Langford was born in Ottawa. Her father Warren was a civil servant and amateur photographer during the Cold War era.[6] In 2011, Langford and her brother John published A Cold War Tourist and His Camera, which examined their father's photographs.[7] Besides John, Langford also has two other siblings, Stuart Langford and Suzanne Morrison.[8][9]
Education
Langford was educated at the Nova Scotia College of Art and Design before obtaining her MA and PhD from McGill University.[10] She published her thesis under the title "Suspended conversations, private photographic albums in the public collection of the McCord Museum of Canadian History."[11] In 2001, she republished her thesis as Suspended Conversations: The Afterlife of Memory in Photographic Albums.[9]
In 2007, Langford published Scissors, Paper, Stone: Expressions of Memory in Contemporary Photographic Art with McGill-Queen's University Press. The book is a study of the role of memory in contemporary photographic art.[10] Two years later, Langford worked as a curatorial consultant for the Musée du Quai Branly photographic biennale PhotoQuai 2009 and was the commissioning curator for Preoccupations: Photographic Explorations of the Grey Nuns Mother House for Concordia University.[13]
In 2011, Langford was appointed research chair and director of Concordia University's Gail and Stephen A. Jarislowsky Institute for Studies in Canadian Art, succeeding François-Marc Gagnon. Before obtaining this position, Langford served as editor-in-chief of the Journal of Canadian Art History and an advisory board member for Ciel variable magazine.[15]
In 2017, Langford published an edited collection, Narratives Unfolding: National Art Histories in an Unfinished World, which discussed contemporary art historical approaches and their relationship to the notion of national art.[16]
In June 2018, Langford was selected as a research fellow at the Canadian Photography Institute.[17] A few months later, in September, she was elected a Fellow of the Royal Society of Canada.[18]
Inspiration
While at the Nova Scotia College of Art and Design, Langford cited Michael Snow as an inspiration. As a result, she has published multiple papers on his work.[19] In 2014, she published Michael Snow: Life & Work through the Art Canada Institute which presented an overview of his life and work.[20]
Selected publications
Books
Langford, Martha, ed. (1984). Contemporary Canadian Photography from the Collection of the National Film Board = Photographie canadienne contemporaine de la collection de l'Office national du film (in English and French). Edmonton, AB: Hurtig. ISBN0888302649.
Power plays: contemporary photography from Canada. Edinburgh: Stills. 1989. ISBN0906458048.
Langford, Martha (1992). Beau : A Reflection on the Nature of Beauty in Photography = Une réflexion sur la nature de la beauté en photographie (in English and French). Ottawa: Canadian Museum of Contemporary Photography/Musée canadien de la photographie contemporaine. ISBN0888845626.
George Steeves: 1979-1993 (in English and French). Ottawa: Canadian Museum of Contemporary Photography/Musée canadien de la photographie contemporaine. 1993. ISBN0888845669.
Langford, Martha (2021) [2001]. Suspended Conversations: The Afterlife of Memory in Photographic Albums (2nd ed.). Montréal and Kingston: McGill-Queen's University Press. ISBN9780228001386.
Langford, Martha, ed. (2005). Image & Imagination. Montréal and Kingston: McGill-Queen's University Press. ISBN9780773529694.
Langford, Martha (2012). Scissors, Paper, Stone: Expressions of Memory in Contemporary Photographic Art. Montréal and Kingston: McGill-Queen's University Press. ISBN9780773540781.
Langford, Martha (2017). Narratives Unfolding: National Art Histories in an Unfinished World. Montréal and Kingston: McGill-Queen's University Press. ISBN9780773549791.
^ abLangford, Martha (2001). Suspended Conversations: The Afterlife of Memory in Photographic Albums (1st ed.). Montréal and Kingston: McGill-Queen's University Press. ISBN978-0-7735-3392-9.
^Langford, Martha (Summer 1996). "The Canadian Museum of Contemporary Photography". History of Photography. 20 (2): 174–179. doi:10.1080/03087298.1996.10443646.