A new component to the 60th Anniversary events that make up the MAGNUM FESTIVAL: Portfolio Reviews with Magnum Photographers.
Go to the festival website
A new component to the 60th Anniversary events that make up the MAGNUM FESTIVAL: Portfolio Reviews with Magnum Photographers.
Go to the festival website
Atlanta Celebrates Photography will open registration for its annual Portfolio Reviews this Friday, June 1st. This is one of the best of the annual Reviews, and I strongly encourage you to consider participating. Anne Dennington has done a fantastic job assembling Reviewers (a mix of regional/national professionals), with educational and public viewing as additional components for registrants.
Click here to view application procedures and confirmed reviewers to date.
The Portfolio Review and walk are part of ACP Festival 9, an annual, citywide festival in October. Now in its ninth year, the ACP 9 Festival programming includes photography exhibitions in diverse venues, lectures by both internationally acclaimed and local artists, a portfolio review and walk, a pushpin show open to all Atlantans, a film series, and a public art program.
Good luck and don’t miss this deadline!
If you are lucky enough to be in the vicinity of LONDON…. Don’t miss photo-london. Dates are May 31 – June 3rd; this is the first year the fair has been managed by the same group that organizes Paris Photo, bringing a more contemporary emphasis to the event.
From the event website:
A new management: on November 2006, photo-london was taken over by Reed Exhibitions, owner and organiser of Paris Photo, now the most important photography fair in the world. photo-london is held in the spring, and Paris Photo in the autumn. The Paris Photo team will be managing photo-london with Daniel Newburg, photo-london’s founder, as creative director.
A new concept: photo-london will now focus exclusively on contemporary photography since 1970. It aims to show the diversity of subjects, concepts, styles and techniques explored by photo-based artists from documentary work to conceptual art photography, as well as image combined with media such as audio, video, and installation. photo-london will provide a unique platform to highlight the latest international trends and expressions available in the medium of photography.
A new venue: the fourth photo-london will take place in a new and exceptional venue, Old Billingsgate, a magnificent 19th-century market building designed by Sir Horace Jones and entirely renovated in 1988 by acclaimed architect Richard Rogers. At the foot of the City, next to the Tower of London and facing the Thames, Old Billingsgate is within easy access of Waterloo Station.”
And, in the planning ahead department, the eleventh annual Paris Photo will be held November 15-18 this year, at the Carroussel du Lourve once again.
Remember: If ou can’t attend these and other important art fairs, buy the catalogues to keep current with galleries and their rosters of artists. Such volumes are a must for your marketing library!
The website for the 19th Annual International Festival of Photojournalism has launched with complete event details.
Dates run September 1st – 16th, with “PRO WEEK” September 3-9th.
Visit www.visapourlimage.com and if you’ve never had the pleasure of attending, DO! Book hotel rooms now…
The spring (quarterly) edition of Hey, Hot Shot! have been announced. Congratulations to the winners, whose works will be on view at the Jen Bekman Gallery beginning with the launch reception on the eve of Wednesday June 13 from 6-8 p.m, and continue on display through June 17th at the Gallery: 6 Spring Street, NY NY 10012 Telephone: 212/219-0166.
The ten winners are:
Join the Hey, Hot Shot! Mailing List to be advised of upcoming opportunities for photographers by clicking here.
FotoFest 2008 International “Meeting Place” Portfolio Reviews has opened registration, closing on JULY 9th. You are encouraged to apply as soon as possible.
FotoFest begins processing Meeting Place registrations on July 9, 2007
On July 9, 2007, if FotoFest HAS NOT received more Meeting Place registrations than spaces available, registrations are processed in the order they are received in the FotoFest office.
On July 9, 2007, if FotoFest HAS received more Meeting Place registrations than spaces available, they will conduct a lottery for all Meeting Place applicants.
Meeting Place registrations received after July 9, 2007 are placed on the waiting list in the order they arrive in the FotoFest office.
Registration confirmation is sent after your check has cleared or your credit card charges have been processed and approved.
FotoFest is the only portfolio review event in the US that has a strong international group of Reviewers – a very economical way to gain responses on your work from diverse arts communities. It occurs March of every other even-numbered year; if you don’t get in this year, the next chance will be March 2010.
The 2008 “Meeting Place” runs March 7-20, and is organized as follows:
Session one: March 7/8/9/10
Education day #1 of 2: March 11
Session two: March 12/13/14/15
Education day #2 of 2: March 16
Session three: March 17/18/19/20
NOTE: The theme for the education days have not been announced but know that each day will be a unique program. Plan to attend both if possible!
Artists can register for 4 to 6 days of portfolio reviews; if you choose 6 days you will overlap one of the education days, and benefit from meeting Reviewers from two different sessions (Reviewers are asked to commit to one four-day session).
Fees are $765 for 4-day registration (one session) and $950 for 6-day registration (one and a half sessions).
For complete details, click here.
To download the registration application in PDF format, click here.
No phone, e-mail, or walk-in registrations are accepted.
The headquarters hotel for FOTOFEST2008 is the DoubleTree Hotel – Houston Downtown. The Meeting Place, The Fine Print Auction, and the Educational Workshops are all held at this location.
A limited number of rooms are available at a special FotoFest rate. The FotoFest reservation code is IFF. Hotel reservations can be made at the Doubletree Hotel – Houston Downtown by calling toll-free 1-800-222-TREE, or by going to the DoubleTree reservations page online.
NOTE: I strongly encourage all participating photographers to book rooms at the Doubletree; you will be glad you are staying where the action is!
To download my advice sheet for those planning on attending The Meeting Place, click here.
Mark these important dates on your calendar now.
More on FotoFest 2008 as it approaches!
Columbia College’s Chicago Center for Book and Paper Arts is hosting “Action/Interaction: Book/Arts Conference 2007.”
From the event website:
An opportunity to raise the level of critical discourse among students and practioners in the book arts field; to examine what we do as artists and why and how the field is evolving. The conference events will be fully documented in the Fall issue of JAB: The Journal of Artists’ Books
A program of lectures and participatory guided discussions crafted to stimulate active participation among conference attendees
A juried exhibition surveying contemporary work from centers of book arts around the country
A book fair in which students, artists, publishers, and vendors can showcase and sell current work
On Saturday night conference attendees are invited to share their work through readings, performance, or other interactive displays of book arts led off first by a perfomance by Marshall Weber of Booklyn. [Let us know if you have something you'd like to share and if it requires special equipment.]
The conference will take place in the historic Ludington Building, home to the Columbia College Center for Book and Paper Art in the heart of Chicago’s South Loop. It is scheduled to coincide with the annual Printer’s Row Book Fair, the midwest’s largest free outdoor literary event ocurring in the nearby Printer’s Row neighborhood.”
Full speaker’s list, including Johanna Drucker, is listed here.
There is a terrific series of “Guided Discussion Sessions” listed on that same page:
The Guided Discussion Sessions wlll provide a forum for conference attendees to actively engage with other artists, students, and educators in the field to discuss topics of common interest in order to reveal a broad range of perspectives and help shape the discourse of the field. Discussion leaders will begin the session with a presentation which frames the issues and then open the floor for discussion. Sessions will run in two parallel tracks with pairs of concurrent discussions.
Guided Discussions 1: Saturday 11:15 – 12:00
1A: Shaping a New Critical Discourse for the Field – Mary Tasillo, University of the Arts
How can we forge a new type of critical discourse which incorporates creative formats, disparate perspectives, and the wide variety of media that are pertinent to the book arts? How can we liberate our discussions from a focus on form and create a radical criticism befitting our discipline?
1B: Exhibiting Artists’ Books: Problems and Solutions – Judith Hoffberg, Umbrella Online
Who should exhibit artists’ books (museums or libraries or…)? Why must we exhibit them? How and where should we exhibit them? How can we invite people from different disiciplines to see the book not as a nostalic artifact, but as works that can explain different approaches to technology, science, fantasy, narrative, history, economics, and politics?
Guided Discussions 2: Saturday 1:30 – 2:15
2A: Beyond Artifacts: Book Arts as Practice – Andrew Eason, University of West England
How can different roles and practices within the book arts, rather than the identification of formal elements of value within its artifacts, provide a framework to engage with the field? How might we think about the artist’s actions and intentions instead of focusing just on the resulting artifact? How does this reshape our understanding of the field as a place for action, both for the artist and the reader?
2B: Artists’ Books and Mainstream Publication – Jen Blair, Columbia College Chicago
Is is desirable for book artists to pursue mainstream publication? How do we develop strategies to familiarize editors and publishers with our artistic aims and convine them of the salability of our books? If mainstream publication is not the answer, how do we create more opportunities for distribution and sale?
Guided Discussions 3: Saturday 2:30 – 3:15
3A: Crossing Boundaries: New Conceptions for the Book – Jonathan Lill, MoMA Archives
As books are needed less and less as conveyors of information in our society, how can book artists refashion them as a locus for pure expression and imaginative experimentation? How can we move away from parochial and antiquated methods and definitions (fine printing and binding, traditional ideas of text and image interaction, dusty concepts of subject and content) and explore other forms of visual and textual production? What can we learn from comic books or Meso-american, Middle Eastern, and Indian manuscript traditions and ideas and styles of text and images which differ so profoundly from those of our print tradition?
3B: Considering Artists’ Books Online – Amanda D’Amico and Phoebe Esmon, University of the Arts
How can the electronic database, Artists Books Online, best serve the book arts community? Is it designed to attract people from outside of the discipline? Is it a critical catalog designed primarily for the dissemination of information within the book arts community? How does it relate to the ongoing discourse within the field regarding the creation and maintenance of a cannon?
Guided Discussions 4: Sunday 11:00 – 11:45
4A: Graphic Design and the Book Arts – Karen White, University of Arizona
What are the crossovers between graphic design and the book arts? How can book arts and book arts collections be used to inspire experimentation in graphic arts programs. How could the relationships between these fields and overlaps in practices be used to improve both graphic design and book arts education?
4B: Artists’ Books and Contemporary Art – Tango Book Arts: Karen Murken, Katie Baldwin & Lindsey Mears
How can the four characteristics of books: visual language, interactivity, containment, and temporality, help to situate book arts within the greater realm of contemporary art? How do they give structure to the artist’s book and help us redefine the book as art at a time in which art is moving in a direction that is increasingly accessible and collaborative?
Click here for a Registration form in PDF format.
I just learned of the upcoming Americans for the Arts Annual Conference: “Risk and Reward: Balancing Acts in Arts and Community“
From the website homepage:
“Risk and Reward: Balancing Acts in Arts and Community is more than just a theme, it’s the approach we’ve taken for the whole experience.
The convention is packed full of edgy ideas and useful tools. This year, we introduce seven new program tracks that ensure both close connection with your colleagues and expanded opportunity for crossover among important areas of the larger arts field.
Convention highlights include the national release of Arts & Economic Prosperity III, the culminating session of the MetLife Foundation National Arts Forum Series, the introduction of new recognition awards at our Annual Report and Awards Ceremony, guest artist Jenny Holzer and the Public Art Year in Review, as well as inspiring speakers, ARTventure tours, and all the events we know you enjoy!”
Women In Photography‘s Call for Entried guidelines are posted for this year’s competition. Jurors are being assembled and the full roster will be announced; click on JURORS from the home page.
“WIPI 2007 Competition” is open to all photographers and will be juried by an accomplished panel of professionals. The top 10 winning images with BIO clips as well as 25 honorable mention images will be showcased on womeninphotography.org.
For the 2007 WIPI welcomes images taken with any type of film and/or digital camera.. All photography including mixed media accepted and uploaded as a JPEG submission according to guidelines. B/W, alternative or any digital photo image, manipulated, scanned film or prints and submitted as a JPEG file, no date restriction, ALL subject matter accepted.
Submit your favorite photos
WIPI continues to honor women photographers worldwide with an online presence through competitions, galleries, feature stories and our Hire-a-WIPI Pro directory. WIPI Competition winners have received recognition in the arts through exposure at womeninphotography.org. The WIPI archive is a key reference for collectors and researchers and curators. Our past jurors have opened the doors to future opportunities for photographers seen on the Women In Photography International website.
The annual Distinguished Photographer’s Award started in 1985 as a tribute to photographers of excellence and achievement. WIPI recently paid homage to photographers Annie Leibovitz (2003) and Sylvia Plachy (2004) at the Lucie Awards, in NYC. and in 2005, one of WIPI’s founding members, photographer Carrie Mae Weems received our award. Former recipients include: Eve Arnold, Linda McCartney, Marion Post Wolcott, Ruth Orkin, Mary Ellen Mark, Grace Robertson, Judy Dater, Ruth Bernhard, Bereniece Abbott and Joyce Tenneson. WIPI History is posted here.
We would like to thank our jurors and sponsors for participating in WIPI’s 2007 International competition.
Founded in 1981, Women In Photography International (WIPI) has progressed over the years to become one of the most recognized organizations for women photographers worldwide.
Women In Photography International is a 501.(c).3. Organization. The online resource center is comprised of the WIPI history beginning 1981, the Peter E. Palmquist Women In Photography International bibliography of over 23,000 women photographers, an archive of exhibitions, member links, the f2-eZine that includes feature stories, member lecture listings, book reviews, world resources and the newly created Member Network Board for member posting and public viewing.”
“Atlanta Celebrates Photography‘s (ACP) Portfolio Review offers artists the opportunity to meet with respected curators, dealers, and editors from across the United States. Approximately 60 photographers will be chosen to display their portfolios to a distinguished panel of reviewers. ACP has carefully selected art professionals who have ideas and advice that will be of value to serious fine art and documentary photographers. In addition, attending the Portfolio Review is a cost effective way to meet busy art professionals in one convenient location.
Registration is required and will begin on a first come, first serve basis on June 1, 2007. Registration will be on-line only and a link will be placed on our homepage in the Happenings section. We encourage photographers to register early, as the spaces will fill quickly.”
This year’s review panel and schedule:
Julian Cox, Curator of Photography, High Museum of Art, Atlanta
Jason Fulford, Artist and Co-Founder of J&L Books, Brooklyn
Stuart Horodner, Director of Programs, Atlanta Contemporary Art Center
Karen Irvine, Curator, Museum of Contemporary Photography, Columbia College, Chicago
Lisa Kurzner, Independent Curator and Critic, Atlanta
Anne Lyden, Associate Curator of Photographs, J. Paul Getty Museum, L.A.
Amy Miller, Fay Gold Gallery, Atlanta
Anna Walker Skillman, Jackson Fine Art Gallery, Atlanta
Del Zogg, Museum of Fine Arts, Houston
More to be announced…
Following the Portfolio Reviews (10 a.m. – 4 p.m.):
Portfolio Walk and Reception, 7-9 p.m.
The public is invited to view the work of the photographers who participated in the 2007 Portfolio Review and to meet the distinguished panel of reviewers.
These events are sponsored by the LUBO Fund, Showcase Photographics, Grady High School
Advice for Portfolio Review Participants:
Click here to view portfolio review advice and tips as printed on this blog recently.