The Business of War Photography: Producing and Consuming Images of Conflict
Tom Allbeson is a cultural historian with research specialisms in European photography and urban space. He is currently a Research Associate at the University of Edinburgh. He is also developing a monograph concerning postwar reconstruction and the photography of the built environment in Britain, France and West Germany (c.1945-1961). In 2013, Tom was a Postdoctoral Research Fellow at the Institute for Advanced Studies in the Humanities, University of Edinburgh. In 2012, he completed his doctoral research in cultural history at the University of Durham supported by funding from the Arts and Humanities Research Council. Tom has taught undergraduate and postgraduate students, as well as adult education classes, in history, cultural history, cultural studies and visual culture. He has also worked in the museums and heritage sector and as a freelance journalist.
Lívia Bonadio has worked on both sides of the industry, as a sales executive for a syndication agency and as a picture researcher for the Telegraph Magazine, which she joined in 2012 after completing a Photojournalism MA at the University of Westminster. Bonadio has extensively researched the usage of conflict imagery by thoroughly analysing Julian Stallabrass’ exhibition ‘Iraq through the Lens of Vietnam’ (presented as part of the Brighton Photo Biennial in 2008) for a dissertation on the role of photojournalism in the gallery as opposed to its original context in the printed and/or online media.
Sandra Camarda works as a Postdoctoral Research Fellow at the Institute of History of the University of Luxembourg. She has been awarded an MA in Museum Anthropology and a Ph.D in Anthropology from the University College London, specialising in visual culture and in the history of photography. In the past she has conducted extensive research on American and European photographic collections focusing on the use of photographs in the history of science and anthropology. She is currently conducting an FNR (Fonds National de la Recherche Luxembourg) funded project on historical postcards of Luxembourg in relation to the construction of national identity.
David Campbell is a writer, professor and producer who analyses visual storytelling and creates new visual stories. He holds a PhD in International Relations and for twenty years taught visual culture, geography and politics at universities in the US, Australia and the UK. He is the author of six books and more than 60 articles, and has produced three visual projects on the Bosnian War, imaging famine, and the visual economy of HIV-AIDS. David writes about documentary photography and photojournalism, the disruption in the media economy, and its impact on visual journalism, in addition to his long-term commitment to understanding international politics. As a research consultant to World Press Photo he directed their 2012-13 Multimedia Research Project and a 2014 project on “The Integrity of the Image.” He is also Secretary to the World Press Photo Contest. David produces multimedia and video projects, and all his work can be seen at www.davidcampbell.org.
Rhys Crilley is a PhD doctoral researcher at the University of Birmingham. His work draws upon critical approaches to security and focuses on images and narratives of conflict on social media platforms. He is supervised by Dr Cerwyn Moore and Professor Nicholas Wheeler. He is also a deputy editor of e-International Relations (www.e-ir.info) and co-founder of the blog, Critical Securities (www.criticalsecurities.com).
Simon Faulkner teaches Art History and Visual Culture, and is the undergraduate Programme Leader in the Art History at Manchester School of Art. His research since 2007 has been focused on relationships between visual representation and the Israeli-Palestinian conflict. Recent publications include ‘The Most Photographed Wall in the World’ (Photographies, September 2012) about photographs of the West Bank Barrier and ‘Images and Demonstrations in the Occupied West Bank’ (JOMEC Journal, November 2013). Simon’s recent research on Israel/Palestine has also involved working with the Israeli artist and activist David Reeb; their co-authored book Between States, will be published by Black Dog Publishing in Summer 2014.
Melanie Friend began her career as a photojournalist and radio reporter producing features for the anti-nuclear movement and for The Guardian, Times Educational Supplement, BBC Radio Four and BBC World Service. Much of her work has directly or indirectly engaged with conflict. From the mid-1990s she began working on long-term photographic projects, exhibiting at international museums and galleries including Gallery 44 Centre for Contemporary Photography, Toronto; Belfast Exposed Photography, Belfast; Hasselblad Centre, Sweden; and Houston Center for Photography, USA. Previous books and exhibitions include Homes and Gardens: Documenting the Invisible (1996), No Place Like Home: Echoes from Kosovo (2001), and Border Country (2007). Her work is held in the public collection of the National Portrait Gallery, London. She has lectured internationally including at the University of Harvard, USA; University of Oxford, UK; University of Paris, France; and University of Berne, Switzerland amongst others. Friend is currently Senior Lecturer (Photography) in the School of Media, Film and Music at the University of Sussex.
Kevin Hamilton is an artist and researcher with the School of Art and Design at the University of Illinois. Kevin’s research-based artistic work spans the domains of Public Art, New Media, and the Digital Humanities. He does historical and theoretical work on the history of interface representations and on nuclear weapons film. Recognition for his work has included grants from the National Science Foundation and National Endowment for the Humanities, presentation at conferences across Europe and North America (ISEA/ DEAF/CAA/NCA/ACM-SIGCHI), publication in edited journals and anthologies (Routledge/CCCS/Palm Press/UCLA), and invited residencies (Banff/USC-IML/Bratislava).
Colin Harding is Curator of Photography and Photographic Technology at the National Media Museum, UK. As well as permanent galleries on the history of photography, he has curated many exhibitions including Don McCullin: In England (2009); Fay Godwin: Land Revisited (2010) and In the Blink of an Eye: Media and Movement (2012). He has written several books and many articles on the history of photography and cinematography and writes a monthly column for Black & White Photography magazine. He is a regular broadcaster on radio and television and a visiting lecturer at De Montfort University.
Yining He is a professional writer, photographer and curator of Go East Project. Working in the media industry, she has covered stories all over China and Europe for many leading magazines, newspapers and organisations. Yining graduated with an MA in Photojournalism and Documentary Photography from the London College of Communication. She specializes in telling stories on multiple platforms using text, photography, archive material and social media. Her works has been seen in group and solo exhibitions in China, USA and England. She is now working on Go East project, which is a blog offering updated news on contemporary Chinese photography on a weekly basis.
Olli Kleemola is a Doctoral Student at the University of Turku in the Department of Contemporary History. His research interests are the history of war photography, the history of propaganda and the "New military history," as well as visual history. Olli Kleemola’s publications include several articles about Finnish war photography during the Second World War.
Patricia A. Nelson is Senior Research Fellow at European Institute of Japanese Studies, Stockholm School of Economics (Sweden) and Adjunct Professor, Josef Korbel School of International Studies, University of Denver (USA). She is an expert on the comparative political-economic evolution of the imaging industry with 30+ scholarly and policy-oriented publications. An expert on EU-Japan trade, Nelson also follows the progress of the EU-Japan free trade agreement (FTA) negotiations. Nelson holds a Ph.D. in international political economy (Warwick). She held post-doctoral fellowships at Harvard and Hitotsubashi Universities and appointments at the University of Edinburgh Business School, Seijo, Sophia and Keio Universities.
Ned O’Gorman is an Associate Professor, Associate Head, and Conrad Humanities Scholar in the Department of Communication at the University of Illinois, Urbana-Champaign. He is the author of Spirits of the Cold War: Contesting Worldviews in the Classical Age of American Security Strategy (2012, Michigan State University Press), and the forthcoming The Iconoclastic Imagination: Image, Catastrophe, and Economy in America since the Kennedy Assassination (University of Chicago Press, expected publication 2015).
Pippa Oldfield is a Doctoral Fellow at the School of Languages and Modern Cultures, Durham University, and Head of Programme at Impressions Gallery, one of the UK’s leading public-funded venues for photography. Her research interests include the relationship between photography and war; women’s histories and experiences; and photography and visual culture in Latin America. Her doctoral research exploring women’s engagement with war photography in the American hemisphere was recently presented at Workers and Consumers: The Photographic Industry 1860-1950 at De Montfort University and published in The Photograph and the Album: Histories, Practices, Futures (Museums Etc). She has curated numerous national touring exhibitions including The Home Front by Melanie Friend and Bringing the War Home: Photographic Responses to Conflict in Iraq and Afghanistan. She is currently developing an exhibition titled No Man’s Land, exploring women’s historical and contemporary engagement with war and photography in the UK.
Anthony Penrose is the son of the American surrealist, fashion and combat photographer Lee Miller and Roland Penrose, surrealist artist and biographer of Picasso, Miró, Man Ray and Tàpies. Penrose is Director of the Lee Miller Archive and the Penrose Collection located in his parents former home, Farley Farm House, Chiddingly, now a museum. The Lee Miller Archive contains nearly all Miller’s work, including her manuscripts, letters and about 60,000 original negatives and 20,000 vintage prints. Antony Penrose has written numerous books, articles and two plays on the subject of his parents and their associates.
Jedge Pilbrow is a doctoral candidate at the University of Brighton. His research interests are concerned with the significance of vernacular autobiographical images of war in the construction of popular and critical understandings of contemporary conflicts. This includes questions of technological and cultural asymmetry in addition to more conventional analysis of areas such as political and social legitimacy and the tensions that exist between media and military agendas.
Hilary Roberts is the Imperial War Museum Research Curator of Photography. She studied at the University of Sussex, Albert-Ludwigs-Universität (Freiburg i. Breisgau, Germany) and University College London before joining the IWM Photograph Archive as a junior curator in 1980. In 1996, Hilary was appointed Head Curator of the Archive. She ensured that the Archive maximised its commercial potential in a manner appropriate to the sensitive nature of its collections. Hilary was appointed to her current post in 2013 with a remit to lead on IWM projects relating to historic and contemporary war photography. Hilary has many publications and broadcasts to her name. This year, she has contributed to First World War Centenary events staged at the House of Lords, Sarajevo, New York and elsewhere. In June, BBC Radio 3 broadcast her talk on Robert Capa’s coverage of the Omaha landings as part of its D-Day anniversary coverage. Hilary’s most recent book, produced with Mark Holborn, is The Great War: A Photographic Narrative (Jonathan Cape/Knopf, 2013). She is now working on a major book and exhibition project in collaboration with the Lee Miller Archive. This will form the core of IWM London’s Second World War anniversary programme in 2015.
Rachel Snow is Associate Professor of Art History at the University of South Carolina Upstate. Her publications include an essay and a book chapter on real-photo postcards. She has also published two essays on tourism, one, in the Journal of American Culture (2010), dealing with how photography and tourism relate to issues of American class identity and conspicuous consumption, and, another in the Annals of Tourism Research (2012), examining methodological questions related to writing about vernacular photography in interdisciplinary contexts, with a case study using travel books and albums illustrated with tourists’ snapshots. She is current writing a book on Kodak’s publications and how these figure into the development of photography as a mass-market industry.
Janet Stewart is Professor in Visual Culture at Durham University. She is the author of two monographs, Fashioning Vienna: Adolf Loos’s Cultural Criticism (2000) and Public Speaking in the City (2009) and has published widely on Austrian and German literature and visual culture, cultural sociology and urban history. Her current research project develops her interests in modernity and visual culture in a new context, connecting them to the study of energy and, more specifically, petroleum. She is working on a research monograph, ‘Curating Europe’s Oil’, which explores the role that oil plays in twenty-first century cultural memory, and writes a related blog on energy and culture.
Simon Ward is a Lecturer in German at Durham University. He has published widely on German literature and visual culture in the twentieth century, and is currently completing a monograph on the relationship between visual culture and the past in Berlin between 1957 and 2012.
Beth E. Wilson is currently a Lecturer in Art History at the SUNY College at New Paltz, where she teaches courses in the history of photography, film, and modern/contemporary art. She has written criticism and essays for numerous exhibition catalogues and arts magazines, including Tema Celeste, Arts, and Chronogram. She has curated photography exhibitions at the Samuel Dorsky Museum of Art and the Center for Photography at Woodstock. Most recently she contributed the essay “From Instant to Enveloppe: Reflections on Monet, Photography and Time” to the exhibition catalogue for Monet in Giverny: Landscapes of Reflection, which appeared at the Cincinnati Art Museum in 2012.
The Business of War Photography conference is presented in association with the Centre for Visual Arts and Culture at Durham University, in partnership with Durham Light Infantry Museum & Durham Art Gallery and Impressions Gallery, Bradford. Concessionary rates for postgraduate students are supported by a grant from the Royal Historical Society.