To coincide with Magnum’s annual general meeting in New York and to celebrate our 70th anniversary we are excited to announce a rare portfolio review event. Have your work seen and reviewed by four Magnum photographers, and receive individual feedback on how to improve and market your work.
The event is aimed at early to mid career photographers seeking advice on an existing body of work or portfolio. Each participant will be able to receive feedback from four Magnum photographers, during four 20-min reviews.
After we’ve received your application, participants will be able to choose their preferences for reviewers – and every attempt will be made to ensure these are upheld – and we will also provide you with details on how to prepare for the reviews.
First Impressions: Magnum Portfolio Reviews at Aperture
547 West 27th Street, 4th Floor
New York, N.Y. 10001
20 June 2017
For further information contact Lauren Heinz firstname.lastname@example.org
Terms and Conditions:
– All fees must be paid on application.
– Magnum Photos reserves the right to cancel this event no later than 14 days before the start date. In the event of a cancellation, applicants will be given a full refund.
– Magnum Photos reserves the right to change or alter the program advertised.
– For international applicants, Magnum Photos is not responsible for reimbursement of travel expenses in case the workshop is cancelled. We highly recommend that you buy refundable tickets and/or travel insurance.
– Refunds to applicants who wish to cancel their place on the workshop can only be given up to 14 days in advance of the date of the workshop. After this point, refunds cannot be issued.
About the photographers
Matt Black is from California’s Central Valley, an agricultural region in the heart of the state. His work has explored the connections between migration, poverty, agriculture, and the environment in his native rural California and in southern Mexico. He has photographed over one hundred communities across 44 U.S. states for his project The Geography of Poverty. Other recent works include The Dry Land, about the impact of drought on California’s agricultural communities, and The Monster in the Mountains, about the disappearance of 43 students in the southern Mexican state of Guerrero. Both of these projects, accompanied by short films, were published by The New Yorker.
Bieke Depoorter was born in 1986 in Kortrijk, Belgium. Her early colour photography work is the result of a unique approach: she captures the privacy of people whom she meets by chance and she gets them to invite her into their homes. She captures indescribable, fragile and intense moments with kindness. For the Ou Menya series, the young artist travelled in Russia for three months, to remote villages, guided by the Trans-Siberian Railway. This work won her several awards, including the Magnum Expression Award in 2009. For a similar long-term project entitled I am about to call it a day, the photographer went to the United States. A book of the same name was jointly published in 2014 by Edition Patrick Frey (Switzerland) and Hannibal (Belgium). Depoorter finalized her first short movie Dvalemodus in 2017, which she directed together with musician Mattias De Craene. The film explores the everlasting darkness in a small village in the Northern Norway. Depoorter is currently working on a new book Who knows / Mumkin that will be published in October 2017.
Carolyn Drake was born in California and studied Media/Culture and History at Brown University. She worked for multimedia companies in New York for many years, but eventually left her office job to engage with the physical world through photography. Between 2007 and 2013, Carolyn traveled frequently to Central Asia from her base in Istanbul to work on two projects which became acclaimed photo books. The first, Two Rivers, explores the connections between ecology, culture and political power along the Amu Dary and Syr Darya rivers. The second, Wild Pigeon, is an amalgam of photographs, drawings, and embroideries made in collaboration with Uyghurs in western China.
Thomas Dworzak (b. 1972) is from Kötzting, Germany, but grew up in the small town of Cham in the Bavarian Forest. While living in Avila, Prague, and Moscow, he studied Spanish, Czech, and Russian. From 1993-1998, he lived in Tbilisi, Georgia documenting the conflicts in Chechnya, Karabakh, and Abkhazia, as well as working on a larger-scale project about the Caucasus region and its people, published as the book Kavkaz (2011). His additional books include Taliban (2003) and M*A*S*H* IRAQ (2007). The assignments in Iran led to the project “Valiasr Avenue” about Tehran’s longest street. Dworzak returned to Georgia to contribute to the Magnum Group project, Georgian Spring (2009).
Diana Markosian is an Armenian-American photographer whose images explore the relationship between memory and place. Born in Moscow, Russia, her family immigrated to the United States when she was a child. In 2010, she received her master’s degree from Columbia University’s Graduate School of Journalism. Her work has since taken her to some of the most remote corners of the world, where she has produced both personal and editorial work. Diana is the recipient of the Chris Hondros Emerging Photographer Grant, Magnum Emerging Photographer Fund and the Firecracker Grant. In 2013, she took part in the World Press Joop Swart Masterclass in Amsterdam and was selected as PDN’s 30 Photographers to Watch.
Susan Meiselas received her B.A. from Sarah Lawrence College and her M.A. in visual education from Harvard University. Her first major photographic essay, focused on the lives of women doing striptease at New England country fairs, resulted in the book Carnival Strippers (1976). She is best known for her coverage of the insurrection in Nicaragua, published in Nicaragua (1981). Meiselas served as an editor and contributor to the book El Salvador: The Work of Thirty Photographers (1983) and edited Chile from Within (1991). She has co-directed two films: Living at Risk: The Story of a Nicaraguan Family (1986) and Pictures from a Revolution (1991). She completed a six-year project curating a 100 year photographic history of Kurdistan, integrating her own work into the book, Kurdistan: In the Shadow of History (1997). Additional works include Pandora’s Box (2001) and Encounters with the Dani (2003). She was named a MacArthur Fellow in 1992 and a Guggenheim Fellow in 2015.
As a child Mark Power (b. 1959) discovered his father’s home-made enlarger in the family attic, a contraption consisting of an upturned flowerpot, a domestic light bulb and a simple camera lens. He chose to study painting and drawing, but he ‘became a photographer’ in 1983. He worked in the editorial and charity markets for nearly ten years, before he began teaching in 1992. Power is currently the Professor of Photography at the University of Brighton. Power’s work has been seen in numerous solo and group exhibitions across the world and is in several public and private collections. He has published six books: The Shipping Forecast (1996), Superstructure (2000), The Treasury Project (2002), 26 Different Endings (2007), The Sound of Two Songs (2010), and Mass (2013).
More names to be announced shortly.