‘Mustang Interior, Nevada Desert’
CREDIT: © Jane Hilton / Mustang Interior, Nevada Desert

RPS Awardees in conversation... Jane Hilton HonFRPS

Event info

In this on-going series of 'in conversations' hear from leading individuals talk about how they use photography as artists, scientists, educators, publishers and curators. All our speakers are recent RPS Award recipients who have been recognised for their contribution to the medium. They are discussing their work with those who know them and their work.

All talks and links to recordings (where available) in the series can be seen here: https://rps.org/awardstalks

Jane Hilton HonFRPS in conversation with Max Houghton

Jane Hilton is a photographer and filmmaker whose work brings to our attention the extraordinary realities of ordinary people’s lives and is renowned for her work documenting American Culture, in particular the American West, which she has explored for the past twenty-five years.

Her monographs include “Dead Eagle Trail” (Schilt Pub, 2010) depicting the lifestyle of the twenty-first century cowboy; “Precious” (Schilt Pub, 2013) featuring intimate nude portraits of working girls in Nevada; and most recently “LA Gun Club” (self-published, 2016) exploring American Gun Culture with a collection of unique ‘shot up’ target posters.

Jane is fascinated by subjects that are legal but not socially acceptable.  In 2000 she was commissioned by the BBC to make a series of ten documentary films about two brothels in Nevada; “Love for Sale”, the only state in America where prostitution is legal. Most recently she has spent the last six years filming the ‘The Last Lion Tamer’ following a family’s fight to save their lifestyle as the government threatens and finally bans all wild animals performing in circuses.

Jane lives and works in London and has exhibited internationally. She was awarded an Honorary Fellowship of the Royal Photographic Society in 2014, and more recently chosen as one of the ‘Hundred Heroines’ representing internationally the most inspiring women in Photography today. She has appeared in numerous major publications like The Sunday Times Magazine, The Telegraph Magazine, FT Magazine etc. Her work is widely collected and exhibited with recent solo shows: “LA Gun Club”, Eleven Gallery, London (2016); “American Cowboy”, Nailya Alexander Gallery, New York (2015); “Jane Hilton’s America”,Schilt Gallery, Amsterdam (2014); and group shows “The Scarlett Muse”, Daniel Cooney Fine Art, New York (2016); “The Future Can Wait”, Charlie Smith Gallery, London(2014); “Knock Knock”, Jerwood Gallery, Hastings (2013).

Max Houghton is a writer, curator and editor working with the photographic image as it intersects with politics, law and human rights.  She runs the MA in Photojournalism and Documentary Photography at London College of Communication, University of the Arts London, where she organises regular public talks, symposia and exhibitions. Her writing has appeared in publications by The Photographers’ Gallery and The Barbican, as well as in the international arts press, including Foam, 1000 Words, Photoworks and Granta.  She is co-author, with Fiona Rogers, of Firecrackers: Female Photographers Now (Thames and Hudson 2017) and her latest monograph essay on Mary Ellen Mark will be published in 2022 (Steidl).  She is a Laws faculty scholarship doctoral candidate at University College London. With David Birkin, she is co-founder of research hub Visible Justice.

The 'in conversation' will be followed by a public Q+A. Questions will be taken by Zoom chat. Your Zoom link will be sent in PDF with your booking confirmation. 

All talks and links to recordings (where available) in the series can be seen here: https://rps.org/awardstalks

Event Organiser

Jo Macdonald


Cancellation policy

This is an online event. The RPS will do its best to ensure that it keeps to the published timings and runs as planned. In the unlikely event that the event has to be cancelled all participants will be advised by email at the earliest opportunity.  No responsibility will be accepted for any consequential losses.



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