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  FotoFest 2012 Biennial

INTERNATIONAL MEETING PLACE
PORTFOLIO REVIEW

2012 Meeting Place Reviewers

 
Session 1 Session 2 Session 3 Session 4

 

SESSION 2: March 21 - 24, 2012

[List as of: March 8, 2012]

IMPORTANT - Please be aware that changes and cancelations may occur.

Liz Anders, Senior Associate, Kinzelman Art Consulting, Houston, Texas
Evgeny Berezner, Director, ROSIZO State Centre for Museums, Moscow, Russia
Blanca Berlin, Director, Galeria Blanca Berlin, Madrid, Spain
Elisabeth Biondi, Independent Curator and Consultant, New York, New York
Xavier Canonne, Director, Musee de la Photographie, Charleroi, Belgium
John Caperton, Curator, The Print Center, Philadelphia, Philadelphia
Jean Caslin, Founding Partner, Caslin Gregory & Associates, Consultants to Arts & Culture, Houston, Texas
Alejandro Castellanos, Director, Centro de la Imagen, Mexico City, Mexico
Debra Klomp Ching, Owner, KlompChing Gallery, Brooklyn, New York
Bridget Coaker, Picture Editor, Troika Photos and The Guardian, London, United Kingdom
Gemma and Luis De Santos, Owners and Directors, De Santos Gallery, Houston, Texas
Julia Dolan, Curator of Photography, Portland Art Museum, Portland, Oregon
Natasha Egan, Director, Museum of Contemporary Photography, Chicago, Illinois
Jon Feinstein, Curatorial Director, Humble Arts Foundation, New York, New York
Mauro Fiorese, Executive Director, PH Neutro Fine-Art Photography Galleries, Verona, Italy
Juan Alberto Gaviria, Director/Curator, Gallery of Contemporary Art Paul Bardwell of the Centro Colombo Americano, Medellin, Colombia
Michael Grieve, Deputy Editor, 1000 Words Photography Magazine, London, United Kingdom
Elda Harrington, Director, Encuentros Abiertos de Fotografia, Buenos Aires, Argentina
Ellen Harris, Photography collector and Independent Collections Adviser, New York, New York
Frazier King, Chair of the Exhibitions Committee, Houston Center for Photography, Houston, Texas
George Kinghorn, Director and Curator, University of Maine Museum of Art, Bangor, Maine
Julie Kinzelman, President, Kinzelman Art Consulting, Houston, Texas
Lucille Lagier, Curator, Atelier de Visu, Marseille, France
Jason Landry, Owner, Panopticon Gallery, Boston, Massachusetts
Vaclav Macek, Director, Central European House of Photography, Bratislava, Slovakia
James Maloney, Private Collector, Houston, Texas
Karen McQuaid, Curator, The Photographers' Gallery, London, United Kingdom
Andrea Meislin, Director, Andrea Meislin Gallery, New York, New York
Evan Mirapaul, Independent Curator and Collector, New York, New York
Joan Morgenstern, Private Collector, Houston, Texas
Moritz Neumüller, Independent Curator, Barcelona, Spain
Alison Nordstrom, Curator, George Eastman House, Rochester, New York
Edward Osowski, Photo Collector, Houston, Texas
Joaquim Paiva, Private Collector, Rio de Janerio, Brazil
Maria Patomella, Curator, Fografiska-Swedish Museum of Photography, Stockholm, Sweden
David Raymond, Collector, Artist, Filmmaker, New York, New York
Rixon Reed, Director and Founder, Photoeye, Santa Fe, New Mexico
Arianna Rinaldo, Independent Curator and Editor, Milan, Italy
John Rohrbach, Senior Curator of Photographs, Amon Carter Museum of American Art, Fort Worth, Texas
Paco Salinas, Director, Fotoencuentros, Murcia, Spain
Mark Sealy, Autograph ABP, London, United Kingdom
Karen Sinsheimer, Curator, Santa Barbara Museum of Art, Santa Barbara, California
Rod Slemmons, Curator at Large, Museum of Contemporary Photography, Chicago, Illinois
Gilma Suarez, Director, FotoMuseo, Bogota, Colombia
Barbara Tannenbaum, Curator of Photography, Cleveland Museum of Art, Cleveland, Ohio
Irina Tchmyreva, Researcher, Russian Academy of Arts, Moscow, Russia
Anne W. Tucker, Curator of Photography, Museum of Fine Arts, Houston, Texas
Clint Willour, Curator, Galveston Arts Center, Galveston, Texas
Denise Wolff, Editor Book Program, Aperture Foundation, New York, New York
Natalie Zelt, Curatorial Assistant for Photography, Museum of Fine Arts, Houston, Texas
Del Zogg, Manager Works on Paper and Photography Collections, Museum of Fine Arts, Houston, Texas

Soraya Amrane, Director and Co-Founder
L'Atelier de Visu, Marseille, France

www.atelierdevisu.fr
www.www.marseilleexpos.com

Soraya Amrane is the director and co-founder of L'Atelier de Visu in Marseille, France. L'Atelier de Visu is a space entirely dedicated to photography and visual arts. Since it's creation, L’Atelier de Visu's primary artistic project is to present programs showing emerging and established artists. L’Atelier emphasis is in supporting and promoting emerging artists, and to offer to the public a national and international photographic scene. The gallery of L’Atelier de Visu offers year around: solo and group exhibitions, workshops (J.H Engström, Klaudij Sluban, Dolorès Marat), screenings, an art residency program, publications (Arja Hyytiainen, Antoine d'Agata), and a small library. L’Atelier receives support from local and regional institutions. Atelier de Visus is a member of Marseille Expos.

Since 2000, Ms. Amrane has reviewed photographers portfolios at Arles international photography Festival. She has been a member of several regional juries that grant fellowship awards.

As a reviewer, Ms. Amrane offers her professional vision and critique to enhance the cohesion of the artistic project, as well as an opportunity to collaborate with L’Atelier de Visu. She accepts to review portfolios in different formats, in print format or digital format. Please the gallery web site to have a sense of what has been shown previously.

Liz Anders, Senior Associate
Kinzelman Art Consulting, Houston, Texas

www.kinzelmanart.com

Liz Anders is a Senior Associate at Kinzelman Art Consulting in Houston. Liz is an art advisor and manager of corporate and private collections, a fine art appraiser and also provides curatorial services for her clients. Liz holds a B.A. in Art History from the University of Texas at Austin and her M.A. in Modern and Contemporary Art, Connoisseurship and the History of the Art Market from Christie’s Education, New York. She previously worked in New York at Christie’s Auction House as well as in Austin, Texas at the Harry Ransom Humanities Research Center in the Photographs Department. Liz has curated exhibitions for FotoFest participating spaces since 2008 and past exhibitions include Lisa Robinson Snowbound, 2008 at Kinzelman Art Consulting, Peikwen Cheng and Daniel Traub China in Transition, 2008 at Travis Tower and Laurie Lambrecht Inside Roy Lichtenstein’s Studio, 2010 at Bank of America Center, Houston. Liz is currently serving on the exhibitions committee at the Houston Center for Photography.

As a portfolio reviewer, she offers participants guidance in editing and can assist photographers with appropriate ways of presenting their portfolios and work for consideration by collectors. She is most interested in viewing cohesive bodies of work and photography that is suitable for exhibition and sale within the corporate or private sector. She is not interested in viewing stock, fashion, nudes or floral based imagery.

Evgeny Berezner, Deputy Director
ROSIZO State Centre for Museums & Exhibitions of Ministry of Culture of Russia, Moscow, Russia

Evgeny Berezner is currently the Deputy Director in Photographic Projects at ROSIZO State Centre for Museums & Exhibitions of Ministry of Culture of Russia.

In 2003-2007 he was the Deputy Director in Photographic Projects at Moscow Museum of Modern Art. He has curated more than 200 exhibitions in Russia. He has also curated exhibitions in Bulgaria, Czech Republic, France, Germany, Hungary, Italy, Slovakia, Spain and USA.

Berezner is a member of ORACLE, an international organization of curators and photographic experts. He is also a member of the International Board of Advisers of the Central European House of Photography in Bratislava, Slovakia. In 1995-1997 he was the international adviser from Russia for FotoFeis International Festival of Photography in Scotland. Berezner has been co-editor of the International Magazine on Photography IMAGO since 1996. His articles have been published in Aperture (USA), ArtChronika (Russia), European Photography (Germany), FotoMagazine (Russia), IMAGO (Slovakia). He has been delivered lectures in Bulgaria, Canada, Germany, Portugal, Slovakia. .Berezner was a jury member of the International Competition on Photo Editions in Bratislava (Slovakia) in 2000, 2002, 2004; chairman of jury in 2006, 2008.

Evgeny Berezner is interested in all shapes of photography and visual arts, looking for possible future exhibitions and publications in Russia.

Blanca Berlín, Director
Blanca Berlín Galería, Madrid, Spain

www.blancaberlingaleria.com

Blanca Berlín, sociologist, photographer and curator, is the owner and director of Blanca Berlín Gallery, Madrid. Almost immediately after opening in January 2007, Blanca Berlin Gallery became a focal point for Madrid’s visual and photographic community, as well as a point of reference within the art world in Spain and abroad. The gallery, specializing in photography, mainly aims at fomenting recognition for photography from Spain in the international art community.

Blanca Berlin Gallery, located in the heart of Madrid, maintains a generous selection of photographs, promoting and presenting both established and emerging international artists to the art market in Spain. The gallery also takes part in main international art fairs.

As a curator, Blanca Berlín helps advance the careers of her represented artists through the organization of solo and group exhibitions in Spain and worldwide.

In addition to her work at the gallery and her curatorships, Blanca Berlín has been a professional photographer for 20 years, regularly contributing to well-known Spanish and international magazines and journals, specializing mainly in travel reports (El Mundo, Le Figaro Magazine, GEO, National Geographic…). She has published more than thirty books either as sole author or in collaboration with others.

Blanca has also been an invited juror and portfolio reviewer for Transatlántica PhotoEspaña, Entrefotos, EFTI, IED, etc, and has given lectures at universities and Spanish institutions such as Casa Asia, Mapfre…. At the moment she is a lecturer for the Master’s Degree course, Gestión y Preservación Fotográficas (GPF), at the Universidad Camilo José Cela, Villanueva de la Cañada, Madrid.

As a portfolio reviewer, Blanca Berlín is especially interested in solid and consistent fine art photography projects. However, she is also interested in other media such as video, installations or mixed techniques. Though a documentary photographer herself, Mrs Berlín would prefer not to review documentary, fashion, publicity or floral photography.

Elisabeth Biondi, Independent Curator
New York, New York, USA

After fifteen years as the Visuals Editor of the New Yorker, Elisabeth Biondi left the publication in the Spring 2011 to work as an Independent Curator. This year so far she has curated Documentary Photography: Engaged & Vital and Under The Bridge for the NY PhotoFestival 2011; and New Yorker Fiction/Real Photogrpahy at Steven Kasher Gallery in Chelsea. This fall her exhibit Beyond Words: Photography in the New Yorker will be the season's opening show at the Howard Greenberg Gallery. She is a Senior Thesis Adviser for SVA Graduate School and is a Contributing Editor for Aperture Magazine and FANTOME magazines.

Ms. Biondi joined the staff of The New Yorker in 1996, shortly after photography was introduced to the magazine and as it began to play a more prominent editorial role. As Visuals Editor she has helped shape the look of the publication by establishing a group of staff photographers, commissioning both 'Masters' and emerging talent, and utilizing portrait, fine art, and documentary photography. She built the magazine's reputation for its use of photography, which is much acclaimed and has received numerous awards, including two National Magazine Awards.

Born and educated in Germany, Ms. Biondi started working with photography when GEO Magazine, often described as a more contemporary and controversial version of National Geographic, made its appearance on the American market. Although the magazine won many awards for its photography and design, it ultimately ceased publication in 1984.

Subsequently, she moved to VANITY FAIR, which soon began to grow into the highly successful magazine it is today. As Director of Photography, she focused on lively, witty portraiture – an important contribution to the increased success of the publication.

After seven years at Vanity Fair, Ms. Biondi returned to Germany to work for STERN, one of Germany's largest news weeklies. As head of the Photography Department, she explored the fast-paced world of news and reportage photography, and worked with photographers around the world. After five years, she returned to New York, where she has since worked as Visuals Editor of The New Yorker.

My continued pursuit is documentary and fine art photography. I continue to be deeply involved in the editorial and fine arts world. I am constantly looking and supporting talented photographers whose work I can champion in projects I pursue myself, or on projects that I have been asked to develop. My range of interest in images is wide. I keep an open mind for both surprising or more established ways of photographing.

Xavier Canonne, Director
Musée de la Photographie, Charleroi, Belgium

www.museephoto.be

Xavier Canonne studied Art History at the University Libre of Brussels and received his doctorate in Art History and Archaeology at the Sorbonne University in Paris with a doctoral thesis dedicated to Surrealism in Belgium.

Mr. Canonne has been the director of the Musée de la Photographie since March 2000. Before coming to the Musée, he was the director of the collection of the Province of the Hainaut (modern and contemporary art) from 1987 to 2000. He has curated many exhibitions and has edited and written various books and studies. He was the curator and the author of the exhibitions Intimate Man Ray(2003), Scenes of Atget (2004), and Lee Miller a Life (2005). He is the publisher of the review0 "Marées de la Nuit". He is the author of Looking at the U.S. – 1957-1986, Fred Baldwin and Wendy Watriss, published by Mets & Schilt, Amsterdam, 2009. Since 1986 he has specialized in Surrealism and avant-garde.

Xavier Canonne is most interested in reviewing creative photography, documentary photography and photojournalism. He does not wish to review commercial photography.

John Caperton, Jensen Bryan Curator
The Print Center, Philadelphia, Pennsylvania, USA

www.printcenter.org

John Caperton is the Jensen Bryan Curator of The Print Center, a nonprofit gallery in Philadelphia that supports printmaking and photography as vital contemporary arts and encourages the appreciation of the printed image in all its forms. Founded in 1915, the organization presents 8-10 solo and group exhibition, as well as an Annual International Competition, now in its 85th year. Exhibiting artists include local, national and international artists.

Caperton has curated twenty-five exhibitions for The Print Center since 2007, which have included the work of Jennifer Bornstein, Benjamin Edwards, Justine Kurland, Hirsch Perlman, Melanie Schiff and Masao Yamamoto. Caperton was part of the curatorial team for Philagrafika 2010: The Graphic Unconscious a citywide contemporary art festival. He has juried a number of competitions and exhibitions for other organizations including Fleisher Art Memorial, International Print Center New York and University of Delaware. He was an invited reviewer at Review Santa Fe and has given critiques at several schools including Tyler School of Art and The University of the Arts.

The curatorial strategy of The Print Center combines interests that grow out of the history and mission of the organization with the most intriguing use of the printed image in current thought and practice. Specific curatorial interests include: the exploration of the collaborative nature of printmaking and photography; the examination of the use of printed image to document social issues as well as bring about positive change; and the variety of ways contemporary artists use the printed image to look forward into the future and back into history simultaneously, often using historical imagery or content in a subversive manner or reinvigorating historical techniques such as the daguerreotype or engraving. Caperton is reviewing work for possible exhibitions and would prefer to view work that is fully realized and ready for exhibition.

Jean Caslin, Founding Partner
Caslin Gregory & Associates, Consultants to Arts & Culture, Houston, Texas

Jean Caslin is a founding partner of Caslin Gregory & Associates, Consultants to Arts & Culture. Along with Diane Griffin Gregory, CG&A provides coaching for visual artists, as well as marketing, editorial and development services for artists and organizations. Caslin holds a BA in English and art history from Boston University and an MA in art history from Stanford University. During 26 years in non-profit arts management, she served as administrator, curator, educator, and fundraiser while fostering the careers of emerging and mid-career artists. From 1979 to 1988, she was assistant director of Photographic Resource Center at Boston University.

Caslin served as executive director and curator of Houston Center for Photography from 1988 to 2005. She has taught courses in the history of photography at six colleges in Massachusetts, Rhode Island and Texas. As an independent curator, she is interested in the relationship between the arts and healing.

Jean Caslin wants to meet and support visual artists whose work shows innovative approaches to either traditional or experimental photography.

Alejandro Castellanos, Director
Centro de la Imagen, Mexico City, Mexico

www.conaculta.gob.mx/cimagen

Alejandro Castellanos studied in the Instituto de Estudios Fotográficos from Catalonia, in Barcelona, Spain. He is editor, curator, researcher and professor of photography. He has published many texts for books, catalogs, magazines and newspapers in Mexico and internationally. Besides, he has coordinated several exhibits, as well as photographic forums and artistic research. Since 2002 he is director of the Centro de la Imagen, an institution that belongs to the Centro Nacional de las Artes (National Center of the Arts). The Centro de la Imagen is dedicated to the promotion of photography in Mexico. Its programs include the Fotoseptiembre Festival, the Biennial of Photography, the editorial collection magazine Luna Córnea, exhibits of Mexican and international contemporary photography, and a collection of Latin American photography.

Prior to this, Mr. Castellanos was publisher of the magazine Fotozoom, deputy head of the National Center for Visual Arts Investigation, and in 1993 he won the prize of Artistic Research from the National Center for Visual Arts Research.

As a portfolio reviewer, Mr. Castellanos offers participants professional development, guidance, and curatorial insight, as well as the rich and diverse opportunities available to artists at the Centro de la Imagen. He is most interested in reviewing creative photography, documentary photography and photojournalism. He does not wish to review commercial photography.

Debra Klomp Ching, Owner
KLOMPCHING GALLERY, Brooklyn, New York

www.klompching.com

The KLOMPCHING GALLERY is described as ‘dynamic’ and ‘one of the galleries to watch in NYC.’ Its exhibitions have been reviewed in publications such as The New Yorker, Hotshoe, New York Magazine, ArtReview, The New York Times, The British Journal of Photography and Modern Painters. The gallery has placed photographs into a number of private and public collections, including the George Eastman House of International Photography and Film.

Mrs. Ching is an experienced reviewer, having attended several notable photography review festivals including Houston FotoFest, Review Santa Fe and Photolucida amongst others. In addition to owning and operating the KLOMPCHING GALLERY, Debra Klomp Ching is a freelance consultant, writer and curator. Her writing has been published in Magenta Magazine, photo-eye Booklist, (re)collect, Nahtsellen and PDN. She was the Guest Editor for Photography Quarterly (issue No. 99). In 2010 she curated (with Darren Ching), ‘The Architecture of Space’, an exhibition of contemporary US photography for the Flash Forward Festival (Toronto). As a private consultant, she provides creative and professional advice to photographers intending to or working within a fine art context and to collectors of contemporary photography.

Debra Klomp Ching is interested in seeing resolved bodies of work, and works in progress, that are suitable for exhibition and sale, within the fine art photography market. Work should demonstrate an integrity of intent, originality of vision and excellence in craftsmanship. She is not interested in seeing stock, advertising, fashion, photojournalism or commercial photography. KLOMPCHING GALLERY can offer exhibition and representation opportunities to photographers that fit into the gallery’s curatorial programming and aesthetic sensibilities, and has exhibited a number of photographers discovered at portfolio reviews. Photographers should present prints, rather than books and/or digital files.

Bridget Coaker
Picture Editor, The Guardian
Director of Photography, Troika Editions
London, United Kingdom

www.troikaeditions.co.uk
www.guardian.co.uk

Bridget Coaker is a picture editor based in London, where she works for the Guardian and Observer newspapers and is also Director of Photography for the online contemporary photography gallery Troika Editions, which she founded in 2008. She has curated a number of exhibitions and in 2009 was Director of the Hereford Photography Festival where she presented the photography of European photographers working with the image of the child in "Seen But Not Heard" and curated the retrospective show of photojournalist and film maker John Bulmer. Bridget is a visiting lecturer at UK Universities, including the University for the Creative Arts, University of Derby and the Hereford College of Art. In 2011 she joined the steering committee of the FORMAT International Photography Festival and participated in the North East Photography Network Symposium - Photography Publishing and the Future of the Photo-Book. Bridget has also written about photography including for the online art photography magazine, 1000 Words and the art photography portal of The Daily Telegraph.

Bridget prefers to see work that is completed and is ready for publication or exhibiting. It can be either journalistic or art based, but clear in its intent and purpose. She also prefers to see prints rather than laptop slide shows, unless pertinent to the presentation of the work. Her advice will centre on the work shown with recommendations of how to take it forward through publication and/or exhibitions and offer suggestions about social media and traditional forms of marketing projects and provide advice on career progression.

Gemma T. de Santos and Luis A .de Santos, Owners and Directors
De Santos Gallery, Houston, Texas

www.troikaeditions.co.uk

Gemma and Luis de Santos are Houston residents since 1976 when Luis, who is a Physician, came to work at MD Anderson Hospital.

Gemma and Luis have been collecting photography for a long time, and they have a good collection of contemporary photography from around the world. Luis has been interested in photography since he was a teenager, and he has photographed extensively through the World. His primary interest is architectural photography and the effect of man made structures in the environment. He photographs with large format camera 4x5 and 8x10 that slow the pace of photography forcing to look at detail and structural relationships. His work is in the permanent collections of MFAH and the Harry Ransom Collection in Austin, as well as private collectors.

In 2003, Gemma and Luis opened De Santos Gallery. This is the premier space dedicated only to photography in all its forms. They represent photographers from around the World, and have focused mainly in contemporary photography. They have participated in FotoFest as a participating space for the last six years, and look forward to many more in the future.

Julia Dolan, Ph.D., Curator of Photography
Portland Art Museum, Portland, Oregon, USA

www.pam.org

Julia Dolan is the Curator of Photography at the Portland Art Museum. Founded in 1892, the Portland Art Museum is the seventh oldest museum in the United States and the oldest in the Pacific Northwest. Serving more than 350,000 visitors annually, the Museum is a premier venue for education in the visual arts. Dedicated photography galleries display multiple installations each year that draw from the Museum's permanent collection of more than 6,500 photographs.

Dr. Dolan holds a B.F.A. in Photography from the Maryland Institute College of Art, an M.A. in Art History from the Pennsylvania State University, and a Ph.D. in Art History from Boston University. She has worked with the photography collections at the Philadelphia Museum of Art, the Addison Gallery of American Art, and the Fogg Art Museum. She has curated and co-curated multiple photography exhibitions including Transcending the Literal: Photographs by Ansel Adams from the Collection and Spectacle at the Philadelphia Museum of Art, as well as Ray K. Metzker: AutoMagic and Likeness: Portraiture from the Photography Collection at the Portland Art Museum. Dr. Dolan has been a portfolio reviewer for SPE and Photolucida.

While opportunities for exhibition and acquisition are limited at the Portland Art Museum, Dr. Dolan can offer advice on concept development, recommend paths of image circulation and dissemination, and occasionally borrow photographs for group shows. She has a number of photographic interests and is happy to see completed work or work in progress pertaining to most subject matter, in particular conceptual works that explore and/or establish new directions in photography. Dr. Dolan has some interest in alternative processes but limited interest in purely formal photography. She would prefer not to review nudes or work that is strictly commercial.

Natasha Egan, Director
Museum of Contemporary Photography, Columbia College, Chicago, Ilinois

www.colum.edu

Natasha Egan has organized numerous international and national exhibitions such as Alienation and Assimilation: Contemporary Images and Installations from the Republic of Korea; Andrea Robbins and Max Becher: The Transportation of Place; Consuming Nature: Naoya Hatakeyama, Dan Holdsworth, Mark Ruwedel and Toshio Shibata; Manufactured Self, photographs about how we identify ourselves through what we consume with international artists from Africa, Asia, Europe and the United States; Made in China, visually focusing on the global impact of manufacturing in China through photography, video and installation; Loaded Landscapes, looking at historical and contemporary sites of trauma and conflict; The Edge of Intent examining the utopian aspirations of urban planners and how their visions adapt to changing environments; Reversed Images: Representations of Shanghai and Its Contemporary Material Culture; and she was invited to curate The Road to Nowhere? for the FotoFest 2010 Biennial. Egan has contributed essays to such publications as Shimon Attie: "The History of Another"; Photography Plugged and Unplugged in Contemporary; Brain Ulrich: Copia; Beate Gütschow LS / S; Michael Wolf: The Transparent City; Placing Memory: A Photographic Exploration of Japanese American Internment; Stacia Yeapanis: My Life as a Sim and Everyone Hurts; and Michael Wolf: Inside/Outside (Peperoni Books, 2009).

In addition, she teaches in the photography and humanities departments at Columbia College Chicago and juries national exhibitions. She holds an MA in museum studies, an MFA in fine art photography, and a BA in Asian studies.

She is interested in conceptual work investigating current social and political issues. She is less interested in reviewing commercial, travel, and nature photography.

Jon Feinstein, Co-Founder and Curatorial Director
Humble Arts Foundation, New York, New York, USA

www.humbleartsfoundation.org

Jon Feinstein has curated numerous exhibitions including “31 Women in Art Photography,” “Group Show: Taschen” at Taschen Books NYC and “Women in Art Photography UK” at Taschen Books London. His curatorial and personal projects have been covered in The Village Voice, New York Press, The New York Observer, Daily Candy and Photo District News. He has also served as a juror for the New York Photo Awards as and guest critic for numerous portfolio reviews including Powerhouse Books, International Center for Photography, PDN's PhotoPlus and Review Santa Fe. His own photos have been exhibited throughout the US, including Mixed Greens and Silverstein Gallery, in NYC, Wallspace in Seattle, The Australian Centre for Photography, and have been featured in VICE, GOOD, and Nylon magazines.

Mauro Fiorese, Executive Director
PH Neutro Fine-Art Photography Galleries, Verona, Forte dei Marmi - Italy

www.ph-neutro.com

ROVING REVIEWER

Mauro Fiorese is the Executive Director of PH Neutro Fine-Art Photography Galleries located in Verona and Forte dei Marmi, Italy and an internationally recognized artist and educator. The PH Neutro Project started in 2010 with Annamaria Schiavon Zanetti, a passionate collector with also twenty years of experience in professional print-making.

PH Neutro works in three different directions: PH Neutro COLLECTION, a permanent but continuously enhancing exhibition where to know, admire and purchase Fine-Art Photography. With an incredible selection of Masterpieces, the Collection also offers a choice of works by contemporary international authors, offering them a visible and real opportunity to sell their art . PH Neutro GALLERY, the temporary exhibitions area where the Gallery alternate four solo Shows per year in the heart of Verona’s historical district, located in a XV Century Palace where exhibiting space also faces roman ruins on the lower level. PH Neutro CORPORATE, a division that offers the possibility to work with internationally recognized artists to improve corporate communication and marketing strategies for international companies.

In addition to his work at PH Neutro Mauro Fiorese is a University Professor and artist. His photographs are part of private collections and public institutions, such as the Museum of Fine Art Houston, Bibliothèque Nationale de France, William Hunt collection, Centro Internazionale di Fotografia “Scavi Scaligeri” Verona and Museo di Fotografia Contemporanea in Milan, Italy. His works have been awarded, auctioned and exhibited internationally since 1996 through private Galleries and Public Institutions, Fairs and Festivals, including the last 54. International Venice Art Biennale and the George Eastman House International Museum of Photography and Film.

As a portfolio reviewer, Mauro Fiorese offers, to participants, personal and creative insights with a real opportunity to sell their work through the PH Neutro locations that will be also expanding internationally in a near future. No Stock Photography but committed works. He’s also interested also in religious subjects.

Juan Alberto Gaviria, Director/Curator
Gallery of Contemporary Art Paul Bardwell of the Centro Colombo Americano, Medellin, Colombia

www.colomboworld.com

Juan Alberto Gaviria has held this position for more than 20 years and has been a reviewer of Fotofest since 1992. This alternative space throughout the years with the assistantship of Meeting Place has had a key role in the internationalization of the city of Medellin by bringing artists to do residencies and work with local artists and vulnerable community.

The program developed into social artistic laboratories is now call: DESEARTEPAZ (wish peace through art). In these social artistic labs we use any art media among them photography and media related.

As part of the methodology of each lab, there is a workshop with university art students and targeted theme community. The labs have a strong pedagogical approach with academic journeys and lectures specially directed to high schools population and young people. By the transformative evidences of this program, we believe that contemporary art plays an important to role not only in its inclusion of global debates, but also in generating alternatives perspectives about life, especially in the young and vulnerable population.

This Deseartepaz program has been well received by recent government administrations of the city which avant-garde public policies giving priority to education and cultural public policies have literally transformed the image of the city of Medellin into a model for social transformation and sustainability. With the help of international cultural agencies of cooperation the program is also being implemented in cultural centers of several Latin-American cities ( www.redeseartepaz.org ).

Other labs of the program are directed to work with vulnerable communities such: minority group of natives, afros; also forced displaced population, victims of forced disappearance relatives, inmates population, children’s rights, others.

Depending on the portfolio and the artist’s experience some of the reviewed participants at Meeting Place are sometimes invited to co-direct these labs. Each lab has a publication and a documental, for further information about the program please see documental on the labs in: http://laboratoriosdeseartepaz.blogspot.com/

Mr Gaviria is also interested in reviewing art photography that focuses on community projects, social issues and the state of the earth. 3 - 4 exhibitions to promote photographer’s work from 20 – 30 photographs in alternative spaces of the gallery are offer for 2012 – 2013. The exhibition includes publication of a postcard and media publicity.

Michael Grieve, Deputy Editor
1000 Words Photography Magazine, London, United Kingdom

www.1000wordsmag.com
www.michaelgrieve.co.uk

1000 Words is an online magazine dedicated to contemporary photography internationally. It publishes scholarly, in-depth exhibition and photobook reviews, essays, interviews and multimedia alongside carefully curated imagery, often around a particular theme. We are committed to showing portfolios of emerging as well as established photographers in the aim of bringing their work to a wider audience. Often incredibly diverse in terms of subjects, concepts, styles and techniques whilst always foregrounding the subjectivity of documentary art photography, 1000 Words intends to explore the limits and possibilities of the medium.

Released quarterly, the magazine attracts over 140,000 unique visitors from more than 75 countries every month. In May 2010 its sister site, the 1000 Words Blog was ranked at number 3 in The Top 25 UK Arts & Culture Blogs in a survey carried out by Creative Tourist, and also named as the winner of Arts Media Contacts’ Photography Blog of the Year Award 2010.

1000 Words is published by 1000 Words Photography, a not-for-profit organisation that promotes and supports contemporary photography through publishing and exhibiting opportunities, workshops, talks, limited-edition print sales, prizes and awards.

Grieve is also a documentary art photographer represented by the prestigious Agence VU in Paris, and a senior lecturer in photography at Nottingham Trent University in the UK. He has a BA Video, Film and Photography from Polytechnic of Central London and an MA in Photographic Studies from the University of Westminster in 1997. He continues to be commissioned as an editorial photographer for many publications including Sunday Times Magazine, Le Monde, Liberation, Weekend Guardian, Newsweek, Independent Magazine, Vice, Tank, and continues to work on long term projects. He has exhibited widely and more recently at the Daniel Blau gallery in London and the Noorderlicht Photography Festival in the Netherlands.

Grieve is interested in reviewing completed and in progress portfolio’s of documentary/conceptual art photography for possible publication on 1000 Words. He is not interested in fashion, photojournalism, travel and stock photography. He recommends that you view 1000 Words before applying for a review.

Elda Harrington, Director
Encuentros Abiertos, Buenos Aires, Argentina

www.encuentrosabiertos.com.ar
www.www.ehgaller.com.ar
www.eldaharrington.com.ar

Elda Harrington is the Director of Encuentros Abiertos (Argentine’s Photofestival) since 1989 and the director of the Argentine School of Photography since 1987. She is also the president of Luz Austral Foundation, which is dedicated to promoting photography in Argentina. Ms. Harrington is an international curator and an independent photographer. Ms. Harrington is interested in reviewing innovative and new media bodies of works. She is not interested in reviewing commercial works. She can provide an opportunity for invitations to exhibit and participate at the Encuentros Abiertos-Festival of Light in Argentina.

Ellen S. Harris, Photography collector and Independent Collections Adviser
New York, New York, USA

Ellen S. Harris, photography collector and independent collections adviser, was CEO of Aperture Foundation 2003-2008, in which role she oversaw Aperture magazine, Aperture’s respected book publishing activities, website, traveling exhibitions, and limited-edition print publication program. Before arriving at Aperture, she spent eight and a half years as Executive Director of the Montclair Art Museum, a museum of American and Native American art located in Montclair, NJ. While there, she undertook the task of beginning what has become a significant collection of photographs and related media.

In the early ‘90s Ms. Harris was deputy director of the Museum of Modern Art, responsible for publications, finance, restaurants, and retail operations. She spent five years as Director of Exhibitions at Pratt Institute, where she spear-headed an ambitious program of traveling thematic exhibitions based on the work of established and emerging artists. She has written for Art in America, Art News magazine, Aperture magazine, and as guest author of numerous photography books and catalogues. She is on the Photography Acquisitions Committee of the Jewish Museum.

Ms. Harris’ interests span conceptual, narrative, and abstract “cameraless” photography as well as portraiture and landscape. A passionate advocate for photographers and photography she believes in, Ms. Harris looks for a cohesive voice that makes an artist’s work stand out and demand to be reckoned with. In the portfolios she reviews, Ms. Harris seeks visual evidence of artists’ commitment and originality, and is indifferent to whether the resulting work is beautiful/resolved or ugly/uncomfortable. Given her wide-ranging relations with gallerists, curators, and publishers, she can provide practical advice about career strategies.

Frazier King, Chair of the Exhibitions Committee
Houston Center for Photography, Houston, Texas

www.hcponline.org

Frazier King is the Chair of the Exhibitions Committee for Houston Center for Photography (HCP). Founded in 1981, HCP is a non-profit institution dedicated to photography and related media as tools for cultural investigation and artistic expression. The HCP Exhibitions Committee manages the exhibitions program consisting of approximately 15 solo and group shows per year. HCP’s 2011/2012 season includes solo exhibitions featuring work by Adrian Fernandez, Pelle Cass, Julie Blackmon, Bastienne Schmidt and Priya Kambli. Upcoming group exhibitions include the 2012 Fellowships Juried by Christopher Rauschenburg, the Annual Membership Exhibitions. Exhibitions are also being planned that will focus on the photographer and the soldier, which will run concurrently with the history of war exhibition at the Museum of Fine Arts, Houston. HCP also works with guest curators, such as Aaron Schuman, who is organizing an exhibition in the fall of 2012.

Mr. King has been on the HCP Board for ten years and has been Chair of the Exhibitions Committee since 2008. As Chair Mr. King guides the Exhibitions Committee through the process of selecting exhibitions. Mr. King also provides curatorial input and most recently served as curator for HCP’s 2010 show entitled Created and Found Maps. In addition, Mr. King is a widely-shown photographer and has participated in FotoFest and other international reviews since the 1980s.

As a portfolio reviewer, Mr. King is able to offer participants guidance regarding professional development and various opportunities to show work, to discuss the work in particular, and to provide insights in to the programs and interests of HCP. In general, HCP is interested in all kinds of work but the primary focus in on current trends or themes and developments in new approaches and processes.

George Kinghorn, Director and Curator
University of Maine Museum of Art, Bangor, Maine, USA

www.umma.umaine.edu

George Kinghorn is the Director & Curator of the University of Maine Museum of Art (UMMA), a position which he has held since 2008. Founded in 1946, UMMA is an academic art museum which focuses on exhibiting and collecting modern and contemporary art. UMMA presents 12 changing contemporary art exhibitions each year (typically three of which are photography) in three distinct galleries. Located in the heart of downtown Bangor, UMMA maintains a permanent collection of over 3,500 works of art, with emphasis on 1945 to the present. Prior to UMMA, Kinghorn spent nine years at the Museum of Contemporary Art Jacksonville and served in several positions including Deputy Director & Chief Curator and Director. Kinghorn received his Master of Fine Art degree in visual arts from Michigan State University.

His past curatorial projects include: Highway of Thought: Photographs by David Hilliard; Sheltering Eye: Photographs from the Prentice and Paul Sack Photography Collection; Alt.Photo/Redefining Process; Photo National 2011; Dominic Chavez: The Global Lens; Cheerleaders, Body Builders and Discos Queens: Works by Brian Finke and Morten Nilsson; String too Shirt to Use: Photographs by Todd Watts; Elegant Darkness: Photographs by Connie Imboden. Kinghorn’s upcoming curatorial projects include: Lori Nix: The City and Photographs by John Goodman.

As a portfolio reviewer, Mr. Kinghorn will offer critical feedback, career guidance, insight into the museum exhibition and curatorial process, and advice on editing and sequencing images for presentation and/or publication.

Mr. Kinghorn is most interested in reviewing cohesive and innovative bodies of contemporary works that are suitable for exhibition. Works should have a strong conceptual basis, personal expression, and point of view. He is interested in historic/alternative processes, photo documentary styles, portraits, landscapes, abstracts, the nude figure (as part of a conceptual/thematic body of work). He is not interested in reviewing photographers working in commercial, advertising, stock photography, photojournalism, travel and traditional nudes. Mr. Kinghorn is able to offer exhibition opportunities to emerging and mid-career photographers including possible solo and group exhibitions. Photography plays a significant role in UMMA’s permanent collection and the Museum wishes to expand this area through strategic acquisitions.

Julie Kinzelman, President
Kinzelman Art Consulting, Houston, Texas, USA

www.kinzelmanart.com

Since 2001, Kinzelman Art Consulting has been providing arts-management services for corporate and private collectors. For over 16 years, Julie Kinzelman has provided art-advisory expertise to clients in the areas of acquisitions, collections management, curating exhibitions, and educational art programming. From 1992-1995 Ms. Kinzelman worked at the George Eastman House, Museum of Film and Photography, Rochester, NY. In 1994 Ms. Kinzelman received her Master of Imaging Arts and Sciences, Fine Art Photography from The Rochester Institute of Technology, Rochester, NY and in 1991 her Bachelor of Fine Arts, Photography from Texas Tech University, Lubbock, Texas. She is a past Vice President of the Board of the Houston Center for Photography.

Ms. Kinzelman is interested in reviewing innovative or interdisciplinary approaches to photography. She can advise and assist photographers with appropriate ways of presenting their portfolios and work for consideration by collectors. She can also advise on aesthetic considerations that may assist photographers with content, composition, concept, printing and presentation. She is not interested in viewing commercial, socio-political, boudoir/glamour, or flower photography.

Lucille Lagier, Curator
Atelier de Visu, Marseille, France

www.atelierdevisu.fr

Lucille Lagier has been working for Atelier de visu since 2005. Her main responsibilities are international projects and in-house publications. She collaborates with Soraya Amrane to curate and schedule the gallery’s exhibitions, residencies, and workshop programs.

In 2008, she began managing a workshop residency program organized in collaboration with international photography schools. The residency takes place in Marseille and includes a 12-day workshop directed by Antoine d'Agata, a group exhibition, and the publication of a photography anthology. Lucille Lagier also organizes « La librarie passagère » event each year where the gallery is transformed into a photography bookshop for a month. Lucille Lagier has been reviewing portfolios at the Arles Photography Festival since 2005.

Ms. Lagier is interested in reviewing all types of photographic (and video) work except commercial work. Atelier de visu has an exhibition and residency program, and she is interested in reviewing work that could be included in future programs.

Jason Landry, Owner
Panopticon Gallery, Boston, Massachusetts

www.panopticongallery.com

Panopticon Gallery, established in 1971, is one of the oldest fine art photography galleries in the United States specializing in contemporary, modern and vintage photography. They represent established and emerging photographers with a primary focus on developing and expanding their careers.

Landry received a M.F.A. in Visual Arts from The Art Institute of Boston at Lesley University and his B.F.A. in Photography from the Massachusetts College of Art and Design. He brings over 20 years of business management and fine art photography experience to the gallery. Before acquiring the gallery in 2010, he worked at the Photographic Resource Center at Boston University in various capacities including their Education Manager, Programs and Operations Manager, and a member of their Board of Directors.

Mr. Landry is interested in reviewing portfolios by artists working in all genres of photography, whether these projects are finished or in progress, or not yet realized. He is especially drawn to portraiture, nudes, photo-based objects, personal projects as well as photo book projects. He is not interested in reviewing commercial, advertising or studio-based work.

Vaclav Macek, Director
Central European House of Photography, Bratislava, Slovakia

www.sedf.sk

Vaclav Macek is founding member of the FOTOFO Foundation which runs since 1992 the festival the Month of Photography in Bratislava and since 2005 runs Central European House of Photography /CEHP/. CEPH devotes its activities to three – exhibitions, education, publishing. The CEPH organizes yearly around 20 exhibitions and in the frame of the Month of Photography covers more than 30 exhibitions, lectures, portfolio reviewing. The work of CEPH focuses its activities to promote art and artist from Central and Eastern Europe. But we exhibit the work of artists from other vounstris as well / Canada, Israel, France, Germany, USA, etc. /. In addition to his work at CEHP Vaclav Macek is a head od a research team writing a complex history of Euroepan Photography in 20th century.

As a portfolio reviewer Vaclav Macek offers participants a possibility to exhibit in the facilities of CEHP or in the frame of the Month of Photography Bratislava. He is interested mostly in the documentary based work. CEHP does not present fashion photography.

James Edward Maloney, Private Collector
Houston, Texas

Jim Maloney is a trial lawyer and a private collector of photography. He collects vintage and contemporary photography from the 20th and now 21st centuries from American, South American, European, and Eastern European photographers.

He is a Trustee at the Museum of Fine Arts, Houston and a member of its Photography Accessions Committee.

Mr. Maloney is more interested in photographs portraying people, and he is not much interested in landscape photography.

Karen McQuaid, Curatorr
The Photographers’ Gallery, London, United Kingdom

www.photonet.org.uk

Karen McQuaid is Curator at The Photographers’ Gallery in London. Having worked in publishing at titles such as Tank (London) and Surface (San Francisco) her focus shifted to photography. Karen received her MA in Photographic Studies from the University of Westminster (under Prof. David Bate), and joined The Photographers’ Gallery in 2005.

Karen has worked extensively on the talks and lecture strands at the gallery - most recently organising symposiums such as Contemporary Vernacular Photographies with the Institute for Modern and Contemporary Culture - and organises exhibitions including Jim Goldberg, Open See (2010) and the annual graduate exhibition Freshfacedandwildeyed (2008 - ongoing). Karen is currently working with the artist Fiona Tan on a commission for the opening programme of the newly refurbished gallery spaces in spring 2012.

Karen has previously undertaken portfolio reviews at Vision, London (2010) and Photo Biennale, Thessaloniki (2010) and is most interested in viewing bodies of work of a non-commercial nature by photographers genuinely interested in feedback on their practice, and not only in exhibition opportunities.

Andrea Popowich Meislin, Director & Owner
Andrea Meislin Gallery, New York, New York

www.andreameislin.com

Andrea Popowich Meislin opened the Andrea Meislin Gallery in March 2004. The gallery features a strong schedule of exhibitions by important emerging and established artists, interspersed and strengthened by history-based photography exhibitions about or from Israel. Its program focuses on internationally recognized, museum-level artists whose work contributes to the diasporic-based dialogue domestically and abroad. The gallery discovers and presents significant Israeli artists and brings internationally established artists to New York for the first time. In addition to its exhibition program, Andrea Meislin Gallery provides private advisory services to individuals establishing new collections, to those enhancing established collections, and to corporations seeking to build a thematic collection.

Andrea Popowich Meislin is an art historian, writer, and independent curator. She was formerly the associate curator of photography at the Israel Museum (Jerusalem), and an independent research associate at the Phoenix Art Museum. Andrea has organized museum and gallery exhibitions, and catalogued numerous significant private collections.

As a portfolio reviewer, Andrea can offer participants both commercial and curatorial development, as well as an objective critique of their work. Andrea is mostly interested in viewing artists who understand history and who think about themselves within the narrative of the larger world of art, but who have created new places and ways for us to see and understand it. Andrea would like to see photographs that can be catalysts for change -- powerful images that can altar people's understanding of themselves and each other.

Evan Mirapaul, Collector, Consultant, Writer
New York, New York

www.fugitivevision.blogspot.com

Evan Mirapaul lives a life immersed in the arts. Photography has become his passion. He serves on a number of museum committees, most notably as the co-chair of the library committee at the International Center for Photography, in New York City. His method is inquiry—to research as much about a photographer and genre as possible. Mirapaul employs the words intelligence and connoisseurship when speaking about defining a collection, and shares his enthusiasm for photography on his blog, Fugitive Vision. Travel has been a catalyst for this collector. Increasingly it has become Mirapaul’s goal to seek out photographers and galleries wherever he goes. Poland's thriving art scene has been a recent focus.

Mirapaul is a frequent visitor to Paris and Berlin, and is usually to be seen at the major Art and Photo fairs around the world. He has been a reviewer at The Mois de la Photo in Montreal, Photo Lucida in Portland, and at the Month of Photography in Lodz, Poland. He participated as a nominating curator at the inaugural Lishui International Photo Festival in Lishui, China in November 2009. Mr. Mirapaul has also been sought out for advice and recommendations by galleries worldwide seeking information about artists to use in shows or to be added to their roster.

This reviewer invites artists to show any work save commercial or stock work. He is happy to see completed projects and is also pleased to try to help gain perspective on work in progress. Mr. Mirapaul sees his role as reviewer as being one to help the artist in whatever way the artist feels would be most beneficial in the short time together. This can range from critique and inquiry to professional advice and suggestions for placement.

Joan Morgenstern, Private Collector
Houston, Texas

Joan Morgenstern is a long time Houston collector of photography and has been involved in the fine arts community for many years. She is a past President of Houston Center for Photography. She is currently Co-Chair of the Art Committee for the Robert I. Kahn Gallery at Congregation Emanu El, and she is a member of the Photography Accessions Committee at the Museum of Fine Arts, Houston.

She is interested in many different types of photography and processes. She is also interested in work with Jewish subject matter. She loves animals, particularly dogs, so please no mistreated or dead animals.

Moritz Neumüller, Independent Curator
Barcelona, Spain

www.curator-ship.org
www.photoireland.org
http://iedmadrid.com/masters/european-master-of-fine-art-photography/

Moritz Neumüller graduated from the University of Vienna in Art History and from the Vienna University of Economics in Commerce. He has worked for the Department of Photography at the Museum of Modern Art in New York and supervised several international book and exhibition projects on photography and video art. He has directed various activities of PHotoEspaña, the Spanish Festival of Photography and Visual Arts, in the editions of 2004-2007, and the International Video Festival&Fair LOOP Barcelona, in its edition of 2008.

At the moment, he is working as Festival Curator at PhotoIreland, and directing a study program called European Master of Fine Art Photography for the Istituto di Design in Madrid.

As a reviewer, Moritz is interested in seeing contemporary work made by photographers and media artists from around the world, especially documentary, social and conceptual work. He is less interested in traditional nudes or still-lives, commercial work, life-style and fashion. In the case that he himself cannot include you in one of the shows he curates for festivals and institutions, Moritz is known to try his best to give useful advice, casual mentoring and even contact information of other people who might well be interested in your work.

Alison Nordström, Curator of Photographs
George Eastman House International Museum of Photography and Film, Rochester, New York

www.eastmanhouse.org

Alison Nordström is 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. There, she 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 has initiated the contemporary biennial Vital Signs, and has curated Paris: Photographs by Eugene Atget and Christopher Rauschenberg, Why Look at Animals?, Know War, and Found: Photographs by Gerald Slota. She writes and lectures extensively on contemporary photography. Dr. Nordström holds a BA in English Literature, an MLS with museum emphasis, and a PhD in Cultural and Visual Studies.

Dr. Nordström's interests are wide: photo essays, book dummies, (especially unpublished first books), work with political content, work smaller than 8X10, work from outside the USA, and work in progress. She is not interested in nudes, infrared, polacolor transfers, and commercial work except photojournalism.

Her reviews are good sources for critique. She can edit, publish, exhibit, acquire, befriend, encourage, question, and recommend.

Edward Osowski, Photo Collector
Houston, Texas

Since my first photo purchase, over thirty years ago, I have collected photography. My knowledge of photography was shaped by the magazines "Life" and "Look" which I read faithfully through the 1950's and 1960's.

A long-term member of Houston Center for Photography, I served four terms as president in the mid 1990's and currently am a member of its Advisory Committee. I initiated a regular book-review section of "Spot," HCP's magazine.

I just completed my second five-year term as a corporate of Worcester Art Museum. I have also held several positions with PhotoForum, the support group of Museum of Fine Arts, Houston.

My collecting now is directed at increasing the holdings at WAM of emerging and mid-career photographers. I am especially interested in photo-journalism and documentary work and the ways in which aesthetic, cultural, and political issues interact.

I take pleasure in assisting young photographs in preparing their portfolios for review and in strengthening their project statements.

Joaquim Paiva, Private Collector
Rio de Janeiro, Brazil

www.joaquimpaiva.com

Joaquim Paiva, a Brazilian photography collector and photographer, has been collecting contemporary photography since 1978. His collection is made up by the works of Brazilian photographers (2300 images by 220 professionals) and international professionals (460 prints by 140 photographers) as well. Mr. Paiva´s collection comprises a wide range of themes and techniques and has been exhibited in Brazil and abroad, such as in Buenos Aires in 1997, Houston FotoFest 1998, Lima 1999, Paris-Fondation Cartier 2001, São Paulo 2002, running parallel to the São Paulo International Biennial, Nice-France 2005 and the Museum of Modern Art ( MAM) in Rio de Janeiro in 2006, 2008 and 2011. Nearly half of his Brazilian collection was donated to MAM in Rio in 2005, as well as most of his international collection \in March, 2011.

Mr. Paiva has been a reviewer at FotoFest since 2000. He has also reviewed at Buenos Aires Encuentros, FotoRio and PhotoEspaña in Madrid, among others. Mr. Paiva has been a jury for the on-line Critical Mass international photography contest organized by PhotoLucida, Portland, Oregon, USA, since 2005.

Mr. Paiva exhibited his own work on Brazil´s capital city in Brasilia in April/May of 2010. Part of this work was shown at IVAM, Valencia, Spain, in 2011. He has followed the international photography and art scene since the 1970´s, lectures on photography and curates exhibitions on his collection especially and lived in several countries.

Mr. Paiva is interested in reviewing most types of work, particularly fine art photography, experimental and creative bodies of work in which the photographer is committed to quality, innovative and contemporary issues. Besides offering critique and providing advice on the photographer´s work, Mr. Paiva is willing to purchase photographs for his collection.

Maria Patomella, Curator
Fotografiska, Swedish Museum of Photography, Stockholm, Sweden

fotografiska.eu

Maria Patomella, previously served as curator for three years at Kulturhuset or ”culture house” situated in center of the city. During the course of her career Ms. Patomella has curated a number of exhibitions including Albert Watson (2011), Tomoko Sawada (2010), Miwa Yanagi (2010), Shirin Neshat (2009) to name only a few.

Maria Patomella has a Bachelor of Arts in Art History and Media and Communications Science. She is interested in various photographic genres, especially contemporary documentary photography and the work of young and emerging photographers. She is not interested in reviewing commercial work. Ms. Patomella will be reviewing for potential future exhibitions at Fotografiska.

David Raymond
Collector, Artist, Filmmaker, New York, New York, and Buenos Aires, Argentina

www.eyeofeternity.com

David Raymond's work spans the world of film, photography, art, and interactive media.

David has been an internationally recognized collector of contemporary and vintage photographic works for over twenty years. Numerous publications, including Art and Antiques and the Art Market Guide, have named David as a top-100 American collector. In 2008, Worth Magazine profiled his collecting habits. In 2007, the Cleveland Museum of Art acquired and was gifted a portion of his surrealist and modernist photography collection. A 2014 travelling exhibition and catalogue of the collection is planned.

David has been a force in the international art community. From 2000-2004, he served as an advisor to the Getty Museum and helped them put together their Dorothea Lange and Manuel Alvarez Bravo collections. In 2006, he served as the Artistic Director for Magnum Photo's Paris Photo presence. He was a portfolio reviewer and lecturer at the 2008 Festival de la Luz in Buenos Aires and at Fotofest 2010 in Houston. David is a board member emeritus of Performa, which produces New York's performance art biennial and he is on the advisory board for the Manuel Alvarez Bravo Foundation.

One of David's primary focuses has been producing films with a socially conscious message. His most recent U.S. film, Severed Ways: The Norse Discovery of America, directed by Tony Stone, premiered at the 2007 Los Angeles Independent Film Festival and won the jury prize at the 2007 Leeds Film Festival. It was greeted with widespread critical acclaim upon its theatrical release and has become a cult classic. The Toe Tactic, directed by Emily Hubley was greeted with such enthusiasm by the Museum of Modern Art that they not only asked to have their name on the film, but they also purchased a print for their permanent collection. His last film, Restless City, premiered at Sundance in January 2011 to much attention.

David's production company in Buenos Aires, Ayni Media (www.aynimedia.com), develops and produces Argentine films, South American television programs, and commercials. He is currently serving as Producer and Executive Producer on two Argentine films: Los Dioses de Lata, directed by Juan Antin, and La Macarena, co-produced with Nicolas Ferrero. He will also be having his directorial debut with a film that he is developing there.

He also is very interested in the healing arts and has studied numerous healing modalities including becoming a Reiki master.

David creates art in addition to collecting and supporting it. He is both a photographer and a video maker and his video works have been shown in New York, Paris, Berlin, Los Angeles, Miami and Buenos Aires. He had a show of work from his Other People's Pictures series in March 2011 at the Centro Cultural Borges in Buenos Aires.

As a reviewer, David is open to reviewing all types of work, but is mostly interested in work that has a surreal or conceptual element to it. He has a large number of contacts in the gallery, curatorial and museum world that we would inform about works that are of interest to him. He also continues to collect work and occasionally curate exhibitions. He does not wish to review stock or floral work.

Arianna Rinaldo, Freelance Photo Editor and Curator
Barcelona, Spain

Arianna Rinaldo is a freelance professional working with photography at a wide range, from photo editing, curating exhibits and book projects as well as teaching.

She is the Director of Ojodepez, the documentary photography quarterly by LaFabrica, Madrid. www.ojodepez.org. In 2012, she has been appointed artistic director of Cortona OnTheMove, the annual international photo festival focusing on photography and the journey, taking place in the beautiful region of 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. Between 2008 and 2011, she was photo consultant at D-La Repubblica, the weekend supplement of Italy’s main newspaper.

She collaborates with major publishing houses for special projects, and has been on several portfolio review panels worldwide (including Fotofest in Houston, Fotobild in Berlino, Rhubarb a Birmingham, PhotoEspaña in Madrid, Lensculture in Paris, Les Rencontres de la Photographie in Arles, and Visa pour l’Image in Perpignan); as well as an international prize jury member (World Press Photo in 2009, FNAC TAlento Fotografico, OjodePez Award for Human Values, among others).

In 2012 Arianna moved her base to Barcelona and will continue developing photography projects at an international level, as well as teaching and consulting.

Arianna is open to see a variety of work. Her main interest is documentary photography with an innovative style suitable for either publication or exhibition. Not too excited to look at fashion pictures, but any type of work that tells a story is welcome.

Rixon Reed, Founder and Director
photo-eye, Santa Fe, New Mexico

www.photoeye.com

Rixon Reed is the founder and director of photo-eye, a contemporary gallery, photo bookstore and resource for art photography located in Santa Fe, New Mexico and online at photoeye.com.

Mr. Reed will be looking for work for possible inclusion in one of four venues: photo-eye Gallery, a contemporary gallery in Santa Fe showing work by renowned, mid-career artists; Photographer's Showcase (photoeye.com/ps), an online extension of photo-eye Gallery, exhibiting projects/portfolios by emerging and mid-career artists, with online representation by photo-eye Gallery; PhotoBistro (photobistro.com), an online gallery devoted to showing work from a diverse group of artists, connecting interested parties directly with the artist or their agent; and API - Art Photo Index (artphotoindex.com), an innovative global, visual database of art photographers and their work.

Reed is seeking cohesive bodies of work with fresh ideas and viewpoints, along with work that is produced in unusual, aesthetically interesting ways. As photo-eye is among the world’s leading sources for photo books, he is also interested in book projects. He is less interested in fashion, classical nude and traditional landscape photography.

John Rohrbach, Senior Curator of Photographs
Amon Carter Museum, Fort Worth, Texas, USA

www.cartermuseum.org

John Rohrbach is senior curator of photographs at the Amon Carter Museum, a museum of American art in Fort Worth, Texas. Since joining the curatorial staff at the Carter in 1992, Rohrbach has assembled numerous exhibitions on topics of nineteenth and twentieth century American photography and written a range of articles and books including Eliot Porter: The Color of Wildness (2001), Regarding the Land (2006) Accommodating Nature: The Photographs of Frank Gohlke (2007), and the essay “Seeing Life Differently” in Barbara Crane: Challenging Vision (2009). He is co-editor with Gregory Foster-Rice of the book Reframing the New Topographics (2011). Prior to coming to the Carter, Rohrbach worked at George Eastman House and was director of the Paul Strand Archive. He received his doctorate from the Program in American Civilization at the University of Delaware in 1993. He has reviewed portfolios at the FotoFest Meeting Place in 2006, 2008, and 2010.

Dr. Rohrbach is interested in fully developed projects that push expectation and the boundaries of the medium. His interests range widely from documentary and landscape to portraiture, but he is not interested in seeing nudes or commercial work. The Amon Carter Museum is devoted to art of the United States. Opportunities for acquisition and exhibition are extremely limited.

Paco Salinas, Director and Editor
Fotoencuentros-Fundacion Cajamurcia and Editorial Naveka-Mestizo Murcia, Spain

www.fotoencuentros.es

Since 2001, Paco Salinas has been the director of the international festival of photography Fotoencuentros. Salinas is a founder of Mestizo, a multimedia art organization and publishing company. He is now the director and editor of Naveka-Mestizo, where they have published around 100 books on photography.

Between 1974 to 1993, Salinas was a professional photographer, he worked for several newspaper and magazines including as a correspondent for the national newspaper El Pais. In 1992, Salinas began working as an independent curator and photo promoter. He began participating as a speaker in photo workshops and conferences in museums and photo festivals..

En 2001, the Cajamurcia foundation offered him the opportunity of directing and founding a new photo festival, Fotoencuentros. Fotoencuentros is a festival of international photography that takes place every year in Murcia and Cartagena. Fotoencuentros has just celebrated is 9th edition.

Salinas can help giving advice in how best to promote and present your work, and in special cases he may be interested in work for the next editions of Fotoencuentros.

Mark Sealy
Director, Autograph ABP and Founding CEO, Rivington Place, London, United Kingdom

www.autograph-abp.co.uk
www.rivingtonplace.org

Mark Sealy has curated major international photography exhibitions, including an audiovisual program for Rencontres d' Arles in 1993, and initiating retrospectives on the photographic works of Gordon Parks and James Van Der Zee in London. He has edited and produced several photography books including books on the works of Vanley Burke, Rotimi Fani-Kayode and more recently Youssef Nabil. In his role at Autograph he has initiated the production of over 50 publications, produced exhibitions, residency projects and commissioned artists globally. Sealy has a special interest in photography and its relationship to social change, identity politics and human rights.

Sealy has guest lectured extensively throughout the UK and abroad including The Royal College of Art, Sothebys Art Institute and Harvard University. He delivered the keynote lecture for the Society of Photographic Education in America in 2004. He was for several years a member of the Arts Council of England's Photography Advisory Panel and has written for the several journals, including the Aperture ( Contributing Editor ) British Journal of Photography, Creative Camera (DPICT Magazine), Independent On Sunday Newspaper, Foto 8, En Foco, Exposure Magazine and more recently Index on Censorship and Foam Magazine in Holland. In 1995 he acted as the photography coordinator for the prestigious Africa 95 season and in 1996 & 2005 he was a member of the jury for the World Press Photography Competition in Holland and was recently one of the Chairpersons for the Sony World Photography Awards.

Recent curated projects include “Disposable People: a Hayward Gallery Touring exhibition seen by over 250,000 people and Bangladesh 1971 at Rivington Place London a ground breaking show that looked at the Independence struggles and Human Rights. Mark Sealy’s book project with Phaidon Press Limited titled “Different” on photography and identity with Professor Stuart Hall has received critical acclaim. He was until recently a purchaser for the Arts Council of England's Fine Arts Collection. In his role as Director of Autograph ABP he jointly initiated and developed a £7.96 million capital building project (Rivington Place) in partnership with the Institute of International Visual Arts. This is the first new build visual arts project to be built in London for over 40 years. The project was 8 years in development and Sealy saw the project through from conception to completion.

Sealy was recently awarded the Hood Medal for services to photography by the Royal Photographic Society and is currently a PhD candidate at Durham University. His research focuses on photography and cultural violence. Autograph ABP have recently secured a major grant from the Heritage Lottery Fund to develop the (Archive and Research Centre for Culturally Diverse Photography).

Sealy has a special interest in photography and its relationship to social change, identity politics, race, civil and human rights. Produced in both documentary or constructed images, and work that has been well researched and developed that deals with issues of cultural violence. He is not interest in seeing portfolios that act as a means of photo therapy, floral, nudes, or generic landscapes.

Karen Sinsheimer, Curator of Photography
Santa Barbara Museum of Art, Santa Barbara, California

www.sbma.net

Karen Sinsheimer has served as Curator of Photography for the past twenty years. The Santa Barbara Museum of Art began exhibiting photographs in 1941, the year the Museum opened, though the first curator was not hired until the 1970s. The collection is comprised of approximately 6,000 photographs with emphases on works from the Western Pacific Rim, work addressing the intersections of art and science, and contemporary work from all practitioners.

Over the past twenty years, Ms. Sinsheimer has organized numerous exhibitions, and she has produced publications for fifteen exhibitions that have traveled internationally. She has served on various panels and has been a portfolio reviewer at FotoFest, PhotoLucida, The Center at Santa Fe, and Palm Springs Photography Festival as well as on-line for quarterly JGS, Inc. contests and Critical Mass.

As a portfolio reviewer, Ms. Sinsheimer seeks to understand the goals of each photographer and to offer curatorial insight and guidance that may help each participant to realize those goals. She is most interested in reviewing one or two cohesive bodies of work about which the photographer is passionate -- from alternative processes to video and new media. She is not interested in reviewing commercial work.

Rod Slemmons, Curator at Large
Museum of Contemporary Photography at Columbia College, Chicago, Illinois

www.mocp.org

MOCP is accredited by the American Association of Museums and has been operating in its present from since 1984. Currently the collection is 11,000 prints. The Museum is essentially an educational institution serving the large photography department of Columbia College and other nearby colleges and universities, as well as mounting 6 exhibitions each year and publishing books on photography.

Rod Slemmons was trained at the George Eastman House. He has taught graduate seminars and history of photography courses for 20 years at the University of Washington, Seattle, WA; Columbia College; and the School of the Art Institute of Chicago, and was recently named Honored Educator by the Society for Photographic Education. He was the National Chair of SPE from 1990 to 1994. He was Curator of Prints and Photographs at the Seattle Art Museum for 14 years. He has reviewed portfolios for PhotoEspana and FotoFest, Fotolucida, among others.

Most interested in experimental and conceptual work and mixed media. Also interested in photojournalism. Least interested in landscape and straight portraiture.

I have always found somebody to publish or include in an exhibition while doing reviews. Most recently David Rochkind was put directly into the exhibition La Frontera at my museum after seeing his work at FotoFest.

Gilma Suárez Rivera, Founder & Director
Fotomuseo, Museo Nacional de la Fotografía, Bogotá, Colombia

www.fotomuseo.org

Gilma Suarez is the Founder and Director of the National Museum of Photography in Bogota, Colombia. The National Museum of Photography has been in operation for14 years in.

Ms. Suarez has been a photographer for 32 years, and curator for 14 years.

Ms. Suarez is more interested in getting to know new photographers and new artwork. She interested in looking at all kind of work

Barbara Tannenbaum, Curator of Photography
Cleveland Museum of Art, Cleveland, Ohio, USA

www.clevelandart.org

Barbara Tannenbaum became curator of photography at the Cleveland Museum of Art in August 2011. For the previous 26 years, she led the curatorial efforts at the Akron Art Museum, where she had organized over 85 exhibitions and grew the photography collection from 500 to over 2,500 works. Her exhibitions include the first large-scale international exhibition chronicling women's historic achievements in fine art photography, co-curated with Naomi Rosenblum, and the 1991 Ralph Eugene Meatyard retrospective, co-curated with David Jacobs. Dr. Tannenbaum has authored numerous publications including major books on Ralph Eugene Meatyard (Rizzoli) and on the Akron Art Museum's collection, and lectured throughout the U.S. and in Canada and China. She guided the selection process for the Akron Art Museum Knight Purchase Prize for Photographic Media, which honors those who have made a major contribution to the photographic arts, and serves on the Photolucida National Advisory Board and the Board of Trustees of ICA Art Conservation. Her recent projects include Detroit Disassembled: Photographs by Andrew Moore, solo exhibitions of Helen Levitt, Herman Leonard, Patrick Nagatani and Andrew Borowiec, and a show commemorating the 30th anniversary of Lee Friedlander's Factory Valleys photographs.

Dr. Tannenbaum has (hopefully sage) advice and guidance to offer and looks forward to discussing exhibition and book projects still in their development phase. She is interested in seeing many different kinds of work, but prefers not to review photography that is primarily commercial in nature. Nudity is okay as long as it is truly at the service of artistic expression.


Irina Tchmyreva, PhD, Senior Researcher
Russian Academy of Arts, National Institute of Theory and History of Art, Moscow, Russia

Irina Tchmyreva is currently senior researcher of photography in the Department of Russian Art in the State Research Institute of Art History of the Russian Academy of Fine Arts. Previously, she worked as head researcher of the Photography and Multi-Media Department at the Moscow Museum of Modern Art (MMOMA), which is actively building the contemporary photography collection.

She has organized several exhibitions of Russian old and contemporary photography for MMOMA as well as other institutions. She was co-curator with Evgeny Berezner of the show Russian Pictorial Photography 1890-1990 for FotoFest 2002 and for a number of Russian exhibitions for other editions of FotoFest in Houston. She frequently attends portfolio reviews at different international and local photo-events.

Dr. Tchmyreva is assistant professor (docent) at the Department of Art Book Design at Moscow State University of Printing Arts. She is co-founder of Russian web-server on photography www.Photographer.ru (1999), member of international editorial boards of the magazines "European Photography", "Fotografia Kwartalnik" and "IMAGO"; she has written texts for several books and albums on Russian and foreign photography.

She was guest editor of "OjoDePez" magazine, the Russian issue (#11). She was co-founder and art-director of 1st edition of PANDUS contemporary art festival in Moscow (2007) and art-director of International festival of photography PhotoVisa in Krasnodar, Russia www.photovisa.ru (2008).

Dr. Tchmyreva is most interested in seeing work that explores the relationship of photography to other media as well as contemporary fine art photography. However, Dr. Tchmyreva is not interested in reviewing commercial work intended for stock or advertising. Aside from offering criticism and critique of the photography itself, Dr. Tchmyreva can also provide advice and direction in terms of promoting projects. In exceptional cases, she is able to offer opportunities to artists in group exhibitions, projects and publications in Russia.

Anne Wilkes Tucker, Curator of Photography
Museum of Fine Arts, Houston, Texas

www.mfah.org

Anne Wilkes Tucker received undergraduate degrees from Randolph Macon Woman's College and Rochester Institute of Technology and a graduate degree from the Visual Studies Workshop, a division of the State University of New York. After working in various museums and universities, she joined The Museum of Fine Arts, Houston in 1976 and is currently the Gus and Lyndall Wortham Curator. She founded the museum's Photography Department that now has a collection of over 26,000 photographs. She has curated over forty exhibitions, most of which were accompanied by a publication. She has contributed essays to monographs and catalogues and published many articles. She has lectured throughout the U.S., Europe, Asia and Latin America and been awarded fellowships by the National Endowment for the Arts, the John Simon Guggenheim Memorial Foundation and The Getty Center.

In 2001, in an issue devoted to "America's Best", TIME magazine honored her as "America's Best Curator". She was the first recipient of the Lifetime Achievement Focus Award from the Griffin Museum of Photography in 2006 and received an Alumnae Achievement Award from Randolph Macon Woman's College.In 2011 she received an honorary doctorate from the College at Brockport State University of New York. She is currently preparing the exhibition WAR/PHOTOGRAPHY: Photographs of Armed Conflict and its Aftermath.

Clint Willour, Curator
Galveston Arts Center, Galveston, Texas, USA

www.contemporaryartgalveston.org

Clint Willour has been the curator of the Galveston Arts Center for the past twenty-two years, and an art professional for nearly forty years. He is active on boards of numerous arts organizations in Texas,has served as a juror for over seventy competitions and has curated over 200 photography exhibitions in his career. He serves regularly as a guest curator for institutions throughout the state of Texas and beyond – most recently for the Museum of Fine Arts, Houston and DiverseWorks Artspace, Houston. He is known for the multi-disciplinary focus of his taste.

He lectures and writes regularly on contemporary photography – most recently in books on Keith Carter, Sean Perry, Dornith Doherty, Dianne Kornberg and Nealy Blau.

Clint is currently a member of the Exhibition Committee of the Houston Center for Photography, a member of the Photography Accessions Sub-committee of the Museum of Fine Arts, Houston, a member of the Art Committee of FotoFest, Houston, and a board member of Photo Forum at the Museum of Fine Arts, Houston. He has been a meeting place reviewer at every FotoFest, Houston, every Photolucida (Portland) every Critical Mass (Portland), as well as reviewing portfolios for organizations in Texas, Oklahoma, Santa Fe, New Orleans, Arles, Montreal, Barcelona, Beijing and Buenos Aires.

In reviewing portfolios, Clint advises on professional development, portfolio enhancement and curatorial guidance. He does not wish to view commercial photography (except photojournalism) or work he has previously reviewed.

Denise Wolff, Senior Editor, Book Program
Aperture, New York, New York, USA

www.aperture.org

Denise Wolff is a photo book editor, known for her work with both contemporary and historic photography. Prior to joining Aperture, she worked at Phaidon Press. Throughout her career, she has had the opportunity to work on many beautiful books: monographs with some of the world’s top photographers, including Roger Ballen, Mary Ellen Mark, Martin Parr, and Stephen Shore; first books by emerging photographers, such as Sanna Kannisto and Sarah Pickering; and large survey anthologies on a variety of subjects, from portraiture to photographic albums.

Reaching a worldwide audience, Aperture’s programs include Aperture magazine, book publishing, traveling exhibitions, education and outreach programming. Denise is most interested in seeing projects that are close to completion and will look with pleasure at all different kinds of subject matter—from photojournalism to conceptualism. She is interested in meeting photographers who are open to honest feedback and she can help shape projects toward potential publication, whether or not they would be appropriate for Aperture.

Natalie Zelt, Curatorial Assistant for Photography
Museum of Fine Arts, Houston, Texas, USA

www.mfah.org

Natalie Zelt is the curatorial assistant for photography at the Museum of Fine Arts, Houston, a position she has held since 2009. In this role, Zelt has helped organize all photography exhibitions at the museum since her arrival. She is currently working on the upcoming exhibition WAR/PHOTOGRAPHY: Images of Armed Conflict and Its Aftermath as well as its accompanying catalogue. Prior to coming to Houston, Zelt was gallery assistant at Hemphill Fine Arts in Washington, DC and curated the Publishers Exhibition for FotoWeek DC’s Inaugural year.

She is a founding organizer of Gift of Gift of (or GoGo) which hosts an annual exhibition and party that benefits emerging photographers by collectively purchasing their work and offering it as a gift of Gift of Gift of to a major museum. For more information about GoGo and its annual call for entries visit www.giftofgiftof.com.

Zelt can offer insight into the museum exhibition and acquisition process as well as critical feedback and advice on creative and professional direction. She is open to review all types of photography but is most helpful to those who use photography to question and explore contemporary culture. Zelt is most interested in reviewing bodies of work by photographers who consider themselves emerging; works in progress or completed projects; traditional and non-traditional photographic media. She is not interested in reviewing stock photography or commercial work.

Del Zogg, Manager, Works on Paper & Photography Collections
Museum of Fine Arts, Houston, Texas, USA

www.mfah.org

Del Zogg holds a bachelor’s degree in Photography from the Rochester Institute of Technology and a Master’s degree from Syracuse University. His photographs are part of the permanent collection of several major museums and numerous private collections.

A specialist scholar and curator in photography, he has been the Manager of the Works on Paper Study Center and Collections Manager, Works on Paper + Photography at the Museum of Fine Arts, Houston since 2002. Prior to joining the MFAH he worked at George Eastman House, International Museum of Photography and Film for over twenty years.

He has participated in portfolio reviews for Fotofest, the Houston Center for Photography, Atlanta Celebrates Photography, and Photo Lucida. He has curated several exhibitions at both Eastman House and MFAH.

Mr. Zogg is most interested in work that shows a mature vision no matter what the age of the artist. Antique or alternative photographic processes are of interest as are traditional imaging processes.