The Little House from the Better Homes in America booklet (1934).

Kristina Borrman is a PhD student in the Art History Department at the University of California at Los Angeles. Her research concerns the separate but overlapping histories of private developers and public agencies who participated in building and improving houses in the United States. 

Finding center for hole punch from Making the book In Love With the Dark, 2011. Photo by D. Klein.

I started making photographs in the 1960s photographing Bay Area Dance (S.F. Ballet and Margaret Jenkins). In the 70s and 80s, I began to use the larger format cameras to do studio work, exploring different processes including negative solarization, chemical "painting", hand coloring, and cyanotype. In 2009, I started using a digital camera. 

Solo and group shows include SFMOMA and Nicholas Roerich Museum in NYC. I have work in the permanent collections of The Peter Palmquist Women in Photography Archive at The Beinecke Rare Book and Manuscript Library (Yale University) and The Bibiotheque Nationale, Paris. In 2016, I completed  In Trinity's Shadow about living with the after effects of the 1945 Trinity A-bomb test exploded in New Mexico. It is a folded book 13"W x 19" H with 15 archival pigment prints in a limited edition of 15.  In  2017, I attended the Scuola di Grafica in Venice, Italy and that is leading me to explore the centuries of war that occurred there as Venice developed her position of maritime power and wealth in the world. I live and work in Berkeley.  

Save the Redwoods banner on auto, n.d. Photo by Freeman Art Co. Courtesy of the Peter E. Palmquist Collection at the Beinecke Rare Book and Manuscript Library, Yale University.

Edie Butler is a certified archivist, now retired, who finished her career at the Humboldt State University Library.  She was very familiar with the vast size and the amazing breadth of Peter Palmquist’s collection of images from northwest California.  Her deep commitment to preserving all aspects of regional history for research close to “home” guided her to seek first the working negative collection that had been a mainstay of Palmquist’s studio, and then digital copies of additional images from the Peter Palmquist Collection that is now at the Beinecke Rare Book and Manuscript Library at Yale University.  Today these images comprise the Palmquist (Peter E.) Working Photograph Collection and the Palmquist/Yale Digital Collection at the Humboldt State University Library.

Since retiring, Butler continues volunteer work on the Humboldt Watershed Council Video Collection.  Due to deterioration, severe in some instances, the collection  requires reformatting before it can be donated to a repository.  She continues volunteer consulting with Ina and Noel Harris about the future of their collections, and  serves as a volunteer researcher for the Arcata Playhouse. She is a  volunteer archivist for the Historic Sites Society of Arcata and the Humboldt Handweavers and Spinners Guild.  

Machine à Coudre, circa 1930. Photo by Margaret Hasluck. Courtesy of Margaret Woodward.

Loïc Chauvin is a publisher of photography books, tourist guides, etc. He is also a photographer who covered the embassy crisis in Tirana, 1990, for the Sygma agency and has had photographs published in Paris Match, Time, etc.  

Christian Raby is a professor of philosophy and a photographer who taught at the University of Chicago Center in Paris. He was the grand prize winner (black and white) of the Ilford Jury, 1992.

Loïc Chauvin started researching Albanian photography in 1990, and that research formed the basis for his book, Albanie, visages des Balkans, in 1995. Since 2006, he has continued to explore Albanian photography collections, with the help of Christian Raby. Together, they have published three more books and organized more than a dozen exhibitions on Albanian photography in France, Albania, Belgium and Croatia.

Paris’s Old and New Buildings, Citroën (factory), rue de [sic] Ginoux, 1970. Anonymous.(Bibliothèque historique de la Ville de Paris).

Catherine E. Clark is a cultural historian who specializes in nineteenth- and twentieth-century France and visual culture. She is currently Associate Professor of French Studies and Class of 1947 Career Development Professor in the department of Global Studies and Languages at MIT.

Portrait of John Drew Barrymore, 1985, Hollywood, CA. Photo by Betty Bennett.

Photojournalist Nancy Clendaniel is best known for her work during the 1980’s as Wolfman Jack’s personal photographer, and the house photographer for The Beverly Theatre, in Beverly Hills, CA. Nancy has created iconic images of legendary musical artists including Count Basie, Ray Charles, Bob Dylan, B.B. King, Cyndi Lauper, Jerry Lee Lewis, The Manhattan Transfer, and Tina Turner. In addition to her photography, Clendaniel is also an accomplished archivist. In 2003, in affiliation with Apple Ltd. and L.E.G. Productions, she served as the archivist for Bruce Karsh, cataloging his collection of photographs, negatives and memorabilia from The Beatles’ films – “A Hard Day’s Night” and “Help.” Twelve years later, in 2016, Nancy collaborated with Bruce Karsh’s wife, Martha Karsh, who created the magnificent hardback book “The Beatles A Hard Day’s Night: A Private Archive” as a surprise 60th birthday present for her husband. 

Clendaniel is now based in Seattle and, in addition to her work in the music industry, specializes in theatrical, travel, and editorial photography. To view more of her work please visit her website - NancyClendaniel.com.

Minna Keene, ‘Cape Flower Girl’, Postcard, 1906, Personal Collection.

Malcolm Corrigall is a postdoctoral researcher at Bournemouth University and a research associate at the University of Johannesburg. He has been researching South African photography for ten years. In 2016 he was awarded his PhD by SOAS, University of London. His doctoral thesis focused on the history of the Chinese Camera Club of South Africa, and it drew on extensive interviews and archival research conducted in South Africa, the UK, and Canada. He was based in Johannesburg between 2016 and 2018, where he was part of Professor Brenda Schmahmann’s research centre focusing on South African Art and Visual Culture at the University of Johannesburg.

Unidentified Man (portrait bust), Palmyra, New York, carte de visite. Photo by Mrs. E. Elton and Mrs. E. P. Gue. Margaret Denny Collection of Women in Photography.

Margaret Denny received her Ph.D. in Art History from the University of Illinois at Chicago in 2010 with her dissertation From Commerce to Art: American Women Photographers 1850-1900. She has taught courses in art history and the history of photography at colleges and universities in Chicago, Illinois. Her area of specialization is photo history with a research concentration on women in commercial photography in America and Great Britain.

Denny has presented papers at national and international conferences and published several essays on nineteenth- and early twentieth-century photography including: “Mrs. Alfred Broom’s Interesting ‘Snap Shot’ Post Cards” in Soldiers and Suffragettes: The Photography of Christina Broom, exhibition catalog Museum of London (London: Philip Wilson Publishers, 2015); “Catharine Weed Barnes Ward: Advocate for Victorian Women Photographers,” History of Photography, 36:2 (May 2012); “Royals, Royalties and Remuneration: American and British Women Photographers in the Victorian Era,” Women’s History Review, 18: 5 (November 2009).

Gary Ewer presentation.

Gary W. Ewer is a photo-historian conducting independent research regarding all aspects of the daguerreotype.  His focus is working with original source texts. He has been a contributor to The Daguerreian Society Annual as well as occasionally speaking at their annual symposiums. He hosts the website: The Daguerreotype: an archive of source texts, graphics, and ephemera, the research archive of Gary W. Ewer regarding the history of the daguerreotype.

Kara just finished her doctorate at the Institute of Fine Arts, New York University. Currently she is Curatorial Assistant in the Photography department at the Museum of Fine Arts, Houston. Most recently she worked at NYU’s Grey Art Gallery, and in 2014 she worked at the New York Public Library on the exhibition Public Eye: 175 Years of Sharing Photography.

Caledonian Market, London, c. 1931. Photo by Edith Tudor-Hart. Digital inkjet print, copyright Suschitzky/Donat family

Duncan Forbes is a Research Fellow at the Institute for Modern and Contemporary Culture, University of Westminster, London. He was previously Director of Fotomuseum Winterthur and Senior Curator of Photography at the National Galleries of Scotland, Edinburgh. Recent exhibitions and publications include Provoke: Between Protest and Performance – Japanese Photography 1960–1975, (2016); Beastly/Tierisch, (2015); Manifeste! Eine andere Geschichte der Fotografie, (2014); and Edith Tudor-Hart: In the Shadow of Tyranny, (2013). He is based between Los Angeles and London.

Carlotta Corpron (1901-1988), Woven Light, 1944, gelatin silver print, Fort Worth, The Amon Carter Museum of American Art. © The Amon Carter Museum of American Art.

Joséphine Givodan is a PhD candidate in the History of Art Department at Paris 1 Panthéon Sorbonne University. Her research - conducted under her advisor Professor Michel Poivert - focuses on abstract photography in the Post-War United States. She has written a master’s thesis on photographer Carlotta Corpron (1901-1988) entitled Carlotta Corpron: from Texas to Chicago. The story of an encounter with abstract photography (1942-1953)

Photo by Eva Watson-Schütze. Courtesy of he Alfred Stieglitz\Georgia O’Keefe Archive at the Beinecke Rare Book and Manuscript Library at Yale University.

Carole Glauber, a photographer and photo-historian, is the recipient of research fellowships from the Winterthur Museum, Oregon Humanities, and the Peter E. Palmquist Memorial Fund for Historical Photographic Research. She has received grants from the Portland Regional Arts and Culture Council, Northwest Women’s History Project, and the National Coalition of Independent Scholars. Glauber and her family moved recently to Israel.

Leigh Gleason is the Director of Collections at UC Riverside ARTS, including the California Museum of Photography, at the University of California, Riverside. She holds a BA in Cinema and Photography from Southern Illinois University, Carbondale; a MA in art history from the University of California, Riverside; an MLIS in archival studies from San Jose State University; and a PhD in visual history from the Photographic History Research Centre at De Montfort University in Leicester, UK.

R.J. Waters photograph, Oregon Historical Society, # bb016063.

Peter Goin is a Foundation Professor of Art in photography/Time Based Media (videography) at the University of Nevada, Reno. He is the author of many books exploring paradigms of the American landscape, including most recently A New Form of Beauty: Glen Canyon Beyond Climate Changecoauthored with Peter Friederici and Emerald Bay and Desolation Wilderness.  

Scrapbook on Eisen, Bolander and McLean families, 1873-1940; MS OV 5048; California Historical Society.

Carolin Görgen is Associate Professor of American Studies at Sorbonne University (Paris, France). She obtained her doctorate from the joint PhD program of the University Paris-Diderot and the École du Louvre, with a thesis on the California Camera Club. She is currently working on the manuscript for publication. Her research has been supported by the Terra Foundation for American Art, the Huntington Library, and the Beinecke Library at Yale. Since 2016, she is the co-organizer of the seminar Camera Memoria at Paris-Diderot that focuses on histories of photography from the English-speaking world.

Tim Greyhavens in an independent writer, researcher, and photographer based in Seattle. He integrates his work to explore transitions in photography from the 19th to the 21st centuries. In 2017 he created The Curtis Census, an independent effort to advance knowledge about Edward S. Curtis and The North American Indian by conducting and publishing relevant research. The author’s paper, “Duty Bound to Finish: Edward S. Curtis and His Quest for Money to Complete ‘The North American Indian’” is available on Academia.edu

Nicole Jean Hill received an MFA in Studio Art from the University of North Carolina at Chapel Hill. Her photographs have been exhibited throughout the U.S., Europe, Canada and Australia. She currently resides in Humboldt County, California and is a Professor of Art at Humboldt State University.

The Blanket Weaver. Photo by Edward Curtis, Navaho NAI.

Hadley Jensen’s research addresses the intersections between art, anthropology, and material culture. She is currently a doctoral candidate at Bard Graduate Center in New York, and she holds a master’s degree in Design History & Material Culture. Her dissertation project explores the visualization of craft in the American Southwest through various modes and media of representation, with a focus on Navajo weavers and the ‘photography of making.’

Johnson received her Ph.D. in the History of Art & Architecture from Brown University where she studied the history of photography. She has held curatorial positions at the Art Institute of Chicago and the Rhode Island School of Design Museum. Josie is currently the Capital Group Foundation Fellow for Photography at the Cantor Arts Center, Stanford University.

Stella Jungmann is a doctoral candidate at the University of Zurich, Switzerland, writing a dissertation entitled: Imaging Japan in the U.S.: The dissemination, distribution, and translation of photographs in the 19th century (working title). She also works as a research assistant and teaches seminars on photo history at the Center for Studies in the Theory and History of Photography at the Institute of Art History. 

'Durga Puja', Calcutta, c.1962-1965, photograph by Debalina Majumdar. Courtesy Centre for Studies in Social Sciences, Calcutta and Kamalini Mazumder.

Mallika Leuzinger is a PhD candidate and teaching assistant in the History of Art Department at University College London. She has previously worked on cultural heritage and oral history projects in India and the UK, and at Fotomuseum Winterthur in Switzerland. She holds a BA in History and MPhil in Multi-Disciplinary Gender Studies from the University of Cambridge.

Dalia Habib Linssen is Lecturer at Rhode Island School of Design where she teaches courses in the histories and theories of photography, American art, visual culture, and collegiate teaching. She is currently working on a book project that examines the cultural dynamics between social protest movements, contemporary photographic practices, and social activism; Protest, Photography, Art will be published by Bloomsbury Press in 2018. 

Kelly McCormick is a Ph.D. Candidate in modern Japanese history whose research focuses on the intersection of visual and material culture through the lens of the Japanese camera.  Her research involves analysis of the mass press, materials from corporate and government archives, and in-depth interviews with photographers and designers. She is developing a picture of how discourses on gendered applications of photography, the professionalization of women, economic recovery, and environmental disaster were deeply tied to the domestic and international success of the Japanese camera. Her work has been supported by the D. Kim Foundation for the History of Science and Technology in East Asia and the Fulbright IIE. She was awarded the 2018 Japan Art History Forum and Japanese Art Society of American Chino Kaori Memorial Essay Initiative.  McCormick worked with an interdisciplinary team of University of California, Los Angeles (UCLA) scholars to develop curriculum that teaches undergraduates the value of the humanities through writing. She is excited to be joining the History Department at the University of British Columbia in January of 2020. Before coming to UCLA she completed an M.A. in East Asian Languages and Cultures at Columbia University (2012) and received her BA from UC Santa Cruz (2008) in History and Studio Art.

Katherine Mintie completed her PhD at UC Berkeley in 2017. From 2017-2019, she will be a Postdoctoral Fellow and Assistant Professor of Art History at DePauw University.

I am curator of historical photography at the Museum of New Zealand Te Papa Tongarewa. I have published on New Zealand photography in multi-authored art books, such as numerous photographer entries in the book New Zealand Art at Te Papa (2018). I have also contributed journal articles on nineteenth-century landscape photographers of the colonial era. In 2015, I curated the exhibition ‘Artist in Focus: Carleton Watkins’, showcasing the museum’s collection of mammoth plate albumen prints acquired in 1888.

Olive Edis ‘Commandant Johnson and two other women of the General Service Voluntary Aid Detachment (VAD) motor convoy outside Nissen huts, Abbeville, France, 1919’ © IWM (Q 8036)

Dr Pippa Oldfield is a UK-based curator and photo-historian who has worked on many exhibitions on the theme of photography, war and gender. She is Head of Programme at Impressions Gallery, a public-funded centre for photography in Bradford, England. She is also Honorary Research Fellow at Durham University, and Visiting Research Fellow at University of Leeds.

Dr. Ownby is an artist and scholar, researching and writing on photography’s role in American 19^th century history and culture, especially in the Pacific Northwest. Ownby is associate professor of photo media and photo history at Idaho State University. He earned his PhD in visual media studies from Colorado State University. 

Desolation Lake. circa 1908. Photographer unknown.

I received my M.A. and Ph.D. degrees from the University of Wisconsin-Madison in Eighteenth Century English Literature. Despite all that academic training under my belt, I applied it to my first love -- photography. As an independent scholar I have produced two books on Ralph Eugene Meatyard (including the award-winning Ralph Eugene Meatyard: The Family Album of Lucybelle Crater and Other Figurative Photographs, DAP 2002), the Phaidon 55 on Aaron Siskind, and numerous catalog essays. I am also the creator and Executive Editor of The National Teaching & Learning FORUM, a periodical publication for faculty on college teaching. 

I accepted the position of Curator and Head of the Department of Photography and New Media at the Minnesota Institute of Art in August 2018 (artsmia.org). Prior to that, I was the Assistant Curator at the Boston Athenaeum and a consulting curator at the Isabella Stewart Gardner Museum in Boston, Massachusetts. I'm an interdisciplinary scholar with expertise in American art, the history of photography, and the visual and material culture of the long nineteenth century. My book project, “Picture Galleries: Photography and the Making of the Isabella Stewart Gardner Museum” reveals the critical role of photography within Gardner’s work as a museum founder and collector of fine art. A chapter of my research appears in Elizabeth Edwards and Christopher Morton's edited collection Photographs, Museums, Collections: Between Art and Information (Bloomsbury, 2015); I am most recently a co-author of the Gardner Museum's forthcoming guidebook (Yale University Press, 2017). At the Boston Athenaeum and at the Gardner Museum, I was involved in the research and development of projects spanning the history and breadth of their remarkable collections.

Self-portrait, July 4, 1914, Manila. Photo (actually) by Mr Sedgwick. Royal Photographic Society_SSPL

I am an independent researcher, curator and writer. My most recent exhibition and catalogue/biography was on Alvin Langdon Coburn (2014/2015). The exhibition showed at Fundación Mapfre in Madrid and at George Eastman Museum in Rochester, USA. From 1982-2001, I was the Curator of the Royal Photographic Society in Bath, UK, where I curated over 70 exhibitions and wrote catalogues on a wide variety of photographic subjects, both 19^th & 20^th centuries. In 2003 I was a guest scholar at the J. Paul Getty Museum, Los Angeles. My book A Century of Colour Photography; from the autochrome to the digital age, a survey of the history of colour photography, was published in 2007 & 2010. In October 2017, I gave a lecture, “Alvin Langdon Coburn and Arthur Wesley Dow in the American West” at the Conference “Rethinking Pictorialism: American Art and Photography from 1895 to 1925” held at Princeton University, Princeton, New Jersey.

Audrey Sands is a doctoral candidate in the History of Art department at Yale University and co-organizer of the Photographic Memory Workshop. She specializes in the history of photography and has held positions in curatorial departments at museums across the country, including MoMA, the National Gallery of Art, and The J. Paul Getty Museum. Audrey holds a BA in Art History from Barnard College and an MA in the History of Art and Visual Culture from the University of Oxford.

Boy on Horse, circa 1900, Woodstown, NJ. cabinet card. Photo by Julia H Elton. Courtesy of the Gary Saretzky collection.

Archivist, educator, and photographer. Monmouth County Archivist since 1994.  Taught history of photography at Mercer County Community College from 1977 to 2012.  Consultant in archives and photographic conservation. Lecturer, Horizons Speakers Bureau, since 2003. Published articles include, “Charlotte Prosch: New Jersey’s First Female Daguerreotypist” and “Margaret Bourke-White: Eyes on Russia.” 

Kim Sichel is Associate Professor of the History of Art & Architecture and of American and New England Studies at Boston University. She writes on American and European documentary and artistic photography, with an emphasis on the years between World War I and World War II.

Kylie Thomas is an Associate Researcher at the Institute for Reconciliation and Social Justice, University of the Free State, South Africa. In September 2019, she began a two-year Marie Curie Research Fellowship at the Netherlands Institute for War, Holocaust and Genocide Studies in Amsterdam. She is currently writing about women who have used photography as a form of resistance and about photography, violence and memory during and after apartheid. She is the author of Impossible Mourning: HIV/AIDS and Visuality after apartheid (Bucknell University Press and Wits University Press, 2014) and co-editor of Photography in and out of Africa: Iterations with Difference (Routledge, 2015). Many of her published articles can be accessed online: ufs.academia.edu/kyliethomas

Major J,W. Powell's explorations. Photo by John Hillers. Bibliothèque nationale de France.

Emily Voelker received her Ph.D. in History of Art & Architecture at Boston University in 2017 and is the former Estrellita & Yousuf Karsh Assistant Curator of Photographs at the Museum of Fine Arts, Boston. She is a specialist in the history of photography and art and visual culture of the long nineteenth century, with particular focus in transatlantic exchange and indigenous representation. Postdoctoral fellowships at the Smithsonian Institution and Crystal Bridges Museum of American Art will support the transformation of her dissertation into a book manuscript.  

Self portrait with camera, Mexico City, 1950. Photo by Gisèle Freund. B&W photo, Fiber Base Silver Gelatine Print.

Yoon has been teaching in the Art History Department at the University of New Hampshire since 2017 as a lecturer. Since completing her doctorate at Harvard University in 2016, Hyewon Yoon has been a James Loeb Postdoctoral Fellow at the Zentralinstitut für Kunstgeschichte in Munich. She specializes in the European avant-garde, modern art and photography, and twentieth-century German and French cultural politics and intellectual life. Her work focuses on the intersection of art and political struggles in the twentieth century, and particularly art in relation to migration, war trauma, national identity, and feminism. 

Janet Zandy is emerita professor from Rochester Institute of Technology. She is the author of the award-winning Hands: Physical Labor, Class, and Cultural Work and editor of Calling Home: Working-Class Women's Writings; Liberating Memory: Our Work and Our Working-Class Consciousness; What We Hold in Common: An Introduction to Working-Class Studies; and co-editor (with Nicholas Coles) of the Oxford Anthology of American Working-Class Literature. Her latest book is Unfinished Stories:  The Narrative Photography of Hansel Mieth and Marion Palfi.