19th edition of BOUTOGRAPHIES. Deadline: Nov. 11, 2018.

LES BOUTOGRAPHIES IS A FESTIVAL OF CONTEMPORARY CREATIVE PHOTOGRAPHY

Open to all photographers living in Europe.

The criteria for selection by a jury of professional in the photographic field are a height creative level, originality and a coherent personal vision.

THERE IS NO THEME

How to participate

  • TWO SECTIONS WILL BE PROGRAMMED

The official selection (on the walls) and the selection Jury Projection (in projection).  You don’t need to choose. If you are selected by the Jury, your work will automatically be assigned to one of these two selections.

  • THREE PRIZES ARE GIVEN DURING THE FESTIVAL

For the official selection
The Jury prize, for a total of 1000 € + the purchase of photos by the Town of Montpellier for a value of 2500€
The Exchange prize (an exhibition at the festival Fotoleggendo in Rome)
The Public prize (help with the production of an exhibition by our partner Photon, professional photo lab).

  • THREE SPECIAL AWARDS ARE GIVEN DURING THE FESTIVAL

For the official selection
Réponses Photo (a portfolio published in the magazine, with remuneration)

For the Jury projection
Laboratory Photon (Production of images up to a value of 1000€ plus an exhibition for three months in their gallery space in Toulouse)

For either the official selection or the Jury projection
Les Jours (a portfolio published on the media website, with remuneration)

How to Correctly prepare your dossier

Inscription

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Photobook Conference. Call for Papers. Deadline: Nov 15, 2018

CFP: The Photobook (Oxford, 14-16 Mar 19)

Maison Française d’Oxford, March 14 – 16, 2019
Deadline: Nov 15, 2018

Maison Française d’Oxford 2019 Photobook Conference :

The British, American and French Photobook:
Commitment, Memory, Materiality and the Art Market (1900-2019)

A conference to be held at the Maison Française, Oxford
Thursday 14 to Saturday 16 March 2019

The Maison Française conference committee invites proposals on the social history of the British, American or French photobook from 1900 to the present. Papers will address: commitment or explicit political engagement; memory, commemoration and the writing of history; materiality (whether real or virtual), and how material form affects circulation, handling, critical responses and the social life of the photobook. We invite contributors to analyse these topics with respect to the growth of the market for the photobook as a commodity and an object of bibliophilic attention. Proposals focusing on contemporary productions are particularly welcome.

Recent illustrated anthologies in the vein of The Photobook: A History (Gerry Badger and Martin Parr, 2004, 2006, 2014) have established three things: firstly, the photobook-photographer is an editor and an author, or auteur (in the cinematographic sense, but applied to “directing” the production of a book); secondly, the photobook is an autonomous work of art, and a collectible object of connoisseurship; thirdly, the photobook “art world” now exists and can be studied.

This conference will concern itself with the social history of the photobook, whether photographer-driven, writer-driven, editor-driven, or publisher-driven. For the purposes of this conference, the definition of the photobook will be extended to include all photographically illustrated books, regardless of subject matter or the proportion of text to image, or indeed whether or not the images are “illustrative” in the strict sense of the word.

Three major questions arise concerning the photobook as a medium:
• Firstly, what place is there for literary fiction or imaginative picture-making in photobooks committed to documentary truth-telling or historical accuracy? In a word, how do fact and fiction, objectivity and subjectivity, cohere?
• Secondly, to what extent does the self-fashioning of the photographer in the art market interfere with the narrative meaning of a photobook? What is the influence of the art market on the photobook or on the writing of photobook histories? And how has the art market for photobooks changed since the bibliophilic creations of the early twentieth century?
• Thirdly, unlike individual prints that become unmoored without their captions, and which can be appropriated and re-used against themselves, can a photo-text shore itself up against appropriation? Is it a privileged pedagogical medium? A self-sufficient medium? This leads to a related question: how have certain photobooks changed with time? How have famous or reprinted photobooks been differently interpreted by different audiences? What has been the afterlife of politically committed photobooks? How, and in what circumstances, have certain photobooks contributed to writing or re-writing local memory or “collective memory”, at the time of their publication and over time?

To answer these questions, specialists in the history of photography, book studies and visual studies are invited to dialogue with researchers in such disciplines as sociology, anthropology, critical race theory, queer theory, gender studies, post-colonial studies and comparative literature. Papers may be disciplinary or multidisciplinary.

Papers shall be given in English.
Proposals are due by 15 November 2018.
Send 300-word abstracts (as an email attachment in Microsoft Word format, RTF, or PDF) along with a one-page CV to
paul.edwards@cnrs.fr

Roundtable sessions of 60 to 90 minutes may be proposed. They should be pre-organised, and include 3 to 5 panellists. To propose a roundtable, the discussion moderator will send a single 300-word abstract describing the chosen topic, as well as supplying the full details of each panellist, namely their contact information (email and phone number), affiliation and a one-page CV for each. Please be sure to confirm the participation of all panellists before submitting an abstract.
Roundtable proposals are due by 15 November 2018.

Confirmation of acceptance will be sent by 15 January 2019.
One-page/500-word abstracts must be sent by 15 February 2019.

Conference venue :
Maison Française d’Oxford
2-10 Norham Road
Oxford OX2 6SE
Oxfordshire
England

Coordinator:
Paul Edwards (MFO, CNRS/LARCA, Université Paris Diderot)

Conference website :
http://www.mfo.cnrs.fr/research/axes-de-recherches/litterature/call-for-papers-the-british-american-and-french-photobook/

Bibliography (selection)
AUER M. et M. (2007), Photo Books from the M+M Auer Collection, Hermance, Editions M+M.
BOOM Mattie and SUERMONDT Rik (1989), Photography between Covers: The Dutch Documentary Photobook after 1945, Amsterdam, Fragment Uitgeverij.
BOUQUERET Christian (2012), Paris. Les livres de photographies des années 1920 aux années 1950, Paris, Gründ.
DI BELLO Patrizia, WILSON Colette and ZAMIR Shamoon (eds) (2012), The Photobook: from Talbot to Ruscha and beyond, New York, I.B. Tauris.
EDWARDS Elizabeth and HART Janice (eds) (2004), Photographs Objects Histories: on the Materiality of Images, London, Routledge.
EDWARDS Paul (2016), Perle noire. Le photobook littéraire, Rennes, Presses Universitaires de Rennes.
FERNÁNDEZ Horacio (2011), The Latin American Photobook, New York, Aperture.
FERNÁNDEZ Horacio (2014), Photobooks Spain 1905-1977, Madrid, Museo Nacional Centro de Arte Reina Sofía/RM/Acción Cultural Española.
FERNÁNDEZ Horacio (2017), New York in Photobooks, Barcelona, Editorial RM/Centro José Guerrero.
GIERSTBERG Frits and SUERMONDT Rik (2012), The Dutch Photobook, New York, Aperture.
KANEKO Ryuichi and VARTANIAN Ivan (2009), Japanese Photobooks of the 1960s and 70s, New York, Aperture.
KARASIK Mikhail and Heiting Manfred (2015), The Soviet Photobook 1920-1941, Göttingen, Steidl.
MEIZEL Laureline (2018), “Inventer le livre illustré par la photographie en France 1876-1897”, DPhil, Paris I University.
NEUMÜLLER Moritz and MARTIN Lesley A. (eds) (2017), Photobook Phenomenon, Barcelona, Centre de Cultura Contemporània de Barcelona/Fundació Foto Colectania/RM Editores.
PARR Martin and BADGER Gerry (2004, 2006, 2014), The Photobook: A History, 3 vols., London, Phaidon.
PARR Martin and WASSINKLUNDGREN (2016) : The Chinese Photobook: from the 1900s to the Present, New York, Aperture.
PFRUNDER Peter (2011), Swiss Photobooks from 1927 to the Present, Zurich, Lars Muller Publishers.
RITCHIN Fred and NAGGAR Carole (2016), Magnum Photobook, London, Phaidon.
ROTH Andrew (2001), The Book of 101 Books: Seminal Photographic Books of the Twentieth Century, New York, PPP Editions/Roth Horowitz.
ROTH Andrew (ed.) (2004), The Open Book: A history of the photographic book from 1878 to the present, Gothenburg, Hasselblad Center.

Call for “Hunger” Magazine. Deadline: Oct. 3, 2018

THE OPEN CALL

We invite artist using the photographic medium to our “Hunger” project.

Please download the PDF that explains the theme, concept and mechanics in order to submit your work to the open call.



IMPORTANT NOTE

• All submitting photographers should read the terms and conditions prior to submitting their photographs.


FEE AND SUPPORT

Zero. No fee. It is free.

We don’t ask for any fee for submitting photographs.
And if selected, we also don’t charge for anything.

03 OCT ‘18 – Deadline for submissions for 7th issue

Questions & Submissions
talkto@void.photo

Curatorial & Research Fellowships. Deadline: Oct. 15, 2018

SPECIAL CLARK FELLOWSHIPS

The Clark Art Institute’s Research and Academic Program (RAP) awards funded residential fellowships to national and international scholars, critics, and curators of exceptional promise and accomplishment. Proposed research projects should display a critical commitment to innovative inquiry in the history, theory, and interpretation of art and visual culture.
In addition to the semester-long Clark fellowships, RAP offers a number of special fellowships for specific research interests.

These include:
Short-term Curatorial Fellowships
Available in September, October, and November, these new month-long fellowships are designed for curators, offering a period of time that is more suited for museum professionals. The fellowship provides the opportunity to carry out research while participating in the intellectual and residential life of the Clark and RAP.

Center for Spain in America Fellowship
This one-semester fellowship is intended to support the study of all aspects of Spanish art from the early medieval period to the beginning of the twentieth century, as well as the worldwide impact of Spanish art and artists.

Mellon Network Fellowship
This fellowship supports a Clark residency of one semester for a scholar involved in a project addressing communication and technology—of all eras—across the visual humanities. The award also supports critical thinking about the changing states of media in art-historical research today.

All Clark fellows are provided offices in the open-stack, 280,000-volume art history library of the Manton Research Center; apartments in the gracious residence across the street from our 140-acre campus; reimbursement of travel expenses; and a stipend.

Applications are due by October 15, 2018

For more information and application details, please visit clarkart.edu/rap/fellowship

Reference / Quellennachweis:
STIP: Fellowships, Clark Art Institute, Williamstown, MA. In: ArtHist.net, Sep 19, 2018. <https://arthist.net/archive/18964&gt;.

___________________________

Prix Mentor Outre-Atlantique

——->English (automatic translation, scroll down for Original text en Français)<——–

FreeLens, in association with SCAM and CFPJ Medias de Paris and Zoom Photo Festival Saguenay, is pleased to announce the very first session of the Prix Mentor Outre-Atlantique!

Session #1 of the 2019 Mentor Award will take place on Saturday, October 20, 2018, Salle Murdock in Chicoutimi, starting at 2:30 p.m., as part of the Zoom Photo Festival Saguenay.

To apply, simply read the rules, join the FreeLens association and send your application by clicking on the following link:

http://www.freelens.fr/appel-a-candidatures-prix-mentor-2019-session-1-canada-octobre-2018/

(Forms in French)

Attention, the deadline for this call for authors is Friday, October 5 at midnight (Montreal time)!

——>français<——-

FreeLens, en association avec la SCAM et le CFPJ Medias de Paris et le Zoom Photo Festival Saguenay, est heureuse de vous annoncer la toute première session du Prix Mentor Outre-Atlantique !

La session #1 du Prix Mentor 2019 aura lieu le samedi 20 octobre 2018, salle Murdock à Chicoutimi, à partir de 14h30, dans le cadre du Zoom Photo Festival Saguenay.

Pour candidater, il vous suffit de prendre connaissance du règlement, adhérer à l’association FreeLens et d’envoyer votre dossier en cliquant sur le lien suivant :
http://www.freelens.fr/appel-a-candidatures-prix-mentor-2019-session-1-canada-octobre-2018/

Attention, la deadline pour cet appel à auteurs est le vendredi 5 octobre à minuit (heure de Montréal) !

Festival for young European photography. Deadline: Sept. 30, 2018

Circulation(s), festival of young European photography will be held for its 9th edition at CENTQUATRE-PARIS from 13th April 2019.

The collective THE RED EYE (Audrey Hoareau and François Cheval) is named at the artistic direction of the Circulation(s) festival 2019.

The call for application of the Circulation(s) festival is extended until Septembre 30th, midnight (Paris time).

 

https://www.festival-circulations.com/reservation/call-for-applications-2019/

 

 

 

Call for photo exhibition in Rotterdam. Deadline: Oct. 19, 2018

We call for entries from photographers and photographic artists with images that are dedicated to the theme

‘Winterreise’

This exhibition will be on view from November 14th until december 23th, 2018, in Galerie Sehnsucht. Jury this time, will be the gallerists themselves. It will show their own selection from the works that were submitted in the call. The deadline for the call is october 19th 24.00 hours 2018.

Since this call is for the last exhibition in the dark months of 2018 we have a challenging and exciting theme: Winterreise. Winter is a time of cosiness and warmth at home, and beautiful white landscapes, but can also be the bitter time of harsh coldness, desolation and discomfort. Picturalists like Stieglitz captured winter as harmless beautiful frozen landscapes, but you   only have to think of the photos of Josef Koudelka, the paintings by Caspar David Friedrich or Schubert’s famous Winterreise to know that wintertime is not necessarily the happiest time of the year. Josef Koudelka photographed scared dogs in abandoned winter parks and isolated wanderers fighting the snow, just as Friedrich painted this kind of scenes 200 years earlier. Schubert’s hero sets of in a dark and freezing winter night, mocked by ravens, to rid of his lost love. But on the other hand, Martin Parr had great fun capturing people during winterholidays, Inge Morath photographed winter most idyllically, and Agnus McBean enjoyed himself with making fun christmas cards.

What we are looking for, is artistic photography showing the feeling of a Winterreise. Of course you can send in your best winter landscape photo’s. But we want the Winterreise-exhibition also to be a timeless show, dealing with various emotions, feelings and atmospheres. Images of (lost) loves, romance, grief and hurt, happiness and loneliness, comfort and security, coldness, nature and trees, ravens and stray dogs and yes, of winter. Get inspired by the great masters of photography, by the music with its strong visual imagery (if you’d like the full text you can read it here, or listen here), or freestyle and follow your own ideas on the theme.

What will you show us?
Your work can be anything from a straight photograph, to manipulated and even drawn Photoshop projects, from alternative 19th century photographic techniques to modern, computer made images, as long as it’s based on one or more photographic images (no drawings or paintings) and you can show us how it looks by sending us a digital file. Learn how to participate and send us your best work by clicking here.

 

 

W http://www.galeriesehnsucht.com

E info@galeriesehnsucht.com

A Vijverhofstraat 34, Rotterdam, NL
More information: http://www.galeriesehnsucht.com

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