On Tuesday 7th October at 6.30pm, London Alternative Photography Collective will be meeting at Doomed Gallery Dalston.
This is a PHOTOMONTH event.
Terry King has had a number of careers but the two that concern him most now are photography and poetry.
He was inspired to take up gum printing when he attended a lecture by a Mr Steinbock from Maidenhead who had known a number of the greats in the field in the early years of the last century. Terry made his first gum print around 1975. He wenton to gain expertise across a range of ‘alternative’ processes so that he could teach them at in places as diverse as universities and what was then the National Museum of Photography and other institutions around the world. It is worth reflecting that those concerned with the teaching of alternative process today almost certainly had a lecturer, even generations back, who had been to my workshops. The students included fine art printers. Terry and Randall Webb, who died recently, thought of the term ‘alternative’ to describe those processes that were no longer mainstream but which had qualities that are worth preserving. As there is a propensity for ‘experimental’ photographers to over-complicate, Terry has made great efforts to simplify.
Terry became a Fellow of the Royal Photographic Society in 1982 and was the Chair of its Historical Group for a number of years. He has established, by practical experiment, how Niepce made his asphaltum pictures, how Talbot produced his first calotypes and what Herschel could have done to make his chrysotypes work better if his polymath mind had not pushed him on to other things. Among the conferences Terry has been concerned with are one on nineteenth century women photographers at Birr Castle in Ireland, Julia Margaret Cameron and Lewis Carroll at Dimbola in the Isle of Wight, the part of science in the history of photography at Oxford University and the history of church photography at Durham Cathedral. Terry also founded the ‘Alternative Processes International Symposium’ in 1998.
Martin Newth is an artist, lecturer and Programme Director of Fine Art at Chelsea College of Art and Design. He studied at Newcastle University and the Slade School of Art. His work is primarily photographic but also includes installation and video. He employs numerous processes including very long exposures and purpose built camera obscuras to make experimental works that explore the material nature of photography and its relation to landscape. Martin Newth has exhibited nationally and internationally including solo and group exhibitions at: The Gerald Moore Gallery, London; The Kuandu Museum of Fine Arts, Taipei; George and Jørgen, London; The Visual Arts Centre Gallery, Tsinghua University, Beijing; Axel Lapp Projects, Berlin; Focal Point Gallery, Southend; Ffotogallery, Cardiff; Open Eye Gallery, Liverpool; the Kunstverein Konstanz, Germany; and the V&A Museum of Childhood, London. Martin Newth’s work and writing has been published in books and catalogues including: ‘Troubled Waters’ (2013), Visible Economies: Photography, Economic Conditions, Urban Experience’ (2012), ‘Sentinel’ (2011); ‘Future Images’, (2010); ‘Sequences: Contemporary Chronophotography and Experimental Digital Art’, (2009); ‘Martin Newth: Solar Cinema’, (2007); and ‘Slow Burn’, (2006). Martin Newth has organised and co-curated numerous exhibitions including a series of artists’ projects at Central Space, west London (2001-2004). Martin Newth and Fergus Heron co-curated ‘Capital’, which was exhibited at George and Jorgen, London in 2012 and ‘Scene’ at PM Gallery, London in 2014.