Revealing George Shaw: a practice-based study into photography in Birmingham c.1839-1865

这个项目是对乔治肖（1817-1904）重要的银版照相和卡罗版照相照片的批判性和创造性的调查。肖是一个未知的，但关键的倡导者摄影在伯明翰后不久，它的发明。所提出的方法是历史和艺术实践之间的跨学科交流，揭示了1839年至1865年期间肖参与摄影的影响。它考察了一个新发现的1840年代的达盖尔银版照相的家庭收藏，以及奥赛博物馆的一批银版照相和科学博物馆的一批重要的达盖尔银版照相收藏。扩展的调查使用基于图像的研究模式，正如Stanczak（2007，p.3）所述，通过创造、产生隐性和经验知识，提供了“重大的未开发潜力”来探索历史。该项目将开始的基础上，已故摄影历史学家皮特詹姆斯开始研究肖的做法，作为一个摄影师，化学家，专利代理人和讲师。通过艺术实践探索历史的自反性本质允许理论与实践之间的“双重接合”。（Bolt，2007，p.28）对肖和他的圈子的成就产生了新的见解。最初，该项目将使用重新摄影，重新访问肖的工作地点。与Klett的重新摄影测量方法不同，该项目将使用Calotype过程，进行“材料思维”（Carter，2004 xiii）。作为一名拥有10年以上制作和研究经验的知名艺术家兼摄影师，我将根据所获得的定性和定量信息，对这一初步的重新摄影调查进行扩展，制作出大量作品。帕克（2017）的“玻璃制品”项目和科利肖（2017）的“艺术品”项目都提供了有效的模型，展示了类似的方法，使用与照片历史相关的创新工艺制作艺术品。（BA第1名，MA第78名），我已经建立了与档案和历史相关的艺术品制作和教育活动的记录（BMAG 2010，伦敦博物馆，2012，Mead 2014，BOM 2017，Ikon 2018，Lapworth Museum 2018）。我在摄影理论和实践的讲座在一个会期的基础上（CU，UoG）最近在一次会议上提交了一篇学术论文，并准备同行评审出版物（CFPR UWE / RPS 2020）。在2019年，我带领一群研究人员开发公共参与活动，他们的研究伯明翰大学的艺术和科学节。作为伯明翰开放媒体的研究员和伯明翰CIC开发的联合主任，我自2016年以来一直致力于乔治肖在伯明翰的历史。

This project is a critical and creative investigation into significant daguerreotype and calotype photographs by George Shaw (1817-1904). Shaw is an unknown but key advocate for photography in Birmingham shortly after its invention. The methodology proposed is an interdisciplinary exchange between history and art practice revealing the impact of Shaw's involvement in photography between 1839-1865. It examines a newly discovered family collection of 1840s daguerreotypes alongside a collection of calotypes in the Musee D'Orsay and a significant daguerreotype in the collection at Science Museum.The expanded enquiry uses an image based mode of research, as Stanczak (2007, p.3) states offering 'significant untapped potential' to explore history through making, generating tacit and experiential knowledge. The project will begin by building upon research begun by the late photographic historian Pete James about Shaw's practices as a photographer, chemist, patent agent and lecturer. The reflexive nature of exploring history through artistic practice allows for a 'double articulation' between theory and practice.' (Bolt, 2007, p.28) generating new insight into the accomplishments of Shaw and his circle.Initially the project will use re-photography, revisiting locations of Shaw's work. Diverging from Klett's established re-photographic survey methods, this project will use the Calotype process, engaging 'material thinking' (Carter, 2004 xiii). As an established artist-photographer with 10+ years experience making and research, I will expand on this initial re-photographic investigation in response to qualitative and quantitative information gained, producing a significant body of work. Parker's (2017) 'Articles of Glass' project and Collishaw's (2017) 'Thresholds' both offer valid models that demonstrate a similar methodology, producing artwork using innovative processes in relation to photo-history.In the decade since my education as a photographer (1st at BA, 78 at MA), I have established a track record of producing artwork and educational activities in relation with archives and history (BMAG 2010, Museum of London, 2012, Mead 2014, BOM 2017, Ikon 2018, Lapworth Museum 2018). I lecture in photographic theory and practice on a sessional basis (CU, UoG) have recently presented an academic paper at a conference and prepared it for peer-reviewed publication (CFPR UWE / RPS 2020). In 2019 I led a cohort of researchers developing public engagement activities with their research for University of Birmingham's Arts and Science festival. As research fellow at Birmingham Open Media and co-director of Developed in Birmingham CIC, I have been working on George Shaw's history in Birmingham since 2016.