Laws of Silence

Nominated by Elizabeth Avedon

Featuring Jennifer McClure


“When something is festering in your memory or your imagination, laws of silence don’t work. It’s like shutting a door and locking it on a house on fire in hope of forgetting that the house is burning. ” – Tennessee Williams, Cat on a Hot Tin Roof

I’ve been afraid of letting go of the life I was programmed to live. I was taught that having a family and a home and a church and a regular job, all good Southern values, meant that I was successful. My own family life was difficult and displaced, not something I wished to reproduce. I am distrustful of both people and the idea of the American Dream. I’ve avoided any of the rites and rituals that signify “success” but failed to replace a broken mythology with any other.

I began searching for signs of meaningful relationships and missed opportunities, trying to piece together a map of how to be. I needed to look at the past, see it clearly, and then see beyond it. Symbols of a damaged childhood, when contained within a frame, no longer carry the unbounded force of memory. Signs of connection, when taken out of context, reveal themselves to be fallacies. I have been afraid that I will drown in other people. I couldn’t see how water can soothe and sustain as well as destroy.

Thomas Roma likens the making of photographs to Robert Frost’s idea of making a poem: “A poem begins with a lump in the throat; a homesickness, a lovesickness.” These pictures come from that emotional space of longing, of wishing for things that never were and might never be. I can only see a feeling clearly when I disarm and immobilize it, pin it to the wall and examine it with the others. I’m learning how to be alone without being lonely, how to be carried without being overwhelmed, and to walk away from what I want to leave behind.

Jennifer McClure is a fine art and documentary photographer based in New York City. She uses the camera to ask and answer questions. Jennifer turned the camera on herself after a long illness limited her access to other people. She is interested in appearances and absences, short stories, poetry, and movies without happy endings.

Jennifer was born in Virginia and raised all over the Southeast. The child of a Marine, she moved frequently and traumatically. She decorated her walls with traces of her past; photographs became anchor points. After acquiring a B.A. in English Theory and Literature, Jennifer began a long career in restaurants. She returned to photography in 2001, taking classes at the School of Visual Arts and the International Center of Photography. She is currently a teaching assistant at ICP. She was named one of LensCulture’s Top 50 Emerging Talents of 2015 and awarded CENTER’s Editor’s Choice by Susan White of Vanity Fair in 2013. Her work has been exhibited in numerous shows across the country and featured in publications such as Lenscratch, Feature Shoot, L’Oeil de la Photographie, The Photo Review, Dwell, Adbusters, and PDN.

Devin Allen

Presented by TIME LightBox

Curated by Olivier Laurent, editor of TIME LightBox

Featuring: Devin Allen

“I want people to see the truth the good, the bad and the ugly,” says Baltimore-born Devin Allen, who’s coverage of the protests after the death of Freddie Gray made the cover of TIME magazine in May. “The goal is to shine light where the light has not been in a long time. I want to tell the stories of those whose stories will never be told.”

Presented by TIME LightBox, the retrospective of Devin Allen’s work looks back to the pivotal events of April 2015 and to the future of Baltimore – the kids that are growing up in a town, state and country that still needs to address deep-rooted issues of inequality.

Exhibition curated by Olivier Laurent, editor of TIME LightBox.

Related Programming:
Under Fire: Black Photographers Creating Agency in a “Post-Racial” America

Devin Allen is a 27-year-old photographer born and based in Baltimore, Maryland.


The People of South Ethiopia

Nominated by Elizabeth Avedon

Featuring Nigel Morris


In the Spring of 2014, I traveled to Ethiopia for the first time. I have always loved the history of Ethiopia, and viewed it more as a home going, then a vacation. Ethiopia is known as the cradle of mankind, and is extremely rich in culture, and I wanted to immerse myself in it. I never thought that by immersing myself so deeply in Ethiopian culture, that I would learn so much about myself. It was one of the most spiritual and emotionally satisfying experiences that I have ever had in my lifetime. The portraits you see here, were made out of pride, respect, and my desire to portray these beautiful people in a dignified fashion.

My name is Nigel Morris. I am a portrait and editorial photographer, based in Brooklyn, New York. The reason I choose to shoot people exclusively is quite simple; For every person that has ever been in front of my camera, I see some of myself in them, in some way. I get a kick out of the fact that, no matter our differences, physically, mentally, or whatever, we are still the same in many ways. It’s something I look forward to discovering, with every shoot.

Head On Portrait Prize 2015

Presented by Head On Photo Festival

Featuring Various Artists to be announced

One of the biggest and most respected portraiture exhibitions in Australia, the Head On Portrait Prize is a major attraction of the Head On Photo Festival, one of the world’s leading photography festivals.

Since the beginning of the Prize in 2004, neither the name of the photographer nor the status of the subject played a part in the selection process. The judges look purely for images that encapsulate the personality of the sitter and invite an emotional response from the viewer.

As the judging panel changes each year and the works are anonymous at the time of selection, the resulting collection is unpredictable and diverse.

The 2015 judges were:

  • James Estrin, Photographer/Lens Blog Editor, The New York Times
  • Susan Sedgwick, Head Curator, Sydney Living Museums
  • Bronwyn Rennex, Director, Stills Gallery, Sydney
  • Moshe Rosenzveig, Director, Head On Photo Festival

Head On Photo Festival is held throughout Sydney, Australia each May and celebrates diversity in photography of all genres from across the globe.

Head On Photo Festival believes all photo artists need a fair chance to show their work. This is why work submitted to the festival is judged without the artists’ names or pedigrees so the proposals stand on their merit. Established in 2010, Head On Photo Festival is Australia’s premier photo festival and one of the world’s leading photography festivals. Held in Sydney each May, the festival celebrates a wide range of Australian and international photography across all genres from photojournalism through commercial to fine-art.

The Festival and Head On Prizes (Portrait, Landscape, Mobile Phone and Student) are innovations of the non-profit organisation Head On Foundation (est 2008). The foundation aims to promote the work of photographers at all stages of career, to encourage excellence and innovation, to make photography accessible to all and to raise awareness of important issues through photography.


Historias del Paraíso

Featuring: Dulce Pinzón

By using out-of-this-time and out-of-context elements I aim to sensitize the audience into caring for the planet and reflecting on the world that we shall leave behind to future generations. Through the conventions of staged photography I present a series of images based on the cycle of life. These images also touch on issues that affect our environment with the hope of raising questions regarding the state of the planet we inhabit.

My approach to this new series references environmental issues and concerns I had from an early age: “Although there are many problems affecting my country right now, my frustration and indignant stance toward the severe problematic that we face with environmental issues has forced me to find viable strategies in the hope of leaving a better legacy for my country and my sons: the possibility of creating a better and cleaner environment for all.”

Dulce Pinzón was born in Mexico City in 1974. She studied Mass Media Communications at the Universidad de Las Americas in Puebla Mexico and Photography at Indiana University in Pennsylvania. In 1995 she moved to New York where she studied at The International Center of Photography.

Her work has been published and collected internationally. In 2001 her photos were used for the cover of a publication of Howard Zinn’s book “A People’s History of the United States”. In 2002 Dulce won the prestigious Jovenes Creadores/FONCA grant in Mexico for her work. In 2006 she won an Honorific Mention in the Santa Fe project competition and she won the 12th edition of the Mexican Biennial of El Centro de La Imagen. Dulce was a 2006 fellow in Photography from the New York Foundation for the Arts and a 2007 for the Bronx Museum program Artist in the Market Place and a Ford Foundation grantee in 2008.

Dulce won The Gaea Foundation/Sea Change Residencies Award in 2010 and in 2011 the PERRIER acquisition price in Zona Maco Mexico. In 2012 she was invited to take part at the renowned photography festival ‘Les Rencontres D’Arles Photographie’ in France, this participation gave her a nomination for the prestigious Prix Pictet; the same year she got a honorific mention at the 10th edition of the FEMSA biennial.

Her book “The real story of The Superheroes ” was published in 2012 in 3 languages: English, Spanish and French by Editorial RM with the support of the Cultural Co- inversion program of FONCA. Dulce is currently a recipient of Mexico’s prestigious Endowment Of the Arts SNCA/FONCA fellowship (2014-2017.)

Dulce lives and works between Mexico and New York.

Documentary China

Presented by ChinaFile

Curated by David M. Barreda

Featuring: Yuyang Liu and Souvid Datta

For a second year, ChinaFile and Magnum Foundation have partnered to administer the Abigail Cohen Fellowship in Documentary Photography. This year we are showcasing the work of Yuyang Liu and Souvid Datta.

The works look at migrant labor and environmental pollution, both of which pose serious challenges to China’s future and impact its relations with the rest of the world.

Related Programming:
Reporting Inside the Great Firewall: Photographers on Covering China

Yuyang Liu‘s photography focuses on urbanization and immigration issues in a rapidly changing China. He was a selected as a fellow for the 2014 Magnum Foundation Human Rights & Photography and this year he won the Ian Parry scholarship. Born in Sichuan, China, he is now based in Guangzhou.


Souvid Datta was born in Mumbai and moved to London at the age of 10. Since then, he has been raised between the two metropolises, developing an interest in the fields of multimedia journalism and social justice.  He was a recipient of the College Photographer of the Year Portfolio Silver Prize in 2014 and the Alexia Foundation Student Grant in 2013. He graduated from University College London in Political Science and Conflict Studies in 2014.


ChinaFile is an online magazine published by Asia Society’s Center on U.S. China Relations. It seeks to foster a more informed, nuanced, and vibrant public conversation about China in the U.S. and elsewhere in the world. The Magnum Photos membership created the Magnum Foundation to build on the agency’s longstanding tradition of photography in the public interest. The Foundation strives to use documentary imagery to advance human rights and social justice, and to promote a deeper understanding of critical issues.

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Neither Here Nor There

Nominated by United Photo Industries

Curated by James Estrin

Featuring Mark Abramson

As Blanca looked out the car window at the garlic and almond fields whooshing by, a vaguely familiar feeling stirred up inside her, one she hadn’t felt since a January morning 14 years ago in Querétaro, Mexico, when she saw her father fade into the distance with nothing but knapsack on his back and the promise of returning in a year.  Now, she was the one leaving her family behind.  As a sign spelling “Berkeley” flashed before the windshield, she thought she could read the contents of her father’s lost gaze reflected in the rearview mirror, and it dawned on her that she was not just going to college: once more, she was crossing a border.

Neither Here Nor There is the story of Blanca, a young undocumented woman, who grew up picking grapes in the fields of the San Joaquin Valley, struggling to redefine herself as more than just an immigrant, a struggle brought about by legislation and geography. She’s just one individual amongst the estimated 1.7 million youth brought to this country by their parents before the age of 16. Blanca wants to be an American but the laws won’t let her or her family. This project is an intimate look into the life of this California DREAMer and her mixed status family as she navigates the divide between her life up north as a pre-med student at UC Berkeley and her undocumented family’s struggle living and working in Bakersfield, in the heart of the San Joaquin Valley.  It is a visual document following the life of one family, their challenges, small victories and fear as they live, without papers or power, in America.

Related Programming:
There’s No Place Like Home

Mark Abramson (b. 1988) is a Russian-American freelance photographer and cinematographer based in New York City.

He is drawn to telling stories that allow him to cross over into his subjects’ lives, and he sees photography as a gateway into the process of  producing visual documentation in an intimate fashion. Much of the pull towards covering issues concerning immigration, undocumented populations, and other social issues, stems from the fabric of his own family history and the migration from the former Soviet Union, which has catalyzed his desire to produce journalistic and documentary content with a camera.

He graduated with a degree in journalism and mass communications from the George Washington University in 2010, and has has been producing visual content since 2009, during which time he started his journey into photojournalism; subsequently working as a multimedia intern for the Washington Post, later as a photographer for the Milwaukee Journal Sentinel, and eventually basing himself in New York City as full time freelancer.

He has been a regular contributor to the Wall Street Journal since 2011 and has published work with clients such as: The New York Times, The Chronicle of Higher Education, Education Week , Getty Images, GOOD Magazine, Newsweek, TIME, Arena Magazine, National Geographic (Food), El Nuevo Día, and others.

Fade Resistance

Nominated by Jamel Shabazz

Featuring Zun Lee

Fade Resistance is an archival project that seeks to restore the narrative impact of thousands of found African American vernacular Polaroid photographs. The images exhibit richness and complexity of life that fills a representational gap in the history of American snapshot photography.

The ability to make instant hard copy snapshots was alluring. Everyday life moments could be captured, viewed and shared without delay or interference. Even though there was often a performance aspect to making Polaroids, the daily life scenes reflect the way Black people saw themselves on their terms and in ways not intended to be seen, or judged, by others.

Fade Resistance is a reminder that there is a vivid recent history of Black visual self-representation. My hope is that this archive offers a contemporary counter-narrative to mainstream distortion and erasure. By showing how black families documented themselves throughout recent decades, I aim to spark meaningful conversation regarding issues of agency and empowerment in the depiction of African Americans.

Zun Lee is a Toronto-based visual storyteller. His work has been featured in The New York Times, Slate, TIME Lightbox, Huffington Post, MSNBC, Washington Post, and Hyperallergic.

Lee has made a name for himself as a visual storyteller of quotidian African American life. For his award-winning project Father Figure, Lee put the topic of black father absence stereotypes into the wider context of criminalization of black masculinity. Lee also worked in Ferguson in the fall of 2014, where he engaged the local community to provide a more nuanced narrative of resistance than is often depicted.

Lee has shown his work in solo and group exhibits in New York City, Washington DC, Toronto, Paris, Perpignan, Orlando and Los Angeles. He has spoken publicly at New York University, Nathan Cummings Foundation, University of Chicago, Photoville, CBC Radio One’s Q Show, Ryerson University, University of Toronto, Annenberg Space for Photography, University of North Carolina at Chapel Hill, and Recyclart Art Center Brussels.

Selected honors include: Photo District News Photo Annual Winner, Photo Books (2015), LOOK3 Educator (2015), Aperture Photo Book Awards Shortlist (2014), TD Then and Now Grantee (2014), LOOKbetween Participant (2014), Photo District News’ 30 New and Emerging Photographers to Watch (2014).


Nominated by Jamel Shabazz

Curated by Kim Hubbard (National Geographic)

Featuring Sara Hylton

Nestled between the jungles of the Indian plains and the vast Himalayan mountains, the small country of Nepal is an oasis of beauty and tranquility. When a 7.9 magnitude earthquake hit Nepal on April 25th, 2015 followed by a powerful aftershock on May 12th, 2015, the world stood in shock. Though Nepal sits directly on the fault line and is one of the world’s most quake prone regions, it’s lack of preparedness and adequate infrastructure left
parts of the country widely devastated.

I visited Nepal one month after the earthquake and spent three weeks documenting the aftermath and the rebuilding process. In the Hindu faith, Goddess Durga is widely worshipped and is known as the mother Goddess, she is the root cause of creation, preservation, and annihilation. Durga was a consistent theme in the way the Nepalese hypothesized what happened to their land and their people. Though the devastation of the earthquake cannot be undermined, this series is a documentation of the conception of Durga and the resilience, faith, and beauty that was present amid the devastation.

Sara Hylton is a Canadian documentary and portrait photographer based between Brooklyn, New York and New Delhi, India.  Sara completed a post-graduate certificate in Photojournalism and Documentary Photography from the International Center of Photography and also holds a Master of Arts in International Conflict Studies from Kings College London. When Sara is not working with international organizations, she can be found in a quaint corner of the world pursuing personal projects.

Sara’s principal medium is the portrait. She believes that through this documentation she is able to share an exchange with her varied subjects and capture them in their most natural state of being. Resilience, humanity, and the quiet beauty in everyday life guides her work. Sara has been featured by the New York Times, the Financial Times, Reuters, Smithsonian Magazine, the Guardian, American Photo, and Ricochet News among others. Sara was also nominated for PDN’s 30 Emerging Photographers to watch (2014).

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Down and Dirty

Stags, Hens & Bunnies, A Blackpool Story

Presented by United Photo Industries

Printed & Supported by The Print Space

Featuring Dougie Wallace / INSTITUTE

Blackpool,  a Northern English town once the granddaddy of the seaside resorts. It has now an unenviable reputation for its stag and hen parties. A dirty great whorl of debauchery, licentiousness, laughter, vomit, furry handcuffs, fancy dress and drunken oblivion. Turned every weekend into the heart of social darkness. Marauding packs of brides and grooms, close friends and family, on a mission to consume dangerous, liver-crushing levels of alcohol. This, their rite of passage acted out on the last night of freedom, before the conventions and responsibilities of marital life, mortgage, children.

Once a fun diversion from the industrial heartlands – a bit like Las Vegas with a Victorian twist – is a town that has a palpable and genuine energy of its own. The promenade offers up its gala of grotesque and carny seediness; a whole Golden Mile of pubs and bars for swollen bodies to crawl through flashing scary, carrot coloured midriff flesh. The unbridled hedonism is magnified by an inter-pack competitiveness that manifests itself in drinking games, fights or sex in the toilets! Its twisted and ghoulish, and it’s hard not to laugh.

Dougie Wallace has captured a town heaving with everything from bunnygirls to banana men. Girls dressed in togas, all matching gold handbags and neatly-done hair, giving it the ‘when in Rome’ treatment, devil girls, pink ladies, Brownies, guys in drag, stuffed into nuns’ and nurses’ outfits, wearing salacious T-shirts with ‘Johnny’s Last Night of Freedom’ or ‘Up the Anus Ashley’ – each group with the same singular objective, to get as ‘fucked up’ as possible.

East London-based photographer Dougie Wallace grew up in Glasgow hence his moniker, “Glasweegee”. Internationally recognised for his long-term social documentary projects and a distinct direct style of expressive street photography, his work has extensively been featured in international publications including the New York Times and Germany’s Stern Magazine. His books Stags, Hens and Bunnies (Dewi Lewis Media, 2014) and Shoreditch Wild Life (Hoxton Mini Press, 2014) received much critical acclaim and viral buzz. Road Wallah, a unique insight into Bombay’s cab drivers, will be published in Autumn 2015 (Dewi Lewis Publishing). Dougie is represented by INSTITUTE artist management company. (Road Wallah.  Short-listed for the ‘2015 European book publisher’s award’ to be announced at Arles.)

“Living in Shoreditch has helped me develop an eye for the hilarious, messy side of human, uninhibited behaviour. At the same time my Glasgow upbringing has shaped the various facets of my style which has been described as ‘visually exaggerated’ and ‘hard edged’.

What motivates my pictures is human behaviour. People’s interactions and emotions fascinate me. My stories are thematic; they have similarities of expressions running through them. My work is informed by today’s growing culture of commercialization, the effect this has on our leisure time, global tourism and the inescapable consequences of corporate and brand domination that have ensued. Translating this into social wit, criticism and humorous vignettes through my lens is what stimulates me. I’d like to think that my photos convey a personalized point of view that is both believable and absurd.”


20 Emerging European Photographers

Presented by International Photo Festival Leiden

Supported by The Netherlands Consulate General in New York

Curated by Marieke van der Krabben & Niki van Gemerden

Featuring Lotte Bronsgeest, Daniëlle Celie, Aras Gökten, Arantxa Gonlag, Esther Hessing, Pim Huijsmans, Mascha Joustra, Carla Kogelman, Dagmar Kolatschny, Alexander Krack, Leonardo Magrelli, Misha Pipercic, Katharina Pöhlmann, Alice Smeets, Evert Smit, Sebastian Steveniers, Julie van der Vaart, Lydia Weijers, Christian Werner, Aleksander Willemse

The International Photo Festival Leiden offers a yearly stage to new photographers and aims to promote and support recently graduated European photographers. For the festival twenty photographers are selected by a professional jury and given a first chance at an international career in a picturesque open-air exhibition which is free to the public.

The 3rd edition of the festival is held from October 10 – 31 in the beautiful city of Leiden, the Netherlands. Besides being known for one of the oldest Universities in Europe and the birthplace of Rembrandt van Rijn, Leiden is also the city that gave refuge to the Pilgrim Fathers before they sailed on the Mayflower to the New Continent.

logo_topbanner The International Photo Festival Leiden was organized for the first time in 2013 by Pierre Luiten and Hans Gillis. The festival originates from an exhibition in 2012 organised for the 90th anniversary of the Leiden Amateur Photo Club. Being passionate amateur photographers Pierre and Hans wanted to create a unique festival where emerging photography talents can show their work and get international exposure at the same time. By creating an international network of festivals, work by these talented photographers is shown around the world and helps to boost their careers.

This year, for the second time, the International Photo Festival Leiden is collaborating with Photoville New York (as well as Head On Australia) to exchange exhibitions around the world. Every year a professional jury of the International Photo Festival Leiden selects twenty emerging recently graduated photographers for an open air exhibition to be exhibited on some of our most beautiful church squares and streets.

  Dutch Consolate

FIT BFA Senior Thesis Projects 2015

Presented by Fashion Institute of Technology

Thesis Advisors: Ron Amato and Brian Emery

Featuring: Diego Bendezu, Angelina D-auguste, Meg Farrell, Alex Jiang, Holly Jo Schnaudigel, Jordan Tiberio, Tudor Vasilescu, and Erin Yamagata

Thirty students in the Bachelors of Fine Arts Photography Program exhibited their senior thesis projects, representing the culmination of their studies at The Fashion Institute of Technology in May, 2015 as part of the annual Art and Design Graduating Students Exhibition.  The 30 Collective explored diverse subjects, employing various techniques and styles through new and traditional photographic practices. Examining themes such as identity, memory and perceived realities, the exhibition challenged and provoked the viewer to question their preconceptions. The different photographic techniques employed, as well as the myriad themes explored by the students, is a reminder that photography still remains a major medium of expression and perspective.

The photographic image, whether moving or still, helps define the culture of a particular place and time. Our imagery documents experiences, expresses political attitudes, embodies fashion trends and explores emotions, providing a literal and figurative snapshot of society. These images are not only reacting to the world around them, but also have the potential to change it. In a world where social media is more and more image-driven, each generation of image-makers builds their own visual culture, directing our attention toward new ideas and new ways of seeing. The work that comprises the graduating exhibition from the Photography department at FIT is a microcosm of the larger photographic universe.

2015 Getty Images Instagram Grant Recipients: Photographers Inaugural Exhibition

Presented by Getty Images & Instagram

Featuring three photographers who use Instagram to share the important stories of underrepresented communities around the world

At Getty Images, we believe that images have the power to move the world, and that photography is a compelling tool for telling social, political and cultural stories. That is why we are proud to announce, in collaboration with Instagram, the inaugural Getty Images Instagram Grant.

The purpose of this grant is to support photographers using Instagram to document stories from underrepresented communities around the world. We recognize that Instagram has introduced new opportunities for emerging voices, outside the mainstream media, to create and share projects of social importance. This grant provides financial support and mentorship to amplify their impact.

A total of three grants of $10,000 each will be awarded. Winners will not only receive a cash grant, they will also have the opportunity for mentorship with an award-winning Getty Images photographers.

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For Tropical Girls Who Have Considered Ethnogenesis When the Native Sun is Remote

Nominated by Jerry Vezzuso

Featuring Tiffany Smith

Using 19th century ethnographic photographs as a point of departure, “For Tropical Girls Who Have Considered Ethnogenesis When the Native Sun is Remote” presents fantastical self portraits that question identity constructs and the psychological implications of iconography. The artist casts herself, a self-proclaimed “home grown immigrant,” as the subject of an ethnographic survey of invented personas who author their own representations of a blended cultural heritage. Smith masquerades in costumes and throughout sets crafted to mine the personal and collective memory of cultural signifiers of the Caribbean and produce microcosmic explorations of the formation of cultural identity in multinational America.

Smith, who was raised between Nassau, Bahamas and Miami, Florida by parents of similar multinational upbringing, is the first generation in her family to be raised outside of the Caribbean. From an early age, she has navigated the path between assimilation and preservation of cultural identity, ultimately creating a hybrid identity that embodies the apex of her experiences.

Drawing inspiration from the choreopoem “For Colored Girls Who Have Considered Suicide When the Rainbow Is Enuf” by Ntozake Shange, Smith’s vignettes use her own experiences and recalled memories to create performative studies that empower reclamation of representation.

Tiffany Smith is a cross disciplinary artist who employs primarily lens based media to create conceptually based work that explores notions of identity, individuality, community, and cultural ambiguity. Smith’s work aims to create new perspectives on dominant historical narratives and provide insight into issues surrounding communities and how they are formed and defined.

Smith received a BA in photography and graphic design from S.C.A.D. and an MFA in Photo, Video and Related Media from SVA. Smith’s work has been exhibited and published throughout the United States and in the Caribbean during the 2014 Jamaica Biennial. She currently resides and works in Brooklyn, NY.

En Plein Air

Co-Winner of The Fence 2015 Jury’s Choice Prize

Supported by United Photo Industries

Printed by LuxLab

Featuring: Edoardo Delille and Gabriele Galimberti

In Rio de Janeiro, sports are life and life is not a spectator sport. Little playing fields steal back space from the asphalt and traffic circles, defying cars and buildings alike. They creep in amongst the steep and winding streets and are sketched into the golden sands that have made this city immortal. Rain forests and granitic cliffs are a testing ground, where distinctions of gender, race or religion cease to exist. The differences between high and low are made level. Kids from the favelas that cling to the hillsides come down into the city, losing themselves among the upper-crust bourgeoisie well-heeled from Ipanema and Leblon. A surfboard, a soccer ball or a skateboard is all it takes to make them indistinguishable. Social background doesn’t matter for the players of the Flamengo basketball team portrayed in one of these pictures; difference sit sinks while when the girls from the Brazil national synchronized swimming team, Brazil national champions, float over the twirl in the water. Sports blend favela boys in love with football, bikers rolling down the seaside and surfers resting on the beach, as those shown in these images. Call it the miracle of motion – motion that changes perspectives and revolutionizes viewpoints, as in these photos, which provide a portrait of a city and its inhabitants as they have never been seen before.

Edoardo Delille and Gabriele Galimberti were both born in Tuscany (Italy) and have studied photography at Fondazione Studio Marangoni. They pursue personal carriers in documentary photography but regularly collaborate on communal projects within the collective Riverboom.

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Blast Force Survivors

Co-Winner of The Fence 2015 Jury’s Choice Prize

Supported by United Photo Industries

Printed by LuxLab

Featuring: Lynn Johnson


“I got blown up.” That’s what they say. “I was right there in the blast seat.” 
Blast force—the signature injury of the conflicts in Iraq and Afghanistan—creates a pressure so powerful it can be seen before it is heard or felt. Soldiers remember confusion, deafness, slowdown, the feeling of being squashed. Positive and negative pressure waves roll through the body, shattering nerve pathways. And the soldier is never the same. They say they feel “crazy:” hyper-vigilant, sleepless, suicidal. They have language and hearing problems, memory loss and migraines. They anger easily. They abuse alcohol and drugs. Wives and lovers leave them, and their children fear them. Soldiers long for a missing arm, leg, eye—a visible wound that would command respect and understanding.
The veterans in these photographs—Aaron, Bo, Chris, Perry, Tiffany and Maj. Jeff Hall—found help at the National Intrepid Center of Excellence, a Department of Defense institute that serves some of the 360,000 men and women damaged by blast force injuries. In addition to receiving sophisticated imaging and care from physicians and therapists, soldiers make masks. Making art cracks open the trauma and then knits the brain. The masks, like MRIs of their psyches, make the scars of blast force visible, a first step to healing.

Lynn Johnson photographs the human condition. A regular contributor to National Geographic, Johnson searches for beauty and meaning in elusive, difficult subjects—threatened languages, zoonotic disease, rape in the military ranks, the centrality of water in village life. She collaborates with the people she portrays to honor their visions as well as her own. She is not afraid to ask the tough questions: Hate Kills, her master’s thesis as a Knight Fellow at Ohio University, probed the impact of hate crimes. And as a teacher, Johnson engages her students to ask them too. At National Geographic Photo Camps, she helps at-risk youth around the world find their creative voices. At Syracuse University’s Newhouse School of Public Communications, she is helping to develop a program that challenges master’s students in the Multimedia, Photography and Design department push past their own comfort levels.

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Flora & Fauna

Presented by Feature Shoot

Curated by Feature Shoot’s 25K+ Instagram followers

Featuring: Andrea Bakacs, Federico Ciamei, Ramsay de Give, Brooke DiDonato, Mediha DiMartino, Yurko Dyachyshyn, Jon Feinstein, Fiona Filipidis, Sophie Gamand, Kari Herer, Winky Lewis, Kevin McCollum, Emma McEvoy, Ruairidh McGlynn, Yiğithan Özden, Liam Sinnott, Elizabeth Stowe, Kate Sweeney, Hajdu Tamas, Meg Wachter, Sarah Wilmer, and Thomas Wilson

Flora & Fauna, presented by the photography website Feature Shoot, is a show about plants and animals curated by Feature Shoot’s 25K+ Instagram followers. Over a period of 3 weeks, we sorted through over 9,000 images and posted over 400 images to Instagram, inviting our followers to vote. Our followers cast their votes simply by “liking” the image(s) on Instagram, and the 25 most popular images from 22 photographers around the world are presented in this show.

Winning images run the gamut from a pit bull wearing a floral crown to birds swarming above an abandoned farm house in rural Texas.

While the theme of the show is lighthearted, the process was an experiment, as we gave control of the exhibition over to the crowd. Some of the most obvious questions/concerns we had were: Would the submitters with the most Instagram followers win? Are there certain “styles” of photography that will be more popular over others? Would the exhibition be filled with cats?

Feature Shoot Logo Final 9-13.aiFeature Shoot photography blog showcases the work of international emerging and established photographers who are transforming the medium through compelling, cutting-edge projects. With contributing writers from all over the world and a wide range of interests, we feature contemporary work in all genres of photography: fine art, documentary, portrait, still life, landscape, and more. We believe that photography is a powerful mode of storytelling and share works that have a strong narrative vision.

Scenes From the Ebola Crisis

Presented by The New York Times

Curated by The New York Times Lens Blog

Featuring Daniel Berehulak

Daniel Berehulak, a freelance photographer who works mostly for The New York Times, spent four months last year covering the Ebola crisis in Liberia, Sierra Leone, and Guinea. As he covered the story’s full arc, he took few breaks and many precautions.

Mr. Berehulak was awarded the Pulitzer Prize for feature photography earlier this year for his coverage of the Ebola outbreak for The New York Times.

“This award makes me think of all the people that shared their lives with me so that I was able to document this ghastly and horrible virus,” Mr. Berehulak said after winning the Pulitzer award. “It preys on our humanity — on everything that makes us human. People can’t hold their loved ones in their last dying moments because that’s when the virus is the most potent.”

David Furst, the Times’s international picture editor, said he decided to send Mr. Berehulak to West Africa because he knew Mr. Berehulak would dig in. For Mr. Berehulak, the decision was simple, despite the dangers, because, he said, the virus was “affecting all of mankind.”

To cover the story, he had to take many precautions, often encasing himself from head to toe in protective gear.

Daniel Berehulak is an award-winning photojournalist based in New Delhi, India. A native of Sydney, Australia, Daniel has visited over 50 countries covering history-shaping events including the Iraq war, the trial of Saddam Hussein, child labor in India, Afghanistan’s elections, the return of Benazir Bhutto to Pakistan, and documented people coping with the aftermath of the Japan Tsunami and the Chernobyl disaster. His coverage of the 2014 Ebola crisis in West Africa was recognized with a Pulitzer Prize for feature photography in 2015.

From 2005 to 2009, Daniel was based in London as a staff news photographer with Getty Images. He then shifted to New Delhi to advance Getty’s coverage of the Indian subcontinent with a focus on the social and political instability of Pakistan and its neighbors. As of July 2013, Daniel joined Reportage by Getty Images as a key represented photographer to focus on a combination of long-term personal projects, breaking news, and client assignments. He is a regular contributor to The New York Times, TIME Magazine, and Der Spiegel in particular, and his work appears internationally in newspapers and magazines world wide.


Lens_Logo Lens is the photojournalism blog of The New York Times, presenting the finest and most interesting visual and multimedia reporting — photographs, videos, and slide shows. A showcase for Times photographers, the site also highlights the best work of other newspapers, magazines, and news and picture agencies; in print, in books, in galleries, in museums, and on the Web.

Constructed Identities

Presented by Crusade for Art Brooklyn

Curated by Liz Arenberg, Sara Macel, and Jennifer Schwartz

Featuring Liz Arenberg, Mia Berg, Nicholas Calcott, Sean Carroll, Maureen Drennan, Sara Fox, Sara Macel, Minta Maria, Tim Melideo, and Charlotte Strode

A group of ten Brooklyn artists explore the theme of ‘Constructed Identities’ through their interaction with the world around them and how the environment and culture shapes how they see themselves.

Brooklyn CfA As the local Brooklyn chapter of Crusade for Art, we are a collective of like-minded artists working to create demand for art and opportunities to collect it. Crusade for Art is a 501c3 non-profit organization founded by Jennifer Schwartz whose mission is to engage new audiences with art.

Blood Unquiet

Supported by Artproof and the Cultural Endowment of Estonia

Curated by Kaupo Kikkas

Featuring Karel Kravik

I grew up in the small industrial town of Sillamäe in Soviet Estonia. I have very few pictures of my childhood, mostly staged, taken during the moments I don’t remember nor care about. So I created my own very personal version of childhood pictures with my kids, from bits and pieces I remember and find important. These are the moments that brought butterflies to my stomach or shivers on my back. All the struggles, urges, dreams, and desires. Moments that have defined much of my later life and who I am now.

It’s strange to look back now and see how the dots connect, almost like there was some kind of grand narrative, a fate, if you will. But you can only understand it when looking back, never forward. It’s impossible to project the connections into the future.

I also realize that memories are not absolute, they’re being influenced by later experiences, they are changing with us whether we want it or not. This series does not pretend to be truthful in all aspects, but rather my best understanding and interpretation of what I remember. In some awkward way making these photos might have influenced my memories they’re supposed to save. I’m okay with that, the circle is never round.

Karel Kravik is an independent Estonian photographic artist. His work has been displayed both in Estonian galleries and abroad. He has won several national and international awards.


Enhancing Lives Through Photography

Presented by The Josephine Herrick Project

Curated by Afiya Williams, Krista Kennell, and Nousha Salimi

Featuring: Josephine Herrick Project Participants, Josephine Herrick Project Teaching Photographers, and Josephine Herrick

This exhibition features photography by JHP program participants from 18 community partnerships, JHP teaching photographers, and by JHP’s founder Josephine Herrick. Highlighted work is by youth in the Step Up program, at the McSilver Institute on Poverty Policy and Research at NYU.

jhp logo
Founded in 1941, Josephine Herrick Project (JHP) is a volunteer service organization providing free photography programs to underserved audiences. JHP believes that cameras are transformational tools that give a voice to all people and strengthen visual literacy. Participants photograph their communities with the help of professional photographers, promoting volunteerism and self- advocacy. Through workshops, exhibitions, and publications, participants connect to the world through the visual language of photography.

Objects and Subjects in 2015

Presented by BFA Photography and Video Department at The School of Visual Arts

Curated by Claire Christerson

Featuring: Mike Bailey-Gates, Dana Davenport, Juniper Flemming, Logan Jackson, Zak Krevitt, Ken Lavey, Molly Matalon, Signe Pierce, Tim Shutsky, Jake Sigl, and Ian Stoner

Each artist invited to participate in this show uses the photographic medium as a platform of power to address topics of identity – gender, sexuality, and the body, to name a few. Many of these artists create visual images strongly tied to their own personal lives, generally relating to the body. At its base level, this project looks at how we express ourselves through art to manage our own attitudes towards more relevant identity issues we face in 2015.

Students in the BFA Photography Department are immersed in all aspects of commercial and fine art photography, giving them a better understanding of various genres, ideas and vocabularies. With access to cutting-edge facilities—as well as a 100-plus faculty of photographers, museum directors, critics, art directors, photo editors and photography collectors—students are able to cultivate their own sensibility and visual style.

School of Visual Arts (SVA) in New York City is an established leader and innovator in the education of artists. From its inception in 1947, the faculty has been comprised of professionals working in the arts and art-related fields. SVA provides an environment that nurtures creativity, inventiveness and experimentation, enabling students to develop a strong sense of identity and a clear direction of purpose.


Shared Value

Presented by Parsons the New School for Design

Curated by PGPH Collective

Featuring: Alexandra Bourassa, Michael Difeo, Arash Fewzee, Benjamin Freedman, Elizabeth Harnarine,  Annaleena Keso, Fernanda Kock, Alex Kwok, Kyle Meyer, Varvara Mikushkina, Cecilia Mezulic, Charles Park, Sebastian Perinotti, CHR!S REEL, Rowena Rubio, Teddie Sun, Steve Xiao, and Mengting Zhou

Shared value is a management strategy to measure business value by identifying and addressing social problems that intersect with their business. In the case of the contemporary life of images, students from the Parsons MFA Photography Program are working together to identify ways in which the value of their photographs change as they are seen and circulated through exhibitions, networks, and systems of exchange.

Parsons_Logo3_Large_RGBThe Parsons MFA Photography program functions as a 21st-century studio and think tank. Students are encouraged to develop their individual vision in a collaborative, interdisciplinary environment, and to explore related technologies, focusing on the relationship between concept and production. A rigorous critique process and regular meetings with faculty, professional artists, and visiting critics help students develop individual points of view and situate themselves and their work within larger historical, theoretical, and contemporary visual contexts.

FEARLESS: Portraits of LGBT Student Athletes

Featuring Jeff Sheng

For 13 years, American artist Jeff Sheng has been photographing lesbian, gay, bisexual, and transgender (LGBT) student athletes in the United States and Canada as part of a photo and exhibition series called FEARLESS. Between 2003-2015, Sheng photographed over 200 of such athletes, and exhibited the project in more than 60 venues that have traditionally not hosted art exhibitions, such as university athletic facilities, college student centers, and the headquarters of companies such as Nike and ESPN. The series was just published as a personal memoir and photography book with an afterword essay by retired NBA basketball player Jason Collins. Photoville will be the first New York exhibition of Sheng’s FEARLESS project that introduces the work to a broader art world audience.  In this exhibition, the artist acknowledges the multiple forms that photography can take, particularly activist inspired work that can have deep societal significance in one context, but then also viewed as “art” in another.

Jeff Sheng is an American artist whose photographic work over the last decade has focused on the 21st century LGBT rights movement. His photographs have been featured in international publications, including The New York Times Magazine, the Los Angeles Times, Time Magazine, Newsweek, and The New Yorker. Since 2006, his photo series, the Fearless Project, has been exhibited at over 70 different venues, including the headquarters of Nike and ESPN, as well as select locations at the 2010 Winter Olympics and the 2012 Summer Olympics. His other well known series, Don’t Ask, Don’t Tell (2009-2011), about closeted United States military service members, was profiled in 2010 by the New York Times, ABC World News Tonight, and CNN.


A Century on the Brooklyn Waterfront

Presented by New York City Municipal Archives

Curated by Quinn Berkman & Cynthia Brenwall

Featuring Various or Unknown City Appointed Photographers

The NYC Municipal Archives invites you to explore a hundred-year history of the Brooklyn waterfront through photographs dating from 1870 to 1974.  Beginning with the construction of the Brooklyn Bridge, through a period of intense activity as the center of the city’s maritime-based economy, these images provide us with a fascinating and conversation-provoking view of a radically-changed cityscape. Selected from the largest repository of NYC digitized images in the world, the pictures tell a story of a place now known as Brooklyn Bridge Park.  These unique prints, many produced from vintage large format glass-plate negatives, are a key element in visualizing the transition from industrial chaos to urban oasis.

The photographs have been chosen from some of our most significant collections including the Depression-era WPA Federal Writers’ and Art projects (1935-1943) and the City’s Department of Bridges (1901-1939).  Our collection of historic images simultaneously shares both NYC history and one of the most culturally impactful technological advancements in history:  the camera.  Without images, it is almost impossible to visualize the complex layers of Brooklyn and New York City as a whole.

NYC Municipal Archives Established in 1977, the Department of Records and Information Services preserves and provides public access to historical and contemporary records and information about New York City’s government.  Open to the public, the Municipal Archives preserves 200,000 cubic feet of original documents, photographs, ledgers, maps, architectural renderings, manuscripts, and moving images.  Nearly one million historical photographs are accessible online via the agency website; 10.5 million birth, death, and marriage certificates provide essential documentation for family history research; and world-class mayoral, court, and city department collections are unequaled by any other city in the nation.

The NYC Department of Records and Information Services mission is to foster civic life by protecting, preserving, and providing access to the historical and contemporary records of New York City government, to ensure that City records are properly maintained following professional archival and record management practices, and to make materials available to diverse communities both online and in person at the Municipal Library, Archives, and Visitor Center.

EyeEm Presents The Rise of Real Photography

Presented by EyeEm

Featuring: The Global EyeEm Community & You

The Rise of Real Photography is an interactive installation: A continuously-evolving collection of images reflecting real life through refreshing perspectives. Beauty captured in the mundane, everyday moments transformed into captivating stories – from Tokyo to Antarctica to New York and beyond. EyeEm invites you to curate and contribute pictures to a unique, live exhibition. Create and connect with fellow photographers from over 150 countries.

logo_white EyeEm is a creative community & marketplace for real photography. Founded in Berlin, EyeEm is one of the world’s fastest-growing photo communities, connecting over 13 million photographers on iOS & Android. We publish and promote original work through global exhibitions and weekly photo competitions, as well as provide a marketplace for royalty-free images.

Faces of the Ferry: A Day Aboard the East River Ferry

Presented by NY Waterways’ East River Ferry

Curated by Paul Samulski, Franny Civitano, and Lindsay Giuffrida

Featuring Various Artists

We do it all the time. In a subway car. On a bus. In a movie theater. Standing in line to order a caramel frappuccino. Waiting for our number to be called at the DMV. And on the ferry.

We look around and wonder to ourselves, “Who are these people?’

This exhibition offers a glimpse into the wide range of everyday people who interact with New York’s East River Ferry, on any given day. It just so happens that this day was Wednesday, August 26th, 2015.

Whether they’re commuters, foreign or domestic tourists, nanny’s with strollers, or individuals just killing the day, these people momentarily become the heartbeat of this leading transportation alternative, in the greatest city in the world. With their plans for the upcoming day in mind (along with mobile devices, a map, and possibly a beverage in hand), they often exchange only a fleeting glance with those around them. It goes no further than that. It doesn’t really need to. That would be like crossing some unwritten line of privacy.

The collection you see here dives a little deeper into just who uses this river and rides this ferry from day-to-day…on any day. Press the shutter. Freeze the action. Ask a question.

In observing and learning more about the people we pass by on a daily basis, we’re reminded that most people’s human experiences are anything but ordinary…as are they themselves.


New York’s New Abolitionists

Presented by New York State Anti-Trafficking Coalition

Curated by Dorchen Leidholdt and Lauren Hersh

Featuring Lynn Savarese

The New York’s New Abolitionists, a campaign launched by the New York State Anti-Trafficking Coalition in 2013, seeks to raise awareness around human trafficking and modern-day slavery by recognizing and honoring those who are actively involved in the effort to combat these scourges and provide services to victims, as well as prominent figures willing to lend their stature and take a public stand to condemn trafficking and enslavement.

Although its ranks continue to grow, as of today the New Abolitionist community consists of over 150 individuals representing a broad and diverse cross-section of New York, including:

  • Trafficking survivors who are now brave advocates working to eradicate trafficking
  • Political leaders – including Attorney General Loretta Lynch, Senators Schumer and Gillibrand, Congresswoman Maloney, Mayors Dinkins and Bloomberg, U.S. Attorney Preet Bharara, and Manhattan DA Cy Vance
  • Icons from the art /entertainment world – including Tina Fey, Seth Meyers, Mamie Gummer, Marlo Thomas and Mercedes Ruel
  • Other community leaders – including religious leaders of different faiths, the president of the Ford Foundation, and Gloria Steinem

Through their participation in the campaign, our New Abolitionists help bring much needed attention and relief to the thousands of enslaved women and children in New York.

NY Stage Anti-Trafficking Coalition The New York State Anti Trafficking Coalition, founded by Sanctuary for Families in 2004, is an umbrella coalition of more than 140 organizational members combatting human trafficking globally and locally. The Coalition is committed to advocating for legislative change, raising public awareness about sex and labor trafficking, increasing social services for victims and survivors, and improving law enforcement response. The Coalition tirelessly works to prevent exploitation by eliminating impunity against traffickers and buyers, whose demand for commercial sex or, in the case of labor trafficking, for free labor or cheap goods, drives the global trafficking industry.

The New York State Anti Trafficking Coalition helped drive the passage of three momentous laws in New York State: The New York Anti-Trafficking Law in 2007, the Safe Harbor for Exploited Youth Act in 2010, and the Trafficking Victims Protection and Justice Act in 2015.

Lynn Savarese is a photographer whose work focuses on intimate observation. Originally from a small town in Texas, Savarese resided and traveled throughout the world before making New York City her home in the early ‘80s following her graduation from Harvard Law School. After careers in corporate law and investment banking and a lengthy sabbatical to raise her family and pursue volunteer work for various human rights organizations, Savarese finally found her passion—photography–several years ago. Since then, her fine arts photography has appeared in both solo and group shows, won several awards, and been featured in a number of publications. Savarese also frequently works with not-for-profit organizations to help further their missions through strategic photography projects. Since being commissioned as the photographer for the New York’s New Abolitionists project in 2013, Savarese has photographed over 150 of New York’s New Abolitionists whose portraits appear at Photoville, helped with the production of a companion book and website for the New Abolitionists project, and organized four other exhibitions featuring the Abolitionists. Savarese also accepts commissions for commercial projects from time to time. To learn more, visit her website at

Welcome to Dilley

Nominated by United Photo Industries

Supported by Black Box

Featuring Chris Gregory, Natalie Keyssar, Jake Naughton, and Alejandro Torres Viera

Dilley, Texas, best known at one point as the unofficial watermelon capital of the country —“come get a slice of the good life,” the slogan went — is a town of 4,000, an hour south of San Antonio. A sprawling, rural community in Southern Texas, its residents are currently enjoying the second oil boom in as many decades.

Fearing the inevitable downturn, last year administrators announced Dilley would be home to the South Texas Family Residential Center — or as its detractors call it, “baby jail,” — the largest immigrant detention center in the country. Built on a former man camp for oil workers, it houses 2,400 women and children, many of whom fled violence and persecution in Central America.

In addition to the thousands of asylum seekers, the center brought 600 jobs to Dilley. All over town low-paid workers in dead-end jobs eye the positions posted each Wednesday. In the Days Inn just off the highway, every week a new batch of lawyers and volunteers take up residence and head to the detention center to help gain release for the women and children housed inside.

Though the reality is wreathed in euphemism (guards are “resident supervisors,” and detainees live in neighborhoods named after cute animals), former detainees are quick to call the place a prison. And so, the town has gained notoriety across the country for an honor not quite as pleasantly banal as “a slice of the good life.”  Welcome to Dilley.

We are Black Box, a creative agency for visual documentary projects.

Borrowing from the experimental ethos of the laboratory, we merge the creative processes of photography and design to build immersive stories.

We operate at the intersection of design and content, but at our core we believe content always dictates form. With each of our projects, we aim to create the ideal object for sharing the story, whether it’s digital, analogue or something in between.

Black Box is Chris Gregory, Natalie Keyssar, Jake Naughton and Alejandro Torres Viera. Based in New York City we’re open to collaborating with all types of partners, so give us a shout.


Hey Sailor! New in Town?

Nominated by Stella Kramer

Featuring Kathryn Mussallem

I turned a lifelong fetish into an immersive documentary project; spending the last four years traveling around America chasing sailors. I reverse the male gaze and photograph at an intimate distance as I make these full-grown men and heroes nervous. I went from judgmental outsider full of prejudice to a friend, lover and insider. In the tradition of street photography I am on the hunt for salty tales and shenanigans as nostalgia, cliché, and humour guide the viewer through my adventures.

I put on my bright red lipstick, slip on my bright red high heels, I hit the street, I see these boys in white and with giddy excitement I approach… “Hey Sailor! New in town?”

Kathryn Mussallem An exhibiting photographer, printmaker and illustrator with work published and exhibited in Canada, the US, the UK and France. Recent group exhibitions include New York NY, Minneapolis MN, Saint Remy de Provence France and Vancouver BC.

Recent solo exhibition, Tattoos & Scrimshaw: the Art of the Sailor at the Vancouver Maritime Museum (2013), the Maritime Museum San Diego (2014), currently at the Los Angeles Maritime Museum (2015) and opening at the Santa Barbara Maritime Museum in January 2016.

Receiving her BFA (Photo) and a Master of Applied Arts in Visual Arts from Emily Carr University of Art + Design in Vancouver BC and a Master of Professional Studies in Digital Photography from the School of Visual Arts in New York NY.

Kathryn is currently an instructor of photography, digital media and visual arts at Emily Carr University of Art + Design in Vancouver BC, Canada.


The Disturbing Beauty of Sphynx Cats


Nominated by Stella Kramer

Featuring Alicia Rius

Hairless cats are odd, rare and definitely not known for being ‘beautiful’. I am drawn to their alien looks.  There’s something disturbing yet eerie that astonishes me every time I look at one of them. In this body of work I explore the beauty of the Sphinx within that oddity.

With their piercing eyes, wrinkled bodies and knack for placing themselves in jarring positions; without fluffy and fancy coats, the Sphinx shows what a true cat is in every fold and movement. They are raw, exposed, vulnerable.  When you let your eyes linger on these alien forms, framed in shadows to reveal every curve and expression, it’s easier to see the beauty hiding in their tiny, naked frames.

Alicia Rius
Animals and photography have always been part of my life since I was a kid. My dad and aunt were avid photographers; and me, I was the crazy kid bringing home all sorts of animals. My passion for animals has pushed me to explore their beauty and uniqueness. I want to capture the elusive mood of the animal’s personality and expressions, allowing them to be themselves with no promptings. There is still a lot to be explored with my animal photography. I look to create vibrant and unique images in a classical way to evoke emotions in the viewer. Being outdoors, and cloudy days make me happiest.


EverydayClimateChange / Photographers from 6 continents documenting climate change on 7 continents.

Presented by EverydayClimateChange

Curated by James Whitlow Delano

EverydayClimateChange (@everydayclimatechange) Instagram feed photographers share photographs made on 7 continents to present visual evidence that climate change doesn’t just happen “over there” but that climate change is also happening “right here.”  Photographers come from the north, the south; the east and the west; and are as diverse as the cultures in which we were all raised. EverydayClimateChange presents the work of committed, enlightened photographers who share back stories, contextualizing not only the effects of climate change but also potential solutions to mitigate the effects of greenhouse gases on our world. The photographs peel back the visual layers and look more closely at the visual evidence.

James Whitlow Delano has lived in Asia for over 20 years.  His work has been awarded internationally: the Alfred Eisenstadt Award (from Columbia University and Life Magazine), Leica’s Oskar Barnack, Picture of the Year International, NPPA Best of Photojournalism, PDN and others for work from China, Japan, Afghanistan and Burma, etc.  His first monograph book, Empire: Impressions from China was the first ever one-person show of photography at La Triennale di Milano Museum of Art.  The Mercy Project / Inochi his charity photo book for hospice received the PX3 Gold Award and the Award of Excellence from Communication Arts.  His work has appeared in magazines and photo festivals on five continents.  His latest award-winning monograph book, Black Tsunami: Japan 2011 (FotoEvidence) explored the aftermath of Great East Japan Earthquake, Tsunami and Nuclear disaster.  He’s a grantee for the Pulitzer Center on Crisis Reporting, for work documenting the destruction of equatorial rainforests and human rights violations of indigenous inhabitants there.  In 2015, Delano founded EverydayClimateChange Instagram feed.

Terrestrial Interjections

Nominated by Jerry Vezzuso

Featuring May Lin Le Goff

‘Terrestrial Interjections’ is work in progress examining how human beings project themselves along their own personal journeys. In our contemporary culture, people tend to portray themselves in a one-dimensional exhibitionistic manner; an alternate reality is created through a series of filters put in place by the subject. As the viewer, we live vicariously through these vignettes. We see ourselves as a highly evolved sentient entities, yet there is a prevailing herd mentality that is highlighted through our behavior, especially easily observed through social media avenues.

In this body of work, the interjections come in the form of staged unnatural occurrences. By using the familiar language of commercial and stock photography, no detail is obscured and everything is laid out for the viewer to scrutinize. However these seemingly optimistic images reach for an unseen sublime, and are to be viewed literarily like short stories. Each image contributes to a non-linear ironic narrative that points to the mundane day-to-day- the photographs aren’t necessarily about the subjects or objects themselves, they are more of a reflection about the world in which they exist in. The viewer is invited to piece together these scenes of imagined cause and effect into a single narrative.

May Lin Le Goff is a photographer based in New York City. Born in France and raised in Singapore, Le Goff creates surreal renderings of high fashion overlaid with her own personal brand of disorder and irreverence. In 2010, Le Goff moved to New York to complete her BFA in Fine Art at the School of Visual Arts, and graduated with top honors as well as the prized Tierney Award, a fellowship grant given to a single graduating student of that year.

As a child of two worlds, the discovery of fashion images in Le Goff’s later teenage years played significant part in establishing her creative identity. This was an avenue of self-expression that was completely autonomous- that sense of independence remains evident in Le Goff’s work.


The Geography of Poverty

Supported by The Economic Hardship Reporting Project, MSNBC, and The Pulitzer Center

Featuring Matt Black

The most vulnerable Americans are being crushed by the grip of poverty, from the deserts of the Southwest through the black belt in the South, to the post-industrial, rusting factory towns that dot the Midwest and Northeast.

From border to border, high-poverty rates have crippled entire communities, leaving bellies burning with hunger and hope of better days dwindling. Income inequality has widened in recent decades while upward mobility has declined. A tiny percentage of high income Americans hold the majority of the wealth in this country.

Quite plainly, the rich have grown richer and if you’re born poor here you’re likely to die poor. The slight declines in the national poverty rate have done little to allay the day-to-day plight of so many who are just scraping by, largely invisibly and along the margins.

The poverty rate for African Americans and Hispanics is particularly stark, with 27% and 23.5% respectively falling below the poverty line.

A native of rural California, Matt Black (b. 1970) grew up in a small town in the Central Valley, a vast agricultural area in the heart of the state. His work has explored the connections between migration, poverty, and the environment for two decades.

His work has been widely honored, receiving grants and awards from the Robert F. Kennedy Memorial Foundation, the California Arts Council, Pictures of the Year International, the Alexia Foundation for World Peace, the Sunday Magazine Editors Association and others. His work has also been named a finalist for the Pulitzer Prize and has received a Golden Eye award from the World Press Photo Foundation. He lives in Exeter, California, a small town in the Central Valley.

LOGO - Magnum Foundation EHRP-square2    MSNBC     Pulitzer Center


Presented by Luceo

Featuring: Luceo

Submerged is a video installation that envisions our world from the constantly shifting perspective of just below the rippling surface of a quiet pond.  The work consists of a series of video portraits produced and lit with precision and then filtered through the dappled lens of water.  This work is custom-produced as a Photoville piece and installed in a manner that enhances the viewers’ experience.  The film is projected from above onto a projection screen located on the ceiling of the container.  The projection is filtered through a thin layer of rippling water, shining light onto the “submerged” viewers who are seated in upward-facing recliners at the end of the container.  For viewers waiting their turn, the glowing, watery-blue light that shines down onto those seated in the recliners will further encourage creativity in making photographs of those seated in the chairs, replicating the projected work in their personal Instagram feeds.


Face the Dutch / Contemporary Photography of The Netherlands

Supported by The Netherlands Consulate General in New York

Produced by Astrid Verhoef

Curated by Aloys Ginjaar

Featuring: Jenny Boot, Paul Breuker, Gitte Brugman, Cleo Campert, Fieke van Dieren, Ton Dirven, Nelske Elzer, Aloys Ginjaar, Anton Havelaar, Rudi Huisman, Jasper Juinen, Mariska Karto, Wim Koen, Carla Kogelman, Margaret Lansink, Elmer van der Marel, Marinka Masséus, Ilvy Njiokiktjien, Imke Panhuijzen, Lilian van Rooij, Maartje Roos, Patricia Steur, Tina van Turnhout, Astrid Verhoef, Edgar Verhoeven, Edel Verzijl, Jac Weerts, and Bastiaan Woudt

Dutch photography has traditionally been widely appreciated in genres like documentary, portrait, and landscape photography. Characteristics often mentioned are a solid style with a focus on everyday life and social commitment with a sense of irony. These features have not only shaped the image of Dutch photography, but have also contributed to the image of Dutch culture in general.

The culture of the image has evolved dramatically, especially in the last ten years. The communication of images has amplified due to the internet, social media, smartphones, and new digital possibilities. This change gave way to a new generation of photography. Photographers, now more than ever, enjoy the freedom to shape reality and the culture in which they live in a new and individual fashion.

Now is the time for an exhibition consisting of the contemporary photography of The Netherlands: Face the Dutch.

Aloys Ginjaar has worked for many years as a photographer, journalist and curator. His work was part of World Press Photo 1973, 1975, and 1977, and since 2000 he’s been organizing the monthly Photographers Evening in Amsterdam. Ginjaar has curated Dutch exhibitions for the New York Photofestival 2011 (Dutch Delight) & Photoville for the past three years. He’s been awarded the Golden Age Award for his activities for the Dutch Photographic community.

Astrid Verhoef works as an artist/photographer based in Amsterdam and has been producing exhibitions since 2011. Her work has been part of the IJFFF Photo & Filmfestival 2012, The (Super) Heroes exhibition at the Manhattan Bridge, and Photoville for the past three years. In 2013, Astrid was chosen by GUP Magazine as one of the “New Dutch Photo Talents,” and she won second prize at the New York Photo Festival exhibition “Resolution 2014.”

Aloys Ginjaar and Astrid Verhoef strive to create an international platform for Dutch Photography. They do so by organizing group exhibitions abroad as well as in The Netherlands. Exhibitions they have so far realised have been shown in New York, Amsterdam, and Tokyo.


For ‘Face the Dutch,’ they have selected 28 Dutch photographers, among whom are Ilvy Njiokiktjien (National Photographer of the Netherlands 2013), Carla Kogelman (First Prize People at World Press Photo 2014) Marinka Masséus (Silver at Prix de la Photography Paris 2015), and Edgar Verhoeven (Silver at International Fine Art Photography).

  Face the Dutch Dutch Consolate

American Exile: Detained, Deported, and Divided

Supported by Pentagram, Families for Freedom, Parsons School of Design, and the Alicia Patterson Foundation

Photographs by Graham MacIndoe, Interviews by Susan Stellin

Harry 08.08.15

American Exile is a series of photographs and interviews documenting the stories of immigrants who have been ordered deported from the United States, as well as their family members – often, American citizens – who suffer the consequences of the harsh punishment of exile. The catalyst for this project was the five months Graham spent in immigration detention in 2010, facing deportation because of a misdemeanor conviction – despite living in the U.S. as a legal permanent resident since 1999. After winning his case, he and Susan began gathering stories of families caught up in deportation proceedings, including asylum seekers, green card holders, and immigrants trapped in the bureaucracy of adjusting a visa. Our goal is to show the wide range of people affected when someone is deported, including spouses and children who remain in the U.S., forever separated from a parent or partner living in exile. This project is supported by a 2014 fellowship from the Alicia Patterson Foundation.

Graham MacIndoe
is a photographer and an adjunct professor of photography at Parsons The New School in New York City. Born in Scotland, he received a master’s degree in photography from the Royal College of Art in London and has shot editorial and advertising campaigns worldwide. He is represented by Little Big Man Gallery in Los Angeles, and his work is in many public and private collections.

Susan Stellin has been a freelance reporter since 2000, contributing articles to The New York Times, New York, The Guardian, and many other newspapers and magazines. She has worked as an editor at The New York Times and is a graduate of Stanford University.

In 2014, Susan and Graham were awarded a fellowship from the Alicia Patterson Foundation for their project, American Exile, and are collaborating on a joint memoir that will be published by Random House (Ballantine) in 2016.

Pentagram_logo2.pdf      Families for Freedom     Parsons_Logo1_Small_RGB APF_Logo v3

PDN’s 30 2015: Our Choice of New and Emerging Photographers to Watch

Presented by Photo District News Magazine

Curated by Editors of PDN: Holly Hughes, Conor Risch, David Walker and Amy Wolff

Featuring: Alejandro Cegarra, Amanda Mustard, Andrew B. Myers, Anna Beeke, Annalisa Natali Murri, Antoine Bruy, Benjamin McMahon, Christaan Felber, Clarissa Bonet, Dina Oganova, Erin O’Keefe, Jennilee Marigomen, Jonno Rattman, Katrina Tang, Keith Yahrling, Malin Fezehai, Maurizio Di Iorio, McNair Evans, Michael Clinard, Molly Lamb, Pascal Shirley, Paul Colangelo, Peter Bohler, Philip Montgomery, Rus Anson, Ryan Lowry, Sara Macel, Sara Naomi Lewkowicz, Sarker Protick, and Yeong-Ung Yang

Each year since 1999, the editors of PDN have selected 30 emerging photographers who represent a variety of styles and genres and have demonstrated a distinctive vision, creativity, and versatility. This year, the editors reviewed the work of more than 300 photographers from around the world. To be considered, the photographers must have been shooting on their own professionally for five years or less. Most were nominated by photo editors, art directors, curators, educators, and fellow photographers around the world, and some were invited by editors based on work seen in promotions, portfolio reviews, or photo contests.

Profiles on each of the 2015 PDN’s 30 photographers are featured in PDN’s April 2015 issue. Thanks to support of the PDN’s 30 sponsors, PDN will also hosts six panel discussions on career strategies for emerging photographers at photo schools, workshops, and festivals around the U.S. throughout the year.

Related Programming:
PDN’s 30: Advice for Emerging Photographers from Emerging Photographers

Photo District News magazine is the trusted source of news, inspiration, photography tips, and useful business information for the professional photographer. Our award-winning news reporting on copyright infringements, intellectual property issues, artists’ rights, photo manipulation, legal and legislative developments, and the changing photo market, provide professional photographers the in-depth information they need to succeed in the competitive photography industry. Through feature articles and interviews with photographers, both established professionals and emerging talent, PDNOnline provides its readers insights into photography techniques, successful business strategies, the latest ideas in branding and marketing, and new platforms for publishing and sharing images. PDNOnline profiles clients who use photography creatively to gain insights into the changing market for photography in every genre: fine art, fashion photography, wedding photography, documentary photojournalism, portraiture, and advertising. Updated daily, PDNOnline’s Gear coverage includes news on the latest photo equipment, both digital and analog, and unbiased, hands-on reviews of cameras, lenses, photo software programs, lighting equipment, photo printers, video equipment and more. Online photo galleries showcase work by leading photographers and the winners of PDN’s photo contests.

PDN and PDNOnline are part of the Nielsen Photo Group, and its family of web sites – including Photoserve, Photosource, PDN Edu, the blogs PDN Pulse and PDN Photo of the Day, and the online sites for the PhotoPlus Expo and WPPI trade shows, an unparalleled source of information and education for professional photographers, photo buyers, visual creatives, photography agents, photo students and their instructors, and people who simply love great photography.

Latin American Fotografía and Ilustración

Presented by Latin American Fotografía and Ilustración

Featuring Juried Winners Collection

American Illustration-American Photography (AI-AP), producers of the leading juried annuals in North America, announces its 4th annual competition to honor the best work being created today in or about Latin America. AI-AP, well-known for 34 years as a respected resource for art directors, designers, photo editors, art buyers and publishers, presents established, emerging and student Latino illustrators and photographers to the North American market – and vice versa – in a global, multi-cultural exchange of art and ideas.

Print The American Illustration and American Photography (AI-AP) juried annual awards, offering high visibility and well-deserved recognition where it matters most, are still published in all their large-format, luxurious, hardcover glory, staying true to their founding principles of celebrating great photographers, lavishly showcasing commissioned and personal work that’s ahead of its time, while honoring the publications, creatives, and agencies responsible for assigning and utilizing the winning images. Students and schools are also celebrated alongside established and emerging artists.

The celebrated AI-AP books, published annually in November, are the first and foremost go-to resources for art directors, designers, photo editors, and art buyers who insist on assigning only the best original, thoughtful, and compelling images.

Looking for Marshall McLuhan in Afghanistan: From Smartphone to Palladium

Presented by Rita Leistner in association with The Basetrack Project

Featuring Rita Leistner

In 2011, Rita Leistner embedded with U.S. Marines in Afghanistan as a team member of the experimental social media initiative Basetrack, which used social media and smartphones to report on the war. That experience was the jumping off point for her book, Looking for Marshall McLuhan in Afghanistan, which Leistner wrote as a reaction to the clash of technologies playing out in the theatres of war and beyond, inspired by Marshall McLuhan’s most famous aphorism—”The medium is the message.”

This exhibition is an extension of a key concept of the book: that the retro apps in smartphones are a symptom of our yearning for historical permanence and human connection in an increasingly digitized, remote-controlled world.

Leistner teams-up with Canadian Master Printer Bob Carnie, assisted by Paulette Michayluk, to create a series of monotypes in palladium with applied pigment—the most permanent color process known.

The experience of the exhibition, which also includes text panels from the book and a series of “didactic panels” that illustrate the process from smartphone to palladium, is like walking through Leistner’s own journey of process and discovery about communication, photography, technology, and war.

Related Programming

The Virtual and the Physical: Responses to Photography in the Digital Age

Award-winning photographer, writer, and educator Rita Leistner’s varied career has taken her from academia to war and back again, intersecting the genres of art, photojournalism, and literary criticism. She is a graduate of the International Center of Photography in New York and has a Master of Arts degree in comparative literature from the University of Toronto where she teaches the history of photojournalism and documentary photography.

Her recent book, Looking for Marshall McLuhan in Afghanistan, was shortlisted for the 2015 Marshall McLuhan Award for Outstanding Book in the Field of Media Ecology. She is co-author of several other books including Unembedded: Four Independent Photojournalists on the War in Iraq and The Edward Curtis Project: A Modern Picture Story.

Her photography has been exhibited and published internationally and her articles, essays, and reviews have appeared in numerous magazines and books. Rita Leistner is represented by the Stephen Bulger Gallery. She has also planted over a million trees in Canada.


Upstate Girls: Unraveling Collar City

Presented by

Curated by Brenda Ann Kenneally

Featuring: Sabrina Cardenales, Billie Jean Hill, Brenda Ann Kenneally, Breyanna King, Terri Mason, James Miles, Jessica Schubart, Chantell Secore, Matthew Allan Solomon, Robert Stocklas Jr., Dana Marie Wells, Elliott Wells, Anne Marie Wood, and Heather Redcross

Since 2004, Kenneally has made still photographs, filmed videos, lead participatory scrapbooks workshops, and collected ephemera from an extended family of young people as they have come of age on one block in North Troy, New York. Troy’s rich history as a prototype for the Industrialization of America has become an integral character in the work and driven Kennelly’s obsession with connecting our past to its legacy. Kenneally’s ongoing dedication to her North Troy neighborhood is sustained by the core belief that individual stories pointedly reflect the social policies of their day and that if history is to be recorded accurately, we must constantly reinsert them selves back into the America narrative. The Upstate Girls: Unraveling Collar City History Project honors the idea that telling ones own story in a deeply personal way can be the strongest political action an individual can take.

Related Programming:
The American Dream: Documenting Economic Inequality in America

Brenda Kenneally
uses a camera to create a shared space with the people and places she is drawn to photograph. She says that she takes pictures to remember what she learned while she was taking pictures. The photographs are never the point in themselves but rather serve as introductions to what she feels she needs to understand. Kenneally says that she has never been interested in the state of things as they are, but more with how they came to be that way. Like all relationships, the ones that she develops through her camera take time and nurturing. Brenda says she doesn’t know if one can capture time through photography, but she is never in a hurry when she is taking pictures. Kenneally says that she stopped calling herself a photojournalist once she admitted that she was more interested in collecting photographs from people that making new ones. Kenneally’s letterhead now reads Digital Folk Artist. Some organizations that she has been funded by include The John Simon Guggenheim Foundation, New York State Council for the Arts, Open Society Foundation, Getty Images, W. Eugene Smith Memorial Fund, Alicia Patterson Foundation, and Mother Jones.


The Raw File Collective has worked extensively with community arts organizations since its inception in 2007. We have created multi media scrapbook programs for The Sanctuary For Independent Media in Troy, NY and for World Press Photo in Perth, Australia. We have mounted people’s history exhibits during Art Basel in Miami and for Bushwick Open Studios in New York. The Raw file was co-founded by Laura LoForti and Brenda Ann Kenneally. Our core production crew is Steven Zeswitz, Murray S. Cox, and Seam Mc Donald. The Raw File Folks think of our installation as art actions in that the act of putting up the work is as important as the content.

Gitmo at Home, Gitmo at Play (Gitmo on Sale)

Presented by United Photo Industries

Printed by Digital Silver Imaging

Featuring Debi Cornwall

Thirteen years after the first prisoners arrived at the U.S. Naval Base at Guantánamo Bay, Cuba (“Gitmo”), over 100 men remain held indefinitely, almost half cleared for release years ago. Over three visits in the last year, I explored America’s offshore exercise of power in the post-9/11 era. 

”Gitmo at Home, Gitmo at Play” looks at the grim absurdity of daily life there through the residential and leisure spaces of prisoners and military personnel. For some, Gitmo is a tropical paradise, the “best-kept secret in the military.” The performance of American normalcy is pervasive here, from McDonald’s to minigolf. Prisoners’ and guards’ experiences can never be equated. Still, these two groups have something in common: life is defined by routine, order, and tedium. Everyone, it seems, is counting the days until they can go home. Of course, the detainees do not know if this day will ever come.

Gitmo on Sale investigates the role of commerce in the exercise of military power at Guantánamo Bay, by way of gift shop souvenirs.

Related Programming:
Influencing Policy and Social Change through Photography

Debi Cornwall is a visual artist working at the intersection of documentary and fine art photography. After studying at RISD and attending Harvard Law School, Debi practiced for more than a decade as a civil rights attorney representing the wrongly convicted. Her photographs examine the human experience of systemic injustice, trauma and transition; look to transcend simple labels of “perps” and “victims;” and explore the ways in which spaces reflect conflict and its aftermath. “Gitmo at Home, Gitmo at Play” is Debi’s first project since returning to visual expression in 2014. She is currently working on the next chapter, “Beyond Gitmo,” a visual collaboration with members of the growing global diaspora of men released from Guantánamo.

DSI-Logo-RGB      UPI

The Iron Closet

Presented by Pulitzer Center on Crisis Reporting

Curated by Evey Wilson

Featuring Misha Friedman

Being gay in Russia is lonely and dangerous. Homophobic rhetoric is encouraged by the state. Violence and discrimination are tolerated. Although homosexuality was decriminalized in Russia more than 20 years ago, it remained classified as a mental disorder until 1999. Recently, homophobia has become more virulent.

According to a recent official poll, 80% of respondents opposed gay marriage. 41% said they support discrimination based on sexual orientation. 20% consider gay people dangerous and said they should be “isolated from society.” Only 3% said LGBT people should be able to raise children.

An amendment to Russia’s Child Protection law passed in June 2013 criminalizes what it calls “propaganda of non-traditional sexual relations among minors.” Its ambiguity and selective use effectively make it illegal for any kind of gay event to take place or to even mention acceptance of homosexuality in public.

With a significant increase in hate crimes, hundreds of LGBT Russians are asking for asylum in the United States.

Photographer Misha Friedman documents how members of the LGBT community live under these conditions. They are prisoners in their own homes, hiding their identities, afraid to live a full life while looking for hope elsewhere.

Misha Friedman was born in Moldova in 1977, and graduated with degrees from Binghamton University and London School of Economics, where he studied economics and international relations. He worked in corporate finance and later in humanitarian medical aid while teaching himself photography. Friedman’s analytical approach to storytelling involves trying to look beyond the facts, searching for causes, and asking complex and difficult questions. Sometimes he succeeds.

Friedman regularly collaborates with leading international media and non-profit organizations, including the New Yorker, Time Magazine, Sports Illustrated, Amnesty International, and Doctors Without Borders. His widely-exhibited work has received numerous industry awards, including multiple grants from the Pulitzer Center on Crisis Reporting. Friedman lives in New York City.


The Pulitzer Center on Crisis Reporting is an innovative award-winning non-profit journalism organization dedicated to supporting the independent international journalism that U.S. media organizations are increasingly less able to undertake. The Center supports journalists to cover under-reported topics, promoting high-quality international reporting and creating platforms that reach broad and diverse audiences, including education programs to reach students of all ages.

When Joseph Pulitzer III became editor of the St. Louis Post-Dispatch a half century ago, he said, “Not only will we report the day’s news, but we will illuminate dark places and, with a deep sense of responsibility, interpret these troubled times.” In keeping with its deep ties to the Pulitzer family’s legacy of journalistic independence, integrity, and courage, that same mission and deep sense of responsibility drives the Pulitzer Center, in times just as troubled.

pulitzer-center copy-lr

On Restaging…

Presented by Photography & Imaging, Tisch School of the Arts, New York University

Featuring: Rebecca Arthur, Mike Berlin, Bryan Denton, Rose DeSiano, Myles Golden, Lindsay He, Moogy Seungwoo Kim, Diane Meyer, Nicole Motta, Lorie Novak, Karl Peterson, Alice Proujansky, Hank Willis Thomas, and Deborah Willis

An exhibition of 14 photo- based projects by New York University’s Tisch School of the Arts Department of Photography & Imaging faculty, alumni, and students.  The works re-stage birth, death, war, beauty, the land, identity, family, and history. Memory is central to the practice of making images that create tension between conceptualizing past moments through the photographer’s lens.

Related Programming:
Photography Restaged

The Department of Photography & Imaging at NYU Tisch School of the Arts is an intensive BFA program centered on the making and understanding of images. We are a diverse department embracing multiple perspectives, and our students and faculty work in virtually all modes of analog and digital photo-based image making and new media. The curriculum is designed to teach students how to see, think, and take risks while finding their own voice.

NYC Salt: Preserving art education through teen photography programming

Presented by NYC SALT

Curated by Michael Bocchieri, Alicia Hansen, and Gabe Biderman

Featuring: Rami Abouemira, Saida Blair, Ashley Bordoy, Jason Bravo, Austin Canales, Kayla Cerda, Sindra DeJesus, Sterling Diaz, Nia Gordon, Danny Martinez, Rashawn Meeks, Nora Molina, Christian Ogando, Kamal Robinson,Christian Rodriguez, Allyssa Rubino, Malike Sidibe, Irvin Vega, and Henry Zapata

Technology drives every aspect of the photo industry and in the hands of a young mind we find inspiring results. Digital photography becomes an empowering tool to a teenager. It allows them to have an artistic voice at an age they are learning to find themselves. They are able to explore their world with a camera in hand and develop meaningful relationships with their subjects. The Photoville venue will showcase the award winning photography portfolios our students have created to show a raw, unfiltered look of their world.

SALT The mission of NYC SALT is to engage our students through professionally-led volunteer instruction in photography and digital technology, to inspire our students by exposing them to the professional world of the visual arts, and to empower our students with strong values and opportunities to achieve higher education and greater access to stable and rewarding careers.


A Peaceful Rebellion, The Faces of Dissent in Burma

Curated by Chris Bartlett with Delphine Schrank

Featuring Chris Bartlett

Photographer Chris Bartlett and journalist Delphine Schrank, author of The Rebel of Rangoon; A Tale of Defiance and Deliverance in Burma (Nation Books, July 2015), combine the ineffable image with the poetry of language to convey the hidden and very human experience of dissidence: of a social movement, until now largely closed from the eyes of the world, whose members dared across five decades of brutally repressive military rule to wrest their country back and deliver it to freedom and democracy.

Between 1962 and 2011, Burma/Myanmar had been under the jackboot of successive military rulers. Since then, a new parliamentary system has cracked apart a measure of political space. We will show not only the heartbreaking beauty of the country but also the passion and sense of duty that have driven people out of conventional lives and into the often solitary, always risky, and ever-evolving struggle for their rights. Despite constant risk of torture, beatings, arrest, intimidation – and even if they knew they wouldn’t see the fruits of their efforts in their lifetimes – we ask: what does it take to stand up to authoritarian rule?

Bartlett-1 Chris Bartlett is a documentary human rights portrait photographer. His projects have included military rape survivors, portraits of Iraqi former detainees who were tortured by the U.S., and for Photoville 2015, Burmese dissidents and former political prisoners. His Iraqi detainee portraits were first shown and the Open Society Foundation’s Moving Walls exhibition. The project was reinterpreted as an installation and shown at Photoville 2014. Most recently it was seen at the Houston Fotofest and the Hamburg Triennial. Chris has been interviewed by the BBC, NPR, Canadian Public Radio, Al Jazeera, and many others.


Delphine Schrank is the author of the critically acclaimed The Rebel of Rangoon; A Tale of Defiance and Deliverance in Burma (Nation Books, July 14, 2015), a work of narrative nonfiction based on four years reporting undercover among dissidents in Burma. A contributing editor to the Virginia  Quarterly Review and a co-founding member of Deca Stories, she was the Burma correspondent for The Washington Post, where she was an editor and staff writer. Her award-winning journalism has also appeared in Foreign Policy, the Atlantic, Time, Mother Jones and The Responsibility to Protect; The Promise of Stopping Mass Atrocities in Our Time (Oxford University Press, 2011).

Lewis Hine Documentary Fellows at Photoville 2015

Presented by Center for Documentary Studies at Duke University

Curated by Alex Harris and Elena Rue

Featuring: Amanda Berg, Noah Hendler, Kate Joyce, Emma Raynes, Amanda Van Scoyoc, and Sarah Stacke

Recent Duke University graduates – socially motivated young adults with documentary interests and experience – began collaborating with international nongovernmental organizations in 1995 as Hart Fellows, and their work became the catalyst for the Lewis Hine Documentary Fellows program launched in 2002 at the Center for Documentary Studies. The Hine program has connected the talents of young documentarians with the resources and needs of organizations serving women, youth, and their communities in fifteen countries around the world. The goals of the Hine program are to increase the number of committed documentarians in the humanitarian field and to explore the potential of documentary work to be used as a tool for policy reform, abroad as well as in the United States.

As Hine Fellows work with youth and families, they often develop projects that are collaborative in their approach. Fellows give the tools of their trade back to local participants, asking them to document issues central to their daily lives. Fellows then connect these materials with their own projects, creating works that are not just about, but also by, the people with whom they engage. For children and adolescents in particular, participating in documentary work ensures their fundamental right to join in broader conversations that affect their lives.

CDS_Logo_cmykThe Center for Documentary Studies (CDS) opened its doors at Duke University in 1990 as the first university-affiliated institution in the United States dedicated to documentary fieldwork as an interdisciplinary mode of inquiry, drawing upon photography, filmmaking, audio, oral history, folklore, writing and – more recently – multimedia as catalysts for education and change. CDS supports the active examination of contemporary society through artistic expression, the recognition of collaboration as central to documentary work, and the presentation of experiences that heighten historical and cultural awareness. CDS is recognized nationally and internationally for its pioneering work, conducted through courses; research; oral history and other fieldwork; gallery, online, and traveling exhibitions; annual awards; book publishing; radio and other audio programs; community-based projects; and public events. The Lewis Hine Documentary Fellows Program is part of a longstanding commitment to youth-focused work at the Center for Documentary Studies.

Live, Love, Limbo

Presented by Magnum Foundation & The Arab Fund for Arts and Culture

Featuring: Omar Imam and Natalie Naccache

In the spring of 2011, Syria erupted. What was initially a positive move for democracy and popular reform on the heels of the Arab Spring soon became a fragmented struggle for power that continues to cause unprecedented violence and destruction. A recent UNHRC report estimates there are 3,984,393 registered Syrian refugees living everywhere from Lebanon to Turkey to Egypt. There are countless more who are unregistered, drifting in forced exile and unable to return to the home they grew up in. Even as feelings of estrangement and isolation grow with every passing day, there still hangs a hope of reclamation. Natalie Naccache and Omar Imam’s stories are not about the statistics or the politics, but about the individuals caught in between. These stories reveal the struggle of the internal landscape for those who have lost their native ones, the constant uncertainty of exile, the memories that we carry with us, and the hopes that keep us alive.

Omar Imam is a Syrian photographer and filmmaker based in Beirut. Since 2003, his work has been largely personal and oriented around social campaigns in Syria. Since the Syrian uprising in march 2011, he has been using ironic conceptual photography as a reaction to violence, often publishing under a pseudonym. After leaving Damascus in late 2012, he started making fictional short films focussing on the issue of Syrian refugees. Individually or with NGOs, he has created films, photography projects, as well as workshops with Syrian refugees in Lebanon. He obtained a degree in accounting from the Commercial Institute in Damascus in 2001.


Natalie Naccache is a Lebanese-British photojournalist based between Beirut and Dubai. Having grown up to Lebanese parents in London, her work challenges preconceived ideas of the Middle East in today’s society. Her photographs have been published in various international publications such as the New York Times, Le Monde, Der Spiegel, D la Repubblica, The Independent, Monocle, The Sunday Times Magazine, Esquire, and Marie Claire. Naccache holds a BA Photojournalism degree from London College of Communication and a Diploma of Art Foundation from Camberwell College of Arts, London.


Amidst major societal transformations, most visual documentation in the Arab region is funneled through mass media outlets, with little opportunity for local documentary photographers to produce creative long-form stories. The Arab Documentary Photography Program, launched in 2014 by The Arab Fund for Arts and Culture, the Prince Claus Fund, and Magnum Foundation, is a initiative that stimulates the production of compelling work by Arab photographers working across a range of experimental styles of storytelling.

The Arab Fund For Arts and Culture (AFAC) is an independent initiative that funds individuals and organizations in the arts to facilitate cultural exchange and cooperation across the Arab world and globally. AFAC envisions a thriving Arab art and cultural scene, one that is confident in its expression, open to dialogue, accessible to all and sustained locally by committed patrons.


LOGO - Magnum Foundation Magnum Foundation (MF) was established by photographers of Magnum Photos to embrace the challenges of the shifting media landscape at the intersection of art and journalism.  Championing independent documentary photography that fosters empathy, engagement and social change, MF brings together a collaborative community of activists, artists, and technologists to sustain meaningful storytelling with lasting impact.

Talking Photography

Presented by Roads & Kingdoms

Curated by Pauline Eiferman

Featuring Various Artists

Roads & Kingdoms presents “Talking Photography”, an audio-visual incarnation of the award-winning online magazine’s weekly interviews with photojournalists from across the world. We have picked out three diverse photographers whose projects have been published in our publication and whose work resonates with our ethos: to combine travel with journalism. A selection of three photo essays are presented inside the container, where audio clips from conversations between the photographers and Roads & Kingdoms’ Director of Photography, Pauline Eiferman, are also being played. These clips, which touch on the back story of the work, provide both storytelling and educational elements to the photography.

RKlogoRoads & Kingdoms is a next-generation media company dedicated to the intersection of food, politics, travel and photography. Founded in 2012 by former Time Magazine Editor Nathan Thornburgh and James Beard award-winning journalist and New York Times bestselling author Matt Goulding, Roads & Kingdoms has gone on to win various awards for its editorial coverage, including the Gold Medal for Best Travel Journalism Site by the Society of American Travel Writers (beating out National Geographic for the honor in 2013). Roads & Kingdoms most recently announced that Anthony Bourdain, bestselling author and host of CNN’s Parts Unknown, had joined the company as an investing partner and editor-at-large.

Data Rush

Presented by Noorderlicht Photography Foundation

Supported by The Netherlands Consulate General in New York

Curated by Wim Melis

Assistant Curator Hester Keijser


Featuring: Mari Bastashevski & Mark Curran

Mark Curran – The Economy of Appearances
The Economy of Appearances by Mark Curran elaborates his long-term ethnographically informed transnational project, THE MARKET (2010-) focusing on the functioning and condition of the global markets. Incorporating photographs, film, sound, artifacts and text, themes include the algorithmic machinery of the financial markets, as innovator of this technology, and long-range consequences of financial activity disconnected from the circumstance of citizens and everday life. Profiled sites include London, Dublin, Frankfurt and Addis Abeba. The installation for Data Rush furthers the enquiry to Amsterdam.

Curran filmed in the new financial district of Zuidas on the southern periphery of the Dutch capital – a global centre for algorithmic trading. Adapted from a text by Brett Scott, a former trader, the film, Algorithmic Surrealism, questions the hegemony of HFT and how the extinction of human reason in Market decisions will perpetuate more extreme power relations of minority wealth in globalised capitalist systems. The Netherlands is also pivotal in the global Shadow Banking system, therefore, the installation soundscape is generated through the transformation of data using an algorithm to identify the application of the words, market’ and/or ‘markets’ from public speeches by the Dutch Minister for Finance, Jeroen Dijsselbloem. The installation incorporates a 3D visualisation of this soundscape – The Economy Of Appearances – representing the functioning of financial capital through the conduit of the nation state. With his project, Curran raises the market from its state of abstraction and demonstrates that the market is a real and intrusive force that is paramount in shaping our lives.

This installation was commissioned by Noorderlicht in collaboration with the British North East Photography Network (NEPN) at the University of Sunderland (Great Britain)

Mari Bastashevski – It’s Nothing Personal (2015)
The installation, IT’S NOTHING PERSONAL, is set in the space between what global surveillance firms promote in their self-representation, and what the testimonies of those directly affected by these technologies disclose.

In the past decade, the industry that satisfies governments’ demand for surveillance of mass communications has skyrocketed, and it is one of today’s most rapidly burgeoning markets. A variety of products sold include ready-to-use monitoring centers that are able to silently access, process, and store years of electronic communications of entire countries.

While most of these products are undetectable by design, those who sell them have developed a strong corporate image. Branding concepts applied in promotional materials emphasise protection against vague but potent threats. Access to intimate details of correspondence is presented as impersonal data, petabytes stored and packets inspected.

The detached technical jargon and sanitized clip-art aesthetic work to obscure a deep-rooted partiality. Communication surveillance is a fundamental part of law enforcement operations meant to benefit those it vows to protect, in as much as it is a weapon for preserving power by infringing on the privacy of those who oppose it.
This installation was commissioned by Noorderlicht in collaboration with the Festival Photoreporter in Saint-Brieuc (France).

Mari Bastashevski’s work spreads across the disciplines of investigative research, journalism, and art, deliberately blurring the boundaries among them in an attempt to challenge existing information delivery modes and bridge the spaces between practices. Her work “It’s Nothing Personal” is set in the space between what global surveillance firms promote in their self-representation and what the testimonies of those directly affected by these technologies disclose. Her other ongoing projects include “State Business” focuses on the international conflict participants, defence and cyber surveillance industries, and layers of state secrecy under which they operate; and “Empty with a whiff of blood and fumes” a project set in Ukraine addressing the nexus of money, power, and organised crime in the build up to the “hybrid war” there. Between 2007 and 2010, she worked in the Russian North Caucasus on “File-126,” a project about the abductions of civilians under the guise of Russian counterterrorism regime. Her work has been featured in Time Magazine, The New York Times, Courrier International, Le Monde, VICE, and exhibited with Elysée-Musée de l’Elysée, Art Souterrain, the Open Society Foundations, Polaris Gallery and East Wing, among others. In 2010, she spent a year as artist in residency at Cite des Arts. She studied Art History and Political Science in Copenhagen. She is based in Switzerland, but she is never home.


Mark Curran (Ireland, 1964) obtained his PhD at the Dublin Institute of Technology. He teaches Photography at the Institute of Art, Design and Technology, and Visual and Media Anthropology at the Free University of Berlin. Since 1998, he has been exposing the predatory character of migration fluxes around the world in a combination of research projects and multimedia installations. Mark Curran lives and works in Berlin and Dublin.


Noorderlicht is a many-faceted and international platform for photography that has a good story to tell. For Noorderlicht, photography is a socially inspired medium which functions as a window on the world, and which can play a role in social discussions and processes.

We do this by organizing an annual photography festival, programming exhibitions in our permanent photo gallery, producing exhibitions on demand, organizing photographic commissions and arranging discussions, lectures, and masterclasses. Noorderlicht provides an educational program, and also publishes catalogs and photo books. Our exhibitions tour worldwide, and have been seen in the United States, Syria, Australia, Indonesia, and many other lands.

Operating as a festival since 1990, Noorderlicht has built up an international reputation as an institution that is able to couple engagement with visual beauty.

In DATA RUSH, international photographers and multimedia artists examine the digital world in which we are immersed, and the field of tension between freedom and control in a virtual world.  It is perhaps the largest cross-section to date of photographic and multi-media projects dealing with current developments in the digital age, including acutely relevant topics of mass government surveillance and the loss of privacy.

Noorderlicht runs from 23 Aug – 11 Oct in the Old Sugar Factory, an impressive industrial complex in Groningen, the Netherlands, which will host the 22nd edition of the festival.

logoNL22     Dutch Consolate

VSCO Artist Initiative™

Presented by VSCO®

Featuring: Amy Lombard, Chris and Jonathan Schoonover, James Robertson, Josh Wool, Leo Martinez, Mustafah Abdulaziz, Natalie McComas, Nirav Patel, Nour El Refai, and Yumna Al-Arashi

The VSCO Artist Initiative™ is a 1 million USD grant and movement of solidarity that provides artists the resources to pursue their creative vision, no matter what the medium. The Initiative honors art and artist by discovering, funding, advising, and promoting creatives from all corners of the globe.

VSCO is an art and technology company dedicated to equipping and inspiring anyone anywhere with tools to create, discover, and connect.
Always Moving Forward™


The Getty Images Legacy Collection

Presented by Getty Images

Curated by Aidan Sullivan, Andy Saunders, Anthony Holland Parkin & Matthew Butson

Featuring: Various Artists

We are celebrating the 20th Anniversary of Getty Images, and it seemed highly appropriate to create a special collection that would not only mark this important milestone but also provide a fitting and ongoing legacy, to showcase the very best of Getty Images’s unprecedented photography.

As a result, we have curated a unique selection highlighting key Creative, News, Sport, Entertainment, and Archive imagery illustrating our photographic heritage through award winning images shot over the past two decades, together with a selection from the Hulton Archive’s unsurpassed historical collection, thus spanning the birth of photography to the present day.

Getty_Images_large Getty Images is the world’s leader in visual communication, with over 170 million assets available through its premium content site, Getty Images, and its leading stock content site, With its advanced search and image recognition technology, Getty Images serves business customers in more than 100 countries and is the first place creative and media professionals turn to discover, purchase, and manage images and other digital content. Its award-winning photographers and content creators help customers produce inspiring work, which appears every day in the world’s most influential newspapers, magazines, advertising campaigns, films, television programs, books, and online media. Visit Getty Images to learn more about how the company is advancing the unique role of digital media in communications and business, and enabling creative ideas to come to life.

Too Young To Wed | Photographs by Stephanie Sinclair

Presented by Too Young To Wed

Curated by Stephanie Sinclair and Christina Piaia

Featuring Stephanie Sinclair

In many societies, marriage is a celebrated institution signifying a union between two adults and the beginning of their future together. Unfortunately, millions of girls still suffer from a vastly different marriage experience every year. Worldwide, many brides are still children, not even teenagers. In fact, child marriage affects one in three girls in the developing world.

Award-winning photographer Stephanie Sinclair first stumbled upon the issue of child marriage more than a decade ago while on assignment in Afghanistan, and she’s been committed to documenting it worldwide ever since. In every community, she has encountered activists—mothers, fathers, village elders, and even other children—who oppose the practice and want to see change. These images could not have been captured without their collaboration and their courage to stand up to harmful traditions.

As a non-profit organization providing visual evidence of the human rights challenges faced by women and girls around the world, Too Young to Wed calls on governments to make it a foreign policy priority to end child marriage and many of the ills associated with the practice: poverty, hunger, gender inequality, child and maternal mortality, lack of education, and the spread of HIV/AIDS. It is imperative that we end this practice impacting one girl every two seconds—or 142 million girls over the next decade.

We invite you, the viewer, to find your own courage to take this journey with us and help to bring an end to child marriage in our lifetime.

Related Programming:
Influencing Policy and Social Change through Photography

Visual Journalist, Stephanie Sinclair is known for gaining unique access to the most sensitive gender and human rights issues around the world. Although she has covered the dramatic events of war, many of Sinclair’s most arresting works confront the everyday brutality faced by young girls around the world. Her studies of domestic life in developing countries and the United States bring into sharp relief the physical and emotional tolls that entrenched social conventions can take on those most vulnerable to abuse. Sinclair’s images mark an exchange of trust and compassion. But by consenting to be photographed at their most vulnerable, the people depicted in these images also demonstrate a rare bravery. The resulting images have been published in hundreds our outlets worldwide including National Geographic and The New York Times Magazine. Sinclair is the recipient of numerous other awards including the CARE International Award for Humanitarian Reportage, the Overseas Press Club’s Olivier Rebbot Award, three World Press Photo awards and a Pulitzer Prize. In 2010, Stephanie’s photographs of self-immolation in Afghanistan were exhibited as part of the Whitney Biennial in New York.


Too Young to Wed (TYTW) advocates for the eradication of child marriage by providing visual evidence of the human rights challenges faced by women and girls. Through the power of photography and storytelling, we generate attention and resources to amplify the voices of these courageous women and girls to move and inspire the global community to end child marriage. We transform influential advocacy into tangible action on the ground through partnerships with international and local NGOs and by supporting initiatives in the communities where the girls in our stories live.

Diagram of the Heart

Presented by Open Society Documentary Photography Project

Curated by Siobhan Riordan

Featuring Glenna Gordon

Rabi Tale is one of several dozen popular romance novelists living in the northern city of Kano, Nigeria’s second biggest city, and the city with the largest Muslim population in the country.

Tale is one of a small but significant group of women in Northern Nigeria writing books called Littattafan soyayya, which in the Hausa language translates as “love literature.” These stories are somewhere in between morality tales and romance novels. Many of the novels are about escape, and fantasies of a better life, as well as advice for how to live as a good Muslim and a good wife. They’re read by women and girls in Northern Nigeria and across the Sahel. The stories of kidnapped schoolgirls and acts of terrorism at the hands of Islamist group Boko Haram might be the only stories that people around the world know about Northern Nigeria, but they’re certainly not the only stories about Hausa women.

Glenna Gordon is a documentary photographer and photojournalist working in Africa and elsewhere. She’s crashed dozens of Nigerian weddings, sought out and photographed traces of the 300 schoolgirls kidnapped by Boko Haram, met many of the released Western hostages kidnapped by ISIS and Al Qaeda, and learned about Muslim women who write romance novels in the Sahel, just south of the Sahara Desert.

Gordon’s work has received recognition through World Press Photo, the LensCulture Visual Storytelling Awards grand prize, the PX3 Prix de la Photographie Paris first prize in portraiture, and the PDN Photo Annual competition. Her work has also been awarded by American Photo, Communication Arts, and Magenta Flash Forward.

Gordon has been commissioned by Le Monde, the New York Times, Time magazine, and the Wall Street Journal. Her images have been included in group shows in galleries, projections, containers, and museums in London, New York, Nigeria, and Washington, D.C. Gordon is an adjunct professor at the Milano School of International Affairs at The New School in New York.


Basic CMYK This exhibition is supported by the Open Society Documentary Photography Project. Through grants and exhibitions, we seek to advance socially engaged photography and its potential to drive change. We value ambitious work that reflects an ongoing commitment to depth and nuance, a plurality of perspectives and approaches, and photographers who use their work to strategically trigger critical thought, dialogue, and action.

Moving Walls is our exhibition series that features photography on human rights and social justice issues. We provide a platform for global practitioners who are expanding the visual language of documentary photography in compelling ways.

Images from Diagram of the Heart, the body of work on display in this container, will be featured in the Moving Walls 23 exhibition which opens to the public at Open Society Foundations-New York on October 22, 2015.

Age of Uncertainty

Presented by Purchase College, SUNY

Curated by Kristine Potter and Joshua Lutz

Featuring: Dustina Sherbine, Daniel Naman, Molly Flores, Skyler Maggiore, Carly Moreno, Daniel Bracken, Brittany Petronella, Gianna Sergovich, Grace Tyson, Christopher Postlewaite

“Age of Uncertainty” features the work of current and recent alumni from Purchase College’s BFA and MFA departments. The selected works represent how these emerging artists use lens-based media to engage with contemporary issues and questions of our time. As the binary reasoning of our past becomes complicated by the nuances of today, these young artists investigate the shifting lines of the public and private. They grapple with the personal and political. Inwardly, they question trust, issues of exploitation and decency. Outwardly, their keen introspection of capital and labor makes them slippery targets and savvy practitioners of a kind of comic appropriation. As the applications of “photography” expand, so too does their use of the medium. The work in this exhibition exemplifies the pluralism of thought and approach as is practiced in the larger body of artists working at Purchase College.

Purchase Pollege SUNY Purchase College, SUNY, offers a unique education that combines programs in the liberal arts with competitive conservatory programs in the arts in ways that emphasize inquiry, mastery of skills, and creativity. The campus is located 28 miles north of New York City in beautiful Westchester County.


Presented by Narratively

Curated by Zara Katz and Noah Rosenberg
The Narratively editors who contributed to the stories on display include: Brendan Spiegel, Chelsea Stahl, Michael Stahl and Rebecca White.

Featuring: Paolo Ciregia, Giles Clarke, Glenna Gordon, Talia Herman, Mario Kaiser, Andrew Renneisen, Katia Repina, Joseph Rodriguez, Marieke van der Velden, Patrick Willocq, and Theo Zierock

Insider. Outsider. We tend to think of them as polar opposites. Like right and wrong. Rich and poor. Black and white. But the labels we covet and stick onto others are nothing if not a reflection of perspective.

Pushing through the boundaries of identity and belonging are a collective of drag queens deep in a California forest, Pigmy mothers in the Congo, a budding porn star in Spain, and voodoo practitioners in Senegal. People on the inside protest against forces on the outside—racism, incarceration, pollution, societal norms—or maybe they’re actually on the outside fighting to get in. The lands forbidden to some are homes to others. In keeping with Narratively’s thematic online publishing model, we invite you to step inside and explore these worlds.

PrintNarratively is a digital publication and content studio devoted to ordinary people with extraordinary stories. Our editors and global network of contributors avoid the breaking news and the next big headline, focusing instead on crafting the most authentic, engaging stories we can, one at a time. We comb our world’s big cities and hidden corners for the characters and narratives that mainstream media aren’t finding—the underdogs and overlooked tales that enlighten us, connect us, and capture our imagination—stories that would otherwise fall through the cracks. We present our stories in weekly themes, and in the most appropriate medium, from writing to short documentary films, photo essays, audio, and comics journalism. The result is that every story, and storyteller, has the chance to make an impact.


Presented by The Peace Corps

Curated by The Peace Corps Northeast Regional Office

Featuring Peace Corps Volunteers

Vantage illustrates the vibrancy of the Peace Corps experience through the mood and color of photography. A series of vignettes – captured from the perspective of Peace Corps Volunteers – offers an intimate look into community integration as a tenet of serving overseas, from singing along at a Mongolian picnic to repairing a car in Moldova. During their 27 months of service, Volunteers live, work and learn in host countries at the economic level of their neighbors. The Peace Corps is a lifelong vocation that thrives on cultural exchange both overseas and at home, which is conveyed through the images and purpose of our exhibit.

The Peace Corps sends the best and brightest Americans abroad on behalf of the United States to tackle the most pressing needs of people around the world. Volunteers work at the grassroots level to develop sustainable solutions that address challenges in education, health, economic development, agriculture, environment and youth development. Through their service, volunteers gain a unique cultural understanding and a life-long commitment to service that positions them to succeed in today’s global economy. Since President John F. Kennedy established the Peace Corps in 1961, nearly 220,000 Americans of all ages have served in 140 countries worldwide.


Presented by United Photo Industries

Supported by The Netherlands Consulate General in New York

Printed by LuxLAB

Featuring Ellen Kok

“Try, Try, Never Die, HOOAH!”

Many students of Fall Mountain Regional High School in Langdon, New Hampshire, begin class with that yell every day, sometimes delivering it in military uniform. They are cadets in the Junior Reserve Officers’ Training Corps, JROTC, a US Army-sponsored program.

By teaching them military values Americans admire – service, honor, skill and leadership – JROTC tries to improve the students’ self-esteem and give them a better grip on life. The class offers camaraderie and the structure, direction, and security that are often missing at home. But many students are also from families with a military tradition, and some intend to join the Armed Forces.

Curious about the place of the military in American culture, for over two years Dutch photographer and writer Ellen Kok followed the cadets, their parents – several of whom are retired or active duty soldiers – and their two teachers – veterans who saw action in Lebanon, Iraq and Somalia.

What do marching in formation, doing push-ups, shining uniform buttons, firing air rifles and addressing each other with “Sergeant” or “Captain” do for young people? Does it help them to cope with the challenges life throws at them, at home and in school?

Ellen Kok is a Dutch photographer and writer who combines photo essays with written stories. She firmly believes storytelling is an important art that can open eyes and connect people. Her photography is based on trust and intimacy.

Ellen is currently based in Drewsville, New Hampshire, where she recently completed her books “Cadets” (2013) and “The Other Farm” (2015). “Cadets” – photos from which are shown at Photoville – is the result of over two years shadowing the JROTC unit of Fall Mountain Regional High School in Langdon, New Hampshire. For “The Other Farm,” Ellen followed life at two family farms, one in the Netherlands and one in Vermont, for eleven years. She produced and published both books herself, under her imprint “Netherlight.”

Ellen studied at the School for Journalism in Utrecht, the Netherlands, before working as a photography critic for several Dutch newspapers and photography magazines and as a freelance photographer. For ten years she specialized in agricultural photography.

Now she works mainly on in-depth documentary projects revolving around the lives of young people. They are among the most vulnerable members of our society, she believes, and how we treat them says a great deal about our culture.

Dutch Consolate     UPI