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Following a lively panel discussion about the role of women photographers, both historical and current, led at Tate Modern in 2014, a two-day conference was organised to explore the complex and dynamic evolution of the history of women in photography, from early commercial practices, to the impact of World War II on women and their work, to reframing the role of the archive.

Fast Forward: Women in Photography was held between the 6 - 7 January 2015 at the Tate Modern, with speakers considering both national and international discussions about women in the history of photography, and presenting some of the latest research and debates in the field.

The conference was a precursor to a larger research initiative that was designed to promote and engage with women in photography across the globe. Fast Forward: Woman in Photography aims to provoke new debate and ensure that we are in the news and in the history books. Now the world of photography is frequented by millions of female photographers, they believe "now is the time to arrest the process of forgetting that so frequently erases women from the burgeoning histories of photography and shed light on new ways of thinking, showing, discussing and distributing our work".

Val Williams
Val Williams is a UAL professor of the History and Culture of Photography at London College of Communication and an editor of the journal Photography & Culture. She is a writer and curator whose exhibition projects have included How We Are (Tate Britain, 2007) and whose book projects include Martin Parr: Photographs 1972-. In 1986 Virago published her pioneering study of women's photography in Britain: The Other Observers and in 1996 IB Tauris issued her Illuminations: Women's Writing on Photography (co-edited with Liz Heron). She curated Women's Photography in Britain for the National Museum of Photography in 1986, with a subsequent showing at The Photographer's Gallery, London. Val is a co-organiser of Fast Forward: Women in Photography.

Anna Fox
Anna Fox is an internationally renowned photographer and Professor of Photography at University for the Creative Arts in Farnham. In 2010 she was shortlisted for the prestigious Deustche Börse Prize and her latest projects, Resort 2 and Loisirs are published by Schilt, Amsterdam and Diaphane, Beauvais. Anna is a co-organiser of Fast Forward: Women in Photography.

Sarah Jeans
Sarah Jeans is Head of School for Film, Media & Performing Arts at the University of the Creative Arts and was previously a documentary producer/director. Besides running a large media school, she is involved in a number of high profile international collaborations and has initiated projects supporting women working in media. Sarah is a co-organiser of Fast Forward: Women in Photography.

Maria Kapajeva
Maria Kapajeva is an Estonian artist based in London. Her work has been shown internationally including the most recent shows in Bangladesh, New Zealand and Estonia. Her work is created at FATHOM residency in Four Corners & Film (London) and will be exhibiting there from October 28th 2015. Also, she is a Fellow of HEA, teaches at University of the Creative Arts in Farnham. Maria is a co-organiser of Fast Forward: Women in Photography.

Anna Tellgren, Agneta Ekman, Eva Klasson and Tuija Lindströlm - Three Photographers, Three Strategies.
This paper discussed the role of women photographers in the history of Swedish photography after World War II and places them in an international context of feminist artists. The works of three prominent Swedish women photographers were presented, and the paper asked the question: What different strategies have these photographers used to explore questions around sexuality, the body and femininity?

Anna Tellgren, PhD, is Curator of Photography and Research leader at Moderna Museet in Stockholm. She has curated numerous exhibitions including ''Francesca Woodman. On Being an Angel'' (2015). Tellgren was the editor of The History Book: On Moderna Museet 1958-2008 (2008) and is Associate Editor of Konsthistorisk Tidskrift.Journal of Art History.

Russet Lederman, Then and Now: Japanese Women Photographers of the 1970s and '80s Revealed Through Their Photobooks.
Ishiuchi Miyako, Ishikawa Mao, and Mishimura Tamiko - three Japanese women photographers who first came into the Japanese photography scene in the 1970s and '80s were examined, accounting for the varying trajectories of their increased recognition in the light of the re-edits, reprints and reinterpretations of their early and influential photobooks.

Russet Lederman is a writer and photobook collector who lives in New York City. She teaches at the School of Visual Arts, New York and is a co-founder of 10x10 Photobooks. Lederman writes on photobooks for print and online journals, including Foam, The Eyes, and the International Center of Photography.

Sabina Jaskot-Gill, Embalming time and imagining communities: Zofia Rydet's Sociological Record, 1978-1990.
In 1978 Zofia Rydet (1991-1997) embarked on an ambitious project to photograph the people she encountered while travelling through Poland, creating a substantial photographic 'atlas' of Polish domestic life. Why did the photograph hold such significance for Rydet? What desires did the photograph promise to fulfil, and how can these desires be understood in the specific context of post-war communist Poland?

Sabina Jaskot-Gill holds an MA (Hons) in History of Art and English Literature from University of Edinburgh and is a Lecturer in Photography at Sotheby's Institute of Art, London. The recipient of an AHRC Collaborative Doctoral Award (University of Essex/Tate), her doctoral thesis explores themes of trauma and memory in Polish post-war photography.

Charlene Heath, The Jo Spence Memorial Archive Intact: The Physical and Intellectual Organisation of a Life's Work.
The Jo Spence Memorial Archive has been dispersed internationally and is now in multiple locations. Using Spence and Terry Dennett's collaborative project Remodelling Photo History (1982) as a case study, the author suggests that the separation of the archive constitutes an accidental extension of her pedagogical project. As a result, an understanding of Spence's work must take place outside of the traditional archival best practices and take into consideration the multiple past and present contexts.

Charlene Heath is the Archivist at the Ryseron Image Centre (RIC) in Toronto, Canada. She has worked as a photography instructor, curatorial intern and archivist at the Novia Scotia College of Art and Design; Library and Archives Canada; the National Gallery of Canada; and the Toronto International Film Festival. Charlene golds a BFA in Photography and an MA in Photographic Preservation and Collections Management. She sits on the Board of Directors at Gallery 44 Centre for Contemporary Photography in Toronto.

Sabeena Gadihoke, The Many Lives of Homai Vyarawalla: Revisiting a Historical Archive.
Homai Vyarawalla, India's first woman press photographer passed away in 2012 leaving behind a vast archive of historical images. This paper explores how contextual displacement resulting from digitalisation and a distancing from the memory of the photographer may allow for more diverse interpretations of her work.

Sabeena Gadihoke is a Associate Professor at the AJK MCRC at Jamia Millia Islamia, New Delhi. She started her career as a documentary filmmaker and cameraperson. Gadihoke has written a book on India's first woman press photographer Homai Vyarawalla and curated several shows on Indian photography. Her current research focuses on the intersection of photography and popular cinema.

Sara Davidman, Photographs from a family archive - through a queer lens.
"In the 1950s my uncle Ken, who was a transgender, took photographs of his wife Hazel. This appear considers these pictures in the context of new photographs I have made, using analogue, alternative and digital processes, in response to the vintage portraits."

Sara Davidmann is an artist/photographer. Her work has internationally exhibited and published. Sara is a Senior Research Fellow at London College of Communication, University of the Arts London (UAL) and a member of the UAL Photography and the Archive Research Centre (PARC).

Jean Wainwright, The Vocal Cord: An audio portrait of contemporary women photographers.
Using audio clips from interviews with international women photographs, the female photographer's 'voice' will be examined as a form of feminine and feminist performance and portraiture that reflect changes in photographic practice and culture over twenty years.

Jean Wainwright has been conducting interviews with international artists for over twenty years. Many of her audio interviews are now in the Tate Archives. Professor of Contemporary Art and Photography at the University for the Creative Arts, she has published extensively and has appeared on television and radio.

Andrea Nelson, The New Woman Behind the Camera.
With the focus on the German-born photographer, Ilse Bing (1899-1998), this presentation explores what was at stake for women who wanted to become professional photographers during the interwar years, a time when female identity was often defined through the complex and often contradictory lens of the 'New Woman'.

Andrea Nelson is Associate Curator in the Department of Photographs at the National Gallery of Art, Washington. She received her PhD from the University of Minnesota with a focus on the history of the photography book. In addition to her curatorial work, Andrea teaches a course on writing for the decorative arts.

Merja Salo, Privilege of Gender in Fashion Photography.
Female photographers played a prominent role in early Finnish fashion photography. Gender provided advantages for the careers of Emmi Heldt-Fock in the 1920s, and Märtha Söderholm and Claire Aho in the 1950s. They were well-respected professionals in the commercial sphere, especially in ladies' underwear photography, until men entered the business in the 1960s.

Merja Salo is Professor of Photography and Visual Communication in Aalto University School of Arts, Design and Architecture in Helsinki. She has written on the the history of Finnish fashion photography is currently working on a book about the history of digital photography in Finland.

Peter James, Revisiting Emma Barton: creating futures from the past.
This paper describes a live project based around an archive of previously unseen material relating to the acclaimed but largely forgotten Birmingham Pictorialist, Emma Barton. Working with the contemporary commercial photographer Marta Kochanek, the project seeks to inform, inspire, create and promote opportunities for women photographers in the photographic industry.

Pete James is an independent photographic historian and curator. Formerly curator of the internationally significant collections held in the Library of Birmingham, he has researched and curated exhibitions of historical and contemporary photography and has published internationally. His key are photo archives and the history of photography in Birmingham.

Karen Shepherson, Discovering Presence: The Innovative Practices of Women Photographers at the Seaside.
This paper offers an exposition of the British female seaside photographer an itinerant image-maker to a resident employee (within an organised structure) and then to independent photographic artist. The paper's subject illustrates how women at the seaside have harnessed photographic practices as not only modes of creative expression but also of physical liberation and economic self-sufficiency.

Karen Shepherdson holds a doctorate, is Reader in Photography and Director of the South East Archive of Seaside (SEAS) Photography. Karen is Co-Director for the Centre for Research in Communities and Cultures at Canterbury Christ Church University.

Victoria Garnons-Williams, The Last Laugh: Aesthetic Methods of Contemporary Australian Indigenous Women Photographers.
In the process of challenging social and political discourses, Australian Indigenous women photographers invent and employ alternative aesthetics in their work, often reflecting an Aboriginal perspective based on a circular, non-linear sense of time and narrative. Key artists and works are presented to illustrate how these methods inform a theoretical continuum of practice.

Victoria Garnons-Williams is an award-winning academic whose presentations, publications and research interests include early Australian photography, Pictorialism and contemporary international photomedia. She currently lectures in Photomedia and Contemporary Art Practice in Visual Arts within the Creative Industries Faculty at Queensland University of Technology and lives in Brisbane, Australia.

Ailbhe Greaney, States of Colour: Irish and Vietnamese Women after Albert Kahn's Archives of the Planet.
On the eve of the Irish 1916 Easter Risings' 100-year anniversary, - and to mark 40 years since the end of the Vietnam War in April 1975, - this presentation explores the Albert Kahn Archive's representation of Irish and Vietnamese women between states, shrouded in the iconography of colour and dress.

Ailbhe Greaney completed a B.A. (Hons) Degree in Communication Studies from DCU and obtained an MFA with Distinction in Photography from SVA New York as a Fulbright and Aaron Siskin Memorial Scholar from 2000-2003. In 2014 she completed a residency at the Centre Culturel Irlandais Paris, where she exhibited for Paris Photo 2015. She is Lecturer in Photography/Course Director of the MA/MFA Photography Degree at Ulster University's Belfast School of Art.