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Specializing in photography theory, curation and production, I have a balanced experience of both the corporate sector and creative industries, having worked with leading commercial enterprises both established and formative.
Overseeing the ongoing conservation, preservation and accessibility of the Getty Images Archive, the world’s largest in private ownership, containing over 100 million images spread across 1,500 distinct collections, including some 30,000 pieces in our vintage room. Responsible for the safeguarding of this unique resource of analogue assets, this works in tandem with animating the stories therein - those of the images and the history of Archive itself. While it can trace its roots back to 1854 with the founding of the London Stereoscopic Company, the Archive in its first incarnation was established by Picture Post founder Edward Hulton in 1947 to house the magazine’s ever-expanding image library. Since that time, the Hulton has expanded under various custodians, including the BBC, before being acquired by Getty Images in 1996. The unique development of the Archive has produced a resource that is as idiosyncratic as it is comprehensive. Through the use of social media, public exhibitions, museum loans and diverse research projects, it’s my role to engage an international audience with this living archive; to ensure it’s highly visible and its scale fully explored. With only 0.66% currently digitized, each image is an introduction to a wider tale and has potential for different platforms of dissemination, which one needs to be acutely sensitive to.
As Gallery Development Manager for Photo London, the city's largest ever photography art fair, I oversee the exhibitor recruitment, application and curatorial review process. Working with acclaimed and emerging galleries, agencies and publishers from across the world, I advise on their Fair proposals, participation and production requirements. This involves ambassadorial duties; meeting potential exhibitors and promoting the Photo London ethos, and ensuring we can deliver a successful Fair for the exhibitors, their clients and our 35,000 visitors. A small team, the role involves working closely with the Communications, Public Programme and VIP managers, developing the Fair, its design, structure and overall programme. Its ultimate aim - to establish London, alongside New York and Paris, as the third pillar in the photography market, and a thriving centre for photographic practice. I am fortunate enough to work with exceptional gallerists and their artists, also organising the Fair's John Kobal Residency Award, and industry experts as part of the Curatorial Committee. Alongside this, I manage relations with our many contractors who make the biggest takeover of Somerset House, our venue, possible.
Creating all content for the gallery's social media profiles and blog, I have been able to use these platforms to support emerging photographers and engage with outside organisations, initiatives and a wider audience. I curate and design headline exhibitions, and collaborate with partners and sponsors on exhibition development, fund-raising projects and consignments. Playing an integral role in all aspects of gallery services, including venue hire and trade fair presence, I also manage print sale production and distribution, alongside touring exhibitions.
MA Contemporary Art Theory (Pass with Merit) – Modules included Judgement and Creation, a philosophy-driven analysis of how we interrogate art and aesthetics, and Laboratory, a collaborative research project concerned with issues of participation and the critical encounter, culminating in a group presentation. My dissertation proposal was assessed in a symposium setting before writing, eventually titled ‘The Transformation of Immanence in the Photographic Portrait’.
BA (Hons) History of Art (First) – Focusing on critical theory rather than a chronological survey of art history, modules included: The Truth in Painting, Modernities, Postmodernities, Techniques & Technology and The Moving Image. I focused on curatorial studies in Museums and Galleries, and the course's multi-disciplinary approach encouraged meaningfully engagement with a vast range of visual cultures. I received the Departmental Award for Academic Excellence in 2005.