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- Tasks: Participate in a symposium exploring photographic objecthood and its impact on contemporary art.
- Company: Henry Moore Institute, a leading centre for contemporary art research.
- Benefits: Receive an honourarium, plus travel and accommodation reimbursement within the UK.
- Why this job: Engage with innovative ideas and contribute to critical discussions in the art world.
- Qualifications: Submit a proposal with an abstract and biographical note; creativity is key!
- Other info: Open to diverse formats like video or audio for submissions.
Home » Jobs and Opportunities » Call for Participation: Photographic Objecthood: Construction, Presence, and the Sculptural Encounter
Call for Participation: Photographic Objecthood: Construction, Presence, and the Sculptural Encounter
Symposium, to take place: Henry Moore Institute, Leeds, Wednesday 21 January 2026
Deadline to apply: Monday 13 October 2025, 17:00
About the symposium
In 1988, Jean-Francois Chevrier and James Lingwood curated Another Objectivity at the ICA in London. The exhibition showed the work of artists such as Hannah Collins, Cragie Horsfield, Suzanne Lafont and Thomas Struth alongside work by older, more established artists including Bernd and Hilla Becher, Robert Adams and John Coplans. Positioned against the dominant documentary photographic tradition, the exhibited work constituted what Chevrier described as “autonomous works, specific pictures which are irreducible to a formal or conceptual programme.” He argued that these artists were not merely observers but “constructors” of spatial, sculptural, and phenomenological experience.
This symposium will explore how photographic objecthood has developed from this pivotal critical juncture almost 40 years ago. It does not set out to examine the idea of ‘expanded’ photography where a hybridised ‘sculptural’ photograph is augmented through mixed media or in some way rendered three-dimensional, but focuses on artworks where conceptual, philosophical, or political meaning flows from a spatial or phenomenological encounter with the image itself, fixed in its scale and materiality. How might ideas of self-reflexivity – of photography engaging with its own material and conceptual conditions as a way of reflecting on the world – be important in this respect? How does the agency of the viewer build meaning or ‘complete’ the work in the act of encounter?
Beyond the legacy of Another Objectivity, this event will engage with Chevrier’s distinctive idea of the tableau which stood in opposition to the photographic convention of the document. He suggests the tableau becomes “the model for a mode of visual thought which repudiates representation-imitation in favour of a sculptural or constructive realism. The tableau presents more than it represents.” In other words, where documentary photography gestures to an absent referent, the tableau or the sculptural photograph is fully present on its own terms; it demands embodied engagement independent of its representational role.
At a time when AI technologies are radically altering our relationship with de-materialised images and their circulation in digital space, does such specificity of scale and the physical encounter of photographic objecthood constitute a distinct ontology? What role do Michael Fried’s historically influential ideas on theatricality, presence and absorption (1967/2008) or Hilde Van Gelder’s work on the absorptive (tableau) versus the intervening (documentary) model (2008) continue to play in our critical understanding of spectatorship? And how have contemporary re-evaluations, such as Claire Bishop’s recent book Disordered Attention (2024), challenged Fried’s legacy, calling for a model of spectatorship that accounts for ubiquitous media, post-colonial and global perspectives, neurodiversity and new socio-political forms of looking?
We are looking to reopen the speculative zone of enquiry that asks how ‘being with’ the photograph might affect our thinking about ‘presence’ in the post-Covid era of remote technology. Can a photograph have a sense of mass? Can we think about photographic objecthood as akin to sculptural presence and where might immersivity figure in these ontologies? What creative practices have emerged in recent years in response to these ideas, and how have they broken or expanded from models established in previous decades?
This symposium is organised in collaboration with artist Fiona Crisp (Professor of Contemporary Art, Northumbria University).
Submit a proposal
- a brief abstract (no more than 250 words)
- a short biographical note (100 words)
The deadline to apply is Monday 13 October 2025, 17:00
If you would like to apply in another format, such as video or audio, this is also welcomed. Please contact research@henry-moore.org if you would like to discuss this.
Speakers will receive an honorarium of £100, and travel and accommodation costs within the UK will be reimbursed.
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Call for Participation: Photographic Objecthood: Construction, Presence, and the Sculptural Enc[...] employer: Association for Art History
Contact Detail:
Association for Art History Recruiting Team
StudySmarter Expert Advice 🤫
We think this is how you could land Call for Participation: Photographic Objecthood: Construction, Presence, and the Sculptural Enc[...]
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Prepare for interviews by researching the organisation and practising common questions. We can’t stress enough how important it is to show genuine interest and knowledge about the role and the company.
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We think you need these skills to ace Call for Participation: Photographic Objecthood: Construction, Presence, and the Sculptural Enc[...]
Some tips for your application 🫡
Keep it Concise: When writing your abstract, remember to stick to the 250-word limit. We want to see your ideas clearly and succinctly, so make every word count!
Show Your Passion: In your biographical note, let us know what drives you! Share your background and interests in photography and objecthood, and why this symposium excites you.
Be Creative with Formats: If writing isn’t your thing, don’t sweat it! We’re open to proposals in different formats like video or audio. Just reach out to us at research@henry-moore.org to chat about it.
Apply Through Our Website: Make sure to submit your application through our website. It’s the easiest way for us to keep track of everything and ensure your proposal gets the attention it deserves!
How to prepare for a job interview at Association for Art History
✨Know Your Stuff
Before the interview, dive deep into the themes of photographic objecthood and the artists mentioned in the job description. Familiarise yourself with key concepts like self-reflexivity and the tableau model. This will not only show your passion but also help you engage in meaningful discussions.
✨Craft Your Proposal
When preparing your proposal, make sure it’s concise and impactful. Stick to the 250-word limit for your abstract and 100 words for your bio. Highlight your unique perspective on how your work relates to the symposium's themes. A well-structured proposal can set you apart from the crowd.
✨Practice Makes Perfect
Rehearse your presentation or discussion points out loud. This will help you articulate your thoughts clearly during the interview. Consider doing a mock interview with a friend or colleague who understands the subject matter to get constructive feedback.
✨Engage with the Audience
During the interview, remember that it’s a two-way street. Be prepared to ask insightful questions about the symposium and its goals. Showing genuine interest in the event and its organisers can leave a lasting impression and demonstrate your enthusiasm for participation.
