The Depository of Unwanted Photographs

United Photo Industries Presents

The Depository of Unwanted Photographs

Featuring YOU!

Conceived by Pete Brook

Depository copy

When asked to pick out a single image they absolutely treasure, people generally don’t hesitate. A snap of their children, a Polaroid of their parents, a formal pose from precious life event, or perhaps even a photograph with the prescribed artistic balance of composition, contrast and exposure. Whether the choice is dictated by emotional memory or technical concerns, the question “What is your best photo?” is not an unusual one. But what about the question, “What is your worst photo?” To put it another way, what photograph of yours is obsolete, worthless, old news or just plain bad? Which single photograph of yours would you like to officially state on the record as unwanted?

Photoville invites you to submit one of your photos to The Depository of Unwanted Photographs, a crowdsourced archive of images and stories.

During Photoville, submissions will be rotated in and out of display for public viewing. When the festival ends, the Photoville team will compile the images and create a reference book of “Unwanted Photographs”. The debate about what is good and bad in photography is as old as the medium itself, but what are the debate’s current touchstones? If we’re looking for good photography, we’ll find plenty of suitors in photobooks, galleries and publication, but where do we find a legitimate and well-researched presentation of bad photography? Does our discussion of what is good not also rely on a shared knowledge of what is bad, unwanted and unloved? Images do not exist in a vacuum, but emerge from contexts and histories. We think that your photos and stories are as relevant as the stories in news-photo exclusives and famous documentary images — your stories are central to discussions about how we consume and use photography. Therefore, we ask that each submitted image is accompanied by 50+ words on why it is not wanted by you, and not needed in the world.

We create and circulate millions of images every week. Many of these never exist beyond digital formats; stuck in our phones or transferred to computers on their way to social media sites. We are constantly employing choices, consciously and subconsciously, to share or overlook images. If we accept the mantra that ‘we are all photographers’ then aren’t we all photo-editors too?

There might be many of your images that you could trash, but by asking you to choose only one, we hope you’ll take the opportunity to think about the proliferation of images in society and your relationship to the everincreasing number. Photoville will officially recognize your image as Unwanted with a numbered certificate and unique catalogue code. One-by-one, as the images interrelate and build the Depository, new meanings will emerge. The arbitrary definitions brought to the project by you the public will amount to a unique view. The Depository Of Unwanted Photographs is an unpredictable interrogation of quality that crucially is made by the public, not by the dominant voices of those in the media or culture industries.

Please join us.

During the festival, we will welcome walk-in submissions at The Depository Of Unwanted Photographs container which will be equipped with a scanner and computer to download, copy and catalogue your printed photographs and digital files.

Photo submissions can also be taken at our online depository – coming soon!

Conceived by Pete Brook. Produced by United Photo Industries. Populated by YOU.

West 13th Street Manhattan: A City’s Heartbeat

West 13th Street Manhattan: A City’s Heartbeat

Featuring Richard Koek

© Richard Koek
© Richard Koek

In Koek’s City’s Heartbeat you are forced to move your eyes, to be a film projector of his untruthful moment in time. Like in a 19th century panorama painting experiencing, an event in motion. Creating the illusion of a fluid passage of a stretch of time. Embracing happenings in the past, the present and the future’s promise. Seemingly without a beginning and an end.

Like a Buddhist universe that goes through repeated cycles of creation, cycles of human breathing rhythmatically coinciding with the pace of a city’s heartbeat.

The production of this installation has been made possible by generous support from Joanna Jarmac, Douglas Harris, Bill Van Parys and Wendy McCullough.

Born in The Netherlands and raised by an Argentinian mother, Richard Koek decided to exchange his native Amsterdam for New York City.

He has steadily gained ground in the American scene with assignments for publications such as The New York Review of Books, Interview Magazine and Stern Magazine.

Mimage-Matic Features

The YellowTAG Trailer Presents

(formerly known as The Yellow Trailer Art Gallery)

Mimage-Matic Features

Featuring Ed Kimball

© Ed Kimball
© Ed Kimball

Ed Kimball’s movie installation explores a series of paradoxically juxtaposed 8mm and super 8 home movies that form a mysterious fusion of simultaneous projections in and around his reconstructed utility trailer that he calls YellowTAG. His installation offers ironic twists that culminate in a clash of both accident and intent in a surreal motion picture experience.

Ed Kimball is a graduate of Bard College and an MFA graduate of Columbia University School of the Arts in visual art. He launched The Yellow Trailer Art Gallery (now called YellowTAG)in 2004. The Trailer was created as the mobile platform of Polis America Studios, a collaborative design team which he led. Since its beginning, The Trailer has launched numerous solo and collaborative projects and has traveled widely showing films in the northeast United States particularly in the NYC region. His short film documenting trailer travel was most recently a Film as Art selection at The Art of Brooklyn Film Festival – 2013.


Photographic Orchard with Cherry Blossom Trees

United Photo Industries Presents

Photographic Orchard with Cherry Blossom Trees

Featuring André Feliciano

© André Feliciano
© André Feliciano
In 2012 United Photo Industries commissioned Gardener André Feliciano to cultivate a Camera Greenhouse which captivated young and old and was a hit of PHOTOVILLE last year!

This year – we gave Andre an assignment: Impress us even more! And boy, has he!

Andre will cultivate Photography in a symbolic way: he will play Photographic Dodge with visitors and create a small Photographic Orchard with Cherry Blossom Trees smack bang in the middle of our village. Andre – Welcome back!

AND on the other side of the river — Andre will have his first solo New York Exhibition!


By Andre Feliciano
BOSI Contemporary
48 Orchard Street New York, NY 10002

September 8 – October 6, 2013
Opening Reception: Sprouted, 6-9pm

Featuring photographic works and a new large-scale installation, this exhibit explores the relationship between photography and contemporary society. Feliciano’s playful, engaging creations nurture photographic culture both mentally and physically.


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Camera Obscura

La Fototeca Presents

Camera Obscura

Created by La Fototeca

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The camera obscura was developed in Europe around the 13th century and was one of the inventions that led to photography. Just like your eye, as light passes through a small aperture the image is projected upside down on the opposite surface retaining its perspective and color.

La Fototeca, was founded in 2009 by a group of young Guatemalan photographers that where convinced that photography changed their life. In its way of engaging its purpose, of giving people the opportunity to change their life through photography, La Fototeca provides a complete platform with solid educational foundations and promotion of those national and international photographers via The School, Fototropía (gallery) and GuatePhoto Festival.

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Manezh Square

Ken Kobland Films Presents


Featuring Ken Kobland

Curated by Dave Shelley

Manezh Sq. Detail
MANEZH SQUARE is a 3D Photo-Composite constructed from Hi-8mm video still frames. The original material is a continuous 20-minute recording of a massive demonstration (supporting political and economic reforms) in Manezh Square, Moscow, in September, 1990. The mural was composed by selecting and removing figures from various places in the real-time duration of the scene and reassembling them into one, ‘photographic-instant’.

MANEZH SQUARE, MOSCOW. SEPTEMBER 16, 1990. It is a huge demonstration which has marched for hours from Puskin Square to Manezh Square. It is also the first real test of the depth of perestroika with it’s claims of popular democracy. It is organized in support of Gorbachev, and of Yeltsin, who are seen as committed to far-reaching economic and political reforms but who are in need of massive shows of public support in order to defeat the resurgent Communist elements within the regime. The sense of possibility is palpable in the crowd, so is the sense of uncertainty.

Since the early 1970’s Ken Kobland has produced independent film, video and media art works, including a number of performance/media pieces for theatrical presentation in collaboration with THE WOOSTER GROUP, the New York based experimental theater.

His work has been included in numerous film and video festivals such as: New York Film Festival(Avant-Garde section), Ann Arbor, CinemaTexas, Bellevue, Sinking Creek, Athens (Ohio), Atlanta Film Festival, American Film Festival (Film-as-Art), San Francisco Film Festival (Golden Gate Awards), Black Maria Film/Video Festival, Montreal, Oberhausen (West Germany), Hyeres (France), Melbourne (Australia), Montbeliard (France), Rotterdam, Video Week (Geneva), World-Wide (Holland), Lucarno (Switzerland), VideoKunst (Karlsruhe), the New York Video Festival, and at the Berlin Film Festival – International Forum. In addition his work has been represented in shows in London, Paris, Sidney, Budapest, Warsaw, Amsterdam, Tokyo and Bangkok. The work is also in the collection of museums, including MoMA,New York, Centre Pompidou,Paris and the Stjedlick,Amsterdam, among others.


AXS Map, Inc. Presents


Featuring Jason DaSilva

AXS Map (Access Map) is a public art project that Jason DaSilva was inspired to create after he was diagnosed with multiple sclerosis at the age of twenty five. It is a crowd-sourced tool to rate and review accessible locations. Using a 1-5 star rating system, it is fun and easy to think about places from the vantage point of a person in a wheelchair, pushing a stroller, or using a walker. He spent many days and nights at home, frustrated with the lack of information online for accessibility. A step or two at the entrance of a location prevents someone from enjoying the freedoms that everybody deserves. AXS Map is inspired by his love for the freedoms that he used to have – the freedom to easily go places and be around people. AXS Map is free and available on the web and as a mobile application for iOS and Android. Powered by Google, any place on their search engine is available on AXS Map. Help make this world a more accessible one – join the AXS Map movement today. Go to to get started.

Jason DaSilva is an award winning filmmaker, photographer, and transdisciplinary artist. His film work had been featured on HBO, PBS, The Tribeca Film Festival, and the Margaret Meade Film Festival. His most recent film, ‘When I Walk,’ ( premiered at the 2013 Sundance Film Festival and will be shown theatrically at the IFC Center at the end of October. His artwork has been featured at the Whitney Biennial and several galleries around the world. AXS Map is his passion project and is funded by Google, The Nathan Cummings Foundation, and the Fledgling Fund. He recently directed an Op Doc for the New York Times entitled ‘The Long Wait,’ all about the accessibility, or lack there of, in New York City transit.

AXS Lab, Inc. ( is a registered non-profit (501c3) with a mandate to empower the disability community through media production and education. The major programs are (1) the production of a feature length film called ‘When I Walk’ and (2) the development and marketing of AXS Map ( a suite of new media tools designed to empower communities and people with disabilities to map accessibility of the built-environment.

Accomplishments to-date include securing a broadcast agreement for the feature-length film, “When I Walk”, which will air on primetime PBS (with 2 million plus viewers) in 2014. Various grants were also secured to fund the production of the film from the following funders: ITVS (PBS), Canada Council for the Arts, and Telefilm Canada. Additional support for the project AXS Map was provided by Nathan Cummings Foundation, Fledgling Fund, Google Earth via Tides Foundation, and Telefilm Canada.

Aaj Tak

Aaj Tak

Featuring Linka A Odom

© Linka A Odom
© Linka A Odom

Aaj Tak, by Linka Odom, is an outdoor photographic light box installation that takes the viewer on a visual journey through modern India – Aaj Tak loosely translates as ‘til today’ in the Hindi language. In 2012/13 Odom passed four months backpacking throughout India. During this time she traveled from the highest province of Ladakh to the Southern most region of Kerala. Ms. Odom’s colorful, edgy images of India represent this vast, vibrant and constantly shifting country with a modern eye. Using multi-media materials and backlit photographs, the Aaj Tak installation takes people on both a physical and visual journey, which mimics the experience of traveling. The photographs are displayed back to back in double-sided light boxes, and relate to one another, allowing the viewer to make connections, establishing setting, and deepening the relationship between the individual images. As an installation, Aaj Tak is best viewed at night, under a dark sky, when the light boxes are at their brightest.

Born with an attraction for the unknown and adventure, Linka A Odom passed many days while growing up creekwalking in the suburbs of Dallas, Texas. After graduating from New York University’s Tisch School of the Arts in 1997, she satisfied this wanderlust by traveling, exploring, and documenting diverse cultures. Odom has adventured & photographed in more than 30 countries over the last 15 years. Linka began working with multi media materials in 2005 and has since developed a unique way to showcase her work using photographic light boxes. Her installations have traveled to music and art festivals all over the world. In August of 2010, Odom left the U.S. to pursue an advanced degree, graduating in December 2012 from the University of the Arts in London with a Master’s in Photojournalism & Documentary Photography. In 2012, Linka was awarded a Getty Images Creative Grant for her work with photo based installation art. Odom thrives in off the beaten path and unique settings as a freelance photographer and is inspired by ancient civilizations and by people that live on the edge. She is incredibly interested in developing new ways of displaying imagery. Linka is now headquartered in Berlin, Germany.

One Is All You Need

Dirk Anschütz Photography Presents

One Is All You Need – Portraits of New York’s Fixie Riders

Featuring Dirk Anschütz

© Dirk Anschütz
© Dirk Anschütz
It is widely known, that husbands and their wives, and dogs and their masters develop certain similarities as their relationship progresses. Less known, but just as evident is the fact that the same happens to bicyclists and their bikes. This is most apparent in people with a strong sense of style and a deep love for bicycling. Fixie riders in short.

Here is a portrait series of some of the riders at the forefront of New York’s bike renaissance.

Dirk Anschütz is a New York based photographer. His main photographic interests are portraits, landscapes and sports. His work has been published in magazines such as Time, Fortune, Money, ESPN, Stern, and Der Spiegel, and his commercial clients include Mini Cooper, BMW, Adidas, Merck and Bravo. He has had several solo shows in the US, and his work was featured on the Fence at Photoville in Brooklyn (2012). Dirk received a Brooklyn Arts Council Grant 2012. His awards include the PDN Photography Annual, the American Photography Annual, an International Photography Award, an ASMP Images Award , and an AltPick Award.

Project Amelia

Project Amelia Presents

Project Amelia

Featuring Amelia Coffaro and Elizabeth Griffin

Curated by Amelia Coffaro and Elizabeth Griffin

© Project Amelia
© Project Amelia

I knew by the stillness that settled into the room that my reality was changed. I looked at my doctor: “You think it’s cancer.”


What does cancer look like? Chemo? And a mastectomy? In the changing room at the hospital, I stood photographing my breasts, wanting to remember my body just as it was. Under these dim lights, standing in front of a mirror with my camera, I began to feel less like breast cancer was happening to me and more like I was trying to learn about it. Perhaps if I used my camera to explore something I feared terribly, perhaps it wouldn’t be so scary after all. Perhaps I could move through this by focusing on capturing the moment, letting the camera redefine me: from “cancer patient” to “curious observer”.

I began my chemotherapy on February 14th, 2013, Valentine’s Day, and I invited Elizabeth to photograph along side me.

With these photographs, it is my hope to demystify, if only slightly, the fears, misunderstandings and ill-associations surrounding disease. Because even in my darkest hours, I am not fighting a battle or trying to win a war. I am simply living moment to moment with cancer.

Amelia Coffaro (b 1984) is a photographer born and raised in Milwaukee, Wisconsin and based in Brooklyn, New York. Her work is rooted in her connection with nature and the relationship between her and her two sisters who inspire pretty little things. Amelia’s most recent work, self portrait with Luminaries, begins to explore her deep fascination with bioluminescent creatures of both land and sea.

In February 2013, Amelia discovered she had a rare form of breast cancer and was temporarily relocated back to her home in Wisconsin where she began chemo theraphy treatment on Valentine’s Day. Along the way, she has documented her experience and taken to her camera as a way to become a “curious observer” of her illness with the hopes of demystifying for herself and others the fears surrounding cancer.

Elizabeth Griffin (b 1980) is a native to New York City and a staff photographer and editor at Hearst Magazines Digital Media. Her work regularly appears in both print and web editions of many of the Hearst brands, including Esquire, Marie Claire, Elle, and Harper’s Bazaar.

She is co-founder of Project Amelia.

Project Amelia is an all-volunteer effort organized by friends and family of 28-year-old freelance photographer, Amelia Coffaro. Amelia was diagnosed in February 2013 with Stage 3b Inflammatory Breast Cancer. At the time, Amelia, like many young professionals, was uninsured.

Because of the aggressive nature of her cancer, doctors insisted Amelia begin treatment right away. On February 14, 2013, Valentine’s Day, she began chemotherapy.

The nature of this treatment makes it nearly impossible for Amelia to work and as the costs are high, all of us at Project Amelia are working to raise funds for her medical bills. Our fundraising goal is $100,000.

Please join us in our effort by spreading the word and making a donation. Every cent counts.