Todd Brandow is the founding Executive Director of the Foundation for the Exhibition of Photography, Minneapolis/New York/Paris/Lausanne, which celebrated its tenth anniversary in 2013. He has been based in Paris since 1997, working during that time as a photography curator, foundation director, and book publisher. He co-curated and co-produced Edward S. Curtis exhibition tours, a retrospective tour of Finnish photographer Arno Rafael Minkkinen with critic A. D. Coleman and co-curated three exhibitions on Edward Steichen with William Ewing and Nathalie Herschdorfer. Projects recently produced include the first major thematic show independently curated from the Condé Nast Archive, Coming into Fashion; an Arnold Newman retrospective, co-produced with the Harry Ransom Center; a Lorna Simpson exhibition co-produced with the Jeu de Paume and a Vik Muniz exhibition co-produced with the High Museum of Art, Atlanta. Projects in development include major thematic exhibitions on Polaroid art and technology with MIT Museum and on 21st century art, "Civilization: The Way We Live Now", co-produced with the National Museum of Modern and Contemporary Art of Korea, monographs on Hiroshi Sugimoto, Manuel Alvarez Bravo, and Lee Friedlander, as well as a longterm collaborative relationship with the International Center of Photography, NY.
David Campany writes and curates exhibitions in the fields of photography and film. His recent shows include A Handful of Dust (Le Bal / Pratt Institute NYC / Moderna Museet Stockholm), The Open Road: photographic road trips across America (currently touring the US) and Walker Evans: Anonymous (currently touring Europe). For each show Campany has written substantial books. His other titles include Photography and Cinema (2008), Jeff Wall: Picture for Women (2010) and Art and Photography (2003). Among his 150 published essays he has written three for monographs of William Klein’s work; others on the work of Lewis Baltz, Chris Killip, Eugène Atget, John Stezaker, Doug Rickard, Tod Papageorge, Lise Safarti. He has written for major museums including MoMA, Tate, Centre Pompidou, The Photographer’s Gallery and the Stedelijk Museum.
Christopher Cardozo is widely acknowledged as the world’s leading authority on the great photographer, Edward S. Curtis. Cardozo began collecting Curtis’ artwork forty years ago. He first discovered the work of Edward Curtis in 1973 after a friend saw Cardozo’s own sepia-toned photographs of Native people. Cardozo had just spent six months living in a very isolated tribal village where he made over 10,000 negatives, created film footage, and made sound recordings of language and music. Today he is both owner and curator of the Christopher Cardozo/Edward S. Curtis Collection, the worlds’ largest and most broad-ranging collection of the photographer's work. Cardozo is the author of eight monographs on Edward Curtis. He has curated one-person Curtis exhibitions that have been seen in nearly one hundred venues in over forty countries across six continents.
Joshua Chuang is a curator, writer, and editor whose work has thus far centered on postwar American and contemporary photography. He began his curatorial career at the Yale University Art Gallery, where was appointed the museum’s first dedicated curator of photography, and subsequently served as chief curator at the Center for Creative Photography in Tucson, Arizona. Among his projects are the acclaimed touring retrospective exhibition Robert Adams: The Place We Live; First Doubt: Optical Confusion in Modern Photography; and The Pure Products of America Go Crazy, along with their attendant publications. In addition to his work as a curator, he has made key contributions to more than twenty artist’s monographs, including those on the work of Robert Adams, Lee Friedlander, Judith Joy Ross, Santu Mofokeng, and Mark Ruwedel.
A. D. Coleman is a prolific writer of photography history and criticism who has published widely since the 1960s. Born in 1943, he is based in New York City. During the 1960s and 1970s, Coleman was a regular columnist for the Village Voice, Popular Photography, The New York Times and Camera 35. His books include The Grotesque in Photography (1977), Light Readings: A Photography Critic's Writings (1979), Critical Focus: Photography in the International Community (1995) and The Digital Evolution: Photography in the Electronic Age, Essays, Lectures and Interviews, 1967-1997 (1998). Curatorial projects include Testimonies: Photography and Social Issues (Houston Fotofest International 1990) and SAGA: The Journey of Arno Rafael Minkkinen (FEP, 2005, co-curated with Todd Brandow). He received the first Art Critic's Fellowship ever awarded in photography by the National Endowment for the Arts in 1976, and a major Hasselblad Foundation Grant in 1991. A Fulbright Senior Scholar in Sweden in 1994, he received the prestigious Kulturpreis der Deutschen Gesellschaft für Photographie (The Culture Award of the German Photographic Society) for 2002.
Deborah G. Douglas is Director of Collections and Curator of Science and Technology at the MIT Museum. In 2010, she acquired the Polaroid Company Historical Collection which contains more than 10,000 rare artifacts including cameras, prototypes and test equipment. A specialist in the history of technology and science, Douglas has curated more than 30 exhibitions and displays including the museum's largest, the MIT 150 Exhibition for the Institute's sesquicentennial celebration in 2011. Author of several books and articles, her most recent publication is Countless Connecting Threads, MIT´s History Revealed Through Its Most Evocative Objects (The MIT Press, 2013).
Luke Erickson is a photographer, curator and educator who lives in Minneapolis, Minnesota. Since 2011, he is the director of FEP Minneapolis. He received a BA from the University of Redlands and a MA from the University of Illinois-Chicago in art history. Luke was director of the film program in the Department of Public Programs at the Minneapolis Institute of Arts. Luke worked for many years as a photographer in Los Angeles and directed the short film Frank Gehry’s Schnabel House. He was a creative director, location scout and photographer for many film companies in Los Angeles. He collaborated with Pablo Ferro on the title sequence for the film Late Last Night. He has exhibited widely in the United States and his work is in many private, corporate and municipal art collections. Luke is also the curator of RUNNER RUNNER Gallery in Minneapolis. He also teaches classes on art and film.
William A. Ewing is a well-known curator and writer on photography. From 1977 to 1984 he was Director of Exhibitions at the International Center of Photography, New York, and between 1996 and 2010 he was Director of the Musée de l’Elysée, Lausanne. His exhibitions have been shown at many museums in America and Europe, including the Museum of Modern Art, New York; the Centre Pompidou, Paris; the Hayward Gallery and the Serpentine Gallery, London; the Kunsthaus Zürich; and the Montreal Museum of Fine Arts. His recent books include The Body, The Century of the Body, and Face: The New Photographic Portrait. He has also co-authored, with Brandow and Herschdorfer, two Edward Steichen publications: Edward Steichen: Lives in Photography and Edward Steichen: In High Fashion, the Condé Nast Years 1923-1937. Mr Ewing is also Director of Curatorial Projects for the international publishing house, Thames & Hudson. His most recent publications are Landmark: The Fields of Landscape Photography (Thames and Hudson, 2014), Edward Burtynsky: Essential Elements (Thames and Hudson, 2016), and William Wegman: Being Human (Thames and Hudson, 2017).
Francois Hébel has been Director of Les Rencontres de la photographie at Arles in 1986-1987, when he showed works by a new generation of photographers, including seminal figures of the 1980s such as Martin Parr, Nan Goldin, Paul Graham, Annie Leibovitz, Sebastiao Salgado, and Eugene Richards. Between 1987 and 2000, he led the photography agency, Magnum (Paris and International). He returned to the prestigious festival Les Rencontres in 2001 as Director, where he has remained for thirteen years. Hébel also co-created the Photo Spring festival in Beijing, China. His publications include Mick Jagger: The Photobook (Contrasto +4, 2010) and Harry Gruyaert, Rivages (Textuel, 2003).
Nathalie Herschdorfer is an art historian specialized in history of photography. Curator at FEP, she is also Director of the Museum of Fine Arts, Le Locle, Switzerland. In 2010 she was named director of the photography festival Alt. +1000 in Switzerland for which she curated two years of programming. Previously, she was a curator at the Musée de l’Elysée in Lausanne, where she worked for twelve years on major exhibitions, including Face: the Death of the Portrait, and retrospectives of Edward Steichen, Leonard Freed, Ray K. Metzker and Valérie Belin. She is the author of Afterwards: Contemporary Photography Confronting the Past (2011), editor of Le Corbusier and the Power of Photography (2012) and co-author, with William A. Ewing, of reGeneration: Tomorrow’s Photographers Today, two books dedicated to emerging photography on the international scene. Among her recent projects are a dictionary of photography including over 1,200 concise yet fully detailed entries on all aspects of the subject (Thames & Hudson/Editions de La Martinière, 2015), the book NewSwissArchitecture (2015), and Coming into Fashion: A Century of Photography at Condé Nast, a travelling exhibition produced by FEP and accompanied by a book published in 6 editions.
Barbara Hitchcock, former Cultural Affairs director, joined Polaroid Corporation in the 1970s in a research and development capacity. In 1978 Hitchcock joined Polaroid's international division publicity department, where she coordinated all the photographic requirements of the subsidiary publicity departments. Appearing as a Polaroid spokesperson on national and international television and radio broadcasts, she promoted new Polaroid films and hardware. Since 1982, Hitchcock was made responsible for the strategic marketing communications and program planning, development and execution of Polaroid's cultural activities. She acquired fine art photographs for Polaroid, managed its multi-million dollar art collections and its traveling exhibitions. She has been the curator of several exhibitions, including The Big Picture; Olivia Parker: Objects and Implications; Sightseeing: A Space Panorama, a collaboration with NASA; In Grand Perspective; Polaroid 50: Art and Technology; It’s a Dog’s Life: Photography by William Wegman; Fins, Wings and Other Such Things: Photographs from the Polaroid Collections; Ansel Adams & Edwin Land: Art, Science & Invention - Photographs from the Polaroid Collections; and Sanctuary: Anna Tomczak Photography. During the late 1980s and 1990s, she oversaw Polaroid’s 20x24-studio program, expanding both its artist support and commercial growth.
Bartomeu Marí is an author and curator of international renown. He served as Director of the Museum of Contemporary Art of Barcelona (MACBA) between 2008 and 2015, and previously was the Chief Curator and Head of the Exhibitions Department at MACBA from 2004 to 2008. He served as well as Director of Witte de With Centre for Contemporary Art in Rotterdam, Holland, from 1996 to 2001; as Curator of Exhibitions at IVAM-Centre Julio González in Valencia, Spain from 1994 to 1996; and as Curator of Exhibitions at the Fondation pour l’Architecture in Brussels, Belgium from 1989 to 1995. In 2005 he was the curator of the Spanish Pavilion at the Venice Biennale, and in 2002 he co-curated the Taipei Biennale together with Chia chi Jason Wang. He is the author of numerous catalogues and monographs on contemporary art. Marí is currently the President of the International Committee of Museums and Collections of Modern and Contemporary Art (CIMAM), an international committee of ICOM.
Arthur Ollman has been a photographer for forty-five years. He has had more than twenty-five one-person exhibitions in museums and galleries world‐wide. He has been part of more than sixty group exhibitions and his art is in many museums both private and corporate collections. In 1983 he became the founding Director of the Museum of Photographic Arts, in San Diego, serving there for twenty-three years. He curated more than 100 exhibitions. They have been seen in nine countries and many great museums. He built a museum collection of more than 7,000 objects and a research Library of 27,000 volumes. He has written all or parts of twenty-five books, and numerous articles. From 2006‐2011 he directed The School of Art, Design and Art History at San Diego State University. Since 2011 he has been a Professor of Art History and Photography at the same institution. In 2012 he became the Chairman of the Board of the Foundation for the Exhibition of Photography.
Dr. Nissan N. Perez worked for over 37 years as Senior Curator of Photography at the Israel Museum, Jerusalem, where he conceived of and created the department of photography with its now extensive collection of over 120,000 items. During his curatorial career he curated over 180 exhibitions in Israel and worldwide, from Japan to Europe to the American West Coast, many of which traveled and most of which were accompanied by companion catalogs. He also was very active as a writer, publishing a substantial number of books, catalogs and articles. Currently Vice-President/Director of the Shpilman Institute for Photography (SIP) in Tel Aviv, Perez works additionally as an independent advisor and curator and teaches graduate courses and seminars at the Hebrew University, Jerusalem, The Ben Gourion University of the Negev, Beer Sheva, and at the Universitát Politécnica de Valéncia, Spain.
Rebekka Reuter is a curator for photography. She studied Applied Cultural Sciences at the Leuphana University of Lüneburg and gained curatorial experience at institutions such as the Fotomuseum Winterthur, the Photo Collection of the Folkwang Museum, Essen, the Photo Museum of Munich and Camera Austria, Graz. Text contributions to several exhibition catalogues and art magazines. As the head curator of WestLicht Museum for Photography (since 2009) and OstLicht Gallery for Photography in Vienna, she has been responsible for numerous exhibitions – solo shows from Alexander Rodtschenko (Revolution in Photography, 2013) to Ren Hang (野生, 2015), topics ranging from Polaroid (POLAROID [IM] POSSIBLE, 2011) to Photography as Sculpture (2D23D, 2014). The OstLicht Collection comprises about 80,000 photographs from all periods of the mediums’ history, among them the International Polaroid Collection, acquired in 2011.
Holly Roussell Perret-Gentil is an associate curator, museologist, and art historian specialising in photography and contemporary art from Asia based in Switzerland and Suzhou, China. She also has served as coordinator of the worldwide travelling exhibitions program and photography prize, the Prix Elysée, for the Musée de l’Elysée, Lausanne since 2013. Her first major curatorial project was working as assistant curator to William Ewing on the 21st century survey of landscape photography, Landmark: The Fields of Landscape Photography, and the accompanying publication (Thames & Hudson, 2014). She was later co-curator of the Chinese photography exhibition, Works in Progress: Photography in China 2015, presented at the Folkwang Museum in Essen. Holly Roussell has contributed as author to exhibition catalogues and magazines on photography. Recent publications include the Dictionary of Photography (Thames & Hudson, 2015), and Prix Elysée Nominees’ Book (Editions Photosynthèses/ Musée de l’Elysée, 2017) and Jehsong Baak, One Last Goodbye (Wonderlust Press, 2016).
Joan Simon is an independent curator, writer, and arts administrator based in Paris. As curator-at-large for the Whitney Museum of American Art (2004-2009), she organized Alexander Calder: The Paris Years, 1926-1933 (2008), with Brigitte Leal, in a partnership with the Centre Pompidou, Paris (seen there in 2009), and Alice Guy Blaché: Cinema Pioneer (2009), the first comprehensive retrospective of the work of cinema’s first woman director and studio owner, whose careers in France and the U.S. spanned 1896 and 1920. Simon was a contributor to Gordon Matta-Clark: “You Are the Measure” (2007) and Jenny Holzer: Protect Protect (organized by the MCA Chicago and the Beyeler Foundation, which traveled to the Whitney 2010). She organized Sheila Hicks: Fifty Years (with Susan Faxon) for the Addison Gallery of American Art, Andover, Mass. (2010), traveling in 2011 to the ICA, Philadelphia, and the Mint Museum of Craft + Design, Charlotte, North Carolina.
Patterson Sims is an independent art curator, writer, and consultant based in New York City. He currently serves as the Chairman of the Board of Independent Curators International (ICI), New York, President of the Leon Polk Smith Foundation and works with several other artist foundations and art non-profit organizations. Sims began his career in 1969 as the Assistant Director at O.K. Harris Works of Art in the then newly-developing SoHo district in New York. Beginning in 1976, Sims successively held the positions of: the rst curator of the permanent collection of the Whitney Museum of American Art, where he was also a co-curator of four Whitney Biennials; Associate Director for Art and Exhibitions and Curator of Modern Art at the Seattle Art Museum; Deputy Director for Education and Research Support at The Museum of Modern Art, New York; and, until 2009, Director of the Montclair Art Museum in New Jersey. Sims has organized solo exhibitions and written publications on various artists including Willie Cole, Richard Estes, Viola Frey, Ellsworth Kelly, Jan Matulka, Philip Pearlstein, Hedda Sterne, John Storrs, and Fred Wilson and has lectured and written extensively.
Anne Wilkes Tucker
Anne Wilkes Tucker is curator emerita of the Museum of Fine Arts, Houston, having, in 1976, become founding curator of the photography department for which she acquired 35,000 photographs made on all seven continents. She has curated over 40 exhibitions and contributed over 150 essays to monographs, catalogues, and magazines and lectured throughout North and South America, Europe, Asia and Africa. Her many honors, fellowships, and awards include being selected as American’s Best Curator by Time Magazine in 2001.
Gary Van Zante is Curator of Architecture, Design and Photography at the MIT Museum, Massachusetts Institute of Technology, where he has also been Interim Director of Exhibitions (2008-13) and Director of Gallery Planning (2008-13). At MIT since 2002, he has curated exhibitions ranging from sixteenth-century architectural graphics to contemporary design practice and photography, including a recent exhibition of Berenice Abbott’s science photographs. Van Zante has also organized exhibitions of the work of Joel Tettamanti, Margaret Morton, Gabrielle Basilico, and Cervin Robinson. He has curated over 50 exhibitions. Van Zante’s published work includes a monograph on the nineteenth-century American photographer Theodore Lilienthal (New Orleans 1867: Photographs by Theodore Lilienthal, Merrell, 2008), and recent articles on contemporary photography for Places.
Born in 1959, Gu Zheng is a photographer, critic, historian, curator, and educator. Associate Professor in the School of Journalism at Fudan University in Shanghai, he serves as Vice-director of that university's Research Center for Visual Culture. He has been in contact with American photography since the middle of the 1970s, when he resided in the U.S. A long-time friend of the historian of photography Beaumont Newhall, he studied under him at the University of Albuquerque in 1979. Gu has published numerous books of his own writings on photography, and in 2001 received the Chinese Photography Golden Figure Prize in Theory and Criticism. In 2001 and 2003 he was honored with Art Critic Awards from the Association of Chinese Literature and Art. Additionally, Gu has translated into Chinese many texts on photography, from classic to postmodern. He has curated several group exhibitions of Chinese photography for venues in in China, South Korea, and the United States.