Anna Goldwater Alexander Senior Photo Editor, WIRED Magazine San Francisco, CA www.wired.com Anna Alexander is Senior Photo Editor at Wired in San Francisco, Ca. She's been producing photo shoots and wrangling Wired photographers for over fifteen years. She recently took a two-­‐year hiatus from Wired to serve as the Photo Director at Dwell Media. In the beginning of Anna's career, she dodged and burned as a black-­‐and-­‐white darkroom printer, which she still does every now and then. Because of her roots in traditional film photography, her heart leans more toward fine art, b/w, large format portraits, architecture, conceptual still life, and street photography. Anna has a BFA in Photography from the University of Arizona and lives in Novato, California with her husband and two children. In regards to reviewing portfolios, she is partial to a traditional portfolio book with print sleeves or loose prints in a letterbox. She is also always game for putting white gloves on and flipping through gigantic prints. Hence, digital portfolio presentations are not preferred unless there is motion involved. The two major publications she has had experience photo editing for are completely different styles of photography, which is a great indication that she is in this field because of her adoration and devotion to film and magazines. Anna has experience providing commentary and guidance on the overall composition of photo portfolios, including page sequence. In addition, she'll offer advice to photographers interested in editorial photography, promoting their vision, and getting published. Regina Maria Anzenberger Director, Anzenberger Agency and Anzenberger Gallery Vienna, Austria www.anzenburger.com www.anzenbergergallery.com Ms. Anzenberger lives in Vienna, Austria. She is an artist, curator, and director of the photographer’s representational agency Anzenberger Agency, which she founded in 1989 in Vienna. She is also owner of the Anzenberger Gallery (founded 2002), which houses the bookshop (founded 2011). Ms. Anzenberger is also Director of the Vienna PhotoBook Festival (www.viennaphotobookfestival.com). Ms. Anzenberger is also a member of the Nominating Committee of the Joop Swart Masterclass and the Prix Pictet, a global award for photography and sustainability. She is a curator of many international exhibitions and an editor of books. Ms. Anzenberger is interested in seeing conceptual and documentary storytelling works for potentially selling to editorial magazines and online publications within her agency as well as for exhibitions in the gallery. She is also looking at book projects, and finished books to sell in the bookshop. Elizabeth Avedon Independent Curator and Contributor, L’oeil de la Photographie New York, NY www.elizabethavedon.com www.elizabethavedon.blogspot.com Elizabeth Avedon is an independent curator and contributor to “L’oeil de la Photographie,” profiling notable leaders in the world of photography. She has received awards and recognition for her photography exhibition design and publishing projects, including the retrospective exhibition and book, “Avedon: Photographs 1949-­‐
1979” for the Metropolitan Museum of Art, Dallas Museum of Fine Arts; and “Richard Avedon: In the American West” for the Amon Carter Museum, the Corcoran Gallery of Art, and The Art Institute of Chicago. She also recently curated several exhibitions at New York’s Leica Gallery. Former Director of Photo-­‐Eye Gallery, Santa Fe and Creative Director for The Gere Foundation; Elizabeth is on the 2015 international panel of judges for THE FENCE; juror for Magenta Foundation’s FlashForward Emerging Photographers Competition; reviewer for The New York Times Lens Portfolio Review; the New York Photo Festival’s “PhotoWorld 2014”; Photolucida’s Critical Mass; Review Santa Fe; Filter Photo Festival; and ASMP-­‐NY. She currently teaches in the BFA Photography and Masters in Digital Photography programs at The School of Visual Arts, New York. As well as offering her personal critique, Elizabeth is always searching for new work to promote on her Photo-­‐Journal, now in its sixth year. She is interested in reviewing exceptional photography, cohesive bodies of work with a unique perspective; fine art, portraiture, documentary, photojournalism – most everything but abstract. Jacqueline Bates Photography Director, The California Sunday Magazine San Francisco, CA www.californiasunday.com Jacqueline Bates is the Photography Director at the California Sunday Magazine. Previously, she was Senior Photo Editor of W Magazine and worked in the photo departments of ELLE, Interview, and Wired. Bates holds an MFA in photography from the School of Visual Arts, and her work has been exhibited internationally. Jacqueline is interested in seeing a range of photography genres (fine art, photojournalism, portraiture, travel, still life) and multi-­‐media projects. She can offer feedback and advice from an editorial perspective on editing and sequencing works-­‐in-­‐
progress and creating a cohesive presentation of a finished body of work intended for publication. She is on the lookout for unpublished works in progress or finished series. It’s not just about beautiful photos — they need to have a sense of story and a bit of a journalistic hook to them. The California Sunday's general art guidelines are: + Work ideally should be set in California, the West, Asia, or Latin America. + We’re interested in a wide range of topics: social issues, science, art, entertainment, politics, cultural phenomena, business, sports, technology, food, the environment, design, agriculture, music, fascinating personalities, etc. + Photo essays can be big and sweeping and urgent, or they can be small, local curiosities. + If you have a photo essay that includes recorded audio-­‐-­‐or a photo essay that might pair well with sound-­‐-­‐let us know. We can consider this for web and app versions. Note that sound must be broadcast quality. + We’ll occasionally publish excerpts from forthcoming books. + We’re very open to experiments. Alexa Becker Acquisitions Editor, Kehrer Verlag Heidelberg, Germany www.kehrerverlag.com Alexa Becker is the Acquisitions Editor for photography and art books for Kehrer Verlag, founded in 1995. Having obtained her Master's in Art History from the University of Heidelberg, she started her career at Kehrer in 2003, where she is responsible for selecting and acquiring new photography-­‐related projects. Mrs. Becker provides artistic and marketing advice for photographers concerning the content and style of their work at several international portfolio reviews. She enjoys helping photographers and others appreciate the special qualities present in their work -­‐ in particular discovering novel, genuine visions of the world. Mrs. Becker offers the point of view of a European art book publisher and is familiar with the overall art and photography market. As an acquiring editor for Kehrer, she is interested in projects that are based on a personal approach by the photographer towards the subject matter without it being evidently biographical. She is interested in seeing any of the above-­‐mentioned types of projects. She is not open to seeing commercial portfolios. Mary Bisbee-­‐Beek Director, READ/SEE Publicity and Marketing Consulting Portland, OR (see LinkedIn profile) Mary Bisbee-­‐Beek began a publishing career in 1979 in San Francisco. Her company is called READ/SEE: A Unique Perspective, as she approaches publicity, marketing, and foreign rights management and consulting with a unique outlook depending on the title and genre. Her photo clients have included Schilt Publishing; Orion Press; Contrasto; Photo Works, New York, Invictus; Prospecta Press; Magical Thinking, Dewi Lewis, and others. Currently, Mary is working with photography in the areas of art and social documentary. She is interested in seeing work from both of these areas and can help photographers strategize about the best format for publishing, including traditional publishing, self-­‐
publishing, or hybrid publishing. She can also talk to photographers about the best ways to distribute and strategizing marketing plans, sales, and publicity outreach. Blue Sky Exhibition Committee Blue Sky, the Oregon Center for the Photographic Arts Portland, OR www.blueskygallery.org Members of Blue Sky's Exhibition Committee will be reviewing at the Blue Sky table. Blue Sky is a nonprofit organization dedicated to educating the public about photography through exhibitions, public programs, and publications. Founded as the Oregon Center for the Photographic Arts by a group of five young photographers in 1975, it has become an established venue for local, national, and international artists, many of whom exhibit at Blue Sky early in their careers. Blue Sky’s special mission continues to be the exhibition of emerging and established artists who exemplify the finest in photographic vision and innovation. Today, from a 3,700-­‐square-­‐foot facility in Portland’s historic DeSoto Building, Blue Sky presents about 25 exhibitions annually and offers monthly artist talks and programs, all free to the public. Currently celebrating its 40th anniversary year, Blue Sky has presented 794 solo exhibitions by 675 different artists, and 50 group shows. Of note, over the last 12 years, 124 artists were shown whose work was seen at portfolio reviews like this one. Blue Sky tends not to exhibit classic nudes, traditional portraits, or scenic photography. The landscapes and portraiture Blue Sky does select for exhibition are chosen for their documentary or sociological perspective. Michael Carabetta Creative Director, Chronicle Books San Francisco, CA www.chroniclebooks.com Michael Carabetta is Creative Director of Chronicle Books, a San Francisco-­‐based publisher. His work has received recognition in the American Institute of Graphic Arts (AIGA) 50 Books/50 Covers shows, and in Graphis Books I and II. His projects have appeared in a variety of design publications including Communication Arts, Critique, and I.D. magazines, and have received awards from the San Francisco Ad Club, New York Art Directors Club, and the Western Art Directors Club. A Connecticut native, Michael attended the Paier College of Art there and received his MFA from Cranbrook Academy of Art in Michigan. Before joining Chronicle Books, he worked for Landor Associates, directing corporate identity projects in their San Francisco, London, and Hong Kong offices. An occasional contributor to “Design Desk,” Chronicle Books’ blog, Michael has conducted design workshops and lectured at the Rhode Island School of Design (RISD), the Stanford Publishing Course, and has been a guest critic at San Jose State University. Michael is a member of the board of directors of the Center for the Art of Translation, and is a member of the Book Club of California where he serves on the Publications Committee. When he isn’t collecting books for his extensive home library, he can be found on his road bike or in his woodshop. The types of photography Michael would be interested in seeing are: food, landscape, architectural/interiors, portraiture, and cycling. He is not interested in humor or special effects/Photoshop imagery. Michael would be glad to offer aesthetic critique, and/or publication advice. Ed Carey Director, Gallery 291 Mill Valley, CA www.gallery291.net Gallery 291 exhibits contemporary photographers with an emphasis on many of the alternative processes of the 19th century. Gallery 291, in conjunction with The Image Flow, offers a wide range of extensive workshops in many of the alternative processes. Prior to opening Gallery 291, Ed graduated from The Rochester Institute of Technology, and worked in the field of commercial photography in San Francisco for over 25 years. Ed is very interested in photographers working in alternative processes but is very open to all forms of image capture and printing. The gallery has a large exhibition space and plans are in place for a new online gallery later this year. Kathleen Clark Director, SPOT Photo Works Los Angeles, CA www.spotphotogallery.com Kathleen Clark is the Director and Partner of SPOT Photo Works, which opened in Los Angeles in 2014. Her varied background includes partnership in the former Clark | Oshin Gallery in Los Angeles. She was the longtime Photo Director of Los Angeles Magazine and LA Weekly where she received multiple awards for editorial photography. She has an MFA degree in studio art and photography, and served as faculty at Art Center College of Design and at the University of Southern California. She was a recipient of numerous grants for mixed media collaborative work from the Seattle Arts Commission, Portland’s Metropolitan Arts Commission, and the Oregon Arts Commission and for a New Genres grant from the National Endowment for the Arts. She has reviewed portfolios for Review Santa Fe, FotoFest Houston, Palm Springs Photo Festival, Art Center College of Design, The Lucie Foundation, and Eyeist. She participated as a juror for Photolucida’s Critical Mass 2015. “While I’m game to look at a wide range of work, I’m looking for bodies of images for the gallery that have a strong sense of purpose and if that purpose serves a greater societal, humanitarian, or ecological greater good, then all the better.” A.D. Coleman Independent Critic, Historian, and Curator New York, NY www.nearbycafe.com/artandphoto/photocritic A. D. Coleman is an internationally known critic of photography and photo-­‐based art, and a widely published commentator on new digital technologies. He serves as Executive Director of Photo Education Online (photo-­‐ed.com), a consortium of four autonomous yet interrelated websites designed to serve the photography education community in diverse ways. American Photo named Coleman one of "the 100 most important people in photography in 1998." In 2002 he received the Culture Prize of the German Photographic Society -­‐ the first critic of photography ever so honored. In 2010 he received the J. Dudley Johnston Award from the Royal Photographic Society (U.K.) for "sustained excellence in writing about photography." In 2014, he received the Society for Photographic Education's Insight Award for lifetime contribution to the field. Coleman has published eight books and more than 2000 essays on photography and related subjects. Formerly a columnist for the Village Voice, the New York Times, and the New York Observer, Coleman has contributed to ARTnews, Art On Paper, Technology Review, Ag (England), European Photography (Germany), La Fotografia (Spain), and Art Today (China). His work has been translated into 21 languages and published in 31 countries. Coleman's widely read blog "Photocritic International" appears at photocritic.com. Since 2005, exhibitions that he has curated have opened at museums and galleries in Canada, China, Finland, Italy, Romania, Slovakia, and the U.S. “I'm interested in reviewing both evolving and resolved projects in: creative photography generally, documentary, photojournalism (including installations, exhibitions, books, multimedia, and other forms). I don't have much interest in fashion or other aspects of commercial/applied photography. I offer critical feedback, editorial advice, and, more broadly, suggestions toward refining works-­‐in-­‐progress and strategizing the presentation and distribution of finished projects.” Alyssa Coppelman Independent Photo Editor Austin, TX www.alyssacoppelman.com Alyssa Coppelman is a photo editor with over a decade of experience, primarily as Assistant Art Director of Harper’s Magazine. Additionally, she is a picture researcher for Oxford American magazine, where she focuses on finding stories about the South. Alyssa is a regular contributor to Raw File and Feature Shoot, and previously to Slate's Behold and Hatje Cantz’s fotoblog. She is a judge of Flash Forward 2015, has twice been a judge and pre-­‐screener for Critical Mass, and co-­‐curated Slideluck Austin in 2014. Previously, she was a portfolio reviewer at PhotoNOLA and Fotofest Houston. Alyssa works one-­‐on-­‐one with photographers to edit and sequence their portfolios, helping them present their strongest work in the most cohesive way. She consults on and designs photo books for self-­‐publishing photographers and short-­‐run publications and will happily review book projects. She can help with sequencing portfolios and offer general feedback and editorial advice. For photographers wishing to develop relationships with magazines, she can advise how best to approach potential clients. Alyssa is always looking for a variety work to be published in Harper's Magazine, Oxford American, and on Raw File and Feature Shoot. While her taste is broad, she is most interested in seeing documentary and fine art photography, either in cohesive story form or looser, less linear groups of images. Print and digital portfolios are both acceptable, as are books and book mock-­‐ups. In general, she is less interested in commercial and fashion photography though she is open to seeing any work demonstrating a thoughtful or unique approach. Several photographers she was introduced to via Critical Mass, PhotoNOLA, and Fotofest Houston have been published in Harper’s and Oxford American and featured on Raw File, Behold, and Feature Shoot. Karen Davis Co-­‐owner/Curator, Davis Orton Gallery Hudson, NY www.davisortongallery.com www.davisortoneditions.com Karen Davis is Co-­‐Owner/Curator of the Davis Orton Gallery and Davis Orton Editions in Hudson, New York. The Gallery, in its sixth year, exhibits photography, mixed media, and photobooks by emerging, mid-­‐career, and established artists. Most exhibitions also showcase the portfolios of two additional photographers selected through competition. Editions, an online store offering small format fine art prints and photobooks, was launched in 2014. Karen teaches “Portfolio Development and Marketing Your Fine Art Photography” at NYU’s School of Professional Development, the Griffin Museum of Photography, and the Davis Orton Gallery. Her own photographs are in the collections of the Center for Photography at Woodstock (CPW) at Samuel Dorsky Museum, Lishui Museum of Photography (China) and are featured at MASS MoCA. Her books are in the artist book collection of the Houghton Rare Books Library, Harvard University and the Lishui Museum of Photography. She has been a portfolio reviewer at Photolucida, FotoFest, SPE, and the Griffin/PRC Portfolio Reviews, and has juried for Critical Mass. As curator for the Davis Orton Gallery, she is interested in seeing a wide range of fine art and documentary work employing conventional, alternative and mixed-­‐media processes which reflects her gallery’s broad view. She would be delighted to encounter potential exhibitors for her gallery. That said, since nudes, commercial photography and prints only offered in very large formats are less likely to be featured in the gallery, she would prefer not to review these. Karen is glad to see work in progress as well as completed works, and can offer guidance on portfolio development and finding an audience. Alexa Dilworth Publishing Director and Senior Editor, Center for Documentary Studies Durham, NC www.documentarystudies.duke.edu Alexa Dilworth is Publishing Director and Senior Editor at the Center for Documentary Studies (CDS) at Duke University, where she also directs the Awards program, which includes the CDS/Honickman First Book Prize in Photography, the CDS Documentary Essay Prize in Writing and Photography, and the Lange-­‐Taylor Prize. In 1995 she was hired by CDS to work on the editorial staff for DoubleTake magazine. She was also hired as editor of the CDS books program at that time and has coordinated the publishing efforts for every CDS book—including the recent publications Legendary: Inside the House Ballroom Scene: Photographs by Gerard H. Gaskin; One Place: Paul Kwilecki and Four Decades of Photographs from Decatur County, Georgia; Iraq | Perspectives: Photographs by Benjamin Lowy; and American Studies: Photographs by Jim Dow. Dilworth has a B.A. and an M.A., both in English, from the University of Florida, and an M.F.A. in creative writing (poetry) from the Iowa Writers’ Workshop at the University of Iowa. Ms. Dilworth is particularly interested in reviewing new and innovative approaches to documentary projects. (She would prefer not to review traditional nudes, fashion, or commercial/stock photography, as CDS does not present this kind of work.) Bevin Bering Dubrowski Publications and Exhibitions Committee, Houston Center for Photography Co-­‐Editor, Spot Magazine Houston, TX www.hcponline.org Bevin Bering Dubrowski is attending Photolucida as a representative of Houston Center for Photography, a nonprofit organization founded in 1981 offering year-­‐round exhibitions, workshops, publications, outreach programs, lectures, and classes. HCP's mission is to increase society's understanding and appreciation of photography and its evolving role in contemporary culture. The Center produces 15 -­‐ 20 exhibitions annually on and off-­‐site, balancing work by regional and internationally acclaimed emerging, mid-­‐
career, and established artists. Bevin has served as HCP’s Executive Director and Creative Director for the past six years. In January, she stepped away from the roll to focus on other projects, but continues to serve as an active committee member for the organization. During reviews, she will be looking for bodies of work that she can present to HCP’s staff, exhibitions committee, and the Spot editorial team for consideration. HCP has a long history of exhibiting and publishing work discovered at Photolucida. Bevin is interested in seeing work to be considered for exhibition at Houston Center for Photography and to be published in Spot magazine. She would prefer to see work that has not been previously exhibited, and work that is not already scheduled for exhibition in Houston. Bevin is an energetic reviewer who cares deeply about helping artists to realize their vision. She loves to see complete bodies of work, but she also considers it a privilege to hear about and see new ideas and recent starts. JJ Estrada Co-­‐Founder, La Fototeca, Fototropia, GuatePhoto Festival Guatemala City, Guatemala www.lafototeca.org www.fototropia.org www.guatephoto.org Clara de Tezanos (Co-­‐founder) will be reviewing with JJ Estrada. JJ and Clara have played an important role in the promotion of contemporary photography in Latin America. They are the Co-­‐Founders and Directors of La Fototeca, a school and center of contemporary photography in Guatemala and the GuatePhoto Festival and Fototropia Gallery. Their artistic and curatorial projects include exhibits at the Museum of Modern Art Carlos Merida 2012 (Guatemala), NY Photo Festival 2010 (USA), Ping Yao Festival 2013 (China), Photoville 2012 (USA), ExpoFoto 2011 (Costa Rica), Fototropia 2013 (Guatemala), Rencontres dArles (France), ESFoto (El Salvador), and Foto 30 (Guatemala). “We are interested in contemporary photography, from documentary to fine art, particularly work that has a deep connection with the artist. We’re interested in imagery that pushes the limits of photography, both aesthetically and conceptually. We are looking for original work and proposals to possibly include in the GuatePhoto Festival 2015, future exhibits around Latin America, and printed publications – both books and journals.” Roy Flukinger Senior Research Curator, Photography Department, Harry Ransom Humanities Research Center Austin, TX www.hrc.utexas.edu Roy Flukinger is the present Senior Research Curator of Photography and former Department Head and Senior Curator of Photography and Film of the Harry Ransom Humanities Research Center at The University of Texas at Austin, where he has served as a curator since 1977. He holds degrees from Tulane University and from The University of Texas Austin, and has taught as an Adjunct Lecturer or Assistant Professor at UT and other institutions of higher learning. The subjects of the courses he has taught have ranged from the management of photography and film archives, through the history of photography, to great ideas of the Twentieth Century. He has published and lectured extensively in the fields of regional, cultural, and contemporary photography and the history of art and photography, and has produced or participated in nearly eighty exhibitions. He has written extensively for a number of recent books on such contemporary photographers as Arnold Newman, Jay Tyrell, Judith Fox, and Mike Marvins, among others. He is engaged in numerous other projects including exhibitions, presentations or articles on photographic history, collection management, and contemporary photography, as well as contributing essays to many publications. He serves as juror, reviewer, and evaluator for contemporary photographic events, groups, and support organizations. His areas of interest are extensive and he is willing to explore most areas of photography, ranging from art to photojournalism, from regional to international, from alternative processes to contemporary digital works, and from exhibitions through publications. He continues to provide critiques, evaluations, and recommendations for the acquisitions of the Ransom Center. Harris Fogel Director & Curator of the Sol Mednick Gallery of Photography & Gallery 1401 Associate Professor and Program Director of Photography, The University of the Arts Philadelphia, PA www.uarts.edu In the last 30 years, Harris Fogel has directed and organized more than 250 photo exhibitions. He served as curator/juror for the Texas Photographic Society “TPS 15” National Competition. He has been a portfolio reviewer for the FotoFest Meeting Place (Houston, TX), Photolucida, and at Society for Photographic Education conferences. Harris is also a trusted consultant to institutions and industries that seek his digital imaging expertise. He is host and Executive Producer of Mac Edition Radio (www.maceditionradio.com), an online resource for technology, photography, music, and digital imaging. Mr. Fogel has written for art-­‐ and photo-­‐related publications and projects, and taught photo history for more than 20 years. Fogel is interested in exposing the community to a wide range of photographic practices, concerns, approaches, and techniques, with an emphasis on fine-­‐art, alternative process, and non-­‐commercial documentary work. The galleries have an ongoing partnership with Equality Forum, one of the country’s largest gay rights organizations. Past Equality Forum show artists have included Duane Michals, Arthur Tress, Ryan McGinley, David Hilliard, Rachelle Lee Smith, Gabe Martinez, Maria Martinez Cañas, and Zoe Strauss, Connie Imboden, and Lindsay Morris and Lorezno Triburbo (both from a Photolucida review!). Additionally, each fall the work of the winners of The Photo Review annual competition is shown in Gallery 1401. Philosophically, our dogma is that we have no dogma. We are interested in great work, sincere and passionate in its origins, and fully realized in its completion. Fogel’s thoughts on why a photographer would choose him to review work: “The Sol Mednick Gallery of Photography has a 36-­‐year history of exhibiting contemporary photography with a wide variety of genres and goals. Due to demand, competition for exhibitions is strong. We have been strongly supportive of portfolio reviews, and awarded numerous shows that originated from them. Between the Sol Mednick Gallery and Gallery 1401, we exhibit an average of 16 shows per year. I can offer criticism, critique, and commentary on portfolios and the nature of the work. Because of my digital background, I can offer discussion on work from a technological viewpoint. I have served as a portfolio reviewer at numerous events, and hope that I can impart some modicum of insights gained from that experience. I can also suggest other venues, publications, and paths that a photographer might consider." Hamidah Glasgow Executive Director/Curator, The Center for Fine Art Photography Fort Collins, CO www.c4fap.org The Center is a nonprofit photography organization founded in 2004. Hamidah Glasgow is the Executive Director and Curator at The Center for Fine Art Photography. The Center hosts approximately 17 exhibitions annually and features the work of emerging and established artists from around the world. The Center has been recognized as one of the most prestigious nonprofit photography centers in the United States. Ms. Glasgow’s contribution to photography has included curatorial projects, portfolio reviews, contributions to publications and online magazines, and the hosting of regional conferences. As a reviewer, Ms. Glasgow is most interested in seeing work that is original, non-­‐ traditional, intentional, and informed. She is also interested in viewing work in progress. Ms. Glasgow is not generally interested in work that is commercial in nature, traditional nudes, and/or traditional landscapes. Solo and group opportunities are available in the Center’s three galleries. Mary Goodwin Founder, Waltz Books Indianapolis, IN www.waltzbooks.com Mary Goodwin is the founder of Waltz Books, an independent publishing company that provides creative and financial support for the production of ground-­‐breaking photobooks. We seek projects that require a close relationship between the book format and the photographic image. Working in collaboration with a wide variety of artists, book designers, and printers, Waltz Books provides a creative forum for innovative photobook projects. Julie Grahame Publisher, aCurator.com New York, NY www.acurator.com Julie Grahame is the publisher of aCurator.com, a full-­‐screen photography magazine, and the associated aCurator blog, one of the ten best photo sites named by the British Journal of Photography and one of Life.com's Top 20. She has represented the Estate of Yousuf Karsh for licensing for ten years. Grahame is a consultant, portfolio reviewer, writer and speaker. She is a member of American Society of Picture Professionals (ASPP) and American Photography Archive Group (APAG); judges photography for various non-­‐
profits, and is a contributing writer for PDN's Emerging Photographer and EDU magazines. In 2013 she helped launch a new website dedicated to architectural photography, and worked for a spell as Associate Director for ClampArt, a gallery in New York. In a former life, she ran the Retna photo agency from 1992 -­‐ 2006. aCurator’s audience consists of art directors, curators, and editors as well as photographers. Some photographers featured in aCurator have used the platform to go on and achieve a variety of successes including book deals and gallery shows. With more than 20 years’ experience in photography, Grahame brings a broad amount of practical knowledge and important relationships to her interactions. A wide array of photography can be seen in aCurator, including many features that came about through portfolio reviews; whether suitable for publication there or not, Grahame is pleased to give feedback on most types of work, perhaps with the exclusion of dull, vacant buildings, horses, and nudes. Nude horses in vacant buildings, however, could work. She’s a little tired of projects that look to make something “interesting from the mundane” and would prefer seeing something fresh. Kristen Gresh Estrellita and Yousuf Karsh Assistant Curator of Photographs, Museum of Fine Arts, Boston Boston, MA www.mfa.org Kristen Gresh is the Estrellita and Yousuf Karsh Assistant Curator of Photographs at the Museum of Fine Arts, Boston (MFA). She was the curator of the recent exhibition at the MFA, “She Who Tells a Story: Women Photographers from Iran and the Arab World,” and is the author of the exhibition’s companion publication. Previously, Gresh lived in Paris and Cairo for 15 years where she worked as curator and taught history of photography. Gresh has been on various nominating committees and a reviewer at festivals such as Contact Photography Festival, Toronto. She was also the juror for the recent “2015 Wheaton Biennial: Photography Beyond the Frame” and will jury the Photographic Resource Center’s 2015 Annual Juried Exhibition “Exposure.” She is interested in reviewing a range of work from fine art to documentary photography. She prefers not to review commercial work or nudes. As a reviewer, Gresh can provide feedback and constructive criticism from a curatorial perspective. Myles Haselhorst Founder and Director, Ampersand Gallery & Fine Books Portland, OR www.ampersandgallerypdx.com Myles Haselhorst is the Founder and Director of Ampersand Gallery & Fine Books in Portland, Oregon. Ampersand's storefront gallery location has been open since fall 2008. Committed to cultural preservation, Haselhorst actively buys and sells vintage photography, paper ephemera, and collectible books. The gallery's book inventory, consisting of both new and used titles, is focused primarily on visual content, with particular emphasis on graphic design and photography books. Monthly gallery shows feature either contemporary artworks or curated selections from Ampersand's vintage inventory. In both cases, the intent is to investigate the colliding point between now and then, past and present, vintage and contemporary. Gallery exhibitions have included work by Stacey Tyrell, Clayton Cotterell, Jen Davis, Tatum Shaw, Todd Hido, Corey Arnold, Alec Soth, Ron Jude, Raymond Meeks, and many others. Having studied literature, Haselhorst brings to his curatorial practice a strong interest in the narrative potential of an artist's photographic work. Drawn first to the sensual and aesthetic qualities of individual images, he is further compelled by work that, as a collection, implies or is suggestive of story, especially bodies of work that forgo literalness in favor of ambiguity and latitudes of imagination. By extension, he is drawn to photographic practices that experiment not only with the potential of image making itself, but also with photographs as material objects in terms of printing methods, exhibition installations and publications. The latter, in particular, is paramount to one's experience with Ampersand as an exhibition space. Patrons and artists are encouraged to draw parallels between the art exhibited and the wide selection of photographic books available to peruse and purchase. Haselhorst has also designed and published several books under the gallery's imprint, Ampersand Editions, most recently An Island in the Moon by Los Angeles based writer and photographer, Jordan Sullivan. In addition to offering general feedback for Photolucida participants' work, Haselhorst is actively looking for photographers to potentially exhibit and/or publish. For those interested in publication, Haselhorst can also offer suggestions and advice related to small run, independently produced publications, addressing issues of design, paper selection, methods of printing and distribution. Stephanie Heimann Founder/Director, Fovea Exhibitions Beacon, NY www.foveaexhibitions.org Stephanie Heimann is an independent photography editor and the founder of the non-­‐
profit Fovea Exhibitions, where in a volunteer capacity she acts as Director, overseeing topical photojournalism exhibits on newsworthy and social issues since 2007. She is also the online Photo Editor for Life Reimagined.org by ARRP, and Photo Editor for Global Business Travel Magazine. She was Al Gore's Photo Editor on both the iPad and hard cover versions of Our Choice-­‐-­‐the follow-­‐up title to Inconvenient Truth. Currently based in New York, she has worked at many national & international magazines including Newsweek, Fortune Small Business, Luxury SpaFinder Magazine, New York Magazine, Tricycle, and Scientific American. She spent eight years living as an expatriate in Hong Kong and Moscow, where she worked as a photojournalist and photo editor, covering post-­‐Soviet culture and the first war in Chechnya. Ms. Heimann's involvement with photography has included curatorial projects, portfolio reviews, judging of competitions, and lecturing in high schools and college programs. At Photolucida, Ms. Heimann is most interested in seeing two genres: documentary photography and art photography that has a strong narrative and conceptual vision. She is additionally interested in portraiture for potential assignments. She has special interest in issue that focus on the environment, either from a documentary or artistic perspective. Ms. Heimann can offer general portfolio advice and suggestions relevant to the editorial photography market. Many photographers she has met through portfolio reviews have been hired, published, or exhibited within the various projects she is engaged in. Ms. Heimann is not interested in seeing nudes or fashion photography. Tricia Hoffman Director, Newspace Center for Photography Portland, OR www.newspacephoto.org Tricia Hoffman is the Executive Director of Newspace Center for Photography. She has worked in non-­‐profit management for the past 10 years, most recently at Blue Sky Gallery and Photolucida. She holds an MFA in Photography from the University of Hartford, Hartford Art School. Tricia is interested in reviewing work from early-­‐to-­‐mid career photographers working in any style or genre. Yaelle Amir Curator, Newspace Center for Photography Yaelle Amir is the Curator of Newspace Center for Photography. She has worked as an independent curator and writer in New York for the past decade, including positions as Research Scholar at the Institute of Fine Arts, New York University and Curatorial Assistant and Writer for the International Center for Photography. She received her BA in Art History from Tel Aviv University in Tel Aviv, Israel and her MA in Modern Art History and Curatorial Studies from Columbia University in New York, NY. Yaelle is interested in narrative-­‐based photography, with specific emphasis on social justice issues or using unique photographic processes. Newspace Center for Photography hosts six – nine solo photography exhibitions each year and is currently looking for work to exhibit in 2016. In addition, Newspace annually offers more than 200 classes and workshops to the Portland photographic community. Newspace accepts submissions for workshops on an ongoing basis. Tricia and Yaelle would be happy to discuss teaching engagements with interested photographers. Newspace is not able to acquire, commission, represent, or publish artists at this time. Tricia and/or Yaelle will be at the Newspace Center for Photography reviewing table. Elizabeth Houston Owner/Director, Elizabeth Houston Projects New York, NY www.houseprojects.com Elizabeth Houston Projects (formerly Hous Projects) was founded in September 2007 by Elizabeth Houston. It is based on a collaborative and inter-­‐media approach. The gallery’s initiation to the contemporary scene imbues fresh voices from artists who work in the present and explore a cornucopia of facets. Furthermore, such artists are linked by a commitment to technical mastery as well as concept. Core artists are able to realize the fusion of these ideals with the support of Elizabeth Houston Projects and our commitment to bringing their work to exhibitions both home and abroad. The gallery has exhibited with PULSE New York, PHOTOLA, Scope London, Scope Miami, Scope New York, Scope Basel, and Zona Maco. Elizabeth Houston Projects has met success with collectors and critics alike and been reviewed in The Wall Street Journal, The New Yorker, The Village Voice, and The New York Times, amongst others. In our seventh year, we look forward to continuing with our stable of artists as well as debuting talent in photography as well as other mediums in New York. In addition to her work with Elizabeth Houston Projects, Elizabeth Houston has participated as a juror for various portfolio reviews and exhibitions including International Center of Photography, Review Santa Fe, Fotofest, Critical Mass, and Women in Photography. As a portfolio reviewer, Elizabeth Houston offers participants professional development, guidance, and curatorial insight as well as the potential to work with her gallery. She is most interested in viewing well-­‐executed and cohesive bodies of work with a contemporary conceptual focus. She welcomes reviewing a range of processes including video and new media. Michael Itkoff Co-­‐founder, Daylight Books Hillsborough, NC www.daylightbooks.org Michael Itkoff is an artist and Cofounder of Daylight Books + Fabl as well as an Associate Professor at the School of Visual Arts in Manhattan. A monograph, Street Portraits, was published by Charta Editions in 2009. Michael received his BA from Sarah Lawrence College and his MFA from ICP/Bard College. Michael is represented by the Catherine Edelman Gallery in Chicago. An avid lover of photography, Michael is most interested in viewing material that could be packaged into a monograph. Ann M. Jastrab Gallery Director, Rayko Photo Center and Gallery San Francisco, CA www.rayko.com Ann M. Jastrab is currently the Gallery Director at RayKo Photo Center located in the SOMA arts district in San Francisco near SFMOMA and the Yerba Buena Arts Center. RayKo is a comprehensive photographic facility with rental darkrooms, digital labs, studio, and galleries that has been serving the San Francisco Bay Area for over 20 years. RayKo Gallery serves to advance public appreciation of photography and create opportunities for regional, national, and international artists to create and present their work. RayKo Gallery offers over 1600 square feet of exhibition space and presents eight to ten exhibitions yearly with many nationally recognized artists; there is also a section of the gallery called The Marketplace that is reserved for Bay Area artists and displays a wide variety of photographic work. Besides being a curator, Ann Jastrab, MFA, is a fine art photographer, master printer, and teacher as well. Ann has curated many exhibitions for RayKo as well as juried exhibitions for the San Francisco Arts Commission, the Academy of Art in San Francisco, Artspan, and SFAI, the Center for Fine Art Photography, and other national and international venues outside of San Francisco. She has reviewed portfolios at the Seoul International Photography Festival in Korea, Fotofest, Photolucida, GuatePhoto, Review Santa Fe, Review LA, PhotoAlliance (Our World), SPE, Medium, Palm Springs Photo Festival, Filter, Lishui International Photography Festival in China, and Click646 as well as being a juror for Critical Mass. She has also been teaching courses at the Maine Media Workshops (formerly the Maine Photographic Workshops) in Rockport, Maine since 1994. Ann is always looking for new artists for the gallery, both for solo shows and group shows. She is most interested in seeing documentary projects, fine art photography, alternative processes/historical process work, and also work made with traditional film cameras as well as plastic and pinhole cameras. Ann is not interested in seeing work that is obviously digitally manipulated. Brooks Jensen Publisher, LensWork Anacortes, WA www.lenswork.com Brooks Jensen is a fine-­‐art photographer, publisher, workshop teacher, and writer. He and his wife (Maureen Gallagher) are the owners, co-­‐founders, editors, and publishers of the award winning LensWork, one of today’s most respected and important periodicals in fine art photography. With subscribers in 72 countries, Brooks’ impact on fine art photography is truly world-­‐wide. His podcasts on art and photography are heard over the Internet by thousands every day. LensWork Publishing is also at the leading edge in multimedia and digital media publishing with LensWork Extended — a PDF based, media-­‐rich expanded version of the magazine. Brooks is the author of the best-­‐selling Looking at Images, The Creative Life in Photography, Letting Go of the Camera, and Single Exposures: Random Observations on Art, Photography and Creativity, as well as a series of workshops on disc. His next book, Those Who Inspire Me (and Why), will be release in 2015. At Photolucida, Mr. Jensen is hoping to accomplish two things: 1. He will be looking for unified bodies of work, b/w or color, that might be candidates for LensWork Extended (their color and b/w media-­‐based publication on disc) or LensWork (their core b/w print publication) 2. They are happy to offer feedback about photographer’s portfolios even if they are not candidates for our publications. They are especially interested in project development, editing and sequencing, and creative ideas for finding an audience for your work. Jessica Johnston Curator of Collections and Assistant Director, Visual Studies Workshop Rochester, NY www.vsw.org Jessica Johnston is Curator of Collections and Assistant Director at Visual Studies Workshop (VSW) in Rochester, New York. Founded in 1969 by Nathan Lyons, VSW’s mission is to support makers and interpreters of images through education, publications, exhibitions, and research collections. VSW offers a Master of Fine Arts degree in Visual Studies through the State University of New York, College at Brockport, publishes artist’s books through the VSW Press, and produces the bimonthly media arts journal Afterimage. VSW offers a variety of summer workshops that focus on book arts, visual media, and encourage engagement with the collections. VSW also offers several artist residencies throughout the year as well as two-­‐month project space residencies for regional artists. In addition to her curatorial duties, Johnston is an Adjunct Professor in the Art and Art History Department at the University of Rochester and is a Visiting Instructor at SUNY Brockport. She teaches courses in collections management and the history of photography. Prior to joining VSW, Johnston was the Assistant Curator of Photographs at George Eastman House for eight years. She holds a Master of Arts degree in Photographic Preservation and Collections Management from Ryerson University, (2006). She is an active participant in the photographic community and has served as a reviewer at Houston Fotofest, Photolucida, Palm Springs, and others. As a portfolio reviewer, Johnston offers participants assistance in refining their vision, placing their work in historical context, and general advice on next steps. She can sometimes offer artist residencies, exhibitions, and recommend portfolios for publication in Afterimage. Johnston is interested in seeing work that has a strong conceptual base, has social/political engagement, and work that is experimental and pushes existing boundaries of form and/or content. She is also interested in work that speaks to the history of the medium, or somehow incorporates historic imagery. Johnston would prefer not to review commercial or fashion photography, traditional nudes or traditional black and white landscape photography. She is not able to offer opportunities for acquisition of photographs but may be interested in acquiring artist’s books for the VSW library collection. Scott B. Jones Director, Camerawork Gallery Portland, OR www.thecameraworkgallery.org Scott B. Jones is the Director of Portland’s Camerawork Gallery, the nation’s oldest continuously operating fine-­‐art photography gallery founded in 1970 through the encouragement of Minor White. As well, he runs the Interim Critique Group, which has been meeting continuously since 1961 fostering sharing and discussion of photographers’ artistic work in a supportive community in a style springing from the Oregon workshops of Minor White. Scott is also a fine-­‐art photographer himself and enjoys an active photographic practice and thus understands intimately the struggles and concerns of art photographers. He has studied with Peter Bunnell (former Director of the photography department at MOMA), John Sexton, Jay Maisel, and in particular the Miksang Institute. He feels equally comfortable curating and mounting shows as well as discussing, critiquing, or simply giving feedback on all genres of artistic photography. He is interested in what the artist wants from the experience and will try to tailor his input to those concerns without a personal agenda. He will also be available when not doing table reviews for more informal and perhaps much longer sessions for those who desire it. He has had much experience as a reviewer of all types at Photolucida for many years. Furthermore, Scott is actively seeking artists who wish to have one-­‐person exhibits at Camerawork Gallery and has successfully mounted many exhibitions over the years of the work of Photolucida attendees. All genres are exhibited, but of course exhibition opportunities depend on the work and the aesthetic sensibilities of the Director. Eric J. Keller Owner/Director, Soulcatcher Studio Santa Fe, NM www.soulcatcherstudio.com Eric J. Keller has been involved in nearly every aspect of the art and business of photography for the past three decades. Since 2002, he has owned and operated Soulcatcher Studio, a gallery of photographic masterworks based in Santa Fe, New Mexico. Soulcatcher Studio specializes in 20th century photo-­‐documentary studies and the classic American landscape. Keller formerly served as a Vice President on the Board of Directors for Blue Earth Alliance, a non-­‐profit dedicated to supporting photographic projects that educate the public about threatened cultures, endangered environments, and other social concerns. He continues to mentor several photographers that he worked with at Blue Earth Alliance. Soulcatcher Studio serves to advance public understanding of and appreciation for photography and create opportunities for regional and national artists to present their work. In 2014, Soulcatcher Studio launched its Emerging Artist Exhibition Series. This ongoing series will showcase three to four emerging photographic artists annually, giving them a new opportunity to showcase their talent to a wider audience while broadening the studio’s client’s horizons as well. Keller has served as a Portfolio Reviewer at the following events: Review Santa Fe, Review Los Angeles, Photolucida, PhotoNOLA, Photo Alliance Our World Portfolio Review, and FotoFest. He has juried Critical Mass for many years, as well. Most recently he served as a contributing writer for the upcoming revised edition of the essential reference volume, The Photograph Collector's Guide. Previous portfolio review participants Camille Seaman, Michael Donnor, and Jennifer Shaw are now part of the Soulcatcher Studio stable of artists. They are proud to have given Michael Donnor his first-­‐ever solo gallery exhibition and have provided exhibition opportunities for several other portfolio review participants as well. Eric J. Keller also took Sarah Wilson (SF Review 2009) to the 2009 Lishui Photographic Cultural Festival in Lishui, China, to showcase her award-­‐winning exhibition, Blind Prom. Mr. Keller is most interested in reviewing projects that explore a theme and that are visually both challenging and cohesive, with the intention of expanding his stable of contemporary artists in the coming year. He is not interested in viewing abstract work. Elizabeth Cheng Krist Senior Photo Editor, National Geographic Washington, DC www.ngm.nationalgeographic.com Elizabeth Cheng Krist is a senior photo editor for National Geographic, based in Washington, DC. She previously worked for Asia and Fortune magazines. Elizabeth curated the Women of Vision book and exhibition, as well as an auction for Christie’s. She has judged competitions for Critical Mass, Aftermath, FotoVisura, PDN, and the RFK Journalism Awards. With colleagues on her story teams, Elizabeth has won awards from POYi, Overseas Press Club, and Communication Arts. She has spoken at PhotoPlus and for the Cosmos Club. She has taught workshops in Santa Fe and has reviewed portfolios for the New York Times, LOOK3, Review Santa Fe, and Palm Springs Photo Festival. Elizabeth traveled to China on a fellowship from the International Reporting Project, and is on the board of the Eddie Adams Workshop. Elizabeth is most interested in seeing journalistic and narrative work for print assignments or for online use on the Daily News website, as well as in fine art for the Proof photo blog. She feels it would be less mutually rewarding to review sports, advertising, or fashion, despite her great respect for those genres. Shane Lavalette Director, Light Work Syracuse, NY www.lightwork.org Shane Lavalette is an American photographer, the founding Publisher/Editor of Lavalette, and the Director of Light Work. He holds a BFA from Tufts University in partnership with The School of the Museum of Fine Arts, Boston. Lavalette’s photographs have been shown widely, including exhibitions at the High Museum of Art, Center for Documentary Studies at Duke University, Aperture Gallery, Montserrat College of Art, The Carpenter Center for Visual Arts at Harvard University, The Center for Photography at Woodstock, The Museum of Fine Arts, Boston, and Musée de l’Elysée, in addition to being held in private and public collections. His editorial work has been published in various magazines, including The New York Times Magazine, The New Yorker, Newsweek, Esquire, Bloomberg Businessweek, Vice Magazine, The Wire, and Wallpaper, among others. Lavalette is currently based in Upstate New York. At Photolucida, Lavalette is interested in viewing developed, cohesive photographic projects as well as photobook mock-­‐ups and sequences. He can offer editorial guidance and feedback, as well as advice on applications for publication, exhibition, or residency programs. Before meeting with Lavalette, please familiarize yourself with his work, publishing projects, and the programs at Light Work. Please come to the table with a clear sense of what you’d like to discuss. Wally Mason Director, Sheldon Art Museum Lincoln, NE www.sheldonartmuseum.org Wally Mason was recently appointed the Director of the Sheldon Art Museum at University of Nebraska. Since 2007 he has been the Director/Chief Curator of the Haggerty Museum of Art at Marquette University in Milwaukee, Wisconsin. From 1996-­‐
2007 he was the Director of the University of Maine Museum of Art. He has curated over 75 exhibitions, most recently: Alfred Leslie: The Killing Cycle; Dark Blue: Water as Protaganist; The Europeans: Photographs by Tina Barney; Philip Guston: Inevitable Finality, The Gemini G.E.L Prints; The Truth is Not in the Mirror: Photography and a Constructed Identity; Whatever is There is a Truth: Robert Rauschenberg’s Prints; Berenice Abbott: Cities Portraits; Prospect of Light: Plastic and Pinhole Images; Jocelyn Lee: Youth; Millions Taken Daily: Photographs from Everyone and Everywhere; Drawing as Thinking; John Marin’s Maine; Richard Estes: Recent Prints; Witty, Sexy, Gimmicky: British Pop Art; Being Where: Looking Into Landscape and The Potential Self: Portrait as Signifier. Prior to moving to the museum world he taught at Phillips Academy, Western Michigan University, University of Vermont and University of South Florida. Mason holds a BA from Beloit College and an MFA from Indiana University. The Sheldon Museum of Art permanent collection numbers 11,000 objects including 3,100 photographs. The museum hosts photography exhibitions regularly and actively collects the medium. Mr. Mason is looking to view resolved bodies of work ready for exhibition. He can provide exhibition and acquisition opportunities. Richard McCabe Curator of Photography, Ogden Museum of Southern Art New Orleans, LA www.ogdenmuseum.org Richard McCabe received an MFA in Studio Art from Florida State University in 1998. Also in 1998, he received a Fellowship to New York University to attend the American Photography Institute, National Graduate Seminar. From 1998 – 2005 he lived in New York City where he worked for numerous art galleries and museums including The International Center for Photography, Robert Miller Gallery, and the El Museo del Barrio. He also taught at Photography at Pratt Institute, New York City and Montclair State University, Montclair, New Jersey. In 2005, Richard moved to New Orleans and has worked within the curatorial department at the Ogden Museum of Southern Art for the past ten years. In 2010, he became the Curator of Photography at the Ogden Museum. He has curated over 20 exhibitions in the past four years including Eudora Welty: Photographs from the 1930s and 40s; The Mythology of Florida; and Self Processing: Instant Photography and Seeing Beyond the Ordinary. Mr. McCabe is interested in reviewing photographic work that deals with issues and subject matter both within and outside the American South. Of particular interest are: photojournalism, documentary, portrait, landscape, and conceptual photography. Melanie McWhorter Manager, photo-­‐eye Book Division Santa Fe, NM www.blog.photoeye.com Melanie McWhorter has managed photo-­‐eye’s Book Division for over 17 years. She is a regular contributor to the photo-­‐eye magazine. She has been interviewed about photography in numerous print and online publications including PDN and NPR’s The Picture Show; has judged the prestigious photography competitions Women Photojournalists of Washington’s Annual Exhibition and Fotografia: Fotofestival di Roma’s Book Prize; has reviewed portfolios at Fotografia, Photolucida, Review Santa Fe and PhotoNOLA; and has taught and lectured at numerous venues. She is willing to meet with artists who want to introduce their work to her for photo-­‐eye Gallery or the Bookstore + Project Space and/or to offer advice on photo book publishing for works in progress or completed projects. She usually likes more descriptive, narrative work, but is open to viewing abstract and conceptual works. Kevin Miller Curator, Southeast Museum of Photography Daytona Beach, FL www.smponline.org Kevin Miller is the Curator at the Southeast Museum of Photography (SMP), a public museum located on the campus of Daytona State College in Florida. He was Director of the SMP for 13 years until 2014. Since 2001, he has curated and presented more than 200 exhibitions and produced numerous catalogue texts and publications. The Southeast Museum of Photography is the largest exclusively photographic museum in the southeastern US, holds the largest photography collection in Florida and is one of the largest such institutions in the US. The museum holds a significant permanent collection with strengths in general photographic history, documentary photography and contemporary photography. In a typical year there are seven exhibition seasons presenting single artist, thematic, vintage, retrospective and genre-­‐themed shows and various forms of retrospective exhibitions. Mr. Miller is able to provide critique, insight, and perspective on any developed body of work (no commercial illustrative or glamour work please) across a wide range of genres for potential inclusion in future museum exhibitions. The museum’s forthcoming schedule and regular exhibition slate includes a contemporary and emerging artist’s survey series. Blue Mitchell Publisher, One Twelve Publishing Portland, OR www.onetwelvepublishing.com www.diffusionmag.com www.platestopixels.com Blue Mitchell runs an independent fine-­‐art photography publishing company called One Twelve Publishing in Portland, Oregon. One Twelve is a young publishing company that focuses on hand crafted photography. Their photographic annual Diffusion is internationally distributed and respected. In 2015, One Twelve will publish their first monograph book Contact by large format photographer Jake Shivery. In addition to their printing endeavors, One Twelve also runs the online photographic gallery Plates to Pixels. Mitchell also curates and juries exhibitions at notable galleries both nationally and internationally. Most recently, Diffusion celebrated its 5th Anniversary Retrospective exhibition hosted by Verve Gallery of Photography in 2014. During Photolucida, Mitchell will be considering unconventional photo work for publication in Diffusion, Plates to Pixels, and his new monograph book series. Mitchell is specifically looking for fine art mixed media, alternative processes, analog, unique prints, photo as object, installation, and other handcrafted photography-­‐based work. He is not interested in commercial, editorial, or highly digitally manipulated photography. Dina Mitrani Owner/Director, Dina Mitrani Gallery Miami, FL www.dinamitranigallery.com After 20 years of experience in the international art world based in New York, Madrid, and Miami, Dina Mitrani opened her gallery in 2008 focusing exclusively on photography. The gallery exhibits work by emerging and mid-­‐career international artists with a mission to create a platform where artists and art enthusiasts have the opportunity to engage in artistic dialogues and cultural enrichment. The gallery has been featured in international print and online publications and has received accolades such as “Best Gallery Exhibition” by the Miami New Times in 2013. When she opened her gallery, it was the only space dedicated exclusively to fine art photography in the area. Dina Mitrani is a pioneer in making the Wynwood neighborhood a thriving arts community. She is a co-­‐founder of the Wynwood Art District Association, the Women of Wynwood, and a founding member and treasurer of the Miami Art Dealers Association. Dina has a Bachelor’s in Art History from the University of Michigan and a Master’s from Hunter College in New York. Her professional career began at Christie’s in New York and while finishing her graduate studies, she curated Latin American photography shows at Throckmorton Fine Art. After relocating back to Miami in 1999, she co-­‐curated an exhibition of photographs from the Martin Z. Margulies Collection at the Art Museum at Florida International University. In 2012, Dina curated Re-­‐Framing the Feminine: Photography from the collection of Francie Bishop Good and David Horvitz at the Girls’ Club Collection in Fort Lauderdale. In recent years, Dina has juried ARTslant’s photography competition, the MFA student exhibition at University of Florida, Photolucida’s Critical Mass competitions, and most recently, the Center for Fine Art Photography’s “Water” exhibition in Fort Collins, Colorado. She has participated as a reviewer in festivals such as Photolucida, the Palm Springs Photo Festival, as well as the Miami Street Photography Festival. She leads emerging-­‐artist workshops, gives gallery talks to various groups, including high school students, and has collaborated with independent curators and other art institutions to produce important photography exhibitions in the Miami area. Dina’s interest in photography ranges from narrative and poetic to conceptual and sociological. She would like to see work by photographers that is appropriate for the gallery’s curatorial programming and aesthetic sensibilities. The gallery is not interested in stock, advertising, fashion, photojournalism, or commercial photography. Susan Nalband Founder/Director, 555 Gallery Boston, MA www.555gallery.com Susan Nalband is the Director of 555 Gallery in Boston, working with artists Bear Kirkpatrick, Mary Ellen Strom, Amy Friend, Jim Nickelson, Garth Lenz, Lara Shipley, Jeffrey Heyne, and a growing number of established and emerging photographers. 555 Gallery exhibits the work of approximately 15 contemporary artists per year in solo or two – three person exhibits and one group show. As a gallerist, Nalband creates and curates exhibitions of all photography genres by seasoned as well as developing photographers and artists, often pairing them in dynamic exhibitions that bring collectors and curators to the lively gallery. Great inspiration has come from Martin Weinstein, whose gallery of the same name in Minneapolis grew from a small former grocery store location to one of the most respected photographic art galleries in the United States. Nalband shares Weinstein’s concept of photography as a populist medium, not needing art-­‐speak to interpret it for the viewer. Nalband has enjoyed reviewing portfolios at New England Portfolio Review, jurying Photolucida’s Critical Mass, and has juried exhibitions at the Duxbury Art Complex Museum. She can provide information on how the fine-­‐art photography world works in the gallery setting and give feedback on portfolio content and quality. Nalband is interested in contemporary fine-­‐art photography that exhibits a high quality of craft as well as work that engages the viewer, allowing them to see the world as the photographer sees it, but leaving room for the viewer to have a personal experience affected by seeing work. Alison Nordström, PhD Independent Scholar and Curator of Photographs Cambridge, MA Alison Nordström is an independent scholar, specializing in photographs of all kinds. She is known for her writing, speaking, and curating, and for the administration of photographic projects both in the US and internationally. Recent publications include "On Becoming an Archive" in Reading Magnum; Disappearance of Darkness: Photographs by Robert Burley; New Topographics; and Nature as Artifice: New Dutch Landscape in Photography and Video Art. She will curate the Lodz (Poland) Fotofestiwal in 2015 and 2016 and serve as Scholar-­‐in-­‐Residence, Graduate Department of Photography, School of Art and Design, Lesley University, in 2015. From 2004 to 2013, Nordström was Senior Curator of Photographs at George Eastman House, the oldest and largest museum of photography in the United States. She was the Founding Director and Senior Curator of the Southeast Museum of Photography in Daytona Beach, Florida from 1991 to 2002. She has curated over 100 exhibitions of photography including the popular biennial series Fresh Work, and major surveys of landscape, portraiture, travel photographs and journalism. At George Eastman House, she curated Paris: Photographs by Eugene Atget and Christopher Rauschenberg; Why Look at Animals?; Lewis Hine: Of Time and Buildings; and Found: Photographs by Gerald Slota. She is a regular portfolio reviewer at festivals and other events around the world; her review discoveries include Torben Eskerod, Craig Barber, Lisa Klapstock, Susan Dobson, Susan Evans, and Candace Gaudiani, for all of whom she has produced major books and/or exhibitions. Her current work includes the writing of two contemporary monographs, a multimedia project on historical and contemporary representation of the Somme, and research for an exhibition and major publication on the idea, in the broadest sense, of photographic documentary. She is particularly interested in seeing work by contemporary photographers that they themselves characterize as documentary. However, her interests are wide and she will happily review conceptual work of all kinds, photo essays, book dummies, (especially unpublished first books), work that has political content, work smaller than 8X10, work from outside the USA, and work in progress. She is generally not interested in nudes, infrared, polacolor transfers, or commercial work except photojournalism. Her reviews are good sources for objective critique and a serious interrogation of the work presented. In addition to image content, she can discuss career next steps, galleries and museums, and can comment on issues of editing, sequence, design and presentation. She can also befriend, amuse, encourage, advise, question, challenge, recommend, champion, and put things into perspective. David Oresick Executive Director, Silver Eye Center for Photography Pittsburgh, PA www.silvereye.org David Oresick is a curator, artist, and the Executive Director of Silver Eye Center for Photography, located in Pittsburgh, Pennsylvania. Silver Eye is a non-­‐profit gallery dedicated to promoting the power of contemporary photography and related media to inform, engage, and inspire diverse audiences and communities. Central to its mission is the creation of innovative exhibitions and programs that bring forward issues, ideas, and perspectives relevant to our times. Silver Eye is also committed to directly supporting today's artists through fellowships, professional development, and other opportunities for creative and professional growth. David holds an MFA from Columbia College Chicago and a BFA from the Rochester Institute of Technology. He was a co-­‐founder of the video-­‐art screening series Video Playlist at the Museum of Contemporary Photography in Chicago and was the Lab Manager and an exhibitions committee member at Light Work in Syracuse, New York. He has curated and helped to organize several exhibitions including Close to Home and A World Imagined, as well as screenings including Heartaches & Holy Rites, and Mixtapes & Mashups. David has shown his own artwork at Fotofest in Houston, the Antimatter Film Festival in Vancouver, and Blue Sky Gallery in Portland. At Photolucida, David is interested in viewing cohesive and developed projects that may be appropriate for Silver Eye exhibitions over the next two years. David is interested in fine art and documentary photography and that is well made and is conceptually and socially driven. David welcomes portfolios from a variety of processes, including video, new media, and mixed media. Silver Eye does not present commercial or fashion photography. Kirsten Rian Independent Curator Portland, OR www.kirstenrian.com Active in the photography community for more than twenty-­‐five years, Kirsten Rian is an independent curator and picture editor working with some of the world’s most accomplished photographers, publishers, and nonprofit, cultural, and educational institutions. She has coordinated close to 400 exhibitions, and picture edited or written for over 80 books and catalogues. She is also an internationally recognized visual artist and journalist, with grants, exhibitions, and residencies awarded regionally as well as to Africa and Europe. “I am interested in work that is tight thematically and represents an in-­‐depth look at a subject. I prefer work that is humanistic. I offer participants critical analysis, editorial advice, and potential inclusion in articles in photography publications, or exhibitions. I am continually seeking work to include in projects. Past Photolucida participants I’ve reviewed I have written about for magazines and included in exhibitions. An example of places for whom I’ve curated include Mercy Corps, a cultural symposium in China, Lewis and Clark College, Notre Dame University, Vermont PhotoPlace, and The Center for Fine Art Photography.” Arianna Rinaldo Director, OjodePez Magazine Artistic Director, Cortona On The Move Barcelona, Spain www.OjodePez.org www.cortonaonthemove.com/en/ Arianna Rinaldo is a freelance professional working with photography at a wide range. She is the Director of OjodePez magazine, the documentary photography quarterly published by LaFabrica, Madrid. She is also the Artistic Director of Cortona On The Move, an international photo festival in Tuscany, Italy. Arianna’s relationship with photography started in 1998 in New York, as Archive Director at Magnum Photos. Back in Italy in 2001, as Picture Editor for Colors magazine she commissioned international photographers to produce documentary and research projects around the world. Based in Milan from 2004 to 2011, Arianna has been a freelance curator for exhibits and book projects, and Photo Consultant for D, the weekend supplement of one of Italy’s main daily papers, La Repubblica. She collaborates with major publishing houses for special projects, and has been on several portfolio review panels worldwide. She was part of the World Press Photo jury in 2009, and Fotopres in 2012. Based in Barcelona since 2012, Arianna continues to develop photography projects at an international level, as well as teach photo editing. Arianna is open to seeing a variety of work but is mostly interested in documentary work, long or short term, with an innovative style and contemporary language suitable for editorial publication or exhibition. She is not too keen on looking at fashion or abstract pictures, but any type of work that tells a story is welcome. Laura Sackett Creative Director, LensCulture Berkeley, CA www.lensculture.com Laura Sackett is Partner and Creative Director in LensCulture, the leading website committed to discovering and promoting the best in contemporary photography. She has led all aspects of design including brand, website, print, communications, screenings, and exhibitions that has helped transform LensCulture into a world-­‐class platform for the global photography community. They currently have an audience of over 1.2 million. Besides leading the creative direction for LensCulture, she also curates the online galleries, co-­‐curates the LensCulture exhibitions, and serves as Juror for Portfolio Reviews. Laura is also a photographer. Her recent photo work includes camera-­‐less digital portraits and experiments with iPhonography. She is a founding Board Member of PhotoAlliance, and earned an MFA in photography from the California College of the Arts. She currently lives in Berkeley, CA. “LensCulture is a both an editorial magazine and an invitation-­‐only platform for contemporary photography. We showcase all genres – fine art, documentary, conceptual, street, B & W, etc. As a reviewer, I can provide feedback on projects from any stage of development – from the creative/conceptual process of new work to specific marketing advice for finished projects. I love work that makes me see an idea or subject in new ways, and am open to seeing all genres. I can offer talented photographers an invite-­‐only portfolio account and possible editorial feature or interview.” Bill Schwab Founder, North Light Press Dearborn, MI www.northlightpress.com Bill Schwab’s career as a photographer and publisher spans over three decades with work in many private and museum collections, publications and galleries. He has been a pioneer in the area of online representation and branding of his art, successfully managing a worldwide collector base and serving as consultant for other artists and galleries on the subject. In addition to his work as a photographer, he offers workshops at his northern Michigan facility in several photographic process with a variety of instructors including Holly Roberts, Shelby Lee Adams, Kerik Kouklis, and Christina Anderson, among others. He is also founder and host of the Photostock Festival, a popular annual gathering of photographers, collectors and enthusiasts for presentations, workshops, and reviews in northern Michigan. In 2005, he founded North Light Press (NLP) with the intention of independently supporting and publishing the work of emerging as well as established photographers. NLP has published several successful titles to date. Under this imprint, a series titled the “11+1 Signature Series” launched in 2011. The series of small-­‐run, limited-­‐edition books contain 11 reproductions and 1 original print. Each case-­‐bound book is signed and numbered by the photographer in an edition of only 100. There are now 10 books in this series, which is continually growing and includes successful titles from past Critical Mass Top 50 artists S. Gayle Stevens, Clay Lipsky, and Anne Berry. Although very interested in all work, preferences include contemporary projects in alternative and traditional processes. He can offer feedback, editorial, and professional assistance, and potential publication under his imprint. Rebecca Senf Curator, Phoenix Art Museum + Center for Creative Photography Tucson, AZ www.phxart.org www.creativephotography.org Rebecca Senf, Norton Family Curator has a joint appointment at Phoenix Art Museum and the Center for Creative Photography (Tucson, AZ). She curates exhibitions drawn from the Center for Creative Photography’s holdings that go on view in a dedicated gallery at the Phoenix Art Museum. Some of her past exhibitions include Richard Avedon: Photographer of Influence; Human Nature: the Photographs of Barbara Bosworth; Odyssey: the Photographs of Linda Connor; Charting the Canyon: Photographs by Mark Klett and Byron Wolfe; and Face to Face: 150 Years of Photographic Portraiture. Senf went to undergraduate school at the University of Arizona, studying the History of Photography, and subsequently spent ten years in Boston, Massachusetts where she earned a Ph.D. in Art History at Boston University. Senf has served on various selection panels and nominating committees and has been an invited reviewer for Photolucida’s Portfolio Review, Photo Alliance’s Our World Portfolio Review, Houston FotoFest, Critical Mass, and PhotoNOLA. Her publications include Reconstructing the View: The Grand Canyon Photographs of Mark Klett and Byron Wolfe (2012) and Ansel Adams From the Lane Collection (2005, reprinted in 2013). Senf is open to reviewing any type of work, although she is most likely to be able to comment on photography that is created as personal expression (i.e., yes to landscapes, figure studies, still lives, portraits, auto-­‐biographical work, abstracts, etc. in color, black-­‐
and-­‐white, alternative processes, digital or film based – not as helpful with commercial work or photojournalism). Special interests are panoramas and work related to Mexico and US/Mexico borderlands. She can comment on every step of the art-­‐making process from idea to object making, from editing to exhibition presentation, and from sequencing to publication. Senf’s primary role as a reviewer is to provide constructive criticism and feedback from the museum curatorial perspective, but ongoing relationships are likely, and acquisitions and exhibitions are possible. Rob Shaeffer Acquisition Editor at Large, Princeton Architectural Press New York, NY www.papress.com Rob Shaeffer has been involved in illustrated book publishing since 1990, working at Chronicle Books, Distributed Art Publishers (D.A.P.) and Princeton Architectural Press (PAP). A few of the photography books he has worked on include Mark Klett & Edward Muybridge’s One City, Two Visions, Masahisa Fukase’s Solitude of Ravens, Lois Conner’s Beijing: Contemporary & Imperial, classic reprints of Danny Lyons’ Bikeriders, and Ralph Eugene Meatyard’s The Family Album of Lucybelle Crater & Other Figurative Photographs. At PAP, he looks for projects with strong visual and written narratives that complement one another. Recent examples include Camille Seaman’s Melting Away: A Ten-­‐Year Journey through Our Endangered Polar Regions, Robert Dawson’s The Public Library: A Photographic Essay, and the forthcoming book by Jeanine Michna-­‐Bales: Through Darkness to Light: Seeking Freedom on the Underground Railroad. Shaeffer enjoys the review process, and enjoys collaborating with the artists to help them prepare their projects for book publications. In addition to commenting on the photographs, he discusses the PAP acquisition process, suggests writers for contribution, and steers photographers towards possible publishers, whether it is for PAP or another publisher. Tina Shelhorn Director + Curator, Galerie Lichtblick Cologne, Germany www.lichtblicknet.com www.lichtblick-­‐school.com www.kolga.ge Tina Schelhorn is the founding Director of Galerie Lichtblick, Cologne, which is celebrating its 29th year as a non-­‐profit organization for contemporary photography. The gallery has presented over 300 exhibitions in that time. She organized the festival Internationale Fotoszene Köln (1990-­‐1996), curated and organized the festival Internationale Fototage Herten (1995-­‐2001) with an International Prize for Young Photojournalism and in 2005, curated Internationale Fototage Mannheim/ Ludwigshafen with 140 exhibitions, among which 85 were on contemporary American photography. In 2011, she transformed the KOLGA Photo Competition into the festival Kolga Tbilisi Photo in Georgia and since then has curated it each year and organized its educational programming. Tina also has been a freelance curator for Aufbruch -­‐ Neue Russische Fotografie; L. Fritz Gruber – an homage to his 90th birthday; Tokyo Shock; Split View (for Art Basel); Mistigris – German Photography (for University of Texas/Dallas), China Stories (for Cambridge University/UK, Athens Photofestival, Timp/photokina and Museum of Modern Art/Tbilisi, Georgia) and Ladies Only (for MOMA Tbilisi 2014). Tina has been the Featured Speaker at SPE conferences and a lecturer at various universities in the USA. For nine years she was working in the international photography auction house at Cornwall, with international collectors. She has been a portfolio reviewer and has exchanged exhibitions with international festivals, including: Arles/France, Braga/Portugal, Houston/USA, Madrid/Spain, Milano/Italy, Noorderlicht/Netherlands, Odense/Denmark, Perpignan/France, Plovdiv+Sofia/Bulgaria, Portland/USA, Sunsdvall/Norway, Birmingham/UK, Sao Paulo/Brazil, Tampere/Finland, Lodz/Poland, Seoul/South Korea, Budapest/Hungary, Athens/Greece, Vienna/Austria, Tbilisi/Georgia and Shanghai/China. Tina is a founding member of Festival of Light and European Festivalunion, a member of Oracle -­‐ International Photocurators, and has juried Critical Mass for many years. Her websites and exhibition projects Images against War (since 2003) and Images against Walls (since 2009) feature more than 800 international photographers. Since 2011, Galerie Lichtblick has also run a successful workshop program – specially known for the 'Making of Books' in cooperation with Photobookmuseum Köln. Aline Smithson Founder/Editor/Writer, LENSCRATCH Los Angeles, CA www.lenscratch.com After a career as a New York Fashion Editor and working alongside the greats of fashion photography, Aline Smithson discovered the family Rolleiflex and never looked back. Now represented by galleries in the U.S. and Europe and published throughout the world, Aline continues to create her award-­‐winning photography with humor, compassion, and a 50-­‐year-­‐old camera. She has exhibited widely including solo shows at the Griffin Museum of Photography, the Fort Collins Museum of Contemporary Art, the Lishui Festival in China, the Tagomago Gallery in Barcelona and Paris, and the Wallspace Gallery in Seattle and Santa Barbara. In addition, her work is held in a number of public collections. Her photographs have been featured in publications including PDN (cover), the PDN Photo Annual, Communication Arts Photo Annual, Eyemazing, Soura, Visura, Fraction, Artworks, Lenswork Extended, Shots, Pozytyw, and Silvershotz magazines. In 2012, Aline received the Rising Star Award through the Griffin Museum of Photography for her contributions to the photographic community. Aline founded and writes the blogzine, LENSCRATCH, that celebrates a different contemporary photographer each day and offers opportunity for exhibition. She has been the Gallery Editor for Light Leaks Magazine, is a contributing writer for Diffusion, Don’t Take Pictures, Lucida, and F Stop magazines, has written book reviews for photoeye, and has provided the forwards for artist’s books by Tom Chambers, Flash Forward 12, Robert Rutoed, and Nancy Baron amongst others. Aline has curated and juried exhibitions for a number of galleries, organizations, and online magazines. She was an overall juror in 2012 for Review Santa Fe, a juror for Critical Mass from 2009-­‐2013, a juror for Flash Forward in 2012 and 2013, and is a reviewer at many photo festivals across the United States. Though she was nominated for The Excellence in Photographic Teaching Award from 2008-­‐2012 and for The Santa Fe Prize in Photography in 2009 by Center, she considers her children her greatest achievement. She is a founding member of the Six Shooters Collective and is currently teaching and curating for the Los Angeles Center of Photography in Los Angeles. Gordon Stettinius Founder, Candela Books + Gallery Richmond, VA www.candelabooks.com In 2010, Stettinius founded an independent publishing company, Candela Books, to release a monograph of New York photographer Gita Lenz. Stettinius then published Salt & Truth, the fourth monograph of American photographer Shelby Lee Adams, followed by Sunburn, the first book from contemporary photographer Chris McCaw. Candela released their fourth and fifth books in November 2014 -­‐-­‐ Black Forest, a subterranean anthology of contemporary photography edited by Russell Joslin and Mangini Studio, a collaboration between Stettinius and photographer Terry Brown. Candela Gallery was founded soon after publishing the first books, opening with exhibitions to support Candela’s book titles but quickly filling its schedule with photographers of national reputation... Shelby Lee Adams, Chris McCaw, Cristina De Middel, Louviere & Vanessa, Maggie Taylor, Julio Mitchel, Susan Worsham and many others. The gallery is located in a recently renovated building in Richmond’s Downtown Arts District. An exhibiting photographer for more than twenty-­‐five years, Stettinius’ work has been exhibited internationally, his photography can be found in both private and public collections, and he is a winner of the 2009 Theresa Pollak award for Excellence in the Arts. He is represented by Robin Rice Gallery in New York and Page Bond Gallery in Richmond, Virginia. Stettinius is also an emeritus member of 1708 Gallery in Richmond, Virginia and an adjunct professor at Virginia Commonwealth University. “I am open to all types of imagery -­‐ especially complete and mature bodies of work that might be suitable as a book project. The gallery's emphasis is upon fine art photography, alternative process, conceptual work, and we feature cohesive bodies of work. But, my background includes editorial and commercial and stock photography experience so I am able to speak to a broad range of photographic work and ambitions. My tastes run a little closer to organic and chaotic than they do to clean and controlled but honestly, there are exceptions to every rule. I am not particularly interested in fashion or commercial work but I am happy to look at and to discuss all types of work. For book projects I am currently editing: I am looking for work made by low fidelity cameras...plastic cameras, pinhole cameras, lens-­‐less cameras, homemade cameras. I am additionally looking for personal work relating to photographer’s families and loved ones for an anthology project.” Jennifer L. Stoots Advisor of Best Business Practices Portland, OR www.photostoots.com Jennifer L. Stoots, AAA, has been working in the museum and gallery industry for 20 years, in the photography marketplace for 17 years, and has been appraising photographs and contemporary art for close to 13 years. She is a certified member of the Appraisers Association of America, New York, NY. Jennifer’s knowledge of the photography market is particularly extensive, having managed a photography gallery (S K Josefsberg Studio, 1998-­‐2004), via her appraisal work, and serving on the boards of several photography non-­‐profits (Newspace Center for Photography in Portland, the Photography Council of the Portland Art Museum, and the Penumbra Foundation in New York). She also lectures on the history of photography, is a public speaker, assists at art fairs, and advises artists and collectors on matters relating to best business practices, resale of artwork, and navigating the process for planning their estates. Jennifer Stoots received her M.S. in the History of Art and Design from Pratt Institute (2013) and her B.A. in Art History from the University of Oregon (1994). She acquired her appraising credentials from NYU’s Appraisal Studies Program for Fine and Decorative Arts in 2002 and is qualified to do IRS appraisals under the guidelines of the Uniform Standards of Professional Appraisal Practice examination (certificated in 2015, 2013, 2008 and 2002). As a Photolucida reviewer, Jennifer can talk to you about the various ways you can get your artwork in front of curators, gallerists, and photo editors. Also, she can help you refine which galleries and venues would be most open to your work and talk to you about how best to approach them. In addition, feedback from photographer friends and associates allows her to illustrate common issues that many artists have in the process of fostering their careers as well as the patterns among successful photographers. Mary Virginia Swanson Marketing Consultant, M.V. Swanson & Associates Tucson, AZ www.mvswanson.com Mary Virginia Swanson is an author, educator and consultant who helps artists find the strengths in their work, identify appreciative audiences, and present their work in an informed, professional manner. A trusted mentor and advisor, she presents seminars and lectures on marketing opportunities that have proven to aid photographers in moving their careers to the next level. Swanson co-­‐authored with Darius Himes the acclaimed Publish Your Photography Book: Revised & Updated (2014). Swanson is the recipient of the 2013 Lifetime Achievement FOCUS Award from the Griffin Museum of Photograph and the 2014 Susan Carr Award for Education from the American Society for Media Photographers (ASMP). The Society for Photographic Education has named her the 2015 Honored Educator. Her latest publication, Finding Your Audience: An Introduction to Marketing Your Photographs will be released Spring 2015. During the reviews, Swanson is happy to look at work of all genres, subjects, and processes, and hopes to help artists who feel that their work is ready to be seen, exhibited, published, and/or collected with charting a path to those market(s). Claire Sykes Partner/Co-­‐Director, Circuit Gallery Toronto, Canada www.circuitgallery.com Susana Reisman (co-­‐director) will be reviewing with Claire Sykes. Claire (a curator) and Susana (an artist) co-­‐direct and own Circuit Gallery, a Toronto-­‐
based commercial gallery specializing in contemporary photography that they founded in 2008. The Gallery represents a small stable of both Canadian and international artists that includes: Alejandro Cartagena, Donald Weber, Robert Bean, Akihiko Miyoshi, Paulo Catrica, Eamon Mac Mahon, and Naomi Harris. The directors curate regular exhibitions for their artists and others. In 2014, Circuit Gallery entered a presentation partnership with Prefix Institute of Contemporary Art, giving the gallery an exciting new exhibition venue in the 401 Richmond building, a destination arts-­‐hub in downtown Toronto. Circuit Gallery @ Prefix ICA holds four exhibitions a year at this location. Circuit Gallery also operates Circuit Editions, an online shop that aims to make interesting, significant, quality, contemporary art more accessible by making it more affordable. They do so by selling this work in relatively large editions and online, thus bringing art and photography to a wider audience and cultivating new collectors. Alongside her work for Circuit Gallery, Claire is Curator and Program Director for Cape Farewell (North America) (www.capefarewell.com) a non-­‐profit foundation that brings artists and scientists together to create projects that seek to capture the public’s attention and bring the realities of climate change down to a human scale. She recently curated with David Buckland an ambitious multi-­‐art project entitled Carbon 14: Climate is Culture for the Royal Ontario Museum (Toronto). Claire has graduate degrees in Art History (Western, 1999) and Visual and Cultural Studies (University of Rochester, 2006). Susana has a BA in Economics from Wellesley College (Boston, 1999) and an MFA in Photography from the Rochester Institute of Technology (Rochester, 2005).
“We are actively on the look out for new and engaged work. We are especially keen to see more work by women.” Paula Tognarelli Executive Director, Griffin Museum of Photography Winchester, MA www.griffinmuseum.org Paula Tognarelli is the Executive Director and Curator of the Griffin Museum of Photography. The Griffin Museum of Photography, located in Winchester outside Boston, Massachusetts, is a small nonprofit photography museum whose mission is to promote an appreciation of photographic art and a broader understanding of its visual, emotional and social impact. The museum houses three galleries and maintains four satellite gallery spaces and several virtual on-­‐line galleries as well. Ms. Tognarelli is responsible for producing over 60 exhibitions a year at the Griffin and its surrounding satellite spaces. Paula holds a M.S. in Arts Administration from Boston University, a BA from Regis College, is a graduate of the New England School of Photography and is a current candidate for her Masters in Education at Lesley University. She has juried and curated exhibitions internationally including American Photo's Image of the Year, Photoville's Fence, Flash Forward Festival, Deland Arts Festival, Center for Fine Art Photography, PDN's Photo Annual, PDN's Curator Awards, the Kontinent Awards, the Filter Festival in Chicago, San Francisco International Photography Exhibition, Your Daily Photograph for Duncan Miller Gallery, Lensculture and the Lishui International Photography Festival in Lishui, China. She is a regular participant in national and local portfolio reviews, has been a panelist and featured speaker at photography events and conferences including MacWorld. She has been a panelist for the Massachusetts Cultural Council's Photography Fellowships and is a nominator for the Prix Pictet in Geneva, Switzerland, a nominator for the Heinz Prize in Pennsylvania, the Robert Gardner Fellowship at Harvard University, the St. Botolph Prize and the Rappaport Prize in Massachusetts. She is a past member of the Xerox Technical Advisory Board. She is on the advisory board of the New England School of Photography and the Flash Forward Festival Boston. Ms. Tognarelli will be reviewing portfolios with the intention of filling exhibition spaces over the next two years. She is open to viewing a broad range of photography but will be looking for completed bodies of work that are ready for exhibition. She is also interested in work that can be connected to programming and education projects. Ms. Tognarelli approaches portfolio reviews from the perspective of an educator offering assessment and guidance to photographers to realize their objectives. Mia Tramz Multimedia Editor, TIME New York, NY www.time.com Mia Tramz joined TIME.com as an Associate Photo Editor in April 2013. As Multimedia Editor, she currently pivots between editing still photography, video and developing interactive projects online. On TIME.com, she edits for the Science & Space, Health, Opinion, and Living sections, as well as for special packages including Person of the Year and TIME 100. She collaborates with the publication's interactive team, most recently producing TIME's first underwater 360 video with Fabien Cousteau titled Deep Dive. She is also a contributor to Lightbox. Previously she spent two years as the Assistant Director of an e-­‐commerce start up that specialized in selling affordable art and photography. She has also held internships at Magnum Photos and Vanity Fair. She is a graduate of Columbia University. She is most interested in seeing work that falls within the realms of Science & Space, Health, and Living (TIME’s Women’s section). Stories related to caregiving, climate change, natural phenomena, space exploration, women’s issues, motherhood, time lapses, and portraiture are of particular interest. She can offer feedback on final works and works in progress, editorial advice, advice on thinking and working within the digital space, and advice to photographers who are interested in finding ways to use video in their practice. She is particularly interested in helping photographers explore the possibilities of working within the digital space, how to collaborate with developers and web designers, and pushing the boundaries of visual storytelling online. Katherine Ware Curator of Photography, New Mexico Museum of Art Santa Fe, NM www.nmartmuseum.org Katherine Ware is Curator of Photography at the New Mexico Museum of Art in Santa Fe, where a yearlong Focus on Photography series is on view in three upstairs galleries (www.nmartmuseum.org/focus). Previously, she conceived and organized the museum’s exhibition, book, and website Earth Now: American Photographers and the Environment. The museum serves as the state art collection and exhibitions and acquisitions often reflect a state or regional focus. Curators are also interested in contextualizing New Mexico art broadly and in exploring a variety of issues that are relevant to the state and its residents (landscape, identity, cultural crossroads, etc.). The museum most frequently exhibits photographs in group or subject-­‐driven exhibitions (of 12 to 35 works of art), as well as in conjunction with work in other mediums. Ms. Ware has previously served as Curator of Photographs at the Philadelphia Museum of Art, as Assistant Curator in the Department of Photographs at the J. Paul Getty Museum, and has worked with the photography collection at the Oakland Museum of California. She is a frequent juror and reviewer of contemporary photographs and has written essays and books on the art of the twentieth and twenty-­‐first centuries (Paul Strand, László Moholy-­‐Nagy, Man Ray, Harry Callahan, Bill Armstrong, Frank Rodick, Beth Lilly, Chris McCaw, Terri Warpinski). Ms. Ware has a particular interest in well-­‐crafted, thoughtful work that pushes the boundaries of the medium. She is most engaged by work that, in additional to being well-­‐made and visually compelling, expresses an idea and displays the artist’s personal style. She is less interested in work that emphasizes the medium’s descriptive aspect. April M. Watson Curator of Photography, The Nelson-­‐Atkins Museum of Art Kansas City, MO www.nelson-­‐atkins.org Since 2007, April M. Watson has worked with the Hallmark Photographic Collection at The Nelson-­‐Atkins Museum of Art. During her tenure, she has organized and co-­‐curated several photography exhibitions, including American Soldier (2015); Impressionist France: Visions of Nation from Le Gray to Monet, an exhibition of paintings and photographs co-­‐organized with the Saint Louis Art Museum (2013); About Face: Contemporary Portraiture (2013); Heartland: The Photographs of Terry Evans, a career retrospective of the artist (2012); Thinking Photography: Five Decades at the Kansas City Art Institute (2010); Hide & Seek: Picturing Childhood (2009); Human/Nature: Recent European Landscape Photography (2008); and Time in the West: Photographs by Mark Klett & Byron Wolfe and Mark Ruwedel (2007). Prior to joining the Nelson-­‐Atkins, Watson held curatorial research positions at the National Gallery of Art, Washington, D.C. and the Center for Creative Photography, Tucson. Watson has contributed writing and scholarship to publications for the University of New Mexico Art Museum, the Center for Creative Photography, the Cleveland Museum of Art, the Corcoran Gallery of Art and the National Gallery of Art, Washington, D.C. She also wrote essays for artist monographs by Joni Sternbach (2014) and Bjorn Sterri (2014) and contributed research and writing for the monograph The Art of Frederick Sommer: Photography, Drawing, Collage (2005). Watson is most interested in looking at artistic and documentary work (no commercial, advertising or fashion, please). She sees the portfolio review process as a forum for discovering new talent, with the potential of finding material to acquire for the museum’s permanent collection. Amy Wolff Photography Editor, Photo District News New York, NY www.pdnonline.com Amy is the Photo Editor for Photo District News (PDN) and Co-­‐Founder of CoEdit Collection, an online photography gallery that sells fine art prints. Amy grew up in Easton, PA, and after receiving a BA in Communications & Art History from Goucher College in Baltimore, she moved to San Francisco. After a short stint in advertising, she switched gears to become an employee of the federal government, working in a national park as the staff photographer and producer of art exhibits and public programs. In her spare time she photographed bands in exchange for concert tickets or free beer, and weddings that actually paid. Leaving her cushy government benefits behind, she moved to New York City in 2007 to pursue a career in photo editing. She began as a photo assistant at Fortune magazine where one of her first tasks was to scan Walker Evans negatives. Amy is a frequent (and honest) portfolio reviewer and judge for photography contests. “As a photo editor at PDN, I see a lot of images, all day, every day. I like all kinds of photography -­‐ portraits, landscapes, still life, conceptual, fine art, documentary, photo journalism, food, travel, but I’m not interested in a particular type. Everyone is a photographer these days so what is important is a point of view. What are you doing differently from everyone else? What makes you and your work unique? What are you trying to do/say/accomplish with your images? I realize those are difficult questions to answer but it makes all the difference.” Lisa Woodward Co-­‐Curator, Pictura Gallery Bloomington, IN www.picturagallery.com Mia Dalglish (Co-­‐Curator) will be reviewing with Lisa Woodward Lisa Woodward and Mia Dalglish are Co-­‐Curators at Pictura Gallery. They currently serve as portfolio reviewers for national photography conferences festivals, such as Fotofest, Photolucida, and Filter. They also serve as guest critics for university classrooms and conduct studio visits at various MFA programs. Mia is an alumnus of the Indiana University Photography Program. Upon graduation she worked at the International Center for Photography in the Digital Media Department. Lisa is an alumnus of the Rhode Island School of Design's photography program. Although a relatively young gallery, Pictura has gained a reputation for its nuanced exhibits and has come into the public eye as a thoughtful new venue for emerging and established artists. The gallery specializes in contemporary photography, focusing on strong formal sensibilities and depth of content. Lisa and Mia curate six shows each year in Bloomington, with one show focused on photojournalism. Pictura also exhibits in art fairs such as Pulse and Context in New York and Miami. Lisa and Mia are interested to see fresh portfolios that demonstrate a cohesive and carefully edited body of work. However, photographers are also encouraged to bring additional prints from their series (perhaps some excluded from the edit) to potentially further the conversation. What they would like to see: excellent craft, a balance of aesthetic and conceptual concerns, emotionally moving work with well-­‐considered ideas. They do not want to see: strictly commercial photography, purely conceptual work with no visual or emotional impact, or vice versa. Lisa and Mia can offer critique and feedback about your work and help push you towards making it gallery ready. If the work is a good fit for the gallery and its programming, exhibition opportunities may be offered at a later date. Pictura intentionally represents a small number of carefully chosen photographers but is open to considering new artist representation. In order to be considered for exhibition, projects do not need to be completed but must show a high degree of thought, cohesion, and resolution. Lisa and Mia prefer to see actual prints that exemplify your best abilities as a craftsman (even if they are not at actual exhibition size.)