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Published/Copyright: December 23, 2022
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Rundbrief Fotografie
From the journal Rundbrief Fotografie Volume 29 Issue 3-4

DE-München (hybrid)

Workshop: Nomadic Camera. Photography, Displacement and Dis:connectivities

Prozesse der Migration und Flucht und deren Visualisierung, Wahrnehmung und Verbreitung durch Fotografie bilden den Ausgangspunkt des Workshops am Käte Hamburger Kolleg „Dis:konnektivität in Globalisierungsprozessen (global dis:connect)“ an der Ludwig-Maximilians-Universität München vom 13. bis 15. Juni 2023 sowie der anschließenden Publikation zum Thema Nomadic Camera. Konzeption und Organisation obliegen: Burcu ­Dogramaci (Ludwig-Maximilians-Universität München, Käte Hamburger Kolleg), Winfried Gerling (Fachhochschule Potsdam/Universität Potsdam und Brandenburgisches Zentrum für Medienwissenschaft [ZeM], Potsdam), Jens Jäger (Universität zu Köln, Historisches Institut) und Birgit Mersmann (Universität Duisburg-Essen, Institut für Kunst und Kulturwissenschaft). Das Vorhaben untersucht das technische, mediale und ästhetische Verhältnis von Fotografie und zeitgenössischer Migration, historischem Exil und Flucht als zentrales diskursives Setting, in dem spezifische Formen der Mobilität von der Mitte des 19. Jahrhunderts bis heute verhandelt werden.

„Das Vorhaben untersucht das […] Verhältnis von Fotografie und zeitgenössischer Migration, ­historischem Exil und Flucht als zentrales diskursives Setting […].“

Das Konzept adaptiert den Begriff „nomadisch“ – eine transitorische Form der Existenz – jenseits statischer Daseinsformen und nationaler Grenzen (Demos 2017). „Nomadisch“ verweist auf eine Form der Mobilität, die Kontinuitäten und Diskontinuitäten zu anderen Begriffen wie „Reise“, „Vertreibung“ und „Exil“ aufweist (Kaplan 1996). Gleichzeitig sind Verschiebungen untrennbar mit Erfahrungen von Verbindungen und Trennungen verbunden, einschließlich der Schaffung von Orten und Zugehörigkeit, Brüchen zwischen Leben und Arbeit in Vergangenheit und Gegenwart, Erfahrungen von Verlust und Herausforderungen des Anfangs.

Indem wir die Fotografie als einen prägenden Teil dieser Geschichte von Mobilität und Migration betrachten, werden wir die Verbindung zwischen den Begriffen „Nomadic“ und „Camera“ untersuchen. Seit ihrer Einführung im frühen 19. Jahrhundert und im Zuge zahlreicher technischer Entwicklungen und Innovationen ist die Fotografie ein mobiles Medium, das eng mit der technischen Ausrüstung, den sozialen Bedingungen und kulturellen/künstlerischen Kontexten verbunden ist. Ausgehend von dieser Hypothese stehen im Mittelpunkt des Workshops und der Publikation Nomadic Camera folgende Fragen: Wie sind Dislokationen mit den technischen Entwicklungen des mobilen Mediums Fotografie verknüpft? In welcher Weise setzen Kameratechnologien die visuelle Formulierung von Exil-, Migrations- und Fluchterfahrungen voraus und konturieren sie? Welche Veränderungen in Ästhetik und Stil, Methoden und Praktiken der Fotografie implizieren temporäre Mobilität, Ortswechsel und Dislokation?

Der Workshop versammelt Beiträge, die den Zusammenhang von Fotografie und Displacements aus verschiedenen interdisziplinären Perspektiven und mit unterschiedlichen Methoden, theoretischen Ansätzen und thematischen Rahmungen analysieren. Der Workshop und die daraus resultierende Publikation sind in vier Kapitel gegliedert:

  1. Abschnitt A: Techniken, Technologien

  2. Abschnitt B: Körper, Akteure, Performativität

  3. Abschnitt C: Medienerzählungen, Narrative

  4. Abschnitt D: Zirkulation, Archiv, Erinnerung

Die Teilnahme am hybrid veranstalteten Workshop kann vor Ort und über Zoom erfolgen. Das Programm und die Anmeldemodalitäten werden rechtzeitig bekannt gegeben. Die Tagungssprache ist Englisch.

  1. Kontakt: Prof. Dr. Burcu Dogramaci, ­Ludwig-Maximilians-Universität München, Institut für Kunstgeschichte, Zentnerstr. 31, 80798 München, Germany, Tel.: +49-89-2180-2462, , https://www.kunstgeschichte.uni-muenchen.de/forschung/nomadic-camera/index.html

Call for papers

UK-London

Hybrid Two-day Event: In the ­Photographic Darkroom

What role has the photographic darkroom played in the histories of photography and visual culture? How has this space, at times known as the camera obscura, developing room, laboratory, operating room, operating box, darkened chamber, photographic tent, dark tent, and developing tent, shaped ways of living and knowing?

“This hybrid two-day event initiates a critical conversation about the largely overlooked space of the darkroom, and outlines new ways to research, theorize, and interpret the roles that it has played in our modern world.”

Historical accounts of the wet darkroom are sparse, and critical discussions largely limited to this space as the site of photographic manipulation. Yet, the darkroom is not a neutral container for photographic production, but a space with its own materiality, rhythm, and choreography that has been central to experiences of, for example, scientific experimentation, research, learning, commerce, colonial encounters, political and cultural agency, sociability, and individual and artistic expression.

This hybrid two-day event initiates a critical conversation about the largely overlooked space of the darkroom, and outlines new ways to research, theorize, and interpret the roles that it has played in our modern world. In the Photographic Darkroom will seek to do so by shifting the focus from the visual product (for example, negatives and prints) to the setting itself within which these objects were produced, positing that the material, socio-cultural, and corporeal dimensions of the darkroom had an influence on how people conceptualized and, consequently, understood photography. This will enable us to rethink the role of photography in the development of modern visual culture, and its wider historical relations, from fresh viewpoints.

To this end, we invite papers for 15-minute presentations from academics, practitioners, and museums and archives professionals at all career stages working in research areas such as photographic history, visual culture, media and communications studies, social, cultural and media history, cultural studies, history of art, archives and records management, and any other related fields of research. Proposals may explore, but are not limited to:

  1. Commercial photographic laboratories

  2. Bodily and sensory experiences in the darkroom

  3. Darkroom diseases

  4. Darkroom networks and related communities of practice

  5. Darkroom practices vis-à-vis visual epistemologies

  6. The darkroom technician

  7. The darkroom in visual and popular culture

  8. Global histories of the darkroom (from any historical period)

  9. Historic darkrooms

  10. The material culture of the darkroom

  11. Performative and tacit forms of knowledge in the darkroom

  12. Portable darkrooms

  13. Power relations in the darkroom

  14. The relationship between the darkroom and the natural environment

  15. The relationship between the space of the darkroom and its place within urban and not-urban contexts

The event will take place at the University of Westminster in London (UK) on June 08/09, 2023, in hybrid form and we will be able to accommodate a number of online presentations. The language of the event will be English.

Selected speakers will be invited to contribute extended versions of their papers to a journal special issue or edited volume on the same theme. Please could all the applicants consider their paper proposals for research not yet published elsewhere as expressions of interest to contribute to the edited publication as well, or specify in the document itself if their paper proposal is based on research that has already been published elsewhere and/or if they would not want to be considered for the edited publication.

Proposals should include your full name, email address, institutional affiliation (when applicable), paper title, proposal of no longer than 300 words for presentations of 15 minutes, indication of whether you would be presenting in person or online, short biographical note (100–140 words). Paper proposals should be submitted as one Word or PDF document to Dr Sara Dominici, <s.dominici1@westminster. ac.uk>, by January 9, 2023.

  1. Contact: Dr Sara Dominici, Senior Lecturer, University of Westminster, 309 Regent Street, London W1B 2HW, United Kindom, Tel.: +44-20-7911-69226, s.dominici1@westminster.ac.uk, http://westminsterresearch.westminster.ac.uk/researcher/886x9/dr-saradominici

UK-London

Workshop: Photographic Societies and Camera Clubs

International photographic societies and camera clubs burgeoned in the late nineteenth and into the twentieth century. The mutual support and collaboration amongst individual members along with the practical and educational undertakings of these self-reliant photographies is a fitting focus for the recognition of photographers who could assert themselves and see themselves as a community of practice of their own making.

The educational projects of photographic societies and camera clubs were shaped by an infrastructure that enabled collaborative forms of communication; products of socio-technical networks that fostered new relationships of learning between the individual and the collective. From the late 1870 s, the number of clubs and societies began to soar: the fourteen groups recorded in the British Journal of Photography Almanac in 1877 had grown to 365 by 1910. Almost weekly the pages of the photographic press reported the foundation of new clubs and societies. At a time when the number of amateur photographers themselves was expanding, and club life was seen as a respectable social occupation, the cooperative ethos on which these ‘local schools’ were built was considered by contemporary commentators as a ‘culture of rational exchange’ and fostering an ‘ideal of sociability identified with liberal education, eloquence and good fellowship’ (Sawyer, Photographic News, 1883: 286). These organizations ranged from amateur groups that emulated learned societies to less socially exclusive and formal, and to camera clubs based in hospitals, workplaces or mechanics institutes. There were national societies, such as the Royal Photographic Society of Great Britain, the National Photographic Association of the United States, the Société Française de Photographie, the Japan Photographic Society, and a plethora of album clubs and postal camera clubs exchanging prints or lantern slides for aesthetic critique.

Historical accounts of clubs and societies are sparse, because many of these groups, considered to be minor, were not listed in the photographic annals and the greater numbers of their collections have been broken up, dispersed, and even lost. Yet, club life from an understanding of how people learnt (or should learn) photography, allowed its membership to receive by various ways a collaborative and efficient training and, through group participation, to escape some of the technical pitfalls which beset many photographers who proceeded to work alone.

“These organizations ranged from amateur groups that emulated learned societies to less socially exclusive and formal, and to ­ camera clubs based in hospitals, workplaces or mechanics institutes.”

This one-day workshop opens a critical conversation about the under-researched emergence and decline of these clubs and societies, outlines new ways to research, theorize, and interpret their educational projects, and asks what this reveals about the values and meanings that members attached to these practices and of how photography consolidated and strengthened the bonds amongst those groups.

To this end, we invite papers for 15-minute presentations from students, academics, practitioners, and museums and archives professionals at all career stages working in research areas such as photographic history, visual and popular culture, media and communication studies, medical humanities, social and cultural history, history of art, material and design cultures, archives and records management, and any other related fields of research.

What roles have the learning communities of photographic societies and camera clubs played in the histories of photography and visual culture? How did club life, at times recognized as popular and progressive, fraternal, instructive and sociable, cement cooperative strategies for growing bodies of amateur and professional photographers to learn from one another? Were these clubs and societies mostly ‘fraternal’ male groups? How did this space intersect with narratives of gender and subtexts of brotherhood in its educational and entertainment uses for female groups? Did any standout for their female or children’s membership? Proposals may explore, but are not limited to:

  1. Global histories of the camera club and photographic society (from any historical period)

  2. Photographic societies and camera clubs as supplementary schooling

  3. Amateur groups emulating learned societies

  4. Launch of the Amateur Photographer in 1884 and the rise in popularity of amateur societies

  5. International, national and regional differences in the organisation of both photographic societies and camera clubs

  6. The role of periodicals in drawing together societies and clubs and consolidating communities of practice

  7. Education, sociability and instruction within the practices of club- land culture

  8. Society networks and intersecting communities of learning

  9. The Royal Photographic Society (RPS) and female ‘Colour Group’ members

  10. The relationship between gender and clubland

  11. Camera clubs specifically for women or children

  12. Collaborative education to enhance members’ active participation

  13. Scientific, medical, colonial photographic committees, societies or clubs

  14. The material culture of clubrooms, exhibitions, soireés, meetings, lantern evenings

  15. The social and cultural roles of exhibitions of societies and clubs

  16. The relationship between the RPS and affiliated provincial camera clubs

  17. Power relations in the clubroom

  18. The legalities of club life and presidents, secretaries and officials, especially in small self-regulated clubs

  19. The relationship between postal, microscopical, album or lantern slide clubs and modern communication technologies in urban and non-urban contexts

  20. Amateur photographers and the survey and record movement

  21. Links with other types of bodies that sponsored photographic societies such as field, naturalistic and archaeological societies, companies

  22. Photographic federations, unions, associations, and inter-society arrangements

  23. The rise and decline of clubs and societies

  24. Researching societies and clubs in archives and special collections

Proposals should include your full name, email address, institutional affiliation (when applicable), paper title, proposal of no longer than 250 words for presentation of 15 minutes, short biographical note (100–150 words). Paper proposals should be submitted as one Word or PDF document to Dr Jason Bate, <j.bate@bbk.ac.uk>, by February 6, 2023.

The event will take place on May 25, 2023 in the History and Theory of Photography Research Centre at Birkbeck in London (UK) in person, and we will be able to accommodate fifteen presentations, and offer £50 towards travel expenses for up to four PhD students. The keynote speaker is Dr Michael Pritchard, photo historian and Director of Programmes at the Royal Photographic Society of Great Britain.

  1. Contact: Dr Jason Bate, Research Fellow, Birkbeck College, University of London, History and Theory of Photography Research Centre, Malet Street, Bloomsbury, London WC1E 7HX, United Kingdom, Tel.: + 44-20-3926-3926, j.bate@bbk.ac.uk, https://www.bbk.ac.uk/departments/art-history/ourstaff

PT-Porto

International Conference: Photography and Culture Industries. From Leicas to Likes

This conference is widely concerned with photographic representations and the uses ascribed to them. It intends to explore the meanings and implications of a vast array of approaches to photography, its uses and consumptions, in order to understand the – semiotic, cultural, social, economic, et cetera – motives and values that are encoded/decoded in the content of a photographic image. The construction of people, objects, places and events captured in photography rests as much on how they are represented by the choices of the photographer as on how they are interpreted by the gaze of the beholder.

Communication processes are cultural processes, traversed by a multiplicity of codes. Behind images that common sense tends to consider fortuitous or not significant, a socially determined production of meaning is revealed. Bourdieu’s cultural arbitraries command the production-reception of meaning and contribute to the construction of what a photograph reveals. The particular forms of photographic production lead to peculiar, heterogeneous aesthetic and morphological phenomena that coordinate, within the limits of their framework, different categories: “images” in the theoretical sense of the word (iconic, analogical signs), plastic signs (colours, shapes, composition, texture) and even linguistic signs. Their interrelation produces the meanings that we learn to decipher, but their interaction with particular contexts can be a way of destabilizing the horizon of expectations of viewers, surprising, shocking or amusing them. Photographic representations put characters, objects, places and attitudes on a stage whose interpretation is then moulded by underlying cultural codes. Even the meanings of shapes, colours and light are cultural, although they might seem natural. Interpretations depend on the viewer’s knowledge and can thus vary, diverging from simple recognition and communal understanding of the putative “message” that is built beyond the image and not only with the image. There is a clear function of complementarity (Barthes’ relay function) between an image and the words that may describe it. Because, and still according to Barthes, the object is always polysemic, subject to endless interpretations. It is thus possible to speak of a productive reception of the photographic image, which implies a whole symbolic work of interpretation. Interpretation, symbolic activity, representation and creativity are all part of the process of cultural – and economic – consumption of photography.

“Photographic representations put characters, objects, places and attitudes on a stage whose interpretation is then moulded by ­underlying cultural codes.”

Understanding photography within a network of cultural practices and aesthetic values sheds light not only over its representational role but also over the construction and consumption of photographic images. Just like painting or philosophy, approaches to photography follow cyclical processes of paradigm-shift, with the respective appearance of new visual aesthetics, so that a new concept of representation becomes available, familiar objects are seen under new perspectives, and innovative work techniques develop.

“This conference is concerned with professionally produced photography for sale to the culture industries and related commercial purposes as much as with the representations produced by amateur practice.”

This conference is concerned with professionally produced photography for sale to the culture industries and related commercial purposes as much as with the representations produced by amateur practice. Certainly, family photographs are repositories of memory that help to understand how the personal and social aspects of remembering are constructed in different cultural settings. But photography is also one of the core cultural industries, according to the concentric circles model of the cultural industries (Throsby, 2008). Photos create emotions, and this attracts potential customers. Photography changed our vision of the world by providing access to never before seen places and times. It enabled images to be copied, mass-distributed and eventually globalized in the (social) media sphere. Photography sells, provides profit for the economy and likes on social media; goes viral on mobile phones and attracts visitors to museums; is both kitsch and erudite.

Photography played a key role on changing the visual culture of society and making art more accessible to the general public. Portraits ceased to be the privilege of the ruling classes and were democratized, so that the faces of common people in their everyday life also gained their right to permanency. Photography developed to become a field that not only captures the memories of cultures and people around the world, but also helps to shape these same memories. Photos may be as simple as portraits of faces and holiday memories, or as complex as the capturing of scenes that illustrate key aspects of social structures and interactions, of political order and dissent.

Common perspectives on representation ensure both the dominance of certain discourses and the emergence of alternative world-views, that contest pre-existing forms of representation, because the political context also conditions photographic production. For that reason, photography has become a powerful medium of social change, as it produces visual statements that trigger awareness and may lead to reforms, either by showing the life of disadvantaged communities or by illustrating the consequences of ecological disasters. Photography keeps history alive while capturing victories, defeats, discoveries, mistakes and landmark moments. It keeps long lost people, places, feelings and stories alive and connects us across time and space.

For all of these reasons, and more, over the last two centuries photography has proved itself to be indispensable for understanding ourselves, our societies, cultures and (parallel) universes. Accordingly, papers are invited on specific aspects of the following topics:

  1. Architectural photography

  2. Cultural photography

  3. Drones & phones

  4. Family albums

  5. Fashion photography

  6. Fine art photography

  7. Humanist photography

  8. Nature photography

  9. Photography and other culture industries

  10. Photography as business

  11. Photography as dissent

  12. Photography in Literature

  13. Photojournalism

  14. Portrait photography

  15. Product photography

  16. Queering photography

  17. Social media

  18. Sports photography

  19. Still photography vs. the moving image

  20. Travel and photography

We welcome submissions in English, by 31 January 2023, to be sent to the email address , with the following information: title, author(s), institutional affiliation, contact email(s), conference topic (see list above), extended Abstract (200 words), bionote (100 words).

Registration fees are 100 euros for employed academics and 50 euros for graduate students. Registration is free for members of CLLC, U. Aveiro and CEI, ISCAP-P.PORTO.

The Centre for Intercultural Studies of ISCAP-P.PORTO will host the Conference Photography and Culture Industries. From Leicas to Likes, organized in partnership with the Centre for Languages, Literatures and Cultures of the University of Aveiro, on 13 and 14 July 2023.

  1. Kontakt: Centre of Intercultural Studies – ISCAP, Rua Jaime Lopes Amorim, s/n 4465-004 S. Mamede de Infesta, Portugal, Tel. +351-22-905-00-00, instituto@iscap.ipp.pt, https://iscap.pt/cei/CEIphotoconference/

Call for papers*

Deadline Termin Ort Thema Information und Anmeldung
09.01.23 08./09.06.23 UK-London (hybrid) Two-day Event: In the Photographic Darkroom University of Westminster, Institute for ­Modern and Contemporary Culture, Centre for Research and Education in Arts and ­Media, Dr. Sara Dominici, Senior Lecturer, 309 Regent Street, London W1B 2HW, United Kindom, Tel. +44-20-7911-5000, s.dominici1@ westminster.ac.uk, http://westminsterresearch.westminster.ac.uk/researcher/886x9/dr-sara-dominici
22.01.23 08./09.06.23 CZ-Brno International Conference: Shaped by Greed. Reflections and Impacts of Environmental Exploitation in European Visual Cultures 1200– 1900 Masaryk University, Art History Department, Veveří 470/28, Building K, Arna Nováka 1/1, 60200 Brno, Czech Republik, Tel. +420-54949-1564, , https://dejinyumeni.phil.muni.cz
31.01.23 13./14.07.23 PT-Porto International Conference: Photography and Culture Industries. From Leicas to Likes Centre of Intercultural Studies – ISCAP, Rua Jaime Lopes Amorim, s/n 4465-004 S. Mamede de Infesta, Portugal, Tel. +351-22905-00-00, instituto@iscap.ipp.pt, https://iscap.pt/cei/CEIphotoconference/
06.02.23 25.05.23 UK-London Workshop: Photographic Societies and Camera Clubs University of London, Birkbeck College, History and Theory of Photography Research Centre, Dr. Jason Bate, Research Fellow, ­ Malet Street, Bloomsbury, London WC1E 7HX, United Kingdom, Tel.: + 44-20-3926-3926,j.bate@bbk.ac.uk, https://www.bbk.ac.uk/departments/art-history/our-staff

* Aufgrund der Covid-19-Pandemie alle Termine ohne Gewähr.

AKTUELL*

Termin Ort Thema Information und Anmeldung
16.–20.01.23 AT-Wien (online) Konferenz: Das Kunstmuseum im digitalen Zeitalter Österreichische Galerie Belvedere, Anna-Marie Kroupová, Belvedere 21, Arsenalstr. 1, 1030 Wien, Austria, Tel. +43-1-795570, a.kroupova@ belvedere.at, https://www.belvedere.at
22.–24.01.23 US-Nashville, TN The Premier Photography Conference: Imaging USA Ort: Gaylord Opryland Resort & Convention Center, Nashville, TN 37214, USA, +1-615-889-1000; Kontakt: Professional Photographers of America, 229 Peachtree St. NE, Suite 2300, Atlanta, GA 30303, USA, Tel. +1-800-786-6277, , https://www.ppa.com/
01.02.23 DE-Essen Folkwang Photo Talk: Dr. Luke Gartlan, University of St. Andrews, UK, School of Art History Folkwang Universität der Künste, Fachbereich Gestaltung, Fachgruppe Fotografie, Prof. Dr. Steffen Siegel, Quartier Nord, Martin-Kremmer-Str. 21, Raum 2.13, 45327 Essen, Germany, Tel. +49-2016505-1539, , https://foto.folkwang-uni.de/de/
03.–05.02.23 DE-Freiburg im Breisgau Mundologia 2023: Vortragsreihe und Festival für Fotografie, Abenteuer & Reisen Ort: Konzerthaus Freiburg, Konrad-Adenauer-Platz 1, 79098 Freiburg, Germany, Tel. +49-761388-121-50; Kontakt: Tobias Hauser, Goethestr. 37, 79100 Freiburg, Germany, Tel. +49-7614897996, , http://www.mundologia.de
15.–18.02.23 US-New York The College Art Association (CAA) 2023 Annual Conference: The Art of Removal. Photography and Natural Resource Extraction Ort: Hilton Midtown, New York, 1335 Avenue of the Americans, New York, NY 10010, USA, Tel. +1-212-586-7000; Kontakt: Amon Carter Museum of American Art, Dr. Kirsten Gaylord, Associate Curator of Photographs, 3501 Camp Bowie Blvd., Fort Worth, TX 76107, USA, Tel. +1-817.989.5096, , https://www.cartermuseum.org
16./17.02.23 DE-Weimar Tagung: Digital ist besser? Sammlungs- forschung im digitalen Zeitalter Klassik Stiftung Weimar, Dr. Katharina Günther und Florian Hellbach, Burgplatz 4, 99423 Weimar, Germany, Tel. +49-3643-545-658, katharina. , , https://www.klassik-stiftung.de/
22.–25.02.23 US-Austin, TX Photographic Materials Group 2023 Winter Meeting Ort: Harry Ransom Center, University of Texas at Austin, 300 W 21st St, Austin, TX 78712, USA, Tel: +1-512-471-8944; Kontakt: American Instiute for Conservation, Foundation for Advancement in Conservation, 727 15th St., NW Suite 500, Washington DC 20005, USA, Tel. +1-202-4529545, https://www.culturalheritage.org/aboutus/contact, www.culturalheritage.org
16.–18.03.23 US-Denver, CO Society for Photographic Education 2023 Annual Conference Ort: Sheraton Denver Downtown, 1550 Court ­ Place, Denver, CO 80202, USA, Tel. +1-303-8933333; Kontakt: Society for Photographic Education, P. O. Box 6653, Cleveland, OH 44101, USA, Tel. +1-216-622-2733, https://www.spenational.org/contact, https://www.spenational.org/

* Aufgrund der Covid-19-Pandemie alle Termine ohne Gewähr.

Vorschau

Termin Ort Thema Information und Anmeldung
20.–24.03.23 IT-Rom Photo-historical seminar for doctoral and post-doctoral scholars: Archival Absences. An Incomplete History of Photography Bibliotheca Hertziana – Max-Planck-Institut für Kunstgeschichte, Via Gregoriana 28, 00187 Rom, Italy, Tel. +39-0669-993-201, fototeca@biblhertz.it, https://www.biblhertz.it/en/home
12.–14.04.23 UK-London The Association of Art History (AAH) 2023 Annual Conference: Photography and 21st-Century Migration (Session) Ort: University College London, Gower Street, ­London, WC1E 6BT, United Kingdom, Tel. +44-207679-2000, https://www.ucl.ac.uk.; Kontakt: ­ Association for Art History (AAH), 70 Cowcross Street, London EC1M 6EJ, United Kingdom, Tel. +44-20-7490-3211, , https://www.forarthistory.org.uk
13.–15.04.23 US-Orlando, FL The Photo Managers 2023 Conference Ort: Hyatt Regency Orlando International Airport, 9300 Jeff Fuqua Blvd., Orlando, FL 32827, USA, Tel. +1-407-825-1234; Kontakt: , https://thephotomanagers.com/
19.04.23 DE-Berlin Jubiläumskonferenz zum 10-jährigen Bestehen des Förderprogramms zur Digitalisierung von Kulturgut des Landes Berlin Forschungs- und Kompetenzzentrum Digitalisierung Berlin (digiS), Zuse Institut Berlin, Takustr. 7, 14195 Berlin, Germany, Tel. +49-30-841-85-100, , https://www.digis-berlin.de/
20.–22.05.23 DE-Köln NEXT! Festival der Jungen Photoszene Ort: MAAK – Museum für Angewandte Kunst Köln, An der Rechtschule 7, 50667 Köln, Germany, Tel. +49-221-221-238-60, , www.makk.de; Kontakt: Inga Schneider, Projektleitung NEXT!, , www.photoszene.de
25.05.23 UK-London Workshop: Photographic Societies and Camera Clubs University of London, Birkbeck College, History and Theory of Photography Research Centre, Dr. Jason Bate, Research Fellow, Malet Street, Bloomsbury, London WC1E 7HX, United Kingdom, Tel.: + 44-20-3926-3926, j.bate@bbk.ac.uk, https://www.bbk.ac.uk/departments/art-history/our-staff
04.–11.06.23 DE-Zingst Umweltfotofestival Zingst 2023 Ort: Kurhaus Zingst, Seestr. 56/57, 18374 Zingst, Germany, Tel. +49-038232-81580; Kontakt: Klaus Wohlmann, Stammheimer Ring 86, 51061 Köln, Germany, Tel. +49-176-101-85-310, , www.klauswohlmann.com
08./09.06.23 UK-London (hybrid) Two-day Event: In the Photographic Darkroom University of Westminster, Institute for Modern and Contemporary Culture, Centre for Research and Education in Artsand Media, Dr. Sara Dominici, Senior Lecturer, 309 Regent Street, London W1B 2HW, United Kindom, Tel. +44-20-79115000, s.dominici1@westminster.ac.uk, http:// westminsterresearch.westminster.ac.uk/researcher/886x9/dr-sara-dominici
08./09.06.23 CZ-Brno International Conference: Shaped by Greed. Reflections and Impacts of Environmental Exploitation in European Visual Cultures 1200–1900 Masaryk University, Art History Department, Veverˇí 470/28, Building K, Arna Nováka 1/1, 60200 Brno, Czech Republik, Tel. +420-549-491564, , https://dejinyumeni.phil.muni.cz
13.–15.06.23 DE-München Workshop: Nomadic Camera. Photography, Displacement and Dis:connectivities Ludwig-Maximilians-Universität Munich, Käte Hamburger Research Centre „Dis:connectivity in Processes of Globalisation (global dis:connect)“, Prof. Dr. Burcu Dogramaci, Maria-Theresia-Str. 21, 81675 München, Germany, , https://www.globaldisconnect.org/katehamburger-kolleg/news/?lang=en
21.–25.06.23 DE-Oberstdorf Oberstdorfer Fotogipfel 2023 Oberstdorf-Haus, Prinzregenten-Platz 1, 87561 Oberstdorf, Germany, Tel. +49-8322-7000, https://www.oberstdorf.de/information/tagungevents/oberstdorf-haus/, https://www.fotogipfel-oberstdorf.de/
13./14.07.23 PT-Porto International Conference: Photography and Culture Industries. From Leicas to Likes Centre of Intercultural Studies – ISCAP, Rua Jaime Lopes Amorim, s/n 4465-004 S. Mamede de Infesta, Portugal, Tel. +351-22-905-00-00, instituto@iscap.ipp.pt, https://iscap.pt/cei/CEIphotoconference/
04.–06.08.23 US-Madison, WI (hybrid) The Institute of Electrical and Electronics Engineers (IEEE) International Conference on Computational Photography (ICCP) University of Wisconsin, Madison, United States, 361 Bascom Hall, 500 Lincoln Drive, Madison, WI 53706, USA, Tel. +1-608-265-4508, , https://www.wisc.edu/
01.–03.09.23 DE-Malente Perspektiven Malente: Fototage zwischen den Seen Ort: Kurpark und Haus des Kurgastes Malente, Bahnhofstr. 4A, 23714 Malente, Germany, Tel. +49-4523-1658, https://www.holsteinischeschweiz.de/poi/kurhaus-malente; Kontakt: ­Verein f18 Malente e. V., Klaus-Groth-Weg 10a, 23714 Bad Malente-Gremsmühlen, Germany, Tel. +49-452-1658, info@perspektiven-malente. de, https://perspektiven-malente.de/
19.–22.09.23 US-Champaign- Urbana, IL (hybrid) iPres 2023: 19th International Conference on Digital Preservation Ort: Wird demnächst bekannt gegeben; Kontakt: , http://ipresconference.org/ipres
31.10.– 02.11.23 US-Washington, DC Symposium: Photomechanical Prints. Technology, Aesthetics, and Use Ort: National Gallery of Art, Constitution Ave. NW, Washington, DC 20565, USA, Tel. +1-202-737-421; Kontakt: American Institute for Conservation, Foundation for Advancement in Conservation, 727 15th St., NW Suite 500, Washington, DC 20005, USA, Tel. +1-202-452-9545, https://www.culturalheritage.org/about-us/contact, www.culturalheritage.org
15./16.11.23 ES-Zaragoza 14th International Conference on the Image: Images do not Represent us, They Create us. The Image and its Transforming Power Ort: University of San Jorge, Calle San Voto, 6–8, 50003, Zaragoza, Spain, Tel. +34-976-060-100, https://www.usj.es/; Kontakt: The Image Research Network, Dr. Cátia Rijo und Dr. Ana Maria Sedeño Valdellós, Chairs, c/o University of Illinois, The Common Ground Research Networks, Research Park, 60 Hazelwood Drive, Champaign, IL 61820, USA, Tel. +1-217-328-0405, , , https://ontheimage.com/2023-conference
Ab 23.11.23 (genaue Zeitspanne folgt) DE-Regensburg Festival Fotografischer Bilder Ort: Städtische Galerie im Leeren Beutel, Bertholdstr. 9, 93047 Regensburg, Germany, Tel. +49941-507-24-40; Kontakt: Martin Rosner, Festivalleiter, Kumpfmühler Str. 47, 93051 Regensburg, Germany, Tel. +49-941-91069465, und Andy Scholz, künstlerischer Leiter, Vöcklinghauser Str. 11, 45130 Essen, Germany, Tel. +49-20184387700,
Upcoming 2023 GE-Tbilisi Women in Photography 4th Conference: Women, Photography, Conflict. Fast Forward Photography & Multimedia Museum (TPMM), Stamba Hotel 14, M. Kostava St., 0108 Tbilisi, Georgia, Tel. +995-595-09-1303, info@tpmm.ge, https://tpmm.ge/en/museum/, https://fastforward.photography/our-projects/conference4-georgia/

Crossmedia Exhibition Development

Abschluss: Certified Program Dauer: 1 Semester, berufsbegleitend Start: 17. April 2023

Die digitale Medienrevolution bedeutet Erneuerung für Ausstellungs- und Museumswesen. Ein Trend, der durch Covid-19 noch verstärkt wurde, sind immersive und multimediale Ausstellungsgestaltungen, die auch neues Publikum anziehen. Das postgraduale Studienprogramm vermittelt Grundlagenwissen zur Ausstellungsentwicklung in Verbindung mit Medientheorie und -praxis, besonders mit aktuellsten Strategien der partizipativen und multimedialen Vermittlung. Internationale ExpertInnen wie Christiane PAUL, Dieter BOGNER, Wendy COONES, Florian WIENCEK, Enrique GUITART, Patricia MUNRO, Stefan IGLHAUT, Robin BURGAUER und Lev MANOVICH verbinden historischen Weitblick mit dem neuesten Wissen um aktuelle crossmediale Entwicklungen und Trends.

Zentrum für Bildwissenschaften zbw@donau-uni.ac.at www.donau-uni.ac.at/zbw

Impressum

RUNDBRIEF FOTOGRAFIE – Analoge und digitale Bildmedien in Archiven und Sammlungen

ISSN 0945-0327 • Online ISSN 2751-0476 – Postvertriebsstück 25453

Herausgeber: Deutsches Dokumentationszentrum für ­

Kunstgeschichte – Bildarchiv Foto Marburg (Prof. Dr. Hubert Locher und Dr. Christian Bracht) in Zusammenarbeit mit dem Museumsverband Baden-Württemberg e. V., der Sektion Geschichte und Archive der Deutschen Gesellschaft für Photographie e. V. (DGPh) und dem Sächsischen Museumsbund e. V.

Beirat: Kurt Deggeller, Basel/CH; Hanns-Peter Frentz, Berlin/ DE; Univ.-Prof. Dr. Oliver Grau, Krems/AT; Prof. Monika Hagedorn-Saupe, Berlin/DE; Dr. Wolfgang Hesse, Lübeck/DE; T. O. Immisch, Halle (Saale)/DE; Wolfgang Jaworek, Stuttgart/DE; Martin C. Jürgens, Amsterdam/NL; Prof. Dr. Gerald Maier, Stuttgart/DE; Dr. Ulrich Pohlmann, München/DE; Marjen Schmidt, Oberhausen (Obb.)/DE; Prof. Dr. Bernd Stiegler, ­Konstanz/DE

Redaktion: Prof. Dr. Hubert Locher und Dr. Franziska Scheuer (Leitung), Dr. Sonja Feßel, Leonie Groblewski M. A., Dr. Karin Kirchhainer, Stella Wabnegg, Deutsches Dokumentationszentrum für Kunstgeschichte – Bildarchiv Foto Marburg, Philipps-Universität Marburg, Biegenstr. 11, 35037 Marburg, Germany, Tel. +49-6421-28-22173,

Redaktionsteam Materialität: Prof. Mag. art. Sebastian ­ Dobrusskin, Bern/CH; Dr. Rita Hofmann-Sievert, Bern/CH; Dipl. Rest. HFG Barbara Spalinger Zumbühl M. A., Aarau/CH

Bildbearbeitung: Fotowerkstatt (Leitung: Thomas Scheidt), Deutsches Dokumentationszentrum für Kunstgeschichte – Bildarchiv Foto Marburg, Philipps-Universität Marburg, ­ Marburg/DE

Übersetzung der Abstracts: Elena Helfrecht, Steven Lindberg und Alexandra Titze-Grabec

Grafikdesign: Loup GmbH, https://www.loup.de, Stuttgart/ DE Satz: Olaf Mangold, Text & Typo, Stuttgart/ DE

Druck und Verarbeitung: Grafische Werkstätte, Bruderhausdiakonie, Reutlingen/ DE, https://www.grafische-werkstaette.de

Der Preis des Jahrgangs beträgt 98,00 € (print oder elektronisch), 118,00 € (print und elektronisch). Print-Preise gelten zuzüglich Porto (10,00 € Deutschland, 18,00 € International).

© 2022 Deutscher Kunstverlag GmbH Berlin München

Deutscher Kunstverlag GmbH Berlin München Lützowstraße 33, 10785 Berlin

www.deutscherkunstverlag.deEin Unternehmen der / Part of Walter de Gruyter GmbH Berlin Boston www.degruyter.com

Published Online: 2022-12-23
Published in Print: 2022-12-16

© 2022 Walter de Gruyter GmbH, Berlin/Boston

Articles in the same Issue

  1. Editorial
  2. Werkstattberichte
  3. Frontmatter
  4. Ein Bild
  5. Eine Kamera und ein Bier
  6. Mediengeschichte
  7. „Deeper Sommertage“ und Bauhausjahre
  8. Color Galore in the French Colonial Empire
  9. Digitalisierung
  10. Fotografien aus dem Untergrund
  11. Bestände
  12. Ankunft im Museum
  13. Bekanntes Unbekanntes
  14. Materialität
  15. Cold Storage?
  16. Netzwerk Cellulosenitrat
  17. Forschung
  18. Visuelle Autoethnografie
  19. Literatur
  20. Rezensionen
  21. Kunst und Fotografie oder Kunstfotografie?
  22. Neu Eingegangen
  23. Zeitschriftenauswertung
  24. Personalia
  25. Personalia
  26. Mitteilungen
  27. Mitteilung
  28. Fortbildung
  29. Ankündigung
https://doi.org/10.1515/rbf-2022-3018

Articles in the same Issue

  1. Editorial
  2. Werkstattberichte
  3. Frontmatter
  4. Ein Bild
  5. Eine Kamera und ein Bier
  6. Mediengeschichte
  7. „Deeper Sommertage“ und Bauhausjahre
  8. Color Galore in the French Colonial Empire
  9. Digitalisierung
  10. Fotografien aus dem Untergrund
  11. Bestände
  12. Ankunft im Museum
  13. Bekanntes Unbekanntes
  14. Materialität
  15. Cold Storage?
  16. Netzwerk Cellulosenitrat
  17. Forschung
  18. Visuelle Autoethnografie
  19. Literatur
  20. Rezensionen
  21. Kunst und Fotografie oder Kunstfotografie?
  22. Neu Eingegangen
  23. Zeitschriftenauswertung
  24. Personalia
  25. Personalia
  26. Mitteilungen
  27. Mitteilung
  28. Fortbildung
  29. Ankündigung
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