Christopher Morton is Head of Research and Curator of Photograph and Manuscript Collections at the Pitt Rivers Museum, and a Fellow of Linacre College, Oxford. He trained in History at the University of East Anglia before undertaking an MSt and DPhil in Social and Cultural Anthropology at St Antony’s College, Oxford, between 1995 and 2002. His first post at the Pitt Rivers Museum was in 1997 as a Curatorial Assistant in the Photograph and Manuscript Collections department, where he was appointed Curator in 2006. He has curated over 35 exhibitions at the Museum, and published widely on the histories of anthropology and photography. He is a Fellow of the Royal Anthropological Institute, serving on its Council as a Trustee in 2016–18, as well as being a member of its Photographic Committee. From 2012 to 2018 he was a Departmental Lecturer at the Institute of Social and Cultural Anthropology of the University of Oxford. He currently acts as Head of Research and Teaching on the Pitt Rivers Museum’s Executive Board, as well as the digital and research committees of the University of Oxford’s Gardens, Libraries and Museums (GLAM).
My research centres on the overlapping histories of photography, anthropology and museum collections. I am interested in how the visual technologies of the past influenced the way that other cultures and societies were understood within European science, and how these legacies continue in the contemporary world. I have conducted long-term anthropological fieldwork in southern Africa, and have research interests in various other African countries, such as Kenya, South Sudan and Nigeria. I have been researching and writing on the South Sudan fieldwork and photography of E.E. Evans-Pritchard since 2003, and am currently working on the manuscript for a monograph on this subject for Oxford University Press. Another strand of my research is on the recirculation of archival photographs in the places they were taken, and the local perceptions and meanings that emerge from this process. As part of this research, I have studied the reception and resocialisation of historical photographs in Nyanza (Western Kenya), as well as South Australia and Western Australia.