Archive for August, 2008

UPDATE: SOLD OUT! Photolucida, April 2009: Registration opens online on Wednesday, 8/27/08

UPDATE: Registration for Photolucida 2009 opened yesterday at 9 a.m. PST, and was sold out in one short hour.

Photolucida, the 4-day portfolio review event held every other spring in Portland, Oregon will be held April 23-26; open registration will begin at 9:00 a.m. PST on Wednesday morning, August 27th. Registration will accepted on a first-come, first-served basis.

The event website states: “Photolucida does not jury it’s Portfolio Reviews, but we strive to keep the level of work of participants high. Participants should be mid-career photographers, with a recent history of exhibitions and/or publication. For a good reference of where your work should be professionally, please look at the work of artists in Critical Mass Top 50.”

If you register for this or any portfolio review event, remember that thoughtful research and preparation will aid you in beginning professional relationships; continuing that dialogue will be up to you. I encourage you to try to stay at the event hotel for the community such a gathering offers, and begin life-long friendships with your peers.

Portland is a great walking town, and the Benson Hotel is a short walk from the efficient MAX light rail system from the Portland Airport to downtown Portland, and you won’t need a rental car when at Photolucida.

As with any event that you must register for in advance, be sure to review the cancellation policy in the event that you are unable to participate.

I look forward to meeting many of you in Portland next April!

To read my recent blog entry on attending portfolio reviews, click here

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Roberta Smith on Public Art: Today’s NYT

The venerable art critic ROBERTA SMITH on the state of public art in Today’s NYT.

See the accompanying multimedia slide show here.


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Report from London: Today’s

Check out this piece by Sam Delaney published in today’s London Telegraph on shooting casual snapshots in urban settings: “Has our increasingly parnoid society declared war on the humble ‘weekend’ snapper?”

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“Your (Nonpartisan) Message Here” Your Voice and Art at the Political Conventions SOON!

When I’m on a tear from city to city, the print media piles up in my suitcase… always a delight to discover the gems, slightly old news or not! In case you missed it – Sunday’s New York Times featured an excellent guide to the public art events that the nation, if not the world, will be watching. Click here to read the feature by Julie Bloom. In Denver, “Dialogue:City” was conceived by Seth Goldenberg and includes its Mayor John Hickenlooper as one of the planners. The project has been funded independently from the city budget. In Minneapolis/St. Paul, the “Unconvention,” concieved by Steve Dietz, partners with regional arts organizations and educational institutions. An example: read the Walker Art Center’s blog. There is a strong sense of collaboration with their individual communities as well as the other host metropolis, with some works appearing in both Denver and the Twin Cities. I urge you to engage in these unique festivals at this extraordinary time.

Some of you will remember Steve Dietz from his years in publishing photographic books for Aperture, moving on to head publications and new media initiative as the National Museum of American Art and the Smithsonian, and later as the founding director of New Media Initiatives for the Walker Art Center. It has been terribly interesting watching his work integrating emerging media arts into our public museums and indeed our communities. He headed “ZeroOne San Jose: A Global Festival of Art on the Edge at the 13th International Symposium of Electronic Art (ISEA) and is a principle in YProductions in Minneapolis.

Click here to read an early piece Dietz authored during his tenure at the Walker entitled “beyond.interface: net art and Art on the Net II.” Note that within his bio in this piece, it states: In December, he is curating an exhibition, “Digital Documentary: the need to know and the urge to show” for pARTS Photographic Arts Gallery in Minneapolis. 1998, I believe. Ahead of the curve, and always one to lead us into tomorrow.

Seth Goldenberg’s work is new to me, coming from a position as the Director of the Office of Public Engagement at the Rhode Island School of Design to serving as director and curator of “Dialog:City.” He is clearly a for-the-people person, one who shares the spotlight and the credit, as the “ABOUT” page on the event website attests to. Something tells me that Goldenberg will be drawing the public to exciting community arts projects for years to come.

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“O’Keeffe and the Camera: The Art of Identity” Exhibition: Special Lecture in Portland Maine August 21

Last week I was fortunate to be able to see the exhibition “O’Keeffe and the Camera: The Art of Identity” at the Portland (Maine) Museum of Art, where it will be on view through September 7th (it will then travel to the O’Keeffe Museum in Santa Fe, New Mexico from September 26 – February 1, 2009). The Museum has produced a wonderful catalogue to accompany the exhibition.


On Thursday, August 21st there will be a special event to benefit the 2008 Photography Fund at the Museum:

Recollecting O’Keeffe Through the Eyes of Two Photographers
Exhibition tour at 5 p.m., lecture at 6 p.m.

“Enjoy a private viewing of the exhibition Georgia O’Keeffe and the Camera: The Art of Identity, and a conversation with noted O’Keeffe photographers Dan Budnik and John Loengard. Budnik is renowned for his portraits of pioneering American artists in the 1950s and 1960s and Life magazine photographer Loengard for his photographic essays on O’Keeffe.

Price is $25.00 for the general public, and $5.00 for students.”

This is a great way to support the Photography Fund, see this terrific exhibition and hear two amazing individuals in our field speak on their experiences with O’Keeffe. (It is one of Dan’s portraits of O’Keeffe that is far and away my favorite of Miss O’Keeffe, capturing her character and will in such a beautiful manner.)

You can view two podcasts related to the exhibition:

Curator Susan Danly on the her ideas for the exhibition here, and she provide an overview of the exhibition here.

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September 13 in NYC: Portfolio Reviews from EN FOCO

I received this from Miriam Romais, Executive Director of EN FOCO, announcing their NYC Reviews; you must be a current member to participate. Bios for all Reviewers are on the event’s website entry. Note that each registrant is guaranteed three sessions; first to register get first pick of Reviewers with whom to meet. If you’ve not attended a review event before, attending this one-day event would be great prep for the longer, larger review events:

“En Foco’s Portfolio Review Sessions, offers one-on-one reviews with NY and CA curators and editors on the same day, in a supportive, culturally diverse and affordable environment. Reviewers can advise about opportunities and/or provide guidance on career development. Each review session lasts for 20 minutes (with 5 min in between each); photographers are guaranteed a minimum of three reviews and receive a ‘gift bag.’ Upon registration, participants also receive an article written by Mary Virginia Swanson on how to best prepare themselves & their portfolio, for the Review.

First Registered = First Choice of Reviewers,
so don’t procrastinate!!

Location: Calumet Photographic, 22 W. 22nd Street, New York, NY
Date: Saturday, September 13, 2008, 10am-5pm
Cost: $100 members; $145 non-members (includes membership: all are welcome to join!)

Pre-Registration required: online at, or call: 718/931-9311

Direct Link here.
Reviewer´s confirmed to date (8/15/08):
* Rocio Aranda-Alvarado, Jersey City Museum
* Kalia Brooks, Studio Museum in Harlem
* Mary Ann Fahey, Umbrella Arts Gallery
* Elizabeth Ferrer, Rotunda Gallery (am session only)
* Hannah Frieser, Light Work
* Elvis Fuentes, El Museo del Barrio
* Michelle Graham, Getty Images
* Charles Guice, Charles Guice Contemporary
* Lisa Henry, Independent Curator
* Stella Kramer, Photography Consultant
* Joanna Lehan, Aperture
* Vincent Nelson, Black Book
* Edwin Ramoran, ALJIRA Center for Contemporary Art
* Elizabeth Shank, Silverstein Gallery (am session only)
* Jill Waterman, PDNedu and ASMP Bulletin
* Deborah Willis, Curator, Historian”

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PhotoNOLA Registration Open NOW

8/16/08 NOTE from MVS:  At the close of the first day, registration had passed the 1/2 way mark.  If you haven’t registered and hope to attend, do so promptly!

Registration for PHOTONOLA in New Orleans opened earlier this morning. The complete event website is up, so if attending (or in the area) don’t forget to consider coming in early for their kick-off Gala event on December 4th at the New Orleans Museum of Art, taking a workshop with Susan Burnstine or staying late for book signings on December 13th with Maggie Taylor and Keith Carter at A Gallery for Fine Photography. The full schedule PhotoNOLA is posted on the site under CALENDAR.

Jennifer Shaw and I have been in touch this morning, and I can tell you the caliber of photographers who have already registered in these few hours is exciting and will be a treat for the Reviewers to meet. Those who can attend the December 6th Portfolio Walk at the host hotel, International House, will have a feast for the eyes and mind.

I look forward to seeing all of you there!

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Photographers frequently ask me about the value of attending portfolio review events, which events to attend and why. The offerings are vast and the investment of time and money varies. Deadlines loom for several of these opportunities so I am taking the opportunity on a long travel day to give you an overview of my opinions on the subject portfolio review events, as well as upcoming dates that are essential to mark on your calendar if you would like to attend any of the 2008-2009 offerings.

Do I think attending a portfolio review event has value? Absolutely.

Will each and every photographer benefit from sharing their work at these events, no matter how resolved their body of work is at that time? YES. Reviewers can provide creative guidance for works in progress, as well as marketing advice for completed projects.

Can participating in these events help move your career to the next level? Without question. But to do so effectively you must continue the dialogue you have started at the event.

Will every single appointment be a match made in heaven? NO. But responsible Reviewers will find much to share with you about your work, regardless of whether it fits their gallery, their collection, their publication program, and know too that you can ask them questions about their industry, from market trends to pricing and editioning to whom they might suggest would be interested in your project.

From my perspective, there are three main reasons you should bring your work to a portfolio review event:

First: The process of applying and preparing to attend is a valuable experience. Writing about your work, editing your work for a 20-minute reviews session, and preparing a printed piece or CD-Rom sample with your imagery to share with others attending are activities that in themselves will lend clarity to your work.

Second: presenting your work to industry professionals and peers alike. This is an experience that can’t be matched. The standard model is a 20 minute session with each Reviewer; the number of sessions you have dependes on the length of the event. The number of times you will share your work goes beyond these formal sessions as you will share work with other photographers too. Through having a dialogue about your work your clarity about and commitment to your bodies of work, your presentation to your target audience, your explorations toward desired final print(s) and in what format to display the work – all this and more comes from attending a portfolio review event.

Third: Beginning relationships. Portfolio review events provide an opportunity for you to to share your work and ideas with your peers and industry professionals, be it discussing craft or intention/audience that you devote your twenty minutes session to. It is of course your responsibility to follow up with those Reviewers who encourage you to keep them posted on the evolution of your project.

We owe a tremendous debt of gratitude to Fred Baldwin and Wendy Watriss from FotoFest for bringing the Portfolio Review to our community; 2009 will be the Thirteenth International Bienniel of Photography and Photo-Related Art which continues to be a catalytst to creativity and a conduit to international dialogue for Reviewers and photographers alike. Hats off to FotoFest! You and your colleagues have set a strong example for which we thank you, and know that we look forward to being in Houston during the spring 2010 Bienniel, most certainly.  Sign up for the FF2010 newsletter here(Be sure to check out, a website FotoFest has developed that brings together information on photography festivals internationally.)

As the number of portfolio review event offerings has increased, occurring now in every season and in nearly every region of the world, some organizations have decided to require submission for consideration by a jury before allowing acceptance. I believe Review Santa Fe was the earliest to transition to be a juried event with PhotoAlliance’s OUR WORLD: A National Juried Portfolio Review requiring acceptance by jury from its inception in 2007; the 2008 co-Sponsor was Orion Magazine. This year the portfolio review component of Atlanta Celebrates Photography required submission of a portfolio for the first time in the ten-year history of programming.

If an organization declares that it will require entrance determined by a judging process, I am admittedly happiest when you, the applicant, have full knowledge of the names of members of that all-important pre-screening team; this, combined with some thoughtful research on your part can aid in your decision as to invest your time and money in applying for that event. Personally I feel there are enough of you ready to participate in these events that are aware of deadlines who fill the roster, and find the level of work very high regardless of any jurying process in place.

The next step in your decision to apply is to look carefully at the Reviewers that have been asked to participate. An increasing number of events are inviting a diverse group of reviewers, going beyond professionals from the fine art arena to include influential photo editors, photo researchers, graphic designers, corporate art consultants and others who bring opportunities for your work to be seen in multiple markets. I applaud this effort and encourage you to try to schedule a session with an individual whom you are not as likely to secure an in-person meeting outside of an event such as this. Among those from related professions whom I applaud for serving as Reviewers are photo editors Kira Pollack of the New York Times Magazine, Paul Moakley from Newsweek and Whitney Johnson from the New Yorker, photo researcher Mary McClean from Random House, corporate art consultant Julie Kinzelman from Kinzelman Art Consulting and corporate curator H. Scott Westover from The Progressive Art Collection. If you are interested in learning more about marketing opportunities in areas other than simply fine art, I encourage you to seek our reviews offering a diversity of industry professionals. Note: depending on the event, you may be allowed to make a “wish list” of participating Reviews to meet with, and in some cases, learn your schedule in advance of the start of the event furthering your ability to prepare.

Geographic location too could be the reason you register (or apply) to one event over another. I want you to know your local community, and to introduce your work to others beyond your local area. Every event will do its best to invite professionals from all parts of the country however most invite a strong contingency of regionally-based reviewers for ease of and cost of bringing those professionals to their event. If your work is well know in the east, you might consider attending a review event in the west.

Educational component – another plus from my perspective. If you are committing time and resources to travel to an industry gathering such as these I wish for you to gain insights from professionals and peers in attendance in the form of lectures, panel discussions, and more. When weighing your options, educational offerings may be a factor for you in putting an event in your “plus” column.

Introducing your work to individuals from multiple markets is a growing focus of some events, while others invite a majority of reviewers from the fine art community. Many publishers seek invitations to attend JURIED events. Study the list of the reviewers who have been invited to all events, and this should be a strong factor in weighing the value of your attending that particular event.

My enthusiasm for your investing in portfolio review events grows as I become increasingly frustrated and in fact pessimistic about the value of entering many exhibition and/or publication competitions. The reproduction rights demanded from the winners, and more often now from those who simply apply, are frustrating, unnecessary and unfair. The physical space and the circumstances at the actual judging of the work can vary, within a physically environment that may not lend itself to optimum viewing of your work, or judges working remotely without a dialogue, or so few examples of your work presented that we can barely get to know your work. (My most interesting judging experiences of late have been being part of a team judging the 2008 Photography Annual for Communication Arts Magazine, and reviewing entries for Critical Mass in the solitude of airplanes (more on these competitions in upcoming blog entries).

So I encourage you to review the offerings, join their e-mailing list, mark these dates on your calendar and know that they (and the host hotels) will sell out within a few days of opening registration. Being aware of cancellation policies is always wise.



International House Hotel, New Orleans, Louisiana

Registration opens AUGUST 15;

Event dates: Portfolio Reviews December 6 & 7; overall event including workshops for photographers runs December 4th – 13th


REVIEW LA (concurrent with Photo LA)

Doubletree Guest Suites Santa Monica, California

Registration opens mid-September.

Event dates: January 9-11

Info: Http:


Benson Hotel, Portland, Oregon

Registration opens August 27th

Event dates: April 23-26th, 2009


Santa Fe, New Mexico

Registration: Submit twenty images and artists statement by January 23, 2009; notification of acceptance/registration anticipated by early March.


OUR WORLD from PhotoAlliance

San Francisco Art Institute, San Francisco, CA

Registration dates not yet posted.

Event dates: March 6/7/8, 2009


ATLANTA CELEBRATES PHOTOGRAPHY’s portfolio reviews are closed; event will be October 11th. (Juried)

The Center for Photography at Woodstock offer’s two separate days of reviews in NYC for a limited number of participants on a first-come, first-served basis; information is contained in their annual Workshop brochure. Earlier this year they offered the first Regional Review which I hope will become an annual event.

Both the Griffin Museum and the Photographic Resource Center in the Boston area offer reviews in the spring.

Other regional organizations like The Print Center (Philadelphia), En Foco (Bronx, NY), SF Camerawork and many other regional centers offer portfolio reviews, primarily as a benefit of membership. Support your local organizations!

Additional opportunities to share your work with your peers:

The network of Fall Regional Conferences of the Society for Photographic Education offer portfolio reviews as well at the upcoming National Meeting at the Fairmont Hotel in Dallas, Texas on March 26-29, 2009.

Other events will be posted as details are available.

Harris Fogel of Mac Edition Radio conducted an Interview with me on this subject; click this button to

HEAR. We cover the value of these events, how to prepare and follow up in my marketing workshops.

I will continue to comment on this blog on making the most of your portfolio review investment, and refer you as well to a chapter on this subject in my business book. I look forward to seeing your work at these upcoming events!

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Julie Winokur and Ed Kashi Featured within August Issue of Digital Journalist (.org)

I just wrapped up teaching at Maine Media Workshops where one of my colleagues as teacher and presenter was DIRCK HALSTED. We had a lively discussion about the changes in the print and on line markets for imagery, with a truly optimist tone. Dirck let us know that his next issue of Digital Journalist would feature ED KASHI as an excellent example of a contemporary photojournalist, maximizing the new markets for photography, from the book/exhibition/gallery to online storytelling.

From Dirck’s e-announcement:

“The August issue of The Digital Journalist, the monthly magazine for visual journalism, is now online at

Suddenly something we have taken for granted, low prices for gasoline, has become an issue of vital concern to consumers around the world. Oil-producing countries have yielded record profits. However, sometimes the benefits do not trickle down to the infrastructure or the citizens of these countries. Nigeria is one of the saddest examples in the world. Much of its populace live in abject poverty, the air fouled by gaseous clouds of burning oil, its food sources poisoned. Photojournalist Ed Kashi has spent over four years making multiple trips to Nigeria to document the devastating effects of oil production on the land and its people. PowerHouse has recently published his book, Curse of the Black Gold: 50 Years of Oil in the Niger Delta. We proudly present his photographs in this month’s cover feature, with an 18-minute interview with Ed and his wife, filmmaker Julie Winokur.

Walter Iooss Jr. is regarded as one of the finest sports photographers of our time. His new book, Athlete,published by Sports Illustrated, presents portraits of the top figures in sports. We feel that it is a compelling body of work that deserves to be seen as the world celebrates the Summer Olympic Games in Beijing.

This month Beverly Spicer reviews two books, America at Home and UK at Home, created by Rick Smolan and Jennifer Erwitt. Both books offer an innovative design process that has been used only once before in the industry. Buyers can upload the image of their choice to illustrate their own custom-designed wrap-around cover.

Executive Editor Ron Steinman presents an essay by Charlee Brodsky, a professor of photography at Carnegie Mellon University whose poignant book, I Thought I Could Fly: Portraits of Anguish, Compulsion, and Despair, explores the juxtaposition and interdependency of photos and words.

This month we offer four Dispatches and one Update. David McNew reports on California’s tenacious wildfires and their ever-larger devastation. David Bathgate is back in Afghanistan, this time deployed with “Charlie Company” at Jugroom Fort, once a stronghold for Taliban and al-Qaida fighters. Will Baxter reports on the dangerous situation in Zimbabwe after the sham one-candidate election of Robert Mugabe on March 29. Philip Poupin investigates the growing problem of gold mining in Brazil’s Amazon Basin, which is leading to the irreversible destruction of its rainforests. And finally, in this month’s “Update,” Rafael Ben-Ari covers Barack Obama’s recent visit to Israel.

In “Perfect Days,” E-Bits Editor Beverly Spicer writes about cultural change and the difference between newsprint and online news, and new vulnerabilities to censorship, deletions, memory holes. She talks about the Main Core database and reminiscences about a science fiction book from the ’70s called “This Perfect Day.” She suggests as life imitates art, that it is also imitating science fiction.

Assignment Sheet has two stories for August. The first, by Eileen Douglas, is called “Cheatin’ Heart.” Eileen ponders the (hopefully rare) cheating reporter who got caught getting someone else to write his newspaper pieces for him. Dick Kraus, continuing his thread about “In the Presence of Greatness,” finds that greatness can be found right under your nose in your own newsroom.

In his commentary “Local Rules, or Should,” Ron Steinman writes that “all news should be local if survival is the future of newspapers,” and predicts that newspapers and TV news can still survive, but only if they determine what the news business is – and isn’t.

Our regular columnists Bill Pierce, Mark Loundy and Terry Heaton as usual offer provocative columns and Chuck Westfall answers your technical questions. And in Ethics, Karen Slattery and Mark Doremus observe that responsible journalism is “No Small Matter” to a community.

We will be holding our last domestic Platypus Workshop for 2008 in Chicago from Oct. 17 to 26. We still have some shoot ‘n’ edit spots and producer spots left, but we suggest you register as soon as possible. This will be our 33rd workshop since we started them. It has changed the lives of nearly everyone who has attended them.

We hope you enjoy this issue.”

Dirck Halstead
Editor and Publisher

For removal from the mail list, click here:

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Art/Science: 10th Annual International Juried Digital Print Competition and Exhibition

DEADLINE: August 10, 2008
From the e-blast:

“OPEN CALL for the 10th International Juried Digital Print Competition/Exhibition, organized by Art & Science Collaborations, Inc. (ASCI). Seeking artists, designers, architects, technologists, and scientists to examine their environmental concerns, indulge their fantasies (sci-fi, fantasy, etc.), and then share their digital visions of how a sustainable future on planet Earth might look. This could include new types of hybrid forms: plants, animals, humans, cities, transportation systems, food, etc.

An exhibition of the work, Digital’08: Imagination On Behalf Of Our Planet, will be held at the New York Hall of Science, October 4-January 25, 2009 and a corresponding online exhibition will be created and promoted internationally. Entry details and Guidelines:

ASCI was one of the first organizations in the world to recognize the digital print as a valid fine art product in 1998 by organizing an afternoon panel discussion,
“Collectibility & the Digital Print.” The event was held in The Great Hall at Cooper Union, New York City, in conjunction with ASCI’s first international digital print competition/exhibition.”

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