld Institute, the University of Wales, Nottingham Trent University and The Photographers’ Gallery. He also organizes the Courtauld’s History of Photography Research Seminars. Ben is the Deputy Editor of Photoworks magazine.
University of Aberdeen
Rachele Ceccarelli gained her BA in Visual Arts from the University of Bologna and completed an MA in Visual Culture at the University of Aberdeen. She is currently working on her AHRC funded PhD at the same institution, investigating contemporary photographic practices—particularly new forms of documentary—as strategies of ethical and political intervention. Her research interests include notions of document, trace and reality, the politics of representation, and the intersections between conceptual and documentary photography. She is also concerned with broader issues regarding the relationship between aesthetics and ethics, a subject on which she organized a postgraduate conference, Rethinking Complicity and Resistance, funded by the AHRC’s Beyond Text programme. She tutors and lectures at the department of Film Studies and Visual Culture, University of Aberdeen.
Courtauld Institute of Art
Martina Caruso is pursuing a PhD at the Courtauld Institute of Art under the supervision of Sarah Wilson. Her research focuses on Italian humanist photography in the international context of the Cold War, taking into consideration a global history of documentary photography. Studying photographs that have not been analysed in a theoretical context to date, Martina looks at questions of realism, power and ideology within the fields of documentary and humanist photography. Other interests include Italian contemporary photography and twentieth-century art as well as art during the Cold War. Martina has also taught Modern and Contemporary Art History and Beyond Western Art at the Courtauld.
Newport College of Art, Media and Design, UWN
Ronnie Close is an Irish photographic artist currently based in the UK. In 2010 he completed a practice-led PhD in photographic research at UWN that looked at the formation of historical narrative and the relationship between art and politics. His background is in both academic and the professional photographic fields and he has developed an integrated approach to theory and practice in contemporary photographic media. He has participated in photographic and video exhibitions throughout Ireland, the UK, Europe, USA, Canada and Syria. In 2009 he produced an artists film, Night Time Room with Picture This Moving Image Agency and the UK Film Council. Exhibitions include: Night Time Room (solo exhibition, Picture This, Bristol, 2010); Based on a True Story (group exhibition. ArtSway, 2010); A Hard Place (Screening, Elizabeth Foundation Gallery, New York, 2010); and Northern Bounds (group exhibition, Videographe Art Centre, Montreal, Canada, 2007). Ronnie is a Senior Lecturer in Photographic Art and a member of the European Centre For Photographic Research at the University of Wales, Newport.
Newport College of Art, Media and Design, UWN
In a precarious and nomadic existence Liam has worked as a Photojournalist, achieved a BA in Photography and Digital Imaging from DIT, an MA in Documentary Photography from the University of Wales, Newport and taught photography at a variety of institutions. He is currently working full-time on a University funded PhD at the University of Wales, Newport, exploring Susan Meiselas’ work on Kurdistan and the debates that surround documentary practice within an art context. His work addresses documentary in relation to art practices that explicitly operate in social and political realms. He is interested in how antagonistic socially engaged art practices are a vital force in democratic society. Liam lectures on photography and cultural theory within the School of Art, Media and Design at the University of Wales.
University of the Arts London
Clare French is a PhD student at the London College of Communication, where she is supervised by Elizabeth Edwards and Val Williams. The working title of her thesis is ‘Beyond the Documentary: Contemporary Photography as a Site of the Historical Imagination.’ Focusing on contemporary Irish photography, her research explores points of intersection between historiography and photography, and how a poetic, imaginatively engaged photographic practice relates to traditional notions of the ‘document’ and ‘documentary’. Clare completed an MA in Social Anthropology at Goldsmiths College in 2001, where her dissertation explored alternative history and historiography as a strategy within indigenous politics, particularly in relation to the use of visual (photographic) material within museum and exhibition spaces.
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.
Courtauld Institute of Art and Goldsmiths, University of London
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 College London
Sarah James was awarded a PhD in History of Art from the Courtauld Institute in 2007. From 2008-2009 she was an Alexander von Humboldt Postdoctoral Fellow at the Humboldt Universität zu Berlin. She has been Visiting Lecturer and Tutor at the Humboldt, the Courtauld, and at the Universities of Oxford and Cambridge, and a Departmental Lecturer in Art History at the University of Oxford. She is currently a Lecturer in Art History at University College London. Sarah works in the area of photography, theories of vision, and the relationship between aesthetics and politics. Her PhD explored German photography from the 1960s to the 1980s through the lens of Theodor W. Adorno’s ‘Aesthetic Theory’ (1970) and the politics of subjectivity. She is currently completing a book entitled ‘German Photography: The Demands of Realism and the Aesthetics of Objectivity’, examining the documentary photographic art of both key and neglected postwar East and West German practitioners in relation to the concepts of realism and objectivity. Other research interests include German Modernism, technologies of reproduction, the art of the Cold War, and photographic art from the 1960s to the present day. She also contributes regularly to the magazines Art Monthly, Art Review and Frieze.
Courtauld Institute of Art
Ashley Givens is currently pursuing a PhD under the supervision of John House at the Courtauld Institute of Art. Her research is centred on the range of portraits of Napoléon III and the Empress Eugénie (both painted and photographic) that were exhibited and disseminated during the 1850s and 1860s. Ashley also serves as Assistant Curator of Contemporary Programmes at the Victoria and Albert Museum. For the past three years she has co-curated the annual re-display of the Photography Gallery at the Museum, and has recently published essays on the photographers Edward Hartwig (exhibition catalogue forthcoming), Veronica Bailey (Portfolio magazine, #49, May 2009) and Marrigje de Maar (exhibition catalogue published by Hidde van Seggelen, March 2009).
Courtauld Institute of Art
Sara Knelman is a PhD student at the Courtauld Institute of Art, where she is researching the history of the curation of photographic exhibitions in the postwar period with Julian Stallabrass. Between 2006 and 2009, she was the curator of contemporary art at the Art Gallery of Hamilton in Canada. She has extensive experience curating contemporary photography exhibitions, and a substantial publication record. Sara has worked as a Consultant with Lord Cultural Resources in the UK and Canada, and with the Corkin Gallery in Toronto. She served as a jury member and exhibition curator for Flash Forward, The Magenta Foundation’s award for emerging photographers from Canada, the UK and the US in 2008 and 2009. Sara holds and MA from the Courtauld and a BA in English Literature from McGill University.
London College of Communication, 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.
University of Brighton
Sally Miller is a lecturer in critical theory at Brighton University. 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. Her doctoral thesis investigated the relationship between fantasy, desire and trauma in contemporary art, literature and popular culture.
University of Sussex/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.
University of Durham
Pippa Oldfield is Senior Programme Manager at Impressions Gallery, Bradford, and a Doctoral Fellow at Durham University, undertaking research into war photography and its relationship to women in the Americas. Recently curated touring exhibitions include The Factory of Dreams: Inside Mexico’s Soap Operas (Impressions Gallery, The Instituto de México, Paris, and other venues, 2005 to 2007); and Once More, With Feeling: Recent Photography From Colombia (co-curated with Camilla Brown, The Photographers’ Gallery, University of Essex Gallery, and other venues, 2007 to 2009). Both exhibitions were accompanied by publications. Projects in development include Bringing the War Home, a group exhibition of photographic responses to conflict in Afghanistan and Iraq; and Adelita and Others, an exhibition and publication examining archive photographs of soldaderas (women participants in the Mexican Revolution). Pippa has contributed to journals including Portfolio and Bulletin of Hispanic Studies and to catalogues including Trish Morrissey: Front. She has given lectures and talks at universities and arts organisations including University of Hertfordshire; Swansea Metropolitan University; Sunderland University; Open Eye Gallery and The Photographers’ Gallery. Pippa is also a member of the Durham Centre for Advanced Photographic Studies and Visiting Arts’ Latin American Visual Arts Network.
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.
University of Huddersfield
Gil is a Senior Lecturer in Photography and the Photography Course Leader in the School of Art, Design and Architecture, at the University of Huddersfield. Gil has been awarded his Ph.D from the History of Art Department at University College London (UCL), specialising in the theory and history of photography in the context of art and visual cultures. Prior to his current position, Gil taught at UCL, as well as at Chelsea College of Art and Design, University of the Arts London. His main research interests focus on the participation of vernacular photography in the solidification and subversion of state policies and in acts of political violence, as well as on the role vernacular photography plays in the formation of Middle-Eastern cultural historical topoi. Other research interests include, visual ethnology/anthropology, historical and contemporary photographic practices in the Middle East, and contemporary fine art pseudo-ethnographic photography. Gil is a peer-reviewer for TOPIA: Canadian Journal of Cultural Studies and Object: Graduate Research and Reviews in the History of Art and Visual Culture. He has contributed to the peer-reviewed academic journals Object and Photography and Culture, and is currently co-editing a book on visual cultures in the context of political memory, conflict, and state ideology (forthcoming 2011/12).
London College of Communication
Annebella Pollen holds a BA in Visual Culture, an MA in Design History and Material Culture and a PGCert in Learning and Teaching in Higher Education from the University of Brighton where she is now is Lecturer in the History of Art and Design. Previously she has held research posts at the Mass Observation Archive and Brighton Museum. Annebella’s research interests range from eighteenth century ceramics and Victorian valentines to Edwardian postcards and interwar photograph albums. Her writings have appeared in New Perspectives in British Cultural History and Photography and Culture and are forthcoming in New Formations, Textile History and The Photobook: From Talbot to Ruscha and Beyond. Annebella’s current AHRC-funded PhD research at London College of Communication focuses on an archive of 55,000 amateur photographs taken on a single day in 1987 and is entitled ‘Identity, Memory, Compassion: Mass-participation photography and everyday life’.
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 of the Arts London (LCC)
Artist photographer Corinne Silva is in the second year of an AHRC funded PhD at the University of the Arts London, supervised by Elizabeth Edwards and Val Williams. Her photographic and moving image work to date has investigated aspects of the politics of contemporary identity, diaspora and mobility. Her practice-led research investigates how landscape photography can be used to explore geographies of difference and the politics of architecture on the New Political Equator, which intersects the contested desert territories of USA/Mexico, Southern Spain/Northern Africa and Israel and the Occupied Palestinian Territories. 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.
University of Cambridge
Olga Smith is a graduate of the University of Cambridge where she is currently preparing her PhD in the department of History of Art. Her thesis explores the erosion of the distinction between the fictional and the real in the context of French photography since the 1970s, drawing on Baudelaire’s notion of ‘painter of modern life’ to claim for photography a privileged place in reflecting historical and social reality. Olga’s other research interests include the relationship of memory to creativity and modernity, and she is the editor of Anamnesia: Private and Public Memory in Modern French Culture (Peter Lang, Bern, 2009). Olga has also published articles on Christian Boltanski and Pierre Huyghe, and catalogue essays on Ryan Ras and Frank David. Olga has held a visiting studentship at the École Normale Supérieure, Paris and has lectured at Cambridge and the universities in London.
University of Westmintser
Jelena Stojković is in the first year PhD with the University of Westminster researching into relationship between Surrealism and Japanese photography. With degrees in Arabic and Japanese from the University of Belgrade, she worked for Japanese Gallery in London between 2005 and 2008 and received MA in History of Art from SOAS in 2009. In 2009-2010 she taught on issues of globalization and identity for BA and MA programs in photographic studies with the University of Westminster and her recent writing is included in Directory of World Cinema: Japan (Intellect, 2010).
Royal College of Art
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.
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 Postgraduate Photography Research Network was established and developed by Ben Burbridge and Olga Smith