I am Associate Professor – Research / Reader in Social and Political Photographic Cultures in the Photographic History Research Centre (PHRC) at De Montfort University (DMU) and Programme Leader for the MA in Photographic History course.
In 2018, I secured a large research grant of over £500,000 to lead the project ‘Digital Heritage in Cultural Conflicts’. Exploring the production, dissemination and exploitation of digital heritage in nationally defined zones of cultural conflict, the project takes particular interest in multimedia museums, in born-digital and digitised photographs, and in born-digital and digitised oral histories. It is carried out through the collaborative research activities of the international, interdisciplinary DigiCONFLICT research consortium (De Montfort University, UK; Liber pro Arte, Poland; Linköping University, Sweden), and the grant was awarded by the Joint Programming Initiative on Cultural Heritage (JPICH), funded by the European Commission (Horizon 2020).
In addition to my work on digital heritage, my research considers photography in the context of micro and macro social interaction, and my specialism in this area lies primarily, though not exclusively, within the Israeli sociopolitical environment. Much of my published work draws on my past professional experience as war photojournalist, fine art photographer, photography instructor and archivist. It focuses on private photographic practices in Israel, often looking at intersections of photography and political issues, such as the Israel-Palestinian conflict, the Arab-Israeli wars, national security, nationalised private collections, and the administration of Israeli-Palestinian landscapes. I have also written more broadly on the photographic industry’s (mainly Kodak) tacit influence on private and amateur photographic practices, the making and nationalisation of photographic autobiographies, the historiography of amateur photographic practices, and on photography in everyday living.
More recently I have been developing collaborative research into synergies between private photographic practices, curatorial tendencies, and historical realities in Poland, and was also commissioned in an advisorial capacity to work with arts and humanities photography scholars on the project Photography in the Humanities (Miejsce fotografii w badaniach humanistycznych), funded by the Polish Ministry of Higher Education. The work my colleagues and I do in Poland places particular emphasis on the photographic cultures developed by minorities in the country during the emergence of the communist regime (1945-1952), throughout the Polish People’s Republic (1952-1989), and since the foundation of the Third Republic (1989-present).
I studied for my Ph.D. in the History of Art Department at University College London (UCL), where I specialised in the theory and history of photography in the context of fine art, visual and material cultures. Prior to my appointment at DMU, I was Senior Lecturer in Photography and Photography Course Leader at the School of Art, Design and Architecture, the University of Huddersfield (2009-2013), Teaching Fellow History of Art at UCL (2007-2010), and Associate Lecturer Art History and Theory at Chelsea College of Art and Design, University of the Arts London (2006-2010). Earlier in my career I worked as a photojournalist, as well as a war photographer in the West Bank, the Gaza Strip, and in South Lebanon. I also practiced fine art photography and presented my work in a number of art galleries, including Tate Modern (one-day installation), Norwich Art Gallery, The Agency, the Institute of Contemporary Arts (ICA), Machida Municipal Print Museum (Tokyo), Kodeljevo Grad (Slovenia), and Gallery Infra (Sweden). Although I no longer practice photography in the context of fine art or reportage, I am still interested in the historical development of these practices, as well as in the theoretical frameworks that they generally generate in the broader field of photography studies.
At DMU I am leading MA modules focusing on photographic ethnographies, theories, research methods and methodologies. I have also supervised doctoral students on the following PhD research projects:
- Photography’s World: Transnational Photography Books in the Postwar Period (1950-1970) (1st supervisor; completed in 2017).
- Visual Voyage of Palestine Refugees: The Social and Political Life of the United Nations Relief and Works Agency’s Photo Archive (1st supervisor; ongoing).
- Presenting the Nation: “Hungarian” Photography Since 1980 (1st supervisor; ongoing).
- Classroom Photographic Journeys: Alfred Hugh Fisher and the British Empire’s Development of Colonial-era Visual Education (1st supervisor; ongoing).
- Photography’s Outsiders: A Comparative Study of Photographic Sharing and Knowledge Exchange in Two Groups of Amateur Photographers (1843-60 and 2004-12) (1st supervisor; ongoing).
- Reciprocal Transformations: E-Hagaki Picture Postcards Reshaping Cultural Values Before, During and After the Russo-Japanese War (1st supervisor; ongoing).
- All Rights Reserved: Copyright and Patent Laws’ Impact on the Commercialisation of Permanent Photographs of Artworks in Europe, 1865-1900 (2nd supervisor; ongoing).
- Manufacturing a Subversive Reality: Backdrops and Photographic Manipulations in Cameroonian studio Photography (2nd supervisor; ongoing).
Moving forward, I would be very interested in working with students on PhDs about photography in cultural/digital heritage; family photography; photography in Jewish cultures; socio-political Eastern European photographic cultures; socio-political uses of photography in the Middle East.
Outside of DMU, I am co-director of Ph: Photography Research Network, and a member of the Editorial Advisory Board for Photography & Culture (Taylor & Francis), Jewish Film & New Media (Wayne State University Press), The International Journal of the Image (Common Ground), and EP (Sternberg Press).
Consultancies and academic activities away of my university include:
- Black Country Visual Arts (BCVA): member of the advisory board; adviser on digitisation methodology, archival practice, and the cultivation of participatory culture, in particular for the Apna Heritage Archive project.
- Nikon Corporation (European marketing team): adviser and content generation for Nikon’s 100th Anniversary celebrations (2017).
- BBC Four: adviser for the production of the film Smile! The Nation’s Family Album (2016/17).
- BBC Arts: publication entitled Five game-changing cameras that turned us into photographers, in association with the film Smile! The Nation’s Family Album for which I served as a consultant (2017).
- BBC Factual: provided expert advice for a film production on safety and accessibility of family photography albums in the digital age (2017).
- Polish Ministry of Higher Education: adviser for the project Photography in the Humanities (Miejsce fotografii w badaniach humanistycznych), Society Liber Pro Arte (2015/16).
- Nikon Corporation: adviser for the European marketing team of the annual Nikon Photo Contest International (2014/15).
- Panellist for the AHRC Midlands3Cities (M3C) Consortium (2016–Present).
- Proposal Evaluator for Czech Science Foundation (2016–Present).
- Proposal Evaluator for The Netherlands Organisation for Scientific Research (NWO, the Dutch Research Council), (2016–Present).
- Book Proposal Evaluator for Routledge; Taylor & Francis Group (2018–Present).
- Book Proposal Evaluator for Bloomsbury Publishing (2015–Present).
- Research Proposal Evaluator for Israel Science Foundation (2014–Present).
- External Examiner, BA(hons) Photographic Arts, University of Westminster, London (2013-Present).
- External Examiner, BA(hons) Photography and BA(hons) Filmmaking, Kingston University, London (2013-2015).
- External Assessor for new academic programmes and programme re/validation panels, Teesside University, UK (2013-2015).
In addition I am peer reviewer for the following journals:
- Middle East Journal of Culture and Communication (Brill)
- Photography & Culture (Taylor & Francis)
- History of Photography (Taylor & Francis)
- Journal of Cultural Geography (Taylor & Francis)
- TOPIA: Canadian Journal of Cultural Studies (Wilfrid Laurier University Press)
- Object: UCL Graduate Research and Reviews in the History of Art and Visual Culture (University College London)
- Open Arts Journal (Open University)
- The International Journal of the Image (Common Ground)
- Australian Feminist Studies (Taylor & Francis)
- Media, War & Conflict (SAGE)
- Jewish Film & New Media (Wayne State University Press)
Memberships of professional and academic organisations have included: International Communication Association (ICA), Association of Art Historians (AAH), College Art Association (CAA), the Association of Photography in Higher Education (APHE), the Association for Historical and Fine Art Photography (AHFAP) and Ph: The Postgraduate Photography Research Network. In 2011 I was awarded Fellowship status of the British Institute of Professional Photography (BIPP) and the Higher Education Academy (HEA).