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）重要的达盖尔版法和卡洛法照片的批判性和创造性的调查。在伯明翰，肖伯纳是一位不为人知的，但却是摄影术发明后不久的重要倡导者。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年间肖伯纳参与摄影的影响。它检查了新发现的19世纪40年代的家庭收藏，以及奥赛博物馆的卡洛法收藏和科学博物馆收藏的重要的达盖尔银版照片。扩展调查使用基于图像的研究模式，正如Stanczak（2007，第3页）所述，通过制造、产生隐性和经验知识来探索历史，提供了“重要的未开发潜力”。该项目将以已故摄影历史学家皮特·詹姆斯（Pete James）开始的关于肖作为摄影师、化学家、专利代理人和讲师的研究为基础。通过艺术实践探索历史的反思性允许理论与实践之间的“双重衔接”。（博尔特，2007年，第28页），对肖及其圈子的成就产生了新的见解。最初，该项目将使用重新摄影，重访肖作品的地点。与Klett建立的重新摄影调查方法不同，该项目将使用卡洛法过程，参与“材料思考”（Carter, 2004 xiii）。作为一名拥有10多年制作和研究经验的艺术家摄影师，我将根据所获得的定性和定量信息，对最初的重新摄影调查进行扩展，产生大量的作品。帕克（2017）的“玻璃制品”项目和科利肖（2017）的“阈值”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过程来制作艺术品。在我作为一名摄影师接受教育的十年中（学士学位第一名，硕士学位78名），我已经建立了与档案和历史相关的艺术作品和教育活动的记录（BMAG 2010，伦敦博物馆，2012,Mead 2014, BOM 2017, Ikon 2018， Lapworth博物馆2018）。我在摄影理论与实践的学期讲座（CU, UoG）最近在一次会议上发表了一篇学术论文，并准备发表（CFPR UWE / RPS 2020）。2019年，我带领一群研究人员为伯明翰大学的艺术与科学节开展公众参与活动。作为伯明翰开放媒体的研究员和伯明翰CIC的联合主任，我从2016年开始研究乔治·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.