Join us for a Portfolio Review Weekend in Woodstock, May 20-21, plus Q&A on May 19. Reviewers include Elizabeth Avedon, Jesse Blatt, Elliott Brown, Clinton Cargill, Karen Davis, Elizabeth Dubben, Elizabeth Ferrer, Hannah Frieser, Charles Guice, Jan Nagle, Fabienne Powell, Elizabeth Renstrom, Roger Ricco and Miriam Romais.
REGISTER NOW. Review session packages start at $150 for 3 reviews. 2017 members will receive a $50 discount on their first package purchase as a benefit of membership (if you did not receive a code via email PLEASE contact us at 845-679-9957 BEFORE checking out).
Priority registration will be offered for session package purchases through April 9th. Remaining single sessions for $65 may be purchased beginning April 12. No discount will be given for single session purchases. Registered participants will receive a preference list prior to the reviews.
Please cancel no later than Friday, May 5 at 5:00 pm to receive a refund on all sessions. No refunds will be given after this date.
MEET OUR REVIEWERS
ELIZABETH AVEDON –L’oeil de la Photographie. Elizabeth Avedon is an independent curator and contributor to L’oeil de la Photographie, profiling notable leaders in the world of Photography. The former Director of Photo-Eye Gallery, Santa Fe; Creative Director for The Gere Foundation; and Art Director for Polo Ralph Lauren advertising, Elizabeth has received awards and recognition for her exhibition design and publishing projects, including the retrospective exhibition and book, “Avedon: 1949–1979” for the Metropolitan Museum of Art. Elizabeth is also an instructor in both the BFA Photography and Masters in Digital Photography departments at the School of Visual Arts, New York. She wrote the recent essay for Dornith Doherty’s monograph, Archiving Eden (Schilt Publishing, 2017) and Self Portrait: My Impressions of Vivian Maier for John Maloof’s Vivian Maier: Self Portraits (powerHouse Books, 2013).
JESSE BLATT – The J. Blatt Agency, LLC. Jesse Blatt is the owner of The J. Blatt Agency, LLC, a New York –based boutique agency and production company which represents photographers within the fine-art market. Clients include Denis Piel, Allan Tannenbaum and the Estate of Raymond Jacobs. Jesse also produces photographic exhibitions, publication projects and advises photographers on establishing and managing their archives and estates. In these capacities, he has worked with Steven Klein, Walter Iooss, Lynn Goldsmith, Elliott Landy, Robert Whitman and the Estate of Barry Feinstein, among many others. Prior to founding his agency in 2012, Jesse worked as Annie Leibovitz’s in-house fine art producer and archivist; In addition to managing Leibovitz’s archive and print sales, Jesse produced her books At Work and Pilgrimage as well as her touring museum exhibitions. Most recently, Jesse produced Denis Piel’s book, Down To Earth and Allan Tannenbaum’s exhibition, John and Yoko: A New York Love Story at K Gallery in St. Petersburg, Russia.
ELLIOTT BROWN JR. – MoCADA. ELLIOTT BROWN JR. is a conceptual photographer working on ideas related to intimacy, vulnerability, and social perception. The resulting images, set within biographical, private, and public spaces, demonstrate how the subjective body is in tension with past and available imagery, as well as with politicized representations of the body. He has exhibited domestically and internationally, with work included in group exhibitions at La Mama Galleria (New York, NY), Platform Gallery (Baltimore, MD), and Philadelphia Photo Arts Center (Philadelphia, PA). In addition to a visual practice, he is also the curator of DATE NIGHT, an interdisciplinary exhibition set in various homes. Organized under a guiding, discursive question, the exhibition facilitates intimate conversations on the exhibiting artists’ works and practices. He received his BFA in Photography and Cultural Analysis from New York University. Elliott currently works as a Curator and Exhibitions Coordinator at the Museum of Contemporary African Diasporan Arts (MoCADA).
CLINTON CARGILL – Bloomberg Businessweek. Clinton Cargill is director of photography for Bloomberg Businessweek and Bloomberg Pursuits. Since he joined Businessweek in 2014, the magazine’s photography has been recognized by American Photography, Pictures of the Year International, Photo District News, the New York Press Club, and, in 2016, as a finalist for a national magazine award in feature photography. Before joining Businessweek, he was a photo editor at The New York Times Magazine, where he worked from 2004 – 2014.
KAREN DAVIS – Davis Orton Gallery. is co-owner/curator of the Davis Orton Gallery in Hudson, New York. The gallery, in its eighth year, exhibits photography, mixed media and photo books by emerging, mid-career and established artists. Karen also teaches “Portfolio Development and Marketing Your Fine Art Photography” at the Griffin Museum of Photography (online) and the Davis Orton Gallery. As curator for the Davis Orton Gallery, Karen is interested in seeing a wide range of fine art and documentary work employing conventional, alternative and mixed-media processes which reflects her gallery’s broad view.
ELIZABETH DUBBEN – Collar Works. Elizabeth Dubben is an arts administrator, curator and educator with over 10 years of experience in the creative community as an arts entrepreneur, gallery and program director, project manager, fund development professional, and educator. Elizabeth formally owned and operated Amrose Sable Gallery in Albany, NY until 2009, when she became the Director of Exhibitions and Development at Saratoga Arts in Saratoga Springs, NY from 2009-2016. In April of 2016, Elizabeth became the Executive Director of Collar Works in Troy, NY – an arts nonprofit dedicated to exhibiting provocative and spirited contemporary works by emerging and underrepresented artists. Since 2013, Elizabeth has been lecturing and coordinating the Entrepreneurial Artist Initiative at Skidmore College, under the Arts Administration program. She received her BFA in Photography and an MBA with a concentration in nonprofit management from The College of Saint Rose.
ELIZABETH FERRER – BRIC. Elizabeth Ferrer is Vice President, Contemporary Art at BRIC, a non-profit cultural organization and art space in Brooklyn, NY. There, she has curated numerous solo and group exhibitions of emerging and mid-career contemporary artists, and is currently working on Brooklyn Photographs, to be presented in fall 2017. A specialist in Latino and Mexican photography, she has curated exhibitions at venues such as the Smithsonian Institution, Washington, D. C.; El Museo del Barrio, New York; the Austin Museum of Art; University of Notre Dame; and the Brooklyn Historical Society. Ferrer is author of Lola Alvarez Bravo (Aperture Foundation, NY) that was named as a New York Times notable book of the year. In addition to authoring numerous exhibition catalogues and essays, she was co-editor of the catalogue of the Museum of Modern Art’s landmark exhibition, Latin American Artists of the 20th Century. Ferrer studied art history at Wellesley College and Columbia University. She is currently writing a history of Latino photographers in the United States.
HANNAH FRIESER – Center for Photography at Woodstock. Hannah Frieser is the executive director and curator at the Center for Photography at Woodstock. She has curated exhibitions with leading contemporary photographers such as Pipo Nguyen-duy, Angelika Rinnhofer, Adam Magyar, and Suzanne Opton. Her essays have been featured in publications such as Contact Sheet, Exposure, and Nueva Luz, and in monographs for Susan kae Grant, David Taylor, among others. Together with gallerist Charles Guice, she is currently developing an initiative that will promote dialogue about contemporary photography, its practitioners and innovative exhibitions from an international perspective.
CHARLES GUICE – Converging Perspectives. Charles Guice is the director of Charles Guice Contemporary. Recognized for developing new talent as well as for advancing more established artists, he has been instrumental in the careers of leading contemporary visual artists including Max de Esteban, Erika Diettes, Birthe Piontek, Hank Willis Thomas and Carrie Mae Weems. Since establishing his eponymous gallery in 2002, Guice has placed works in prominent private and public collections throughout the United States and abroad. Together with Hannah Frieser, Charles is currently developing an initiative, Converging Perspectives, which will promote dialogue about contemporary photography, its practitioners and innovative exhibitions from an international perspective.
JAN NAGLE – Center for Photography at Woodstock. As CPW’s Program Manager, Jan Nagle works to implement the organization’s year-round program offerings, including exhibitions, artists workspace residencies, workshops, lectures, fellowships, services for artists, and more. She is a nationally exhibited fine artist with works in several public and private collections, including Light Work and The Burchfield Penney Art Center. Jan’s multidisciplinary art practice includes photography, film/video, installation, and collage; her work is about place, and how it informs identity. Jan has held full-time faculty positions at The School of Art and Design at Alfred University, Kendall College of Art and Design and more. She holds a BFA in Photography from SUNY New Paltz, and an MFA from SUNY Buffalo.
FABIENNE POWELL – Governor Nelson A. Rockefeller Empire State Plaza Art Collection. Fabienne Powell serves as the New York State Office of General Services Assistant Curator of the Governor Nelson A. Rockefeller Empire State Plaza Art Collection and New York State’s Harlem Art Collection. She holds a BA in Photography from SUNY Albany and a Masters in Museum Studies from Johns Hopkins University, and has over a decade of gallery and museum experience.
ELIZABETH RENSTROM – Vice Magazine. Elizabeth Renstrom is a Brooklyn based photographer. A former Parsons’ student of George Pitts she is an accomplished photographer and photo producer, and regularly shoots for clients like Refinery 29, TIME, Nylon and Bloomberg Business Week while still somehow managing to find the time to make her own work, including a hilariously poignant ongoing series about her early adolescence in the 1990’s. As VICE’s photo editor, Elizabeth oversees the production and editorial of the publication’s striking, and often provocative, stories.
ROGER RICCO – Ricco/Maresca Gallery. Roger Ricco is widely known as co-founder and principal of Ricco/Maresca Gallery in Chelsea, New York, which has for over twenty years discovered, shown, and promoted the work of numerous emerging and established photographers. Ricco received a BFA from the University of Wisconsin–Milwaukee. At the time of his graduation he was awarded the prestigious Rome Prize in painting. Ricco worked as an assistant to renowned photographer, Irving Penn who encouraged him to pursue fine art photography. In 2004 he began to produce multiple series of studio/still life photography projects that resulted in several one person and group shows in various galleries in the United States. Ricco lives in Woodstock, NY, and a great deal of his current work includes organic and natural material from his environs. A feature on him and his work was recently published in Hyperallergic.
MIRIAM ROMAIS – Independent Curator. Miriam Romais is a Brazilian-American arts professional, with 20+ years of experience in marketing, strategy and development. She is an advisor, leader, strategic alchemist, curator and photographer. As a reviewer and workshop leader, she has worked with the Tang Museum/Skidmore College, FotoFest, Photoville, FotoWeek DC, PhotoNOLA, NYS Council on the Arts, NYC Department of Cultural Affairs, Photolucida, Photoville, NoMAA and others. As a curator, Romais has created exhibitions for Aperture, Light Work, BRIC Arts Media, and dozens for En Foco, Inc. Her work has been exhibited in museums and galleries throughout the U.S., such as El Museo del Barrio, Museum of the City of NY and the Smithsonian Institution, and published in Photo District News (Aug 2016), Taproot Magazine, and Americanos: Latino Life in the U.S. She is a recipient of Saratoga Arts’ 2016 Individual Artist Grant, with prior awards from the Puffin Foundation and Mid Atlantic Arts Foundation.
WOODSTOCK PORTFOLIO REVIEWS FAQ
There is no official protocol for Woodstock Portfolio Reviews, but several things we can recommend for portfolio reviews in general:
1] Most reviewers prefer to see prints. The 11×14 – 16×20″ range is best, for portability and to best utilize table space for viewing. If your native prints are smaller than 11×14″, then use the native size. Larger than 11×14 is acceptable, but can be unwieldy. A portfolio box with loose prints is always preferable over a portfolio book with prints behind plastic sleeves.
2] Single-image [“one-off”] portfolios are not recommended, unless that is your standard way of working. If you work serially or project based, then show one or two bodies of work, three maximum. Show about 20-25 images, the best that you have, starting with the strongest work at the top of the pile inside your portfolio box. You want to show consistency and depth of vision. The goal is to show the reviewer who you are as an artist in under 20 minutes.
3] If you cannot create a print portfolio, or if your work is meant to be displayed digitally and not in print form, then create a digital portfolio, in the form of a folder of files or a .pdf or ppt. Don’t just show them your website. You must bring your own display device, and we recommend a laptop or large tablet [do not use your cell phone]. The images should be displayed simply, without text unless it’s part of the piece, and as large and sharp on your device as possible. Also, make sure your device is fully charged at the start of each review; there may not be outlets close enough to every table.
4] Be prepared with a goal for your review, and let your reviewer know just what you would like to get out of the review session right at the start. It can be in the form of a question or two, but be specific because your time is usually quite limited. Also, start showing your images right away, while giving them your elevator speech* and review goals.
5] *Write and memorize your ‘elevator speech.’ One or two sentences that you can use to quickly introduce yourself and your work to your reviewers, and any other potential connections you may meet along the way – but it has to be short enough to say between floors on an elevator, and should be accompanied by your business card. “My name is Johhny Appleseed. I am a photographer and my work depicts the forgotten histories of apple farming in NY State. I create tintypes of legacy varietals of apple trees using a large format camera. Here is my card.”
6] Bring give-aways to leave with each reviewer. A post card, leaflet, or pocket-sized packet with one or two images of the work you are showing them, and your website and contact information on it. The importance of this cannot be stressed enough. This is often how reviewers remember your work, and they can contact you later if they are interested in working with you, or share your info with others they think might be interested in it. A business card with one of your images on it will suffice, but a post card is better.
7] Follow up: Send your reviewer[s] a handwritten thank you note or email. Be sure to include an example of something you talked about during your review, and how you might be implementing their suggestions into your practice. Do not expect a reply: Keep in mind that the reviewer’s responsibility toward you is completed at the end of the review itself. They will contact you if they are interested in your work.