For more than four decades Barbara Jo Revelle has been an artist whose practice includes photography, film/video making, installation, performance and public art. She is Professor Emeritus at the University of Florida where she was Director of the School of Art and Art History. She has taught at the San Francisco Art Institute, UCLA, Arizona State University, the School of the Art Institute Chicago; N.Y. State University College Buffalo; and the University Colorado Boulder.
 
Revelle’s often controversial art projects have been exhibited widely in the United States, as well as in France, Italy, Japan, Mexico, Germany, Sweden, Australia and England. Her work is owned by many public collections including San Francisco Museum of Modern Art, George Eastman House, Bibliotheque National, Eikoh Hosoe Collection Tokyo, Museum of Modern Art Stockholm, National Museum of Modern Art Kyoto, and Victoria and Albert Museum.
 
Revelle’s many awards and public art commissions include being the recipient of a National Endowment for the Art Visual Artist Fellowship and winning a $220,000 commission to do a two-city block long, photo-based tile mural – “A People’s History of Colorado” on the Denver Convention Center.
 
Revelle joined the Society for Photographic Education in 1973, served on the Board of Directors for four years, and her presentation “Women Teaching Women” at the 1981 National Conference was the catalyst for the first session of the SPE Women’s Caucus.
 
Presentation
“In this multi-media presentation—a hybrid of stories, video-clips, slides and performance—I will examine a problem many of us face: How to be an authentic, passionate artist, true to one’s own vision, and at the same time be an inspiring, responsible educator? I have been censored many times for my art projects, and asked repeatedly to defend my unconventional, provocative teaching practices. In this talk I will explain and illustrate my ideas about how to collapse distinctions and survive as a disruptive artist while teaching in an institution.”

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.
 
Title:
Takuma Nakahira’s Circulation: Date, Place, Events: from the Optical to the Operative Unconscious
 
Abstract:
In 1971, the Japanese photographer, Takuma Nakahira, arrived in Paris to install Circulation: Date, Place, Events at the city’s Seventh Biennale of contemporary art. Lasting little more than seven days, it would prove to be a turbulent intervention. Nakahira confronted the society of the spectacle on its own streets, forging a radical re-ordering of the image of Paris. This lecture accounts for the drama of the event within the context of Nakahira’s innovative image politics. It suggests that Circulation forms a vital photo-historical genealogy of today’s digital present.
 
Credit Lines
Takuma Nakahira, Circulation: Date, Place, Events, 1971, installation view, copyright Takuma Nakahira.

Richard Sawdon Smith is an internationally exhibiting and award-winning British photographer. He is Professor of Photography and Dean of Arts and Media at Norwich University of the Arts. He is a former winner of the John Kobal/National Portrait Gallery Photographic Portrait Award, a Founding Member of the bookRoom Press UCA, on the Editorial Advisory Panel of the Journal of Photography & Culture and Mustard TV Norwich. He is Co-editor of Langford’s Basic Photography and The Book is Alive!. His photographs and writing are widely published. For more info visit www.richardsawdonsmith.com.

In Sideshow: An immersive experience of the 3D body
Professor Richard Sawdon Smith will present three interrelated current projects. The Anatomical Man, where he had medical drawings of veins and arteries tattooed on to his body as part of a photography project where he become a living, walking anatomical drawing. The body was then photographed in 360˚ to create a digital 3D version of himself in collaboration with the artist Jonathan Armour. Subsequently inverted so that the tattooed veins and arteries appear back inside the body, a camera was sent through the virtual body to create the film Infinite Surface. In the most recent development of these projects this inverted body has been turned into an immersive virtual reality (VR) experience In Sideshow, where by wearing a VR headset the viewer can walk inside his body.

Louise is a Commissioning Editor at Bloomsbury for the practice-led side of photography and design, and has worked across all forms of academic and educational publishing on a variety of subjects. Bloomsbury is an award-winning international publisher, with a broad range of academic books in the visual arts.

How to pitch a book idea
With a particular focus on educational and academic publishing, you’ll hear what a publisher is really looking for, how they make decisions on viability of projects and how to make your idea stand out.

Jonny studied at Chelsea College of Art (BA, 2008) and Royal College of Art (MA 2011) in London. Awards include Saatchi Gallery UK/raine Finalist, a 2014 Paul Huf nomination (Brett Rogers), Foam Talent 2014, the 2011 Conran Award for Fine Art, a Lumi Honorary Art Award (2011), Saatchi New Sensations 2011 Winner, The Catlin Prize finalist 2012, and a NESTA Creative Sparks Award.

Solo exhibitions include Photoforum Pasquart Photography Museum in Switzerland 2017, N Contemporary, hosted at MC2 Gallery in Milan 2015, Marie-Laure Fleisch in Rome 2015, Julie Meneret in New York City 2014, Simon Oldfield Gallery in London 2013, FaMa Gallery in Verona 2012, and White Project in Paris 2012.

Group shows include Saatchi Gallery, 176 Zabludowicz Collection, Jerwood Space and Photographers’ Gallery in London, L’Atelier Néerlandais in Paris, Centre Photographique in Normandy, The Marta Herford Museum in Germany, Fondazione Fotografia Modena, Hauser & Wirth Somerset, Stilll Gallery and Galerie d’YS in Belgium and East Wing Gallery in Dubai.

Work has been published in the British Journal of Photography, The Guardian, The Times, The Independent, Arte, Aesthetica Magazine, Elephant Magazine, La Stampa and national newspapers of France, South Korea and The Netherlands, and documentaries of the work have been shown on Channel 4, Sky TV and French and German cable TV. Jonny continues to live and work in London.

Since completing her MA in 2013 Nye Thompson has shown her work widely around the UK, including Castlefield Gallery’s 2014 emerging artists survey show “30 years of the future” (2014), and “Internet Yami-Ichi” at Tate Modern (2016). Her first solo show in Bank Gallery, London (2016) became global clickbait and triggered a complaint by a major government. Her work has been featured in the UK and international media, including BBC Click, C4 news, CNN, the Guardian and Wired. More recently it has been showcased online by Furtherfield Gallery and in the Photographers Gallery’s “Unthinking Photography” platform.
 
Since the beginning of 2016 she has been documenting the global phenomenon of self-surveillance and the evolving landscape of the machine gaze through her online/offline project “Backdoored”. Here she collects screenshot images taken through unprotected surveillance cameras by security-testing bots; exploring the underpinning anxieties and privacy implications of living in a world of connected devices, as well as notions of agency and robot authorship.
 
Nye lives and works in London. She is currently building a machine entity which will travel the world virtually, and describe for us what it sees. This is part of her project investigating the machine gaze and the evolution of a machinic visual landscape.

Louise joined BOM as Head of Programme in November 2015. She joined from FACT (Foundation for Art and Creative Technology) in Liverpool where she managed the young people and learning programmes. Louise manages BOM’s programme from exhibitions through to school projects and public programmes.
 
She is interested in the intersection between curatorial & learning environments, tools and structures. Other interests include mental health, technology, feminism and pop(ular) culture.

Katrina will present and reveal the remarkable insights from the past year since launching The Photographers’ Gallery sector leading and provocative Unthinking Programme. Shortlisted for ICP Infinity awards 2017.

Katrina Sluis is an educator, writer and researcher who was appointed the first Curator of Digital Programmes at The Photographers’ Gallery, London in 2012. Her exhibition projects have broadly addressed photography’s diffusion in computational culture, from the politics and aesthetics of cat photography to CGI and synthetic imaging; she has also commissioned new work by artists James Bridle, Erica Scourti and Alan Warburton. Katrina combines her curatorial role with the post of Senior Lecturer at London South Bank University where she has taught photography and digital media since 2005. Prior to this, she lectured in Photomedia at the University of New South Wales and the Sydney Gallery School and worked in systems administration.

With an Honours degree in Fine Arts from the College of Fine Arts, University of New South Wales and a Masters of Fine Arts from Central Saint Martins College, University of the Arts London, she is presently undertaking her PhD at the Centre for Cultural Studies, Goldsmiths. Her writing has appeared in Photographies, Philosophy of Photography, Aperture, Photoworks, Source, ArteEast and she has given recent talks on art, media and technology at Whitechapel Gallery, Tate, FOAM, Haus der Kulturen der Welt, ICA, Sotheby’s Institute and Parsons School of Design.