2016 Portfolio Reviewers

The Eye to Eye Portfolio Reviews take place at the Lafayette Hotel on Oct. 20-21, 2016. We will host an Open Portfolio Walk on Thursday, Oct. 21 from 7-9pm, open free to the public.

The list of confirmed 2016 reviewers includes:


Tara Centybear, San Diego History Center
Roy Flukinger, Harry Ransom Center, Austin, TX
Amy Galpin, Cornell Fine Arts Museum, Winter Park, FL
Jill Dawsey, Museum of Contemporary Art, San Diego, CA
Arpad Kovacs, J. Paul Getty Museum, Los Angeles, CA
Kevin Miller, Southeast Museum of Photography, Daytona Beach, FL
Eve Schillo, Los Angeles County Museum of Art, Los Angeles, CA
Ginger Shulick-Porcella, San Diego Art Institute, San Diego, CA

Jonathan Blaustein, NY Times Lensblog & A Photo Editor
David Bram, Fraction Magazine
Michael Itkoff, Daylight Books
Paloma Shutes, California Sunday Magazine

Jennifer DeCarlo, JDC Fine Art, San Diego, CA
Monique Deschaines, EUQINOMprojects, San Francisco, CA
Hamidah Glasgow, Center for Fine Art Photography, Fort Collins, CO
Allie Haeuslein, Pier 24, San Francisco, CA
Stefan Kirkeby, Smith / Anderson North Gallery, San Anselmo, CA
Lianne Mueller, Ship in the Woods, Escondido, CA
Michael Mulno, Joseph Bellows Gallery, La Jolla, CA
Chantel Paul, SDSU Downtown Gallery, San Diego, CA
Jennifer Schwartz, Crusade for Art, Atlanta, GA
Hannah Sloan, Sloan Projects, Santa Monica, CA
Brian Taylor, Center for Photographic Art, Carmel, CA
Sarah Trujillo-Porter, Quint Gallery, La Jolla, CA





Jonathan Blaustein is an artist, writer, and educator based in Taos, New Mexico. Jonathan is a regular contributor to the popular blog A Photo Editor, as well as the New York Times Lens blog, and has taught at UNM-Taos for many years. He has also written about art and photography online for The New Yorker, VICE, and Hyperallergic.

Jonathan has exhibited his work widely in galleries and museums the US, and in festivals in Europe as well. His photographs reside in several important collections, including the Library of Congress, the State of New Mexico, the Brooklyn Museum, and the Museum of Fine Arts, Houston.



David Bram is the editor, founder and curator of Fraction Magazine, an online venue dedicated to fine art, contemporary photography. Fraction Magazine was founded in 2008, is published on a monthly basis, and has shown portfolios from more than 350 photographers. David is also the co-creator of Flash Powder Projects, which hosts invite-only retreats for photographers and works collaboratively with artists to publish truly beautiful photobooks in small, exclusive editions.

David has reviewed portfolios at over 25 national events including Review Santa Fe, Fotofest, PhotoLucida, PhotoNOLA, Atlanta Celebrates Photography, Medium, and Filter. He was a juror for Review Santa Fe in 2010 as well as a frequent juror for Critical Mass.  He was a reviewer at Fotofest Moscow in August 2011 and a curator at the Lishui Photography Festival in China in November 2011. In September 2010, David was the recipient of the Griffin Museum of Photography’s Rising Star Award. In 2015, David curated Fraction of a Second, a group exhibition of 45 Fraction photographers for the University of New Mexico Art Museum and 516 Arts.



Tara Centybear, has worked over the last decade to curate interactive, accessible fine art exhibitions in museums throughout the region. Centybear is the Collections Manager and Bruce Kamerling Curator at the San Diego History Center where she runs their Art Initiative focusing on exhibiting contemporary and Historical San Diego Artists. Centybear holds a Masters of Fine art from Goldsmith’s College, University of London and a Bachelors of Fine art from the School of the Art Institute of Chicago.



Jill Dawsey is Associate Curator at the Museum of Contemporary Art San Diego. Prior to joining MCASD, she held curatorial posts at the San Francisco Museum of Modern Art and the Utah Museum of Fine Arts. Dawsey’s recent exhibitions include Laugh-in: Art, Comedy, Performance (2015), Approximately Infinite Universe (2014), and The Smithson Effect (2011, for the UMFA) among others. She has organized solo exhibitions with artists such as Scoli Acosta, Edgar Arceneaux, Phil Collins, Rachel Harrison, Colter Jacobsen, Adriana Lara, and Xaviera Simmons.

Dawsey is currently organizing The Uses of Photography: Art, Politics, and the Reinvention of a Medium (opening at MCASD in fall 2016) which examines photographic practices by a network of conceptual artists based in San Diego between the late 1960s and the early 1980s, including Eleanor Antin, Allan Kaprow, Fred Lonidier, Martha Rosler, Allan Sekula, Carrie Mae Weems and others.



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.



Monique Deschaines is a curator, gallerist, and educator with extensive experience furthering artists and their careers. She founded EUQINOMprojects gallery in 2015. Based in San Francisco EUQINOMprojects represents emerging and mid-career artists with photo-based practices. As director Deschaines curates work that is true to the photographic form, ranging from ephemeral to documentary, with an emphasis on contemporary work and practices that showcase the beauty of the photographic process and a lively engagement with photo-history.

Deschaines is interested in conceptual work that is innovative and rooted in the medium of photography. She is always eager to learn of new photographers but does not wish to review commercial portfolios.

Deschaines was elected to the Board of Directors for SF Camerawork in 2013 and currently serves as their Programing Chair. She is adjunct professor of visual studies in the Architectural and Environmental Design department at University California Berkeley. Prior to founding EUQINOMprojects, Deschaines was Associate Director at Haines Gallery. She has her MFA in photography from the San Francisco Art Institute and her BFA from the School of the Museum of Fine Arts, Boston and at Tufts University, Cambridge.



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 was responsible for the management of the collections and archives, including acquisitions, public access, conservation, exhibitions, publications and development. His most recent publications were on the Center’s Arnold Newman Archive and its Gernsheim Collection, and he recently co-curated a gallery-wide exhibition on their Magnum Photos collection. 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.

The Ransom Center was founded at The University of Texas at Austin in 1957, and its Photography Department was established in 1963 with the purchase of the Gernsheim Collection. Since that time the collections of the department have grown to an estimated five million photographs. While the holdings of the collection range from historical images to the archives of many famous photographers, the department has also endeavored to collect a measure of contemporary images as well – including a number from select photo reviews.

As a reviewer, Flukinger 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 reflects a sensibility to historical themes and processes, or to innovative directions in the aesthetic and technological growth of photography.



Amy Galpin is Curator of the Cornell Fine Arts Museum. Previously Galpin was Associate Curator, Art of the Americas at the San Diego Museum of Art. In San Diego, she curated Behold, America! Art of the United States from Three San Diego Museums, a 2012 collaboration between the San Diego Museum of Art, the Timken Museum of Art, and the Museum of Contemporary Art San Diego.

Her other projects for the San Diego Museum of Art include the group exhibition Women, War, and Industry, as well as solo exhibitions with Hugo Crosthwaite, scott b. davis, Marianela de la Hoz, Noah Doely, and Rubén Ortiz-Torres. Galpin’s exhibitions at other institutions include Translating Revolution: U.S. Artists Interpret Mexican Muralism (National Museum of Mexican Art in Chicago, 2010), Alfredo Ramos Martínez: Picturing Mexico from California (Pasadena Museum of California Art, 2014), Fractured Narratives: A Strategy to Engage (Cornell Fine Arts Museum, 2014), Women and Abstraction (Cornell Fine Arts Museum, 2015), and Displacement: Symbols and Journeys (Cornell Fine Arts Museum, 2016).

Amy has published articles and reviews in art ltd, Panorama, and American Art Review. Her essay on the photographer Jess T. Dugan appeared in the monograph Every breath we drew, published by Daylight Press, and an essay on the American abstract painter Doris Leeper will be included in an upcoming book on the artist published by Florida Historical Press.



Hamidah Glasgow has been the Executive Director and Curator at The Center for Fine Art Photography in Fort Collins, Colorado since 2009. Hamidah holds a master’s degree in humanities with a specialization in visual and gender studies and a bachelor’s degree in philosophy. Her contribution to photography has included curatorial projects, national portfolio reviews (FotoFest, Photolucida, Medium, Center, Filter, etc.), contributions to publications and online magazines, and the co-hosting of regional conferences. Hamidah is also a co-founder of the Strange Fire Collective. This collective is dedicated to photo-based work that engages with current social and political forces, highlighting the work of women, people of color, and queer and trans artists, writers, and curators.

Hamidah (Pronounced Ha-me-dah) is interested in a wide variety of work both finished  projects, work-in-progress, and creative brain storming. She is not interested in traditional nudes, traditional landscapes, or commercial work.



Allie Haeusslein is the Associate Director at Pier 24 Photography in San Francisco, one of the largest spaces dedicated to photography in the United States. Haeusslein is involved in all facets of the organization’s operations including exhibitions, publications, and public programs. Her writing has appeared in publications such as ApertureART21 Magazine, and DailyServing. She contributed one of the two essays in Chris McCaw’s monograph from 2012, Sunburn. In 2015, she curated the group exhibition, The Return to Reason, at Gallery Wendi Norris, marking the gallery’s first significant examination of the photographic medium.

As a reviewer she is most interested in seeing fine art photography, particularly bodies of work with strong conceptual underpinnings. She has no experience working with commercial portfolios.



Michael Itkoff is an artist and Cofounder of Daylight Books based out of Durham, North Carolina, USA.  For over a decade, Daylight has been dedicated to publishing art and photography via its print and digital publishing programs. By exploring the documentary mode along with the more conceptual concerns of fine-art, Daylight’s uniquely collectible publications work to revitalize the relationship between art, photography, and the world-at-large.

Before starting Daylight, Michael interned at the Annie Leibovitz Studio and Aperture Foundation among others, and worked at Rizzoli International Publications.  His monograph, ‘Street Portraits’, was published by Charta Editions in 2009. Michael received his BA from Sarah Lawrence College and his MFA from ICP/Bard College.

Michael is most interested in seeing bodies of work that may be appropriate to realize in book form. Michael enjoys most forms of photography but prefers work with a conceptual basis and strong technical mastery. He is less interested in viewing commercial portfolios.



Stefan Kirkeby is the Owner and Director of Smith Andersen North in San Anselmo, CA. Stefan’s background as a fine art photographer, museum curator, and gallery owner offers a valuable perspective to advise photographers on every stage of their career. Established in 2004, Smith Andersen North maintains a busy exhibition schedule, showing both emerging artists and established masters of the medium. The gallery also produces limited-edition copper-plate photogravure publications for artists such as Nobuyoshi Araki, Daido Moriyama, and Malick Sidibé. Stefan is also co-director of Casemore Kirkeby, a newly established gallery focusing on contemporary photo-based art with an emphasis on alternative processes and different approaches to photography.

Stefan is looking for work that can be considered for exhibition. He is interested in all genres of photography, from experimental to traditional, specifically with artists who are exploring the boundaries of the medium.



Arpad Kovacs joined the Getty Museum’s Department of Photographs in 2011 as an assistant curator. He is currently working on a solo exhibition of work by the English photographer Richard Learoyd, scheduled to open August 30, 2016, and an exhibition about artists who mine the news media for their subject. Prior to his time at the Getty he served as an exhibitions assistant at the National Gallery of Art in Washington D.C. Arpad received his Master of Arts degree in art history from York University, and his Bachelor of Arts in the same field from Queen’s University.



Kevin Miller is the Associate Curator at the Southeast Museum of Photography in Daytona Beach, Florida where he was formerly the Director and Senior Curator from 2001 until 2014. In that time he curated and presented more than 300 exhibitions and produced numerous exhibition catalogues at the museum. As a reviewer Kevin is interested in seeing developed bodies of work ready for publication or exhibition, as well as evolving series that might benefit from interpretation, context and editing.



Lianne 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 De 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.



Michael Mulno is the Director of Joseph Bellows Gallery in La Jolla, CA, as well as a Lecturer of Photography at the University of San Diego and an exhibiting photographer. He has curated numerous group exhibitions of both vintage and contemporary photography, including Living Arrangements, Drawn to Light, Regarding Trees, and The Teen Years. He has organized solo exhibitions for Gregory Conniff, John Pfahl, Wayne Gudmundson, Thomas Barrow, and others. Currently he is arranging a solo exhibition of vintage and contemporary photographs from George Tice’s Urban Landscapes.

As a reviewer he is interested in photographs that are thoughtfully conceived and carefully produced. He is especially interested in work that is engaged with observing and responding to the world in meaningful ways. At Medium, Michael Mulno is interested in seeing bodies work whether in process, or as a completed project.



Chantel Paul is a curator of contemporary art in San Diego, where she leads exhibition programming for San Diego State University’s Downtown Gallery.

A program of the School of Art + Design at San Diego State University, the gallery is dedicated to engaging students, faculty, artists, and the public through innovative and scholarly presentations of contemporary art and design. Located off-campus in metro San Diego, the Gallery creates an important link between the School and the art community. A yearly calendar of exhibitions, lectures, performances, and artist-driven programming fosters new ideas and dialogue about art making as a critical facet of society.

Prior to her current position, she was Assistant Curator at the Museum of Photographic Arts (MOPA) in San Diego from 2010 – 2015. While there, she curated numerous exhibitions, including After Ansel Adams (2014), Staking Claim: A California Invitational (2013), which included an accompanying catalog,  Kevin Cooley: Elements (2013), and Unusual Suspects: The Paintings and Photographs of Holly Roberts (2012). Chantel has reviewed at a number of events, including Fotofest Houston, Review Santa Fe, Photolucida, and the Medium Festival of Photography.

As a reviewer, Chantel is looking for work that explores the possibilities of the medium, ranging from conceptual and experimental to more traditional approaches. She is most interested in work that has specific vision, direction, intention, and originality. Chantel is not interested in commercial or stock photography. She is looking for work that can be included in group shows of multi-disciplinary contemporary art and focused group/ individual photography exhibitions.



Eve Schillo is the Curatorial Assistant in the Wallis Annenberg Photography Dept. at the Los Angeles County Museum of Art. She has worked on numerous exhibitions in more than 15 years at LACMA, ranging from Cuban photography, multi-media work by author/artist William S. Burroughs, and ongoing self-portraiture series, and the still / moving imagery by California-based artists Katy Grannan and Charlie White. She has contributed to the recent exhibitions and accompanying catalogs Larry Sultan: Here & Home and See the Light—Photography, Perception, Cognition: The Marjorie and Leonard Vernon Collection.

She curates exhibitions highlighting LACMA’s permanent collection that span photographic history and appear in galleries dedicated to American, Latin American, Modern, Contemporary and Japanese art. Her recent exhibitions beyond LACMA include Road Trip: Photography of the American West, and exchange between sister cities Los Angeles and Bordeaux, France.

Eve is specifically interested in seeing work by contemporary artists based in Southern California, Latin America, as well as photographic abstraction and time-based media.



Jennifer Schwartz is the creator/director of Crusade for Art, a non-profit organization whose mission is to engage new audiences with art. She is also the co-creator of Flash Powder Projects, a photographer-focused, collaborative venture and publishing company.

Originally from Richmond, Virginia, Jennifer has her BA from Colgate University and her MA from Georgia State University. She owned a fine art photography gallery in Atlanta (Jennifer Schwartz Gallery) for five years, showcasing the work of emerging photographers. She was invited as a curator to the Lishui Photo Festival in Lishui, China in 2011 and curated the Atlanta Celebrates Photography public art project in 2015. Jennifer regularly travels around the country participating in portfolio reviews, giving talks, guest-lecturing at universities, leading workshops and hosting photographic retreats.

In the spring of 2013, Jennifer toured around the country in a 1977 VW bus, engaging audiences with photography. Her book, Crusade For Your Art: Best Practices for Fine Art Photographers was published in March 2014.

Jennifer is interested in reviewing developed and innovative collections with cohesive and strong concepts.  She is not interested in seeing overly-processed photographs.  Aside from offering critiques of the photography itself, she may be able to offer opportunities to artists to participate in special projects through Crusade for Art, such as FOCAL POINT and Crusade Supported Art (CSA). She is also actively looking for book projects to publish through Flash Powder Projects.



Ginger Shulick Porcella is an arts administrator and curator who recently relocated from New York City to San Diego to join the San Diego Art Institute as its Executive Director. Porcella holds an M.A. in Socio-Cultural Anthropology from Columbia University and a B.A. in Art History from DePaul University. Porcella has developed and produced dozens of art exhibitions, special events, new commissions and public programs, and has a deep understanding of the creative process, frequently lecturing on topics related to contemporary curatorial practices, arts administration, and fundraising.

She has previously served as the Executive Director of Art Connects New York, the Managing Director of Flux Factory, and the Director of Grants and Community Development at Staten Island Arts. As an independent curator, Porcella largely focuses on new media projects that expand the dialogue around the intersection of art, architecture, and anthropology.

Porcella is on the Curatorial Committee for the Americas with Artist Pension Trust and has curated exhibitions for galleries and museums across the U.S. including; “LUMEN”, an international video and performance art festival (Founder and Head Curator 2010 and 2011); Ivory Tower, a video exhibition concurrent with Art Basel Miami Beach 2011; The Typhoon Continues and So Do You at Flux Factory; The Sixth Sense and Other Myths at NYC Industries for the Blind; the critically-acclaimed Future/Past at REVERSE Gallery in NYC; and most recently Beyond Limits: Postglobal Meditations and Women’s Work: Masculinity and Gender in Contemporary Fiber Art at the San Diego Art Institute.

Porcella’s exhibitions have been positively reviewed in The New York Times, The LA Times, and USA Today, and her work has been featured in Hyperallergic, Creem Magazine, and Modern Painters.



Paloma Shutes is the photo editor for The California Sunday Magazine and Pop-Up Magazine. Previously, she worked in the photo departments at Wired and GQ, where she commissioned photography recognized by the Society of Publication Designers and American Photography. She is always looking for compelling stories and unique points of view, including but not limited to fine art, documentary work, and conceptual still life photography.



Hannah Sloan is the Owner/Director of Sloan Projects, a contemporary art gallery located in Santa Monica’s historic Bergamot Station. The gallery features emerging and mid-career multi-disciplinary artists with an emphasis on women artists working within the Los Angeles area. For ten years prior to establishing her own gallery, Hannah served as a Director at RoseGallery, a premier gallery of photography representing a diverse collection of internationally recognized photographers including Dorothea Lange, William Eggleston, Martin Parr, Todd Hido, John Chiara, Jo Ann Callis and Graciela Iturbide.


As a reviewer, Hannah is looking for projects defined by a strong conceptual underpinning, brave and innovative uses of the medium and a mastery of craft. Narrative, documentary and process-based work is all of interest, while commercial, stock photography and traditional nudes are not. Additionally, Hannah is looking to broaden the roster of artists she exhibits and represents to include more artists of diverse ethnic and cultural backgrounds.



Brian Taylor is the Executive Director of the Center for Photographic Art in Carmel, California. Tracing it’s roots back to the Friends of Photography founded by Ansel Adams and Cole Weston in the 1960s, CPA remains the oldest, longest running, most prestigious photography galleries in America.

Born in Tucson, Arizona, Taylor received his B.A. Degree in Visual Arts from the University of California at San Diego, holds an M.A. from Stanford University, and studied the history of photography with Van Deren Coke and Beaumont Newhall during his M.F.A. at the University of New Mexico.



Sarah Trujillo-Porter is the Director of Quint Projects – an offshoot of Quint Gallery in La Jolla, CA that deals with experimental, site-specific forms of art making. She has worked at Quint Gallery for nine years, where she has been the Associate Director for the past three years. Previously, she worked for five years the Museum of Contemporary Art San Diego as a Gallery Educator. Trujillo-Porter attended graduate school in London where she earned a MA in Contemporary Art & Theory from Sotheby’s Institute of Art. She has an undergraduate degree in Art History with a minor in Business from the University of Arizona.


At Quint Gallery, Trujillo-Porter has had the opportunity to work with a variety of emerging to established artists, including photographers. She is interested in meeting new artists during the review process. Her artwork interests lean toward Abstraction, the California Light & Space movement, and Conceptual Art.


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