Reviewer selections will be finalized in Summer 2015 with links to reviewer bios. Registered photographers will make individual reviewer selections in late August 2015.
Susan Burnstine is a fine art photographer based in Los Angeles. She is represented in numerous galleries internationally and has been widely published throughout her career. Ms. Burnstine writes a monthly column entitled American Connection for Black & White Photography Magazine (UK) and is a frequent contributor for other photography publications. Her first monograph Within Shadows was published by Charta Editions and earned PX3’s Prix de Le Photographie Gold Award for Best Fine Art Photography book of 2011. It was also selected for the Photo Eye Best of 2011 book list. Burnstine regularly teaches workshops, is a frequent portfolio reviewer and has been invited to curate and juror many exhibitions for galleries in the United States.
As a reviewer Ms. Burnstine is interested in reviewing fine art, documentary, and photojournalist work, preferably in black and white due to the nature of her monthly column. She is happy to review color portfolios for possible articles in other online and print publications.
Jennifer DeCarlo is the Director of jdc Fine Art, a gallery dedicated to contemporary photography established in 2011. Prior to opening the gallery she worked as the Assistant Director at the Schneider Gallery in Chicago. Ms. DeCarlo is active academically and professionally, writing for for the international photography association AIPAD. She earned her Master of Fine Arts from the University of Wisconsin-Madison.
A seasoned reviewer, Ms. DeCarlo is most interested in reviewing narrative, figurative work, but welcomes seeing other work that explores the creative potential of photography. Depending on where the work is in process, she is able to help the artist evaluate and reflect on completed work or pause to sharpen the point of work in progress.
Her gallery website is: www.jdcfineart.com
Roy Flukinger is the Senior Research Curator at the Ransom Center of The University of Texas at Austin, where he has served as a curator since 1977. While serving as department head of photography he is responsible for the management of the collections and archives, including acquisitions, public access, conservation, exhibitions, publications and development. His most recent publications were on Arnold Newman and on the Center’s Gernsheim Collection, and he has just completed co-curating a gallery-wide exhibition on their Magnum Photos collection this past fall. He consults with a variety of institutions and researchers; serves as juror, reviewer and evaluator of contemporary events, groups and support organizations; and continues to assist in research, management and development matters for the department.
Roy is interested in viewing portfolios of work by both contemporary artists and documentary photographers which reflect both an originality and a maturity of approach and execution. Additional attention is often paid to bodies of work that reflect a sensibility to historical themes and processes, or to innovative directions in the aesthetic and technological growth of photography.
Anthony Graham is the Assistant Curator at the Museum of Contemporary Art San Diego. He holds an MA from Columbia University where he investigated the intersection of contemporary art and architecture. He has worked on book projects for the Columbia University Graduate School of Architecture, Planning and Preservation and contributed as a researcher for projects at the Museum of Modern Art, the Buell Center for American Architecture, and The New York Times. Anthony also worked for the Museum of Photographic Arts where photography became central to his interest in art.
Anthony is most interested in photography that engages social and political issues, while maintaining an artistic focus, as well as architectural photography, portraits, conceptual photography, and narrative works. This is to say he may be less helpful for commercial photography. He will be able to provide feedback both from a museum curatorial perspective, as well as discuss how projects might come together as publications.
Mazie M. Harris is an Assistant Curator in the J. Paul Getty Museum, Los Angeles, where she specializes in American photography. She holds a Ph.D. in the history of art from Brown University, and has worked with photography collections at the Davis Museum at Wellesley College; the Museum of Art at the Rhode Island School of Design; the Metropolitan Museum of Art; the National Gallery of Art; and the Fogg Art Museum at Harvard University. Her research interests include portraiture, partnered practice, the history of technology, legal issues, and socio-political art. Mazie would be happy to discuss the collecting priorities and protocols of various museums in order to help photographers assess what types of institutions might be appropriate for your work. She’s particularly interested in learning about the varied and thought-provoking art being made in Southern California.
ANN M. JASTRAB
Ann M. Jastrab is currently the gallery director at RayKo Photo Center located in the SOMA arts district in San Francisco near SFMOMA and the Yerba Buena Arts Center. RayKo is a comprehensive photographic facility with rental darkrooms, digital labs, studio and galleries that has been serving the San Francisco Bay Area for over 20 years. RayKo Gallery serves to advance public appreciation of photography and create opportunities for regional, national and international artists to create and present their work. RayKo Gallery offers over 1600 square feet of exhibition space and presents eight to ten exhibitions yearly with many nationally recognized artists; there is also a section of the gallery called The Marketplace that is reserved for Bay Area artists and displays a wide variety of photographic work. RayKo also has a thriving artist-in-residence program. Besides being a curator, Ann M. Jastrab, MFA, is a fine art photographer, master printer, and teacher. In addition to curating exhibitions for RayKo, Ann has juried exhibitions for the San Francisco Arts Commission, the Academy of Art in San Francisco, Artspan, SFAI, the Center for Fine Art Photography, and other national and international venues. She has reviewed portfolios at the Seoul International Photography Festival in Korea, Fotofest, Photolucida, GuatePhoto, Review Santa Fe, Review LA, PhotoAlliance (Our World), SPE, Medium, Palm Springs Photo Festival, Filter, Lishui International Photography Festival in China, and Click646 as well as being a juror for Critical Mass. She has also been teaching courses at the Maine Media Workshops (formerly the Maine Photographic Workshops) in Rockport, Maine since 1994.
Ann is always looking for new artists for the gallery, both for solo shows and group shows. She is most interested in seeing documentary projects, fine art photography, alternative processes/historical process work, and also work made with traditional film cameras as well as plastic and pinhole cameras. Ann is not interested in seeing work that is obviously digitally manipulated. Ann can offer exhibition opportunities as well as resident artist possibilities.
GEOFFERY C. KOSLOV
In 2015, Geoffrey C. Koslov founded Foto Relevance LLC, a Houston-based business that serves as a conduit to connect emerging and established contemporary artists of photography-based work to private, corporate and institutional collections. Foto Relevance was recently engaged in building a photography-based corporate art collection that involved conducting a search for imagery that spanned four continents.
Koslov serves on the Photography Acquisitions Committee of the Museum of Fine Arts, Houston. He is also on the Board of Directors of the Houston Center for Photography and was the co-chair of its 2015 HCP Print Auction. Koslov is currently a member of HCP’s art selection committee for the 2016 Print Auction and HCP’s exhibitions committee. He is also a collector of photography-based work. His collection spans the history of photography from tintypes, daguerreotypes and hand-painted glass plate images contemporary photography.
Koslov enjoys sharing his knowledge to help photographers take the next step in their fine arts career development. As a reviewer, He can offer advice on editing a body of work for presentation for to collectors and/or other venues.
In June 2007, Sam Lee established Sam Lee Gallery in the arts district of Chinatown, Los Angeles, showing contemporary art and photography. He has curated over 50 solo and group exhibitions that have received critical reviews from ARTFORUM, Art in America, The Los Angeles Times, among others. Since 2013, Lee now deals privately, connecting photographers with a broad base of collectors and outlets for contemporary photography. Prior to Sam Lee Gallery, he spent 10 years working in executive positions at Peter Fetterman Gallery, Jack Rutberg Fine Arts, Jan Kesner Gallery, and Robert Koch Gallery. Lee concurrently works as art gallery director at the Los Angeles Valley College where he teaches art history and museum studies. Sam Lee has worked in the non-profit sector that includes LACMA and the San Francisco Airport Museums. He holds a bachelor’s degree and master’s degree from UC Riverside in art history, concentrating in contemporary art and theory and the history of photography.
Melanie has managed photo-eye’s Book Division for over 17 years. She is a regular contributor to the photo-eye magazine. She has been interviewed about photography in numerous print and online publications including PDN and NPR’s The Picture Show. She has judged the prestigious photography competitions Women Photojournalists of Washington’s Annual Exhibition, and Fotografia: Fotofestival di Roma’s Book Prize. Ms. McWhorter has reviewed portfolios at Fotografia, Photolucida, Review Santa Fe and PhotoNOLA in addition to teaching and lecturing at numerous venues.
She is interested in meeting with artists who want to introduce their work to her for photo-eye Gallery or the Bookstore + Project Space, or to offer advice on photo book publishing for works in progress or completed projects. She prefers more descriptive, narrative work, but is open to viewing abstract and conceptual works.
Lianne Thompson Mueller is the curator for A SHIP IN THE WOODS. She holds an MA from San Francisco State University in Educational Technology with an emphasis on interaction design. As the chief curator for A SHIP IN THE WOODS Lianne curates experimental art events in San Diego and has brought artists such as Packard Jennings, Rebecca Solnit, the Del La Torre Brothers, Tommy Guerrero and others to San Diego. Before coming to A SHIP IN THE WOODS Lianne revamped and developed a motion graphics department at the Center for Electronic Arts and Expression for New Media in the Bay Area. While there she worked to develop photography classes and worked with experts in the motion graphics field such as Imaginary Forces. Before CEAE she worked as a creative director for the digital photography magazine Zing where she also worked with Karen Mullarky—a luminary photo editor for Life Magazine.
Lianne is looking for creative work that pushes boundaries. She is most interested in seeing conceptual work rich in mood and narrative, although she is open to seeing a wide range of new work.
GINGER SHULICK PORCELLA
Ginger Shulick Porcella recently relocated from New York City to San Diego as the Executive Director of the San Diego Art Institute. Porcella holds an M.A. in Socio-Cultural Anthropology from Columbia University and a B.A. in Art History from DePaul University. In 2010 she founded Big Deal Arts, providing comprehensive services to aid individual artists and arts organizations with a specialization in artist marketing, curatorial consulting, and grant writing. As a leader in the nonprofit sector, Porcella has developed and produced dozens of art exhibitions, special events, new commissions and public programs. Porcella has a deep understanding of the creative process, frequently lecturing on topics related to contemporary curatorial practices, arts administration, and fundraising.
Porcella is also an Associate Curator with Artist Pension Trust (APT Global) and has curated exhibitions for galleries and museums across the U.S. including; “Ivory Tower”, a video exhibition concurrent with Art Basel Miami Beach 2011; “The Typhoon Continues and So Do You” at Flux Factory, the critically-acclaimed “Future/Past” at REVERSE Gallery in NYC; and most recently “Beyond Limits: Postglobal Mediations” at the San Diego Art Institute. Porcella’s exhibitions have been positively reviewed in The New York Times, USA Today, Hyperallergic, creem magazine, and Modern Painters. Ginger is particularly interested in conceptual and documentary photography, and work that blurs the lines between the real and the imagined.
Molly Roberts is a photography editor, curator and photographer; she currently serves as Chief Photography Editor at Smithsonian Magazine. With 25 years experience in the magazine publishing world, she is responsible for the content and appearance of many magazines, books, websites and apps. Smithsonian Magazine has a focus on the areas of interest that the Smithsonian Museums cover; History, Natural History, Art, Technology, Design, World cultures and Native American culture. Roberts would love to see projects that are related to those subjects.
Roberts is an advocate for powerful visual storytelling and human rights, and recently created the non-profit HumanEyes USA to present documentary photography projects in public spaces and to use powerful imagery to help illuminate complex issues facing America.
Laura Sackett is partner and Creative Director in LensCulture, the leading website committed to discovering and promoting contemporary photography. She has lead all aspects of design including brand, website, print, communications, screenings and exhibitions that helped transform LensCulture into a world-class platform for the global photography community. Sackett also curates the online galleries, co-curates the LensCulture exhibitions, and serves as Juror for Portfolio Reviews. LensCulture is a both an editorial magazine and an invitation-only platform for contemporary photography. All genres are showcased – fine art, documentary, conceptual, street, B & W, etc. She is a founding Board Member of PhotoAlliance, and holds an MFA in photography from the California College of the Arts. She currently lives in Berkeley, CA.
Sackett can provide feedback on projects from any stage of development – from the creative/conceptual process of new work to marketing advice for finished projects. She loves work that makes her see an idea or subject in new ways, and is open to seeing all genres of photography. Sackett can offer photographers editorial features, interviews, an invite-only portfolio account, and connections to others in the field.
Rebecca Senf curates exhibitions from the Center for Creative Photography’s holdings for a dedicated gallery at the Phoenix Art Museum. Senf studied History of Photography at the University of Arizona, and spent ten years in Massachusetts where she earned a Ph.D. in Art History at Boston University. She has been an invited reviewer for Photolucida’s Portfolio Review, Photo Alliance’s Our World Portfolio Review, Houston FotoFest, Review Santa Fe, Critical Mass, and returns to Medium Festival of Photography.
Senf can best comment on photography that is created as personal expression (i.e. landscapes, figure studies, still lives, portraits, auto-biographical work, abstracts, etc. – but is not as helpful with commercial work or photojournalism). She has a keen interest in panoramic work and projects related to Mexico and US/Mexico borderlands. Senf can comment on every step of the art making process from idea to object making, editing to exhibition presentation, and from sequencing to publication. Her primary role as a reviewer is to provide feedback from the museum curatorial perspective, though acquisitions and exhibitions are also possible.
Aline Smithson is the founder of LENSCRATCH and currently is teaching and curating for Los Angeles Center for Photography. After a career as a New York Fashion Editor and working along side the greats of fashion photography, Aline Smithson discovered the family Rolleiflex and never looked back. Now represented by galleries in the U.S. and Europe and published throughout the world, Aline continues to create photographs with humor, compassion, and a 50-year-old camera.
She has curated and juried exhibitions for a number of galleries, organizations, and on-line magazines. She was an overall juror for Review Santa Fe in 2012, a juror for Critical Mass from 2009-2013, a juror for Flash Forward in 2012 and 2013, and is a reviewer and educator at many photo festivals across the United States. In 2014, Aline received the Excellence in Teaching Award from CENTER.
Aline has exhibited widely including solo shows at the Griffin Museum of Photography, the Fort Collins Museum of Contemporary Art, and the Wallspace Gallery in Seattle / Santa Barbara. In fall 2015 the Magenta Foundation will publish her first significant monograph, Self & Others: Portrait as Autobiography.
Heather Snider is the Executive Director of San Francisco Camerawork, a non-profit arts organization and publication dedicated to the photographic arts that was founded in 1974. She is interested in all kinds of photography, and have extensive experience in the commercial gallery world and working with collectors. But in my role at SF Camerawork, I am especially focused on emerging photographers who are exploring the conceptual and experimental edges of the medium.
Heather has over 20 years experience in the fine art photography field, having worked at Vision Gallery and Scott Nichols Gallery in San Francisco, as well as writing for Eyemazing Magazine and B&W Magazine.
Since 2008 Daphne Srinivasan has worked at Etherton Gallery, which exhibits a broad range of photography and contemporary art. The gallery specializes in post-WWII American photography, showing established, mid-career, as well as emerging photographers in solo and group exhibitions. Etherton Gallery is interested in original, tightly edited bodies of work that demonstrate a clear vision. As a reviewer, Daphne is equally enthusiastic about offering feedback on works in progress.
Daphne received her BA from Amherst College and an MA in the History of Photography from the University of Arizona. Her experience includes curating exhibitions, participating in fine art photography fairs, publishing catalogues and portfolios, and assisting collectors build photography collections.
Gordon Stettinius is the director of Candela Books + Gallery, a publishing company and fine art photography gallery in Richmond, VA dedicated to featuring the work of nationally respected photographers. Candela Books has produced five fine art photography books with their sixth title currently in production, Direct Positive by Willie Anne Wright, that will be released in November 2015. Candela Books + Gallery is one of the leading advocates for fine art photography in the mid-Atlantic region.
The gallery’s emphasis is on fine art photography, alternative process, conceptual work, featuring cohesive bodies of work. Gordon’s background includes editorial, commercial and stock photography experience which lends an ability to speak to a broad range of photographic work and ambitions. He is especially interested in reviewing complete and mature bodies of work that might be suitable as a book project.
Gordon is looking for personal work relating to photographer’s families and loved ones for an anthology project. He is not particularly interested in fashion or commercial work but is happy to look at and to discuss all types of work. His tastes run a little closer to organic and chaotic than they do to clean and controlled, but there are exceptions to every rule.
Barbara Tannenbaum is Curator of Photography at the Cleveland Museum of Art, where she has recently organized exhibitions of work by TR Ericsson, Hank Willis Thomas and Lois Conner. Other recent exhibitions include DIY: Photographers & Books, the first museum show of print-on-demand photobooks; American Vesuvius: The Aftermath of Mount St. Helens by Frank Gohlke and Emmet Gowin; and Detroit Disassembled: Photographs by Andrew Moore. From 1985 through 2011, Tannenbaum was chief curator at the Akron Art Museum, where she grew the photography collection from 500 to 2,500 works and organized over 85 exhibitions.
Dr. Tannenbaum has 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 in service of artistic expression.
Andrew Ütt is the director of Galería MÜ, the first gallery dedicated to fine-art photography in Colombia, and the editor of ALBÜM, a contemporary Latin American photography magazine. He specializes in contemporary Latin American fine-art photography with a strong interest in conceptually-based work.
Andrew Ütt is an artist and curator with a bachelor’s degree from the California College of Arts and Crafts. He has been working in the arts for the past thirteen years and has worked with different schools, galleries and museums based in California, including Southern Exposure in San Francisco, Mingei International Museum in San Diego, Pro Arts Gallery in Oakland, and the Natural World Museum in San Francisco. In these organizations he managed and developed assorted art educational programs. He recently worked as the community outreach and partner liaison for Art Works for Change, an organization dedicated to the creation of contemporary art exhibitions to address social and environmental issues. He is currently based between Bogotá and Miami.
Katherine Ware is Curator of Photography at the New Mexico Museum of Art in Santa Fe, and recently organized its yearlong Focus on Photography series. Previously, she conceived and organized the museum’s exhibition, book and website Earth Now: American Photographers and the Environment. She selected Art Photo Index’s inaugural online exhibition, Fear and Loathing and is a frequent juror and reviewer of work by living artists. Most recently, Ms. Ware has written essays on the work of contemporary photographers Terri Warpinski and Chris McCaw.
She previously served as Curator of Photographs at the Philadelphia Museum of Art and Assistant Curator in the Department of Photographs at the J. Paul Getty Museum. Her exhibitions and publications include studies of the work of Man Ray, László Moholy-Nagy, and Harry Callahan. Ms. Ware is particularly interested in work that pushes the boundaries of photography and in seeing a variety of projects in which concept and execution are well integrated.