When You’re Smiling

Presented by Smile Train

When You’re Smiling is an interactive installation, created by international children’s charity Smile Train, where you can sing a line from the classic song to raise awareness of and support for children with clefts in developing countries.

Smile Train is an international children’s charity with a sustainable approach to a single, solvable problem: cleft lip and palate. Millions of children in developing countries with unrepaired clefts live in shame, but more importantly, have difficulty eating, breathing and speaking. Cleft repair surgery is simple, and the transformation is immediate. Smile Train’s sustainable model provides training and funding to empower local doctors in 85+ developing countries to provide 100% free cleft repair surgery in their own communities. To learn more about how Smile Train’s sustainable approach means donations have both an immediate and long-term impact, please visit smiletrain.org.


Supported by Aloys Ginjaar & Astrid Verhoef

Curated by Aloys Ginjaar

Featuring Rogier Alleblas, Sacha de Boer, Hester den Boer, Jenny Boot, Jolande des Bouvrie, Oski Collado, Annelies Damen, Peter Day, Ton Dirven, Flip Franssen, Gert Jan van Geerenstein, Aloys Ginjaar, Julia Gunther, Amerens Hedwich, Judith Heinsohn, Harold van de Kamp, Mariska Karto, Peter de Krom, Tom Meerman, Maartje Roos, Sanne Thunnissen, Romy Treebush, Inge Trienekens, Dimitri Valentijn, Baukje Venema, Astrid Verhoef, Helene Wiesenhaan, Yvonne Witte.

This exhibition was conceived in light of universal emotions and experiences. In search of the intrinsic value of life itself that give us strength through beauty, humor, hope and imagination. Values that feed our human consciousness and help us to overcome the trials and tribulations that we encounter in life. ALIVE! shows both artistic contemplations and human relationships in connection to society in different cultures and stages of life.

We invite the viewer to a journey inward as well as outward. Two directions, both equally important to experience life to its fullest extent.

Aloys Ginjaar (1946, Amsterdam) has worked for many years as a photographer, journalist and curator. His work was part of World Press Photo 1973, 1975 & 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 2012 (The Wonder of Woman) & Photoville 2013 (Keep on Dreaming). He’s been awarded with the Golden Age Award 2013 for his activities for the Dutch Photographic community.


Astrid Verhoef (1973, Amsterdam) works as an artist/photographer based in Amsterdam and has been producing exhbitions since 2011. Her work has been part of the IJFFF Photo- & Filmfestival 2012, Photoville 2012 & 2013, The (Super)Heroes exhibition at the Manhattan Bridge. In 2013 she was chosen by GUP Magazine as one of the “New Dutch Photo Talents”. Astrid was runner up at “Resolution 2014” , this years First exhibition of the New York Photo Festival.


Aloys Ginjaar and Astrid Verhoef have been working together since 2011. They strive to create an international platform for Dutch Photography and do so by organising Group-exhibitions abroad as well as in The Netherlands. Exhibitions they have so far realised has been shown in New York, Amsterdam and Tokyo. Currently they are planning another exhibition in Japan and next year they’ll organize an exhibtion of Japanese photography in Amsterdam.

This program is supported as part of the Dutch Culture USA program by the Consulate General of the Netherlands in New York.



The Beauty of the Photo Book

Supported by Heijdens Karwei

Curated by Teun van der Heijden

Featuring Sandra van der Doelen & Teun van der Heijden

Although we live in a digital age there is more attention for the paper photo book then ever before. Since the invention of the camera phone we started to use photography as a visual language, a language that has no boundaries. On the net we are constantly in contact with the rest of the world. We still have to get used to this ‘brave new world’. The paper photo book represents solidity, something we can literarily hold on to. It is trustworthy and has the aura of the original. The photo book is a visual novel. With this in mind graphic design agency Heijdens Karwei designs their photography books.

Heijdens Karwei is a graphic design agency based in Amsterdam, The Netherlands. The agency is specialized in designing photo books. Heijdens Karwei is the design couple Sandra van der Doelen and Teun van der Heijden. End of the nineties they started to work for the World Press Photo foundation and because of that developed a passionate interest for photography that eventually led to book design.

This program is supported as part of the Dutch Culture USA program by the Consulate General of the Netherlands in New York.


Bedrooms of The Fallen

Supported by Lux Lab, Ashley Gilbertson and VII Photo

Curated by Ashley Gilbertson

Featuring Ashley Gilbertson

These bedrooms once belonged to men and women who died fighting in the wars in Afghanistan and Iraq. These fallen men and women were blown up by IEDs, RPGs, hand grenades and suicide bombers. They were shot down in ambushes and by snipers. They died in helicopters, in humvees, and in tanks. It all took place thousands of miles away from home, and the country they fought to defend.

Ashley Gilbertson is an Australian photographer and director residing in New York City.Ashley Gilbertson’s imagery from Iraq, where he worked from 2002 until 2008, earned him critical acclaim from, among others, the Overseas Press Club which awarded Gilbertson the Robert Capa Gold Medal for his 2004 work in Falluja.His first book, Whiskey Tango Foxtrot, was released in 2007 and became a best seller on Amazon. Gilbertson’s second book, Bedrooms Of The Fallen, a collection of photographs depicting the intact bedrooms of service members killed in Iraq and Afghanistan, was released in 2014.

Gilbertson meanwhile continues to concentrate on the two wars by examining veterans’ issues including Post Traumatic Stress Disorder and War Motivated Suicide for for publications including The New York Times Magazine and Time Magazine.In addition to working as an assignment photographer, Gilbertson works on multimedia films, group projects with his colleagues at VII, frequently lectures at museums and universities globally and travels internationally photographing stories.


VII was created in 2001 by seven of the world’s leading photojournalists and by 2005 VII was listed in third position in American Photo’s “100 Most Important People in Photography.” VII now represents 20 of the world’s preeminent photojournalists whose careers span 35 years of world history.


Beyond the Finish Line

Supported by The New York Times

Curated by Becky Hanger & Michele McNally

Featuring Josh Haner

Josh Haner’s assignment was straightforward: spend several weeks or months with one of the victims of the Boston Marathon bombings, and make New York Times readers feel like they are there with him during recovery.

By the end of Day 1, the assignment was doomed. The mother of Jeff Bauman, a spectator who had become a symbol of the marathon carnage, kicked Haner out of her son’s hospital room and explained that he was not welcome there.

Yet three months later, having earned the trust of the entire Bauman family and overcome countless other hurdles, Haner delivered a portfolio that matches the enormity of the story.

These are hard-won images. The family, at first, and then hospital officials, were leery of granting access to a patient with massive physical and psychological trauma. The nature of the Boston attacks made the issue even more fraught. New York Times readers would not know this. They see only a collection of visceral photography that might well stand as the lasting emblem of the impact of the bombings.

The photographs on display here received the 2014 Pulitzer Prize for Feature Photography.

Josh Haner is Staff Photographer and the Senior Editor for Photo Technology at The New York Times. In 2014, he won the Pulitzer Prize for Feature Photography for a photo essay documenting the arduous recovery of Jeff Bauman, a survivor of the Boston Marathon bombings. Josh grew up in San Francisco, and graduated from Stanford University with a B.A. in Studio Art (Photography) and a B.S. in Symbolic Systems. After graduating he moved to New York to take a job as an Assistant Photo Editor at Fortune Magazine and after 2 years moved to the New York Times to photograph, edit, and produce multimedia projects. He was recently selected as “One to Watch” by American Photo and previously, he was named one of Photo District News’s Industry Players for his role as one of the founders and editors of The Times’s Lens blog. He lives in Brooklyn, New York.


The New York Times is a global media organization dedicated to enhancing society by creating, collecting and distributing high-quality news and information. The company includes The New York Times newspaper, International New York Times, NYTimes.com, INYT.com and related properties. It is known globally for excellence in its journalism, and innovation in its print and digital storytelling and its business model.


BFA Photography Department

Supported by School of Visual Arts in NYC

Curated by Stephen Frailey

Featuring Nir Arieli, Sofiya Brisker, Andres Burgos, Xi Sinsong, Azhar Chougle, Phoebe Chung, Brittany Cohen, David Cooke, Supranav Dash, Paige Greco, Kihae Kim, Brian James Kip, May Lin LeGoff, Olivia Locher, Tommy Nisenson, Nasrah Omar, Sully Romero, Christopher Smith, Francesca Tamse, Patricia Voulgaris, Jonathan Weiskopf, and AnRong Xu


Chosen from the class of 2013 and 2012, these alumni from the BFA Photography Department exemplify the diversity of practice that the program cultivates and that the medium encourages. Despite this pluralism, the work is unified by a spirit of invention and a restless form of inquiry, as well as being deeply informed about the contemporary photographic conversation.

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.

Body Imaging

Featuring Abby Robinson

Examination: Only doctors and photographers examine people’s bodies at distances reserved for lovers.

Body Imaging morphs a physician’s office into a photo studio where the real overlaps with the faux, the border between public and private becomes porous, investigation couples with intimacy, notions of service collide with exchange, and the humorous mingles with the serious.

Procedure and Treatment: People in the waiting room fill out questionnaires, then enter the office to consult about which body part they’ve picked for imaging. Here preexisting conditions are a plus. Photos are taken in the studio with patients/participants involved in choosing the final image; photos are immediately printed out, placed in VIP plastic badges and given to patients/participants as mementos for their contribution. Body Imaging affords a unique collaborative occasion to make photos of all types of bodies, allowing people to display as much/little exhibitionism as they wish in a protected, safe environment.

And no, I don’t take insurance.

Abby Robinson has exhibited work in the US, Europe and Asia with Body Imaging installations held in NYC, in Shanghai’s Yongkang Lu Art Center, and the Cosmopolitan Hotel’s P3 Studio in Las Vegas (sponsored by the Art Production Fund). One-person shows include: FotoFest, Blue Sky Gallery, Barcelona’s H2O Gallery and The Workshop in Hong Kong. Robinson received grants from the Fulbright Program, Siskind Foundation, New York Foundation of the Arts, the Asian Cultural Council and the American Institute of Sri Lankan Studies. Fellowships include: Yaddo, MacDowell, the Virginia Center for the Creative Arts, Light Works, Altos de Chavon (Dominican Republic) and Three Shadows (Beijing). Robinson has written for Asian Art News, PDNedu, and the Trans-Asia Photography Review plus published a novel, The Dick and Jane, based on her work with a private investigator. Photos have appeared in The New Yorker, The New York Times, Photo District News, and Dear Dave. Prints are in the collections of the Whitney, the Museum of Fine Arts (Houston), the Portland Art Museum, and the Benton Museum of Art. Robinson teaches at the School of Visual Arts in both the Photography and the Graphic Design & Advertising Departments and directs SVA’s Photography Workshop in Shanghai.

Broken Screen

Supported by L’Oeil de la Photographie

Curated by Laurence Cornet

Featuring Gaia Squarci and Andrea Cancellieri

“When you’re losing sight, the world starts to appear fragmented, like through a broken screen. Then you stop understanding where light comes from.” – Dale Layne

The blind live in a sighted world. They have to function in a system constructed on the rules of seeing. Many of them could once see, but after going blind they were forced to reinvent their identity and relationship to the world after years of a sighted life.

Over the course of two years, photographer Gaia Squarci was guided by the blind and visually impaired in an exploration of their lives. Her interest was sparked from the disconnect between the popular concept of blindness as a metaphor and its reality. Stripped of its mysterious aura, the blindness of daily life, the one that’s not heard in the words of a song, often turns out to be scary, disquieting and kept at a distance.

The exhibition Broken Screen displays images, text in the form of visual description and audio fragments from interviews, following a loose thread of individual stories. The photographs are characterized by a strongly subjective sense of space and shapes, a reminder that “photography offers just a version of reality, not reality itself”.

L’Oeil de la Photographie encourages the blind, the visually impaired and the sighted to experience the show by keeping all senses alert, contemplating and dialoguing about the nature and limitations of vision.

Gaia Squarci is a freelance photographer and videographer based in New York City. Raised in Milan, Italy, she graduated in Art History from University of Bologna in 2010, interning at Grazia Neri photoagency during her studies. In 2011 she moved to New York to attend the photojournalism program at ICP, International Center of Photography. Gaia currently collaborates with Reuters and Sipa USA. Her work appeared in the New York Times, the New Yorker, Time Magazine, Vogue, the Wall Street Journal, MSNBC, BBC and Reuters Full Focus among others.

Andrea Cancellieri is a visual artist and performer born and raised in Milan, Italy. He majored in Engraving in 2014 from Accademia di Belle Arti di Brera, and his research ranges from digital media to raw materials and assemblage. Andrea has worked as a designer with advertising companies, fashion brands, magazines and film productions.

A book by Cancellieri will be on view. The work, mixing visual illustration with bass-relief shapes, is loosely inspired to the Indian parable “Six blind men and an elephant”. In the tale, six blind men touch an elephant, and each one of them ends up with a different idea of what an elephant is, revealing how no single perspective can be the only truth.


The Eye of Photography is the ultimate digital magazine where everything about photography is published daily, highlighted, discussed and archived for all professionals and amateurs to see… for free. Whether you are working in this industry as a buyer or a collector, in a festival or a gallery, as a professional or simply an amateur enthusiast of photography, The Eye was made for you. The Eye informs you of the latest trends, record breaking auctions, breaking news, reveals a long awaited book publication, shares the discovery of up and coming stars, allows you to read in depth interviews and offers all you need to know about the next must see exhibition whether you live in New York, Paris, London, Berlin, Tokyo or Shanghai.

The Eye was born from the realization that no site on the web today regroups events, news and updates of the photography world all in one place. We believe that at a time when 1 billion people communicate through images using Facebook, Instagram, Flicker and other social media sites, it is time for Photography to have a place where all its forms, colors and trends can be expressed, visualized and archived.

Translated every day in English, French, and now Chinese, The Eye wants to be the indispensable search tool for all the who’s-who and what’s-what in photography, as well as a place of inspiration for all amateurs and photography lovers. It has already become the most trusted and recognized web based photography magazine read by all professionals around the globe.


Supported by International Center of Photography

Moderated by Marvin Heiferman

Featuring Esther Nila Boesche, Stephanie Colgan, Joseph Desler Costa, Anna Ekros, Connor McNicholas, Marie Louise Omme, Kat Shannon, Marisa Sottos, Daniel Terna, Jessica Thalmann, Beau Torres, Kimberly J. Wade, Tracie Williams

CALL + RESPONSE + RESPONSE – presented by the International Center of Photography featuring the 2015 ICP-Bard MFA Candidates – is an immersive exhibition that demonstrates how photography operates as a conversational tool that initiates engagement and triggers discourse.

As citizens of this planet we are constantly inundated with imagery, influenced by imagery, and creating imagery. Photography no longer holds as a declarative statement, but operates as a conversational tool—as a means of communicating beyond borders, languages, ethnicities, gender identities, and sexual orientations.

We are a collective of 13 artists united by the quest for personal, artistic, and intellectual development. We are more than just peers—we are comrades, confidants, brothers, sisters, mentors, and pupils. We are a community of artists united by the passion to create who believe that knowledge is gained from diverse opinions. We believe that nurturing and maintaining our connections with one another are imperative for our continual learning and growth—both individually and collectively.

Over the course of the summer luscious lands, cool bodies of water, and international time zones may have separated us, yet we continued to strengthen our bonds. We corresponded via artwork we created in an advanced scheme of “call and response.” We initiated this visual dialogue with our unique interpretations of the number 13. Through the exchange of imagery and ideas, we conceptually propelled the conversation to unknown destinations. This exhibition is the sum of our interactions.

The International Center of Photography (ICP) is the world’s leading institution dedicated to the practice and understanding of photography and the reproduced image in all its forms. Through our exhibitions, educational programs, and community outreach, we offer an open forum for dialogue about the role images play in our culture. Since our founding, we have presented more than 700 exhibitions and offered thousands of classes, providing instruction at every level. ICP is a center where photographers and artists, students and scholars can create and interpret the world of the image within our comprehensive educational facilities and archive.



Supported by Parsons The New School for Design

Curated by Jim Ramer

Featuring Marco Bell, Shiang-Jiun Chen, Chris Ferguson, Elizabeth Harnarine, Dongli Haung, Qiren Hu, Fernanda Kock, Alex Kwok, Kyle Meyer, Cecilia Mezulic, Varvara Mikushkina, Chad Muthard, Kelsey O’Brien, Dongmin Lee, Rosana Liang, Ashley Middleton, Masa Ono, Melissa Preston, Zhongjia Sun, Logan Logan, Matthew Scarbak, Emily Shevenock, Seyyed Arash Fewzee Youssefi, Mengya Xiao

Dialogue features the work of current MFA Photography students from Parsons The New School for Design. These talented young artists are actively partaking in a conversation in an effort to resolve essential questions that will shape our rapidly evolving world. They grapple with issues large and small, investigating the private and public, the personal and political, and the pure and profane. The works in this exhibition are a glimpse into the dialogue they have chosen to undertake.

The 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.

Dreams in Disguise

Featuring Luceo

Photography is subjective. The precise moment when the shutter is triggered represents a decision to slice a fragment of time that removes the subject from its outside context almost as a surgeon excises fragments of the larger human organism as a means to isolate it from its supporting system. This visual vivisection often occurs contrary or independent of the subject’s will or intent. In essence, the decisive moment in its hyper-focus is deceptive; it explains the wishes of the photographer but removes the complexity of the subject’s full story in favor of the fragment.

While the advent of motion pictures is nothing new, the ubiquitousness of the short-format is. Platforms like Instagram, Vine, and Snapchat have served to create standardized 6-15 second canvases which expand the decisive moment from 1/8000th of a second to incorporate more of the surrounding moment. We believe the new format for short motion pictures is not a reduction of video but, rather, an expansion of photography. Essentially, the decisive moment has grown. The dreams and fragmentary communiques offered by a still frame have also grown with it. The beautiful, short moving moments captured in this new format continue to represent decisiveness but come pre-loaded with additional context.

Luceo’s history is what makes us different. We are visual thinkers who believe that seeing is feeling. Since 2007, we have delivered on this promise for clients as diverse as Johnnie Walker to National Geographic. These are our roots. We are unique among our peers because we are not media-centric; we let our ideas determine which tools we will bring to the job. Some things are meant for motion, some are not. Some things are all about the sound they make, while others speak loudest without a single word. Luceo’s installation draws from this ethos, turning a 20 foot-long shipping container into a a jumboscope for viewing Dreams in Disguise, a motion-based bespoke projection designed, specifically, for Photoville.

The Everyday Projects

Presented by Instagram

Curated by The Instagram Community Team

Featuring Contributing Photographers from @everydayafrica, @everydayasia, @everydayeasterneurope, @everydayegypt, @everydayiran, @everydayjamaica, @everydaylatinamerica, @everydaymiddleeast, and @everydayusa

The Everyday Projects began in post-war Ivory Coast in 2012 when photographer Peter DiCampo and writer Austin Merrill were visiting the country on a magazine assignment. The two had been based in West Africa for many years, and became frustrated by what they considered to be stereotypical media narratives about the region. To present a more representative narrative, they began focusing on moments that felt less extreme and more familiar to the people who lived there. They photographed everyday life with their mobile phones, eventually inviting other photographers on the continent to join them, using a shared Instagram account called @everydayafrica.

Since then, the Everyday concept has become a global phenomenon and 2014 saw photographers around the world adopting the name and launching their own Everyday feeds in their regions.

On Instagram, many of the photographers of The Everyday Projects have established themselves as pioneers, circumventing traditional distribution channels and connecting directly with their audiences, sharing images ranging from daily life to social justice issues.

This exhibition at Photoville marks the first time photographs from multiple Everyday projects will hang together in one place — a tribute to global commonalities.

The Everyday Projects are a network of global collaborations — photographers revealing daily life in all its forms, the world over, through mobile photography shared on Instagram and other social media. The common goal is to transcend visual stereotypes of our respective regions, while celebrating global commonalities. The first project, Everyday Africa, launched in 2012 and is nearing 100,000 followers on Instagram at time of writing. 2014 saw the spread of a worldwide movement, with the launch of dozens of Everyday projects based on continents, countries, cities, and communities across the globe. Members of the original Everyday Africa project have also been involved in education, teaching photography and leading discussions on media stereotypes in classrooms in Chicago, the Bronx, and Sri Lanka, where students were encouraged to adapt their own Everyday feeds and tell their own localized stories.


Faces of the Ferry

Presented by NY Waterways’ East River Ferry
Curated by: Paul Samulski, Franny Civitano and Lindsay Giuffrida

Featuring: Lindsay Giuffrida and William McMillian

Faces of the Ferry offers a glimpse into the wide range of everyday people who interact with New York City’s East River. Whether commuters, leisure travelers, tourists, or just occasional riders for whatever the reason, these people are the heartbeat of the East River Ferry. With our destinations in mind (and our coffee, mobile devices and e-readers in hand), we often exchange only a fleeting glance with those around us. This exhibition dives deeper into what draws people to this river, which, despite its name is actually not even a river, but is instead a salt-water tidal straight that connects NY Harbor with Long Island Sound and separates Manhattan and the Bronx from Brooklyn and Queens. Our subjects reveal diverse interactions with the ferry, which has quickly established itself as a leading transportation alternative. In observing and learning more about the people we pass by on a daily basis, we’re reminded that their unique human experiences are anything but ordinary…as are they themselves.


The Farmers

Supported by Canon & Stableford Studios

Featuring Tyler Stableford

Over the last several months Tyler Stableford and his photography team have captured fine-art images of national farmers and ranchers, beekeepers, small-batch distillers and other food artisans around the country as part of a Canon portraiture series. The project has connected Stableford Studios and Canon to a special breed of people who, along with their families, are deeply connected to the land and soil; it has been one of the true highlights of Tyler’s career.

At Photoville, Tyler will be showcasing a variety of large-format canvas gallery-wrap images, printed on the iPF8400 printer and share their full workflow and process of shooting and printing, all on Canon.

Tyler’s home base is Carbondale, Colorado and all over western part of the state, which is a mecca for outdoor activities. He shoots everything from rock climbing and skiing to mountain biking and fly fishing for both editorial and commercial clients.

Tyler tries to be fearless in life, and in photography. On any given day he may be photographing workers on an oil and gas rig, a motorcyclist riding over Independence Pass in Colorado, or a climber at 12,000 feet in the blaring sun.

Whether he’s shooting for a catalog, article, or stock, every single image has a purpose and he will take any assignment if it will lead to dramatic, inspiring, or informative imagery. In Tyler’s 15 year career, he’s learned that you don’t need to get on an airplane to Iceland to shoot great images or to have personal and professional growth. He feels very fortunate-photography has opened many doors for him to see and photograph things that have created a life of passion.


Canon’s new campaign, From Light To Ink, is the company’s first dedicated video testimonial digital marketing campaign for its imagePROGRAF printer in recent years. The campaign will feature how notable Canon photographers and loyalists Tyler Stableford and Douglas Kirkland use the Canon imagePROGRAF to print gallery work shot on their Canon cameras. Additional professional influencers Michael Ori and members of the American Society of Cinematographers will also share their unique workflow of printing from 4K video, all on Canon.


Fearless Genius:
The Digital Revolution in
Silicon Valley 1985-2000

Sponsored by Flipboard

Curated by Robert Peacock

Featuring Doug Menuez

For fifteen years I documented the efforts of a secretive tribe of engineers, entrepreneurs, and venture capitalists in Silicon Valley during the digital revolution as they created technology that would change our culture, our behavior and challenge what it means to be human.

It began in 1985 when I gained access to document Steve Jobs with his team for LIFE Magazine as they built a new computer from birth to product launch. Because Steve trusted me, everyone did and I expanded my project to include every major innovator of the era.

Steve was an avatar for a new generation of idealists flooding Silicon Valley. Through Steve, I wanted to gain insights into who these people were and to understand his process of innovation. They appeared to have this tremendous potential to “change everything” through the power of their ideas- they succeeded beyond their wildest dreams.

Documentary photographer Doug Menuez once stood at the North Pole, crossed the Sahara, had tea with Svetlana Stalin and held a chunk of Einstein’s brain. Quitting his blues band in 1981, he began his career freelancing for Time, LIFE, Newsweek, Fortune, the New York Times Magazine and many other publications. He’s published four books, was featured in nine Day in the Lifebooks, and has won numerous awards. His advertising campaigns include Chevrolet, Nikon, GE, Chevron, HP and Microsoft. His extensive archive of over a million images was acquired by Stanford University Libraries in 2004. His project, Fearless Genius: The Digital Revolution in Silicon Valley 1985-2000 will be published in May 2014 by Simon & Schuster/Atria Books, and is now traveling worldwide as a fine art exhibition of rare images of Silicon Valley’s greatest innovators, including Steve Jobs, as they changed the world.

Global Goods, Local Costs:
Fashion’s True Price

Supported by The Pulitzer Center

Curated by Meghan Dhaliwal

Featuring Sean Gallagher, Jason Motlagh, Larry C. Price

Global Goods, Local Costs: Fashion’s True Price is a visual exploration of the human lives affected by the production of the clothing and accessories we wear every day. Photographers Sean Gallagher, Jason Motlagh and Larry C. Price take a hard look at exploitative working conditions, health hazards and environmental implications in the production of leather, garments and gold.

Behind almost every product we buy, there is a story that begins worlds away from where it ends. The local costs of the production of these goods too often remain hidden. They are obscured by companies and governments that put a premium on production and exports. They are little understood by consumers, whose concept of “price” and “value” does not include damage done to people and places half a world away.

Sean Gallagher is a British environmental photojournalist, videographer and multimedia producer who has been based in Asia for more than seven years. His work focuses on highlighting environmental issues and crises, with a specific emphasis on developing nations in Asia including China, India and Indonesia. Graduating in zoology from the University of Newcastle-upon-Tyne in England, his background in science has led to his desire to communicate important global ecological issues through visual storytelling. His recent work on environmental issues in China was acknowledged as “some of the most striking images on display at [the] Copenhagen climate change conference,” by the BBC World Service. He is a six-time recipient of Pulitzer Center on Crisis Reporting travel grants and was the first winner of the David Alan Harvey Fund for Emerging Photographers in 2008. His work has been published internationally, appearing in Newsweek Magazine, TIME, CNN, The New York Times, National Geographic News, The Atlantic and BBC News. He is represented by National Geographic Creative.


Jason Motlagh is an award-winning writer, photographer and filmmaker. Formerly TIME Magazine’s correspondent in Afghanistan, he has reported from more than 40 countries and is a regular contributor to the Washington Post, Economist and Virginia Quarterly Review. In 2010, his four-part series on the Mumbai terror attacks won the National Magazine Award for Digital News Reporting.

A seasoned video journalist, Jason produces news documentaries and features for the Al Jazeera English and America networks, PBS’ ForeignExchange, Time.com. His images have featured in leading newspapers, magazines, festivals and global advocacy campaigns. He is the co-founder of Blackbeard Films, an Oakland, CA-based production company.


Larry C. Price is an award-winning documentary photographer and multimedia journalist based in Dayton, Ohio. Larry spent much of his career in newspaper journalism as a photographer and an editor.

A native Texan and journalism graduate from the University of Texas at Austin, Larry worked for the Fort Worth Star-Telegram in the early 1980s. He won the Pulitzer Prize for spot news photography for his coverage of the 1980 coup d’état in Liberia in West Africa. The assignment was his first trip out of the United States and had a profound effect on his outlook on other cultures.

“I know I found my calling during that trip,” Larry said. “I suddenly realized I could control this little instrument in my hand and use my eyes to create images that had real impact and could cause change.”

At The Philadelphia Inquirer he covered crisis and conflict on three continents, including civil wars in Central America and Africa. Larry won a second Pulitzer Prize for his photography in El Salvador and Angola in 1985. He was among the first to photograph the pre-Taliban period in Afghanistan following the 1989 pullout of Soviet troops. More recently, Larry was an assistant managing editor at The Denver Post where he coordinated and edited the visual report from the events stemming from the 9/11 attacks and subsequent U.S. involvements in Iraq and Afghanistan.

Price previously reported on child labor in Burkina Faso for the Pulitzer Center.


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 focuses on under-reported topics, promoting high-quality international reporting and creating platforms that reach broad and diverse audiences.

The Center’s educational programs provide students with fresh information on global issues, help them think critically about the creation and dissemination of news, and inspire them to become active consumers and producers of information.
The Pulitzer Center is a bold initiative, in keeping with its deep ties to the family whose name for more than a century has been a watchword for journalistic independence, integrity, and courage.

When Joseph Pulitzer III became editor of the St. Louis Post-Dispatch more than a half century ago, he paid tribute to that legacy. “Not only will we report the day’s news,” he said, “but we will illuminate dark places and, with a deep sense of responsibility, interpret these troubled times.” The Pulitzer Center is driven by that same mission and deep sense of responsibility, in times just as troubled.

Hegemony or Survival

Presented by aCurator
Curated by Julie Grahame

Featuring Hector Rene Membreno-Canales

In Hegemony or Survival, Hector Rene Membreno-Canales blends classical still life and portraits with military objects and veterans. The style developed from his interest in Renaissance and Dutch paintings, complemented by collaboration with fellow students at the School of Visual Arts – veterans studying through the GI Bill, whose personal objects feature in the scenes in alarming juxtapositions of the traditional with the contemporary.

The title is drawn from Noam Chomsky’s book “Hegemony or Survival: America’s Quest for Global Dominance.”

Hector Rene Membreno-Canales was born in San Pedro Sula, Honduras. After serving in Iraq, Hector used the G.I. Bill to move to New York City and study photography at the School of Visual Arts (SVA). While at SVA Hector interned at the Museum of Modern Art, Magnum Foundation, Hank Willis Thomas Studio and Stephen Mallon Films. He was later invited to study Public Affairs and Journalism at the Pentagon’s Department of Defense Information School, Fort Meade, Maryland.

Hector’s photographs have been featured in The New York Times, L’Oeil de la Photographie, and The Ottowa Citizen. His work explores National Identity, Patriotism, and the Military Industrial Complex.

Here in the World:
Voices of the Instagram Community

Supported by Instagram

Curated by The Instagram Community Team

Featuring 70 artists from the Instagram Community

At its core, Instagram isn’t about technology, or even photography – it’s about people. Drawn from Instagram’s editorial channels, and selected by the Instagram community team, this is a collection of moments in the lives of our global family.The simple power of Instagram lies in our community, and the ideas and expressions that they share with each other. Instagram’s community team has the special privilege of surfacing some of these unique moments and sharing them with you here at Photoville.

Instagram was founded in 2010 as a simple and beautiful way to capture and share the world’s moments. With over 200 million monthly active users — more than 65% of them outside of the United States — Instagram has evolved into a diverse community of creatives across the globe. The Instagram community team encourages creativity on the platform by discovering unique content and stories to feature on the Instagram blog and other editorial channels.

How Can I Help? – An Artful Dialogue

Supported by Saul Robbins, Sheri Sandler, and the Reba Judith Sandler Foundation

Curated by Saul Robbins

Featuring Lisa Levy, Jean Miele, Francisco Ramirez, Saul Robbins, Sheri Sandler, Violette Blue

Artists offer sincere and creative interpretations of psychotherapeutic consultation in a pop-up psychotherapy office and photography gallery. Visitors are encouraged to drop-in or schedule a free 15-minute “initial intake” session, during which they may discuss any topic in complete confidence.

For many, the role of a psychotherapist holds significant weight, and the importance attributed to him / her is one of profound influence in many of our lives. Viewers are encouraged to consider the inherent personality in each of these environments, and the place of power being held across from them on a regular basis. I am particularly interested in the existence and importance of a dyadic relationship between practitioner and client, one not always considered in more traditional modalities of treatment.

My immediate family is made up of psychotherapists and this work stems from the belief that long-term challenges can be resolved by examining patterns in personal and familial history. The series grew directly out of my response to one particular therapeutic relationship, and the necessity of questioning the efficacy and treatment of working with that practitioner.

Saul Robbins is interested in the ways people interact with their surroundings, and the psychological dynamics of intimacy. His photographs are motivated by observations of human behavior and personal experience, especially those related to loss and unity. Robbins’ work has been exhibited and published internationally. He is best known for the series Initial Intake, which examines the empty chairs of Manhattan-based psychotherapy professionals from their clients’ perspective, referencing viewers perceptions, associations, and responses to this particular environment and the work that takes place there. In 2012, Robbins created How Can I Help? – An Artful Dialogue, inviting passersby to speak with himself and other artists about anything they wish for free and in complete confidence, in a pop-up office / exhibition environment in Midtown Manhattan. This is the first time Robbins is curating this unique interactive presentation in Photoville.


Exhibitions include Bolinas Museum, Blue Sky Gallery, chashama, Deutsche Haus at NYU, Griffin Museum, Museum of Fine Arts – Houston, Ost Gallery, Moscow, Portland Art Museum, The Philoctetes Center, The Wellin Museum of Art, and others. Publications include Aufbau, Berlin Tagesspiegel, D – La Repubblica, The Daily Mail, DART, Feature Shoot, Love Issue, More, The New York Times, Real Simple, Slate, Wired, and others. Grants and awards include chashama Windows Award, Clarence John Laughlin Award (Finalist) The Covenant Foundation, Sony World Photography Awards (Finalist), AJPA Rockower, Gunk Foundation and New York Foundation for the Arts. Robbins received his MFA from Hunter College and teaches at the International Center of Photography in New York City. He also consults privately and leads master workshops internationally about professional development for artists and photographers.

Labor Migration From Central Asia to Russia

Supported by Open Society Foundations

Featuring Elyor Nematov

An estimated 5-6 million people from Central Asia migrate to Russia every year in search of work. The lives of their families depend on remittances that migrants send home, and interdependence between Russia and Central Asia is increasing year by year. This migration flow has significantly impacted the demographic makeup of Central Asian countries, in particular, Kyrgyzstan. According to estimates , one-quarter of Kyrgyzstan’s working-age population (20-50 years old) live and work outside the country and many migrants’ families in Kyrgyzstan are left without people of working age, leaving the younger generation to be raised by their elderly relatives.

Most migrant workers stay in their country of residence illegally, working in industries such as construction, food, agriculture, and manufacturing. Since the majority of migrants leave without the necessary permits, they are deprived of their rights. Many live in unsanitary conditions, work overtime and in hazardous conditions, and are underpaid. Fewer than 10 percent buy health insurance, and—because of a lack of time and money for healthcare—many end up at greater risk for diseases like HIV, hepatitis, tuberculosis, and chronic diseases that could be easily treated if caught early.

I Am a Foreigner documents the journey of these migrants as they travel by train from Central Asia, and illustrates the realities they face upon arrival in their new home. The inspiration for this ongoing project arose from my own experience of my father and brother working abroad in Russia.

Elyor Nematov, was born in Bukhara, Uzbekistan currently works as a freelance photojournalist and conducts documentary photography workshops, training students to produce stories relevant to Central Asia. Previously, he worked as photo editor and as a photographer and reporter for business and sports magazines in Russia, Uzbekistan and Kyrgyzstan.

Elyor, participated in many national and international Contests and Exhibitions in Russia and Central Asia. His first personal project and book “Children of Bukhara” was presented in Tashkent in 2008.

In 2012, Elyor received a grant from the Open Society Foundation’s Documentary Photography Project and started his project about Labour Migration From Central Asia. Yuri Kozyrev was the mentor of his project. The project was named “I AM A FOREIGNER”. In 2013 was a finalist of Audience Engagement Grant from OSI Foundations. In 2014 was nominated for LOOKbetween 2014.

Currently Elyor continues to work on a project “I AM A FOREIGNER” creating a series of a photostories and multimedia.


The Documentary Photography Project believes in the power of images to advance social change. Through grants and special initiatives we support photography to engage and mobilize people around issues of justice and human rights.

The guiding philosophy of our project is photography’s ability to record human rights abuses, personalize the effects of conflict, document the struggles and defiance of marginalized people, and inform public discourse. However, where we distinguish ourselves from other photography funders is in our support of projects that go beyond documentation and use the medium to foster civic engagement, education, media attention, advocacy and reform.

Since 1998, the Documentary Photography Project has exhibited and financed (directly and indirectly) more than 300 photographers from around the world who have examined timely and significant issues that coincide with the Open Society Foundations’ mission.


Iraqi Detainees: Ordinary People,
Extraordinary Ordeals

Featuring Chris Bartlett

During the invasion and occupation of Iraq coalition forces detained tens of thousands of people. Particularly in the early years, the vast majority of Iraqis picked up were harassed, mistreated, and tortured. How you define their treatment depends on how you define torture. Is it only torture when, as one Justice Department official put it, it leads to “death, organ failure, or permanent damage”? Is waterboarding torture? If one is stripped naked, chained to a door, locked in a darkened room for 23 hours a day, beaten at regular intervals for weeks or months on end with one bathroom break and one meal a day—is that torture? If your son or daughter happened to be in the wrong place at the wrong time while traveling abroad, and he or she was picked up and treated this way, with no charges filed and no notice to family, would you feel that your child had been tortured? The individuals shown in these portraits are Iraqis who were detained by the United States military and its surrogates. All were tortured and abused, and all were released without being charged. The portraits were taken in 2006 in Amman, Jordan and 2007 in Istanbul.

Chris Bartlett is a documentary human rights portraitist as well as a commercial still life photographer working in New York City. His portraits of Iraqi former detainees were included in the Open Society Institute’s Moving Walls 15 exhibition in 2008. He is currently working on a series of portraits of political dissidents and former political prisoners in Burma. Chris’s still life work has been used by nearly all the major fashion publications and designers including Vogue, Harpers Bazaar, Tory Burch, and Diane Von Furstenberg.

For Photoville Chris is excited that his portraits of Iraqi former detainees who were tortured and abused under the supervision of the US military will have the opportunity reach a broad audience. 2014 marks the 10 year anniversary of the release of the Abu Ghraib photos and there has yet to be any high level accountability for what many consider to be one of the darkest chapters in the history of the United States.

In The Car With R

Supported by Lodz Fotofestiwal & Foundation of Visual Education

Curated by Krzysztof Candrowicz

Featuring Rafal Milach

“To do the Ring” is an Icelandic expression that generally refers to travels on Route 1, the highway that encircles the country. To travel this road is something that most Icelanders do at some point in their lives and some even prefer to do it every summer. The reasons for going are of course different but many people probably set out with the idea that on the way they’ll learn more about their fellow Icelanders and native beliefs; that they’ll see more of their country. However, traveling on the Ring Road is a risky business. On the way you might learn something about yourself or your family, regardless of whether they live close to the highway or share the car with you. A lot of journeys on the Ring Road have ended in divorce but as a result of others, babies have been born. And there is no guarantee that you’ll learn more about Iceland on the way. When it comes to traveling (and photography?), what you see matters less than the way you look at it.

Photographer and book artist based in Warsaw, Poland. He graduated from Academy of Fine Arts in Katowice, Poland and Institute for Creative Photography in Opava, Czech Republic where he currently lectures. For more than 10 years he has been working on transition issues in Russian speaking countries and CEE region. This work resulted with the monographs “The Winners” (GOST 2014), “7 Rooms” (Kehrer 2011) and “Black Sea of Concrete” (self-published 2013). In 2012 Czytelnia Sztuki Gallery published the book “In the Car with R” the record of Rafal’s travel with writer Huldar Breiðfjörð around Iceland. Rafal’s work has been exhibited in C/O Berlin, Zacheta National Gallery of Art and MoCA Shanghai. In 2007 Rafal took part in World Press Photo Joop Swart Masterclass. Within next few years he received grants from Magnum Foundation, Polish Ministry of Culture and European Cultural Foundation. His pictures and books have been awarded with World Press Photo, Pictures of the Year International, Magnum Expression Awards, Photography Book Now and New York Photo Festival awards. Works in collections of Kiyosato Museum of Photographic Arts in Japan, Brandts Museum for Kunst and Visuel Kultur. In 2006, with 10 other Central Eastern European photographers, Rafal created a photo collective Sputnik Photos.


PHOTOPOLAND is a project that aims to promote modern Polish photography abroad. It has been developed by Adam Mickiewicz Institute and Foundation of Visual Education, the main organizer of Fotofestiwal, in cooperation with an international group of curators. The first edition of PHOTOPOLAND was organized in May 2007. Representatives of various festivals and institutions dealing with photography from Spain, Brazil, USA, Mexico, Russia, Greece, Israel and Great Britain met during International Festival of Photography in Lodz. They spent two days analyzing portfolios and talking to 15 Polish artists. The outcome of these meetings is a series of exhibitions of 10 Polish photographers, presented in galleries and exhibitions all around the world.

James Nachtwey:
30 Years in TIME

Supported by TIME

Curated by TIME

Featuring James Nachtwey

An exhibit of photography shot by legendary photojournalist James Nachtwey during his 30-year tenure at TIME.

James Nachtwey has dedicated his life to the documentation of wars, conflicts and critical social issues in some of the most ravaged and neglected corners of the planet. He studied government and art history at Dartmouth College, graduating in 1970. Deeply affected by images from the Vietnam War and the American Civil Rights Movement, he decided to become a photojournalist and taught himself photography.

His first overseas assignment came in 1981 during the IRA hunger strike in Northern Ireland. Since then he has photographed throughout the Middle East, Latin America, Eastern Europe, Southeast Asia and Africa. Nachtwey documented the conditions imposed by apartheid and the struggle for liberation in South Africa, famines in Somalia and Sudan, genocide in Rwanda and the attacks on Sept. 11, 2001. He was with Magnum from 1986 until 2001, when he became a founding member of the photography cooperative, VII.

He has received five Robert Capa Gold Medals, seven Magazine Photographer of the Year awards, two World Press Photo awards, the W. Eugene Smith Grant, the TED prize, the Heinz Award, the Dan David Prize, the Dresden Peace Prize, and five honorary doctorate degrees. Nachtwey has been a contract photographer with TIME since 1984.


Karczebs (Karczeby)

Supported by Lodz Fotofestiwal & Foundation of Visual Education

Curated by Krzysztof Candrowicz

Featuring Adam Pańczuk

In one of the dialects spoken in the east of Poland, which is a mixture of Polish and Belorussian, people strongly attached to the soil cultivated from generations were called Karczebs. Karczebs cleared forests with their bare hands in order to grow crops. The word Karczeb was also used to describe what remains after a tree is cut down – a trunk with roots, which remains stuck in the ground. It also applied to people – it was not easy for the authorities to root Karczebs out from their land, even in the Stalinism times. The price they paid for their attachment to their soil was often their freedom or life. After death, buried nearby his farmland, Karczeb became the soil himself – the soil cultivated later by his descendants.

Adam Pańczuk (1978) lives in Warsaw. In his work he travels to wherever he finds an interesting subject. He studied at the University of Economics and photography at the Multimedia Communication Department of the Academy of Fine Arts in Poznań. With his projects Pańczuk seems to be asking questions, at the same time directly and metaphorically, about identity, consciousness and attitude towards life of the people he meets along the way. His unique skill to tell gripping yet intimate stories with images has won him many prestigious awards including Best Photography Book Award in the 71st annual Pictures of the Year International for “Karczeby”, Magnum Expression Award, Grand Press Photo, PHotoEspana (PHE) OjodePez Award, Newsweek Poland Photo. He published in: National Geographic, Newsweek, British Journal of Photography, Le Monde, Esquire, OyodePez, Geo Magazine, Polityka , Malemen, DF Gazeta Wyborcza.

Adam is a member of Sputnik Photos and is represented by La galierie particuliere and Picturetank, Paris, France.

PHOTOPOLAND is a project that aims to promote modern Polish photography abroad. It has been developed by Adam Mickiewicz Institute and Foundation of Visual Education, the main organizer of Fotofestiwal, in cooperation with an international group of curators. The first edition of PHOTOPOLAND was organized in May 2007. Representatives of various festivals and institutions dealing with photography from Spain, Brazil, USA, Mexico, Russia, Greece, Israel and Great Britain met during International Festival of Photography in Lodz. They spent two days analyzing portfolios and talking to 15 Polish artists. The outcome of these meetings is a series of exhibitions of 10 Polish photographers, presented in galleries and exhibitions all around the world.


Curated by James Wellford

Featuring Emine Gozde Sevim & Jake Price

In the summer of 2013, two photographers, Jake Price and Emine Gozde Sevim, independently from each other found themselves in the same place: Gezi Park in Istanbul and its vicinity during the 18 days of protests that shook prime minister Erdogan’s eleven year old regime as never seen before. More than purely focusing on what took place in the streets between the protestors and the police forces, both photographers saw this period as an outburst of deeper notions embedded within, eventually expressed in the form of a protest. They both approached this historic moment brought about by the protestors as a manifestation not only about a Park, but as a symbol in which the people of Turkey ventured to protect their existence in contemporary Turkish society. For Photoville 2014, under the curatorial lead of James Wellford, Price and Sevim will recreate their shared experience as an installation entitled “Köpruüaltı (“Under the Bridge” in English)”.

“Köpruüaltı” is chosen from a Turkish cultural idiom about the abandoned hang-out places of those who fall on the margins of the mainstream society, incorporating wordplay in line with Erdogan’s description of Gezi protestors as looters. In the current authoritarian atmosphere of Turkey, thousands of Turkish citizens now feel marginalized because of the restrictions on their personal choices imposed upon them by the ruling party who deem their lifestyle immoral whether it’s consumption of alcohol, sexual orientation, living out of wedlock, or the way a person dresses.

A year since the initial protests people never thought they’d find their role in society so diminished: doctors (many of whom were threatened with arrest for caring for the injured at Gezi), lawyers (who have been arrested for supporting the Gezi movement in June 2013) and architects who find the government’s construction plans unlawful and irreversibly destructive for the city.

Since 2007, Sevim embarked on creating an “alternative” Middle-Eastern visual narrative in the context of post-9/11 era. Her maternal family had left Kabul, Afghanistan in 1975, where Sevim returned to visit with her Afghan grandfather in 2007, following the U.S. invasion. Since then, she has worked in Palestine, Turkey and Egypt creating a comprehensive project about “lives-in-passing” in contested geographies. In an attempt to expand beyond the religio-political descriptions of life in the region, Sevim’s visual narrative deals with existentialist complexities of provincial daily realities in the context of current historical transitions.

Her on-going body of work about the Middle East has been recognized by various international venues, including Camera Club of New York (2013) and Prix de la Photographie in Paris (2013), among others. Her first book project on Egypt was shortlisted for MACK’s First Book Award in London and added to the Collection of the National Media Museum in Bradford

Sevim currently divides her time between New York and the Middle East.


Jake has worked as a freelance producer for the BBC for over 15 years producing multi-media pieces for BBC In Pictures. Along with James Wellford, senior International Photo editor at Newsweek he founded SeenUnseen which promotes in-depth stories that the mainstream media overlooks.

World Press Photo awarded Jake an honorable mention for his immersive web documentary, Unknown Spring.

His transmedia and photography appears in The New York Times, TIME, The New Yorker, Rolling Stone, Orion Magazine, Newsweek, Le Monde II and others throughout the world.

La Frontera

Curated by Julie Grahame

Featuring Stefan Falke

With this long term project I document cultural activities in what used to be some of the worlds most dangerous cities along the US/Mexican border. Since 2008 I photographed 180 artists along the entire 2000 miles long divide to show the vibrant cultural side of a region that is usually portrayed by the international media with the sole focus on violent crime. The border has particular significance to me since I was born in Germany where a wall divided Berlin and my country until it came down in 1989. Meanwhile the steel ‘wall’ between the US and Mexico is growing in length and hight and does its part to create a physiological and physical barrier between the two countries. But it cannot not stop cultural exchange.

Artists are the pulse of a society and I believe if we ignore the cultural side of troubled places, we will soon stop caring about them all together. I photographed both internationally renowned as well as only locally known or even unknown artists. Each one has a positive influence on their community in one way or another, often by their highly visible creations like murals and sculptures in public places.

Stefan Falke was born in Paderborn, Germany, in 1956. He lives in Brooklyn, NY, and photographs stories and portraits for international magazines and shoots movie stills for film studios. His last long term project ‘MOKO JUMBIES: The dancing Spirits of Trinidad’ resulted in a book of the same title. His current and ongoing long term project is titled LA FRONTERA: Artists along the US Mexican Border. He has to date visited and photographed 180 artists along the entire length of border. The photo book La Frontera was just published in Germany and Falke is currently searching for an American publisher for this project.

Falke joined the prestigious German photo agency ‘laif’ in 1999.


Latin American Fotografía
and Ilustración 2 – “LOS DIEZ”

Supported by American Illustration-American Photography (AI-AP)

Featuring Patricia Ackerman, Marcela Angeles Macedo, Toto Cullen, Douglas Cushine, Brunel Galhego, Lianne Milton, Gabriel Rinaldi, Cesar Rodriguez, Roberto Rosa, Ana Maria Trujillo, LAI2: Tony Aguero (TOMO77), Carlos Araujo, Ronny Barrera, Eduardo-TLaloC-Corral, Kako, Camilo Moreno Suárez, Diego Peñuela, Gabriela Thiery, Walter Vasconcelos, Yue Wang

AI-AP Present the 2nd edition of Latin American Fotografía and Ilustración 2 “LOS DIEZ” sponsored by Epson.

20 artist. 10 Photographers and 10 Illustrators, winners of the Latin American Fotografía and Ilustración 2 competition, are part of this travel exhibit sponsored by Epson.

American Illustration-American Photography (AI-AP), the leading juried annuals in North America, honors the best work being created today in Latin America. AI-AP, well-known for 33 years as the exclusive resource for art directors, designers, photo editors, art buyers and publishers seeks to introduce 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.

Land Grabbing

Supported by Blue Chalk Media

Featuring Alfredo Bini

Companies from wealthy countries have always sought low-cost land for agricultural production. Today, governments allocate funds to domestic companies wishing to invest overseas. Governments did not provide such support for much of the last century, but do so now in a manner reminiscent of colonial practices.

After the subprime crisis, capital moved to food commodity markets and resulted in price increases. This coincided with a decrease in exports from food-producing countries. States that are typically vulnerable to these fluctuations sought new food security strategies. The Arab states did so first and were followed by others.

The financial risk to the companies is almost nonexistent. Governments, motivated by food security concerns, allocate capital. The EU provides funds to companies that will produce materials that make it possible to comply with “green policies” for biofuel production. The World Bank and the IMF provide funding. Insurance policies lessen the risks related to a country’s stability issues.

These land use decisions are made far from the land itself, and far from the people whose lives are rooted in it. In Ethiopia, more than six million people survive because of UN food aid, while agricultural products cultivated on land leased to foreign investors are exported. A paradox.

Alfredo Bini is a photojournalist and has found his own personal form of expression in reportage photography. His work has been on show in exhibitions and photography festivals worldwide. His reportages won national and international awards and are used as debating material for presentations and conferences in public venues, Universities and on TV news programs. He is represented by the Paris based Cosmos Photo agency.


Living with Mies

Supported by United Photo Industries

Featuring Corine Vermeulen

Living with Mies is a series of portraits of residents in their living rooms in the Lafayette Park neighborhood of downtown Detroit, home to the largest collection of Mies van der Rohe-designed buildings in the world. This affordable middle-class residential area is one of Detroit’s most racially integrated and economically stable neighborhoods, although it is surrounded by evidence of a city in financial distress. These photographs were made in collaboration with the group Placement, and published in their book ‘Thanks for the View, Mr. Mies’ (Metropolis Books: 2012).

Rather than focusing on the starck interior spaces and austere exteriors that one might expect to see in photographs of iconic modernist architecture, these portraits seek to show the organic and idiosyncratic ways that people live in Lafayette Park.

The neighborhood has not received the level of international attention that other similar projects by Mies have. This may be due in part to its location in Detroit, a city whose most positive qualities are often overlooked in the media. While there are many images of abandoned buildings in Detroit or about the city’s prosperous past, these photographs are of people living in a remarkable part of the city as it exists today.

Corine Vermeulen is a Dutch artist who set up her studio practice in Detroit in 2006. Her projects include: Your Town Tomorrow (2007-2012) which documents Detroit’s shifting social and geographic ecologies, and Obscura Primavera (2009-2014) which explores present-day conditions in the city of Medellin, Colombia. Her photographs have been featured in The New York Times, Time Magazine, Volume, Kaleidoscope magazine, Abitare and De:Bug. She earned a Masters of Fine Arts degree in photography from the Cranbrook Academy of Art, Michigan, and was amongst the first group of artists to be awarded the Kresge Artist Fellowship in 2009. Corine is currently working on her first museum solo exhibition Photographs from the Walk-In Portrait Studio (2009-2014) to open in November 2014 at the Detroit Institute of Arts.

This program is supported as part of the Dutch Culture USA program by the Consulate General of the Netherlands in New York.


Lost in Transition

Supported by FotoFestival Naarden

Curated by Feiko Koster & Eduard Planting

Featuring Claire Felicie, Eddy van Wessel, Ferry Verheij, Marieke ten Wolde, Robert Knoth, Wouter Stelwagen, Willem Wernsen & Xiaoxiao Xu

As we speak the ongoing development of technology, the freedom of religion and the need for energy, changes our world at a rapid rate . Lots of countries, communities and people don’t keep pace with this development and struggle with good intentions and choosing between two bad options. They are lost in transition.

All the photographers in this exposition are from Dutch professionals, making a living from photography and traveling the globe to show us how things can go wrong ( or right ) and how people can get lost in this transition.

FotoFestival Naarden is the oldest photographic festival in the Netherlands. In the fortified (medieval) town of Naarden, its shows every two years Dutch contemporary and documentary photography.

FotoFestival Naarden tells the stories of many Dutch photographers. They travel the world or work from a studio, they amaze us and keep us interested in the world surrounding us.

This program is supported as part of the Dutch Culture USA program by the Consulate General of the Netherlands in New York.


Narratively: Ordinary People, Extraordinary Stories

Presented by Narratively

An epidemic of suicide among Indian farmers. Decades on the water with the last fishermen of Long Island. An ex-con who breaks back into his old prison cell. Narratively offers an in-depth look at humanity in all its gritty, edgy, complicated beauty. Photo courtesy of Doug Kuntz.

Narratively is a platform devoted to untold human stories. We look beyond the breaking news and comb the hidden corners of the world for the characters that mainstream media aren’t finding—the underdog stories and overlooked tales that enlighten us and capture our imagination. Number six on TIME magazine’s “50 Best Websites of 2013,” Best Website of 2014 by Pictures of the Year International, and a 2014 Webby Honoree for “Best Writing,” Narratively practices “slow storytelling,” exploring one theme each week and publishing one story a day, in the most appropriate medium for each piece—including documentary films, longform and shortform writing, photography, audio and comics journalism. The result is that every story and storyteller has an impact, and our audience becomes completely immersed in our narratives, which we bring to life even further via a live events series featuring screenings, readings, discussions and experiences. With Narratively’s rapidly growing community of contributors, we also produce high quality content and strategy for corporate and nonprofit clients including General Electric, Chevrolet, Philips and the Woodrow Wilson International Center for Scholars, and we’re represented by the William Morris Endeavor talent agency, which is helping us leverage the Narratively brand into the film, TV, book and digital spaces.

New Photographers

Supported by Photo Festival Leiden

Curated by Marieke van der Krabben, Hans Gillis & Pierre Luiten

Featuring 20 young European photographers to be selected by the Jury

Every year the International Photo Festival offers a stage to new photo talented people. Such a festival is unique for the Netherlands and Europe. Photographers that graduate from a photo academy or school within the past 5 years can submit a maximum of 4 photos. An independent Jury consisting of Wim van Sinderen (Chairman), Maartje van den Heuvel, Rein Deslé, Jean-Jacques Almanza, Monique Beijaert and Christiane Kuhlmann will select work by 20 photographers, who will be on show at Photoville 2014.

Following the successful launch of the Photo Festival Leiden in 2013, the second, International, edition will take place in the autumn of 2014. This years’ theme is ‘New Photographers’. The International Photo Festival Leiden aims at providing a platform for young talented, professional photographers, by giving them a chance to expose themselves to a broader audience.

The city of Leiden, key to discovery, already features several art festivals discovering new talent, including the Leids Cabaret Festival, the Leiden International Film Festival (LIFF) and Beelden in Leiden, an outdoor statue festival. Until 2013 Leiden did not have a professional photo festival. Therefore, the Photo Festival Leiden was brought about, organised by Foundation for Talented Photographers.

The photographs, submitted by contestants of art academies from around the world will be judged by an international jury. 20 photographers will be selected and of those, one overall winner will be chosen, who will receive an amount of €1.000 to be spent on the development of his or her photographic career.

The photos of the selected 20 photographers will be exhibited at eye-catching columns at squares in the Leiden city centre, thus creating a Wall of fame unparalleled to other photo festivals in the Netherlands or even in Europe.

Furthermore, all 20 selected contestants get the chance to show their photographs in shops, art galleries and restaurants throughout Leiden, and via an Urban Screen also in several cities. Finally, the exhibited photographs will also be published in the festival guide.

This program is supported as part of the Dutch Culture USA program by the Consulate General of the Netherlands in New York.

NYPH Gif Box

Supported by The New York Photo Festival

Curated by Elizabeth Avedon, Simon Barnett, Jim Casper, Neil Harris, Elizabeth Griffin, Whitney Johnson, Elizabeth Krist, Adriana Letorney, Graham Letorney & Aline Smithson.

PhotoWorld 2014 is a sea of images, wave upon incessant wave of reproductions of, and imagined states of being in, our world right now; what is breaking, what needs to be broken. The navigators for our journey—these daring and intrepid voices in the swirling world of photography—are Elizabeth Avedon, L’Oeil de la Photographie; Simon Barnett, CNN; Jim Casper, LensCulture; Neil Harris, Fortune; Elizabeth Griffin, Esquire; Whitney Johnson, The New Yorker; Elizabeth Krist, National Geographic; Adriana & Graham Letorney, FotoVisura; Aline Smithson, Lenscratch. This is their Gif Box to you, the photography aficionado.

Established in 2008 in Dumbo, The New York Photo Festival focuses entirely on contemporary photography, showcasing work selected by photography’s leading curators, editors, and producers from around the world.

Old Drivers

Supported by folioPORT.org

Curated by Mindaugas Kavaliauskas

Featuring Donatas Stankevičius

It happens sometimes. In the cities full of noise and traffic flow, we can bump into something that looks a bit strange these days. It’s something you can’t forget. Those cars move slower and… their passage leaves you a strong cinematographic impresssion.
This project is an attempt to recreate a specific layer of memory, a déjà vu of a film frame we’ve seen before.

When there is no more bustle of the city, ant quietness takes over, the characters are photographed in their own, well known places, such as parking places and garages. In these “stop frames” there is a lot of silence which the viewer can hear and even see.

The work Old Drivers consists of fifteen characters with very rich driving experience. Each of them has been driving cars for fifty years or more…

Donatas Stankevičius was born 1984 in Kaunas. He graduated from engineering studies, then studied Graphics Design at Kaunas School of Applied Arts. Now teaching history of photography in the same school. Mostly focuses on contemporary photography and social art projects. He exhibits in personal and group shows internationally. He works in the Union of Lithuanian Art photographers and in the Kaunas Photo International photo festival. Founder or alternative photo festival and secret community in Kaunas “Photo Off”.

Donatas Stankevičius has been selected to exhibit at Photoville from the folioPORT.org online-portfolio reviews’ database, run by KAUNAS PHOTO festival, the longest-running photo art festival in the Baltic States, organized by VšĮ Šviesos raštas and the Kaunas Branch of the Lithuanian Association of Photographers.

The exhibition at PhotoVille is made possible with the help of Lithuanian Council for Culture.


PDN’s 30 2014: New and Emerging
Photographers to Watch

Supported by Photo District News (PDN)

Curated by PDN’s Holly Hughes, Editor; David Walker, Executive Editor; Conor Risch, Senior Editor; Amy Wolff, Photo Editor and Meghan Ahearn, Managing Editor.

Featuring Jeff Brown, Fabio Bucciarelli, Camilla De Maffei, Bryan Derballa, Bobby Doherty, Mosa’ab Elshamy, Charlie Engman, Laura Flippen, Grant Harder, Kiana Hayeri, Siarhei Hudzilin, Theron Humphrey, Kyle Johnson, Billy Kidd, Zun Lee, Dina Litovsky, Diana Markosian, Phil Moore, Greer Muldowney, Benjamin Rasmussen, Carla Richmond, Jenny Riffle, Bryan Schutmaat, Marcus Smith, Ralph Smith, Brea Souders, Ilona Szwarc, Maria Turchenkova, We Are The Rhoads (chris & Sarah Rhoads) and Josh Wool

During the 15 years PDN has created this special issue dedicated to “new and emerging photographers to watch,” we’ve profiled 450 photographers and reviewed the work of thousands more talented individuals. The reasons they became photographers vary. I happen to like Bobby Doherty’s. He chose photography, he says, because he observed as a kid that his photographer grandfather was “the only adult having fun.” This isn’t to suggest that Doherty or anyone else we’ve profiled this year doesn’t take their work seriously. Whether pushing the boundaries of closed societies like Siarhei Hudzilin or Kiana Hayeri, or delivering striking images for commercial and editorial clients like Billy Kidd or We Are The Rhoads, the photographers profiled here have personal visions and senses of purpose that set them apart.

The paths these individuals have taken to become photographers also vary greatly. Some have taken more traditional routes, through graduate school, assisting, or portfolio reviews and workshops that are perennial steppingstones for emerging photographers. Yet the early careers of some of those profiled here reflect how wide open today’s photography business is. Both Phil Moore and Mosa’ab Elshamy published their first pictures as citizen journalists via social media or crowd-sourcing platforms. Josh Wool built a following on Tumblr before he began getting work as a photographer. Zun Lee and Grant Harder were hobbyists with other careers before they decided to concentrate on making images. Their stories reflect the democratization of the industry, with numerous paths to sharing and promoting one’s work. Because photography is, as Doherty notes, fun—and interesting, beautiful, important, fulfilling, powerful—we see more and more people blazing new trails.

To build a career in a field that is popular, and increasingly accessible and competitive, photographers have to answer the questions that Marcus Smith asks himself. “I’ve had a good year,” he tells us, “But how do I have a good 20 years or a good 30 years? How do I stay relevant?” The answers for the photographers profiled this year include relentless hard work, self-belief, a passion for learning and exploration, and perseverance. Those are common qualities we’ve been admiring and celebrating for 15 years.

No other brand covers professional photography like Photo District News. A trusted, unbiased source of news and information on every aspect of photography for over 30 years, PDN showcases cutting-edge photographers, innovative techniques, imaging products and new technology each month. PDN is a seven-time winner of the Neal Award for Editorial Excellence from American Business Media, a two-time Lucie Award winner, and is an honored recipient of the Griffin Museum of Photography Focus Award for its contributions to the industry.

Picturing the Built Environment

Supported by Soho Photo Gallery

Curated by Photoville Committee Members

Featuring 34 Soho Photo Members

The Built Environment designates the structures and spaces humankind has created in which to live, work, and play. It includes every kind of buildings, parks and other greenspaces, roads, and infrastructures of all types. Interpreting this theme for Photoville, 34 photographers from Soho Photo are presenting a diversity of creative viewpoints that reveal many of the ways we live and co-exist today.

Soho Photo Gallery, a non-profit arts organization directed and operated by our artists, seeks to promote appreciation of photography as a fine art. For 43 years we have worked toward this goal in a variety of ways, primarily through exhibiting photography in our large gallery space in Tribeca. Showing work from artists throughout the United States as well as Europe, Asia, North and Latin America, we share our passion with a worldwide membership and audience. We take pride in on our community outreach program. Over the years we have presented photography exhibitions with community organizations including: Broadway Cares, Shoot4Change, the Haitian Cultural Center, and the Josephine Herrick Project for Returning Veterans. Soho Photo is the creator of the famous Krappy Kamera Competition and exhibition and we feature numerous other competitions throughout the year, including: Alternative Processes, a National Photography Competition open to all types of photography and, new this season, a Portfolio Competition.


Plane Watchers

Supported by NGO Ambulartoorium

Featuring Annika Haas

This photographic project, Plane Watchers, follows the lives of a group of people who have, after the collapse of the USSR, kept living in Estonia in accordance to the old ways. I call them the plane watchers, because their Soviet-era shanty-town is located right next to the Lennart Meri airport in Tallinn, and the air above it is constantly abuzz with landing and launching airplanes.

In the 1960s, the workers of military factory Dvigatel were given free patches of land for unlimited period at Suur-Sõjamäe, in the outskirts of Tallinn – let them people toil and grow their cabbages and carrots. That was the beginning of the dacha culture in the surroundings of the local airport, despite the quagmire soil of the village Soodevahe. Looking back to it wraps you in a nostalgic mist, where sweet sounds of garmoshka fill the air above the shantytown and children run barefoot amidst the onion-beds. However, nostalgia is neither the concept nor purpose of the Plane Watchers,.

As for the concept, I aimed at drawing attention to the contradictions arising from political changes within a single commune, i.e. what happens when time runs out and it meets its end. Visually joyous and colourful façade conceals both the bitterness of the dacha-keepers, but also their silent acceptance of the inevitable. Local population has grown old and feeble, young people have no interest in tending the veggie patches and the homeless moving in the dacha district at the dawn of new age do not care about the beauty of the gardens. This has brought about the desolation of former idyll. The last person holding on to the veggie-plot culture keeps bustling about in the garden, but is closer to giving up than before.

Bulldozer has been rustling at Suur-Sõjamäe already since 2011, justifying its presence at Soodevahe, which looks more and more like a junkyard. But the stories and fates of people who have toiled here are still worth exploring, and that is why I considered it necessary to document the plane watchers as a unique cultural phenomenon, before it is buried under concrete.

Annika Haas (1974) is an Estonian documentary and portrait photographer. While studying Finno-Ugric languages at the University of Tartu, Annika also took photojournalism courses at Tartu Art College, and later on courses in Professional Photography at the Photo Opportunity Studios (2003) and in Documentary Photography at the foto8 gallery in London (2012). Annika is the member of the board of the Estonian Association of Press Photographers. She has been successful in different photo contests (finalist of the monthly International Portrait Photography Award Shoot The Face, Honorable Mention in the 2012 FotoWeekDC International Awards Competition, Washington DC). This year she was awarded Grand Prize in Estonian Press Photo 2014 contest. Selected Publications: Lens Culture Magazine (UK and France), FK Magazine (Latvia), The Washington Post (USA), Aamulehti (Finland), LiveJournal (Russia), etc. Her photographs has been shown at numerous solo and group exhibitions in Estonia, Finland, Sweden, Italy, France, UK, USA, Canada, Poland etc.

Portraits by Delphine Diallo

Presented by United Photo Industries
Curated by Jamel Shabazz

Featuring Delphine Diallo

A series of portraits that juxtapose reality with imaginary conscience; fashion with documentary photographs; tradition with modernity.

A graduate from the Académie Charpentier School of Visual Art in Paris in 1999, she worked in the music industry for seven years. Disillusioned by a world driven by mass consumption, she left her work environment and found refuge in Saint-Louis, Senegal, hometown of her father. She discovered her extended family and started portraying them. Delphine then creates the Magic photo studio, homage to Malick Sidibé’s photo studio. She adds collages, drawings and colors to her photographs, to underline the emotions of her subjects and tell the whole story. In 2008, the French-Senegalese photographer moves to New York to live her artistic life, considering that Paris is not the right place for an artist to emerge. She realizes that mixing mediums of expression is a powerful way to describe the world she is trying to capture. Delphine juxtaposes reality with imaginary conscience; fashion with documentary photographs; tradition with modernity.

On a trip back to Paris, she met Peter Beard and shares her first series of mixed media portraits. Impressed with her creativity and spontaneity, he offers her to collaborate for the Pirelli calendar photo shoot in Botswana. During her botswanian trip, she experiences a new environment in which people co-exist with wild animals. Inspired by their courage and modesty, she decides to return to Senegal. While shooting the streets of Saint-Louis, Delphine praises the simple life of her characters and turns them into heroic figures. She creates the Renaissance series. Her most inspirational journey to date, takes place in a very different setting.

In August 2010, she travels to the Crow country. It opens her to a completely new world, a greater and new vision. She witnesses a progressive resistance among the Crow members, reviving their traditions and rituals. Delphine is amazed by their hospitality and their kindness, a very different experience from the negative image of Native Americans often broadcasted by media. Besides the spirituality and symbolism of their dances, she feels the urge to portray family reunions. The elders recount stories to the young crowd, leaving their western clothes behind to dress like real Indians. Captivated by their spirituality and their pride, she takes part in this celebration with a refreshing and distinctive eye. Delphine Diaw Diallo is transformed, she believes her art connects with spirits and hopes spirits will help detach humans from the material world. In 2012, Smithsonian named Delphine Diallo one of Photography’s Emerging Stars. In 2013, Delphine Diallo named one of PDN’S 30: New and Emerging Photographers to Watch.

Red Hook: A Journey Through Our Lens

Supported by Brooklyn Arts Council, Red Hook Justice Community Center, United Photo Industries

Curated by Russell Frederick & Sam Barzilay

Featuring Amy Nan, Brandon Larracuente, Carmen Figueroa, Christian Campos, Darius Santiago, Elaine Vega, Fion Wong, Idalia Gonzalez, Julian Tiburcio, Kristelle Louis, Mason Chan, Shawn Dobey, Teddy Espinal, Wellington Nunez, and Yanique Hayes

This spring, 15 young people from neighborhoods across Brooklyn were able to participate in a digital photography internship that taught a documentary style of photography focused on issues related to their neighborhoods and self-exploration. The goals of this program were to empower participants, develop their personal voice as artists, and teach them to harness the power of visual storytelling.

The JustArts Photography Internship project was administered by Brooklyn Arts Council (BAC) and funded by New York Councilmember Carlos Menchaca. It is a collaboration between three Brooklyn organizations – The Red Hook Community Justice Center (a project of the Center for Court Innovation/Fund for the City of New York), Brooklyn Arts Council, and United Photo Industries.

Reframe: An Exploration of
Memory and Nostalgia

Supported by Feature Shoot

Curated by Alison Zavos, Jenna Garrett and Amanda Gorence

Featuring Audrée Anid, Joachim Fleinert, Amy Friend, Andres Galeano, Jennifer Greenburg, Faye Hobson, Lisa Kokin, Diane Meyer, Bianca Morra, Jackson Patterson, Evie Woltil Richner, Mikolaj Rogowski, Sarah Steffen

Throughout history, photography has been upheld as a source of truth.
Reframe: An Exploration of Memory and Nostalgia examines those histories which are unclear, questioning our belief in what was and re-interpreting what
can be learned from the past. The show includes work from 10 international photographers and artists who are taking work created long ago and making it their own.

The Feature Shoot website showcases all genres of work from both up-and-coming and established photographers. Since launching in 2008, the site has accumulated an archive of over 3,000+ international photographers and won LIFE.com’s 2011 Photo Blog Awards as “The Web’s 20 most compelling, most consistently insightful and surprising photography blogs.”

Featureshoot copy

Reportage by Getty Images

Supported by Reportage by Getty Images

Curated by Lauren Steel and Anthony Holland Parkin

Featuring Lynsey Addario, Daniel Berehulak, Antonio Bolfo, Paula Bronstein, Veronique De Viguerie, Peter Dench, Marco Di Lauro, Benjamin Lowy, Ed Ou, Shaul Schwarz, Toby Smith, Brent Stirton, Tom Stoddart, Sebastiano Tomada, Jonathan Torgovnik, Alvaro Ybarra Zavala

Key stories and images by our core group of award winning photojournalists.

Reportage by Getty Images represents and promotes many of the world’s most prestigious and experienced photojournalists, showcasing their work to and securing assignments with clients around the world including leading magazines, television networks, newspapers, and corporations. Launched in 2007, Reportage by Getty Images photographers have produced remarkable work from a wide range of global events as varied as the Haiti Earthquake, the War in Afghanistan and its domestic effects, the Slaughter of Gorillas in Virunga National Park, the Mexican Drug Wars, Nigerian and Somali pirates, and the nuclear legacy of Northeast Kazakhstan – work that has been recognized with almost every major industry award, including World Press Photo, Visa d’Or and POY.

Secrets & Lies

Supported by Centre for Research in the Arts, Social Sciences and Humanities (CRASSH), Cambridge University & United Photo Industries

Curated by Jon Levy, Dr. Nikolai Ssorin-Chaikov, Alexandria Niki, Dave Shelley and Nayanika Mathur

Featuring Alice Kivlon, Ed Kashi, Enid Crow & Jimmy Fountain, Erin Quinn, Frances Mocnik, Francois Boutin, Gabrielle Stein, Jez Coulson, Joan Fitzsimmons, Joel Devlin, Kathleen Rogers, Manuel Vazquez, Martin Gremm, Maxi Cohen, Nathan Bett, Reid Elem, Rhasaan Manning, Richie Tse, Ryuji Ichikawa, Sanghyuk Yoon, and Steven Poster

As Europe and America are engulfed in the greatest crisis of mutual trust since WWII, as a result of the recent inter-spying revelations, secrets and lies seem to be assuming an ever more crucial character in public life. The era of “CCTV in every corner” already seems like an age of lost innocence when we now habitually email and web search in the knowledge that we are being constantly spied upon. And yet, at the same time, ordinary citizens are becoming for the first time equipped with the tool of the spy trade themselves: iphones with imperceptible cameras penetrate every corner of social life, with every private moment potentially already being part of the public sphere.

In this world of vertical and horizontal, covert and yet overt mutual surveillance the question of ‘if the walls could talk’ assumes a new, perplexing dimension. For it is in this context of hyper-visibility that conspiracy theories seem to thrive the most, enjoying mass audiences as well as sophisticated apologists at the core of democracies fashioning themselves as immune to such irrationalities. Under their rubric, every revelation appears as a cover-up, and every disclosure as the disguised fostering of a secret.

The Centre for Research in the Arts, Social Sciences and Humanities (CRASSH) supports, promotes and conducts interdisciplinary research of the highest order. Located at the heart of the humanities campus, the Centre’s managed research programme produces annually over 400 events a year, with 30 conferences, 14 graduate and faculty research groups, Humanitas Visiting Professors, and longer term interdisciplinary research projects. The regular work-in-progress seminar for fellows – external and internal visiting fellows – contributes to the lively atmosphere of intellectual exchange.

Storytelling @ MediaStorm

Supported by MediaStorm

Curated by Brian Storm

Featuring Brian Storm


MediaStorm is an award-winning film production and interactive design firm whose work gives voice and meaning to the most pressing issues of our time.

Brian Storm is founder and executive producer of the award-winning multimedia production studio MediaStorm based in Brooklyn, New York.

MediaStorm’s principal aim is to usher in the next generation of multimedia storytelling by publishing social documentary projects incorporating photojournalism, interactivity, animation, audio and video for distribution across multiple media.

Stories from Maine

Supported by The Salt Institute

Featuring various Salt alumni

We are proud to have participated in Photoville since its inaugural year! Salt is known for great storytelling and Maine is one of the most unique New England states. Enjoy the great storytelling of Salt documentarians and let us introduce you to the people of and parts of Maine that we find most intriguing.

Salt Institute is a non-profit school in Portland, Maine offering semester-long intensive programs in documentary writing, radio, photography and new media storytelling. Salt Institute also exhibits documentary work in their gallery and host documentary-related events.

Students come from all over the US and other countries for fifteen weeks of intensive field research, workshops and seminars. Throughout the semester, students develop their craft to create documentaries of professional caliber.



Supported by The Chris Hondros Fund & Getty Images

Curated by Sandy Ciric and Christina Piaia

Featuring Chris Hondros

Testament is a collection of photographs and writing by late photojournalist Chris Hondros spanning over a decade of coverage from most of the world’s conflicts since the late 1990s, including Kosovo, Afghanistan, the West Bank, Iraq, Liberia, Egypt, and Libya.

Through Hondros’ images, we witness a jubilant Liberian rebel fighter exalt during a firefight, a U.S. Marine remove Saddam Hussein’s portrait from an Iraqi classroom, American troops ride confidently in a thin-skinned unarmored Humvee during the first months of the Iraq war, “the probing eyes of an Afghan village boy,” and “rambunctious Iraqi schoolgirls enjoying their precious few years of relative freedom before aging into more restricted adulthoods.”

Hondros was not just a front-line war photographer, but also a committed observer and witness, and his work humanizes complex world events and brings to light shared human experiences. Evident in his writings, interspersed throughout, Hondros was determined to broaden our understanding of war and its consequences. This unyielding determination led Hondros to take dozens of trips to Iraq and Afghanistan, even as the news turned elsewhere. During these “routine” trips, Hondros examined and observed daily life in these war-torn societies. His inventive Humvee picture series frames the ever-changing landscapes of these countries, offering a glimpse into the daily lives of those most affected by conflict.

Chris Hondros (March 14, 1970—April 20, 2011) was an American Pulitzer Prize-nominated photojournalist. Born in New York City to Greek and German immigrants, both survivors of World War II, he moved to Fayetteville, North Carolina, as a child. After studying English literature at North Carolina State University and receiving a master’s degree from Ohio University’s School of Visual Communication, Hondros returned to New York to concentrate on international reporting.

Hondros covered most of the world’s major conflicts and disasters since the late 1990s, including work in Kosovo, Afghanistan, the West Bank, Iraq, Liberia, Egypt, and Libya. Hondros was also a frequent lecturer and published essayist on issues of war, and he regularly wrote for the Virginia Quarterly Review, Editor & Publisher, the Digital Journalist, and other news publications.

Hondros, a staff photographer for Getty Images since 2000, was a two-time finalist for the Pulitzer Prize in breaking news photography: in 2004, for his work in Liberia, and posthumously in 2012, for his coverage of the Arab Spring. During his career, he received dozens of awards, among them honors from World Press Photo, the Pictures of the Year International competition, Visa pour l’Image, and the Overseas Press Club, including the John Faber Award for his work in Liberia and the Robert Capa Gold Medal, war photography’s highest honor, for
his work covering the conflict in Iraq.

The Third Day

Supported by Hamburg Triennial of Photography

Curated by Krzysztof Candrowicz

Featuring Henrik Spohler

This project spotlights man’s cultivation of nature. It features gigantic outdoor monocultures in the United States, or under glass and plastic in the Netherlands and Spain. Interior views of research institutes provide insights into those places where new varieties are constantly being grown and tested. Places where man assumes the role of Creator when he uses genetic engineering to give plants features that are even more profitable.

Henrik Spohler, born 1965 studied photography at the Folkwang-Schule/ Universität Essen.
Since 1992 Spohler worked as a freelance photographer and realized own projects.
Spohler got several awards, his photographs are in private and public collections. Since
2009 he is Professor for photography at HTW Berlin. Lives and works in Hamburg.


The Triennial of Photography Hamburg originated as an initiative of the photographer and collector F. C. Gundlach, with the support of the directors of Hamburg’s major museums. Every third year since 1999 a festival of photography has taken place in Hamburg. Meanwhile, the Triennial of Photography Hamburg has become an important festival of international reputation. In 2005 for instance, 83 museums, galleries, and other organizations with 114 exhibitions took part in the 3rd Triennial of Photography that was visited by 260,000 guests. Besides a great variety of exhibitions presenting the whole range of photographic techniques and styles, the festival was complemented by symposia, lectures, and conferences. The main organizer of the Triennial is Deichtorhallen.

Tierney Fellows 2013

Supported by Tierney Fellowship

Curated by Jerry Vezzuso

Featuring Mohit Bhatia, Colectivo Estética-Unisex, Sipho Gongxeka, Curtis Hamilton, Sophie Klafter, Claudia Lopez, Juan-Carlos Lopez, Elizabeth Moran, Shogan Naidoo, Justin Schmitz, Richa Sinha, Christopher Smith, and Ashley Walters

The Tierney Fellowship is awarded to young photographers after graduating from a partner school, which are located in USA, Mexico, South Africa, China and India. The Tierney Fellowship was created in 2003 by The Tierney Family Foundation to support emerging artists in the field of photography. The primary goal of the Fellowship is to find tomorrow’s distinguished artists and leaders in the world of photography and assist them in overcoming the challenges that a photographer faces at the beginning of his or her career.

The aim of the Fellowship is twofold: encouraging recipients to produce a new body of work and creating a global community of artists that will function as a crucial support network in an increasingly competitive field. The Fellowship supports the recipients both financially, by way of a cash grant, and technically, with mentorship and guidance from seasoned experts. At the end of the one-year grant period, recipients are expected to present a new body of work.

Fellows remain an important part of the Program after the conclusion of their Fellowship. Seminars and critiques are held throughout the year to facilitate interaction between all current and past recipients, encouraging discussion of their photography, work experience and lives as artists.


Traces: Navigating the Frontline of Climate Change

Supported by ChinaFile & Magnum Foundation

Featuring Ian Teh

One in five people in the world get their water from great Asian rivers linked to the Qinghai-Tibet plateau in northwestern China. Here beneath a gently undulating landscape, spring the headwaters of the Yellow River, which sweep three thousands miles across China on their way to the sea. When they make it. The Yellow River now runs dry so often that some scientists have argued it ought to be considered a seasonal phenomenon. The plateau is also a beacon for climate change. Like the Arctic, for the past 50 years, the land beneath its expansive ice fields has warmed much faster than the rest of the world. Scientists call it “the third pole.”

Through my panoramic images, I seek resonance with some of the romantic notions of the once great Yellow River. The search is for a gentle beauty that is characteristic of this plateau, but also for muted signs of a landscape in the throes of transition caused by human intervention. These traces of change within the landscape serve as a way to connect with the frontlines of climate change where the environmental crisis underway, like climate change itself, isn’t always easy to see.

Ian Teh has been photographing China for more than 15 years. His photography expresses his concern for social, environmental and political. Amongst selected works, his series, “The Vanishing: Altered Landscapes and Displaced Lives” (1999-2003), records the devastating impact of the Three Gorges Dam on China’s Yangtze River Valley. In later works, such as “Dark Clouds” (2006-2008), “Tainted Landscapes” (2007-2008) and “Traces” (2009-), Teh explores the darker consequences of China’s booming economy. His work is part of the permanent collection at the Los Angeles County Museum of Art, The Museum of Fine Arts, Houston and the Hood Museum in the U.S.


In 2014, ChinaFile, a project of the Center on U.S.-China Relations at Asia Society, and the Magnum Foundation established the Abigail Cohen Fellowship in Documentary Photography. We have joined together to provide grants to photographers to address pressing social issues that are impacting China and its relations with the world that have not received the attention they deserve.

ChinaFile’s mission is to broaden its readers’ understanding of China and to spark new conversation about China’s place in the world.

The Magnum Foundation champions in-depth, independent documentary photography that fosters empathy, engagement, and positive social change.

Tunnel People

Featuring Teun Voeten

At the end of the millennium, thousands of homeless people roamed the streets of Manhattan. A small group of them went underground. Invisible to society, they managed to start a new life in the tunnel systems of the city.

Acclaimed war photographer and cultural anthropologist Teun Voeten gained unprecedented access to this netherworld. For five months in 1994 and 1995 he lived, slept and worked in a community of homeless in the Amtrak tunnel under Riverside Park.

The tunnel people were evicted in 1996, but Amtrak and homeless organizations offered them alternative housing.

Some succeeded in starting again above ground, while others failed. Voeten published Tunnel People originally in Amsterdam, 1996. For the updated US version that appeared in 2010, he managed to track down the original tunnel dwellers and described what happened in the thirteen years since they left the tunnels.

In Tunnel People, we get to know Vietnam veterans, macro-biotic hippies, crack addicts, Cuban refugees, convicted killers, computer programmers, philosophical recluses and criminal runaways. Tunnel People, both the book with its wealth of ethnographic details and the photo documentary with strong yet elegant and telling images has become a classic testimony of homeless life in the 1990s.

Teun Voeten studied Cultural Anthropology and Philosophy in the Netherlands. He is an award winning journalist and photographer who covered the conflicts in Bosnia, Colombia, Rwanda, Sierra Leone, Liberia, Afghanistan, Iraq, Lebanon, Gaza, Honduras, DR Congo, North Korea, Mexico, Libya and Syria. His work has been published in Vanity Fair, Newsweek, The New Yorker and National Geographic. He also works for organizations as the ICRC, UNHCR, Doctors without Borders and Human Rights Watch.

In 1996, he published ‘Tunnel People’, an account of an underground homeless community in New York. His first photo book ‘A Ticket To’ came out in 1999. ‘How de Body? Hope and Horror in Sierra Leone’, was published in 2000 and describes a journey which nearly ended in disaster when Voeten was hunted down by childsoldiers intent on killing him.

Voeten also makes videos, and contributed to the documentary ‘Restrepo’. As a curator, he organized in 2011 the exhibition “Generation 9/11. Ten Years War Photography.” . Between 2009 and 2012, Voeten covered the drug war in Mexico and published ‘Narco Estado. Drug Violence in Mexico.’ Currently, he is working on a PhD dissertation on extreme violence in warfare. Voeten lectures often at cultural and educational institutions.

This program is supported as part of the Dutch Culture USA program by the Consulate General of the Netherlands in New York.


Views From A City

Presented by Photos.com by Getty Images

Curated by Elodie Mailliet, Sarah Foster, Bob Ahern & Pancho Bernasconi

Featuring amongst others:
Afton Almaraz, Margaret Bourke-White, Kevin Cooley, Alfred Eisenstaedt, Mark Horn, Spencer Platt, Hal Morey, Mario Tama, Len Trievnor, The Life Picture Collection

Inspired by the scenic vistas of Brooklyn Bridge Park, Photos.com by Getty Images has curated a stunning collection of urban photography – both archival and contemporary – to celebrate our debut exhibition at Photoville. These iconic city images will be available for purchase on site and also as part of the Photoville collection on photos.com.

Launched in May 2014, Photos.com brings the beauty and power of expertly framed, world-class Getty Images photography to your home or office. The collection includes diverse creative, editorial and archival imagery: from stunning landscape, wildlife and travel, to iconic images from the worlds of music, celebrity and sports as well as the legendary LIFE Collection. Images are available in four sizes with five framing material options — canvas, paper under glass, aluminum, acrylic, or birchwood — to complement and inspire any space.



War & Memory
Presented by The Homecoming Project

Supported by Fovea Exhibitions and The Homecoming Project

Featuring Cynthia Bittenfield, Ashley Gilbertson, Michael Kamber, Ed Kashi, Gina LeVay, Andrew Lichtenstein, Brandon Thibodeaux, Erin Grace Trieb Peter Van Agtmael, Craig F. Walker, Damon Winter Military, Veteran and Family Member Contributors

War & Memory is a group exhibit documenting the tremendous struggles faced by our military communities upon the return home of American military service members who have served in the wars in Iraq and Afghanistan. A collective of internationally acclaimed photojournalists joined military veterans and their families to combine words and photography in a powerful exhibit.

War & Memory addresses the sometime devastating aftermath of war on American families, communities, veterans and military personnel. The exhibit focuses on issues including post-traumatic stress disorder, traumatic brain injury and suicide.

The US military and its Veterans returning home from the wars in Iraq and Afghanistan suffer from repercussions as devastating and traumatic as war itself. According to the U.S. Department of Veterans Affairs, as of March 2014, about 2.6 million U.S. service members have been deployed to war by the Department of Defense since 9/11. Among the Veterans treated at the VA, one third have been diagnosed with Post Traumatic Stress Disorder (PTSD), while one quarter with Traumatic Brain Injury. Nearly 56% of Operation Iraqi Freedom and Operation Enduring Freedom veterans have been diagnosed with at least one mental health condition. These counts exclude Veterans treated only by the military or by a private (non-VA) mental health professional. In 2009, the rate of suicide among US military service members surpassed the number of those killed in action in Iraq and Afghanistan combined. Today, one US veteran commits suicide roughly every hour.

War & Memory aims to expand awareness of these issues and their impact on our community.


Fovea Exhibitions is a Beacon, NY based non-for profit – 501(c)3 – with a mission to foster visual literacy as well as a better understanding of the world we live in through the works of photojournalists and documentary photographers. Fovea Exhibitions was launched in May 2007 and to date has organized 35 photography exhibits, some 40 panels, screenings and talks, school visits, guided tours of exhibits and workshops in its community darkroom. Fovea is 100% volunteer run.

The Homecoming Project is an Austin-based organization serving US Veterans and military communities. Founded in 2011, it is a public service campaign using visual journalism and media to raise awareness of veteran issues related to war and combat trauma. Through photography and visual storytelling, The Homecoming Project supports military communities and veterans by addressing these issues. Our exhibitions uses iconic imagery by award winning photojournalists coupled with creative works by Veterans which illustrate war’s aftermath, creating a unique, compelling, and growing body of work. From 2011 – 2014 The Homecoming Project hosted and or participated in 35 exhibitions, education platforms and awareness campaigns in the US and in Europe, bringing the current issues affecting Veterans to the attention of hundreds of thousands.

You Are You

Supported by United Photo Industries

Curated by Sam Barzilay

Featuring Lindsay Morris

You Are You documents an annual weekend summer camp for gender non-conforming children and their families. This camp offers a temporary safe haven where children can freely express their interpretations of gender alongside their parents and siblings without feeling the need to look over their shoulders.

This body of work speaks out against intolerance while sharing with the viewer the beautiful spark of these children. I intend for the essay to serve as a guidepost for parents and the general public who struggle with their own uncertainties and prejudices with regard to the gender unique population.

This is a place of acceptance. A place which can serve as a model for a society in which the first generation of children able to express an openly gender variant childhood will come of age.

Lindsay Morris began her studies at the School of the Art Institute of Chicago and holds a BFA from the University of Michigan School of Art. Since 2006, she has been photo editor for Edible East End magazine.

Morris’ work has been published in The New York Times Magazine (cover story), GEO Germany and GEO International, Loupe, PDN, Marie Claire, Elle, Internazionale, Haaretz Israel and Sunday Life Australia, and has been featured on photography blogs Fraction, Slate/Behold, WPO, ABCNews.com and the Huffington Post. She was a 2013 Critical Mass finalist and nominee for the 2013 Margaret Cameron Award.

Recent exhibitions include Photoville’s, The Fence, Brooklyn and Atlanta, a solo show at the Center for Fine Art Photography, Fort Collins, CO, “Ctrl+P” at the Catherine Edelman Gallery, Chicago, and The University of the Arts, Philadelphia. Upcoming shows include Sous Les Etoiles, NY and a solo show at RayKo, San Francisco in June. Her forthcoming book, You Are You, will be published in partnership with Kehrer Verlag, Germany, Spring 2015.

Morris resides and works on the East End of Long Island with her family.