All posts by Moritz Neumüller

Moritz Neumüller (b. Linz, Austria, 1972) is a curator, educator and writer in the field of Photography and New Media. He holds a Master Degree in Art History and a PhD degree in Information Management and has worked for several important art institutions, such as the Museum of Modern Art in New York, PhotoEspaña in Madrid and LOOP in Barcelona. At the moment, he works as Festival Curator for PhotoIreland in Dublin, and directs the Photography Department of the Istituto di Design in Madrid. In 2009, he founded artecontacto, a project aimed at exploring art through all senses, in order to provide access for all, including visitors with visual impairments or learning difficulties. Since 2010, he runs the The Curator Ship, a platform that provides useful information for visual artists. Since 2011, Moritz Neumüller is Co-director of Museum For All, a network of museums in Europe working to advance accessibility in the areas of culture and learning in a collaborative, all-inclusive way. This project is a partnership between artecontacto and the Design For All Foundation in Barcelona.

Artist Call for participation in book project. Deadline: Jan. 30, 2018

Call for submissions
Artists who explore the relationship between the Self and the Other are invited to respond with images and short positional statements for publication.

Self and Identity have become major themes of our connected lives. The ease with which we gravitate to like-minded people, the bubble we comfortably find ourselves in means that we only sometime manage to discern the difference between ourselves and other people. The bubble remains intact; wars, elections, referenda rattle our security but for many life continues as before.
As artists, we need to reach further than most. We need to approach the Otherness of the outside world with more generosity. To accept it may be that  we cannot answer questions about selfhood without a recognition that the differences between people, experienced as alienation and separation, are unreal : following Paul Ricoeur and his work “Oneself as Another”, we must accept that we have too much Otherness within ourselves.

This call is to reach out to you as an artist with this shared interest and to join with me in a community of shared research. I found this line of research beginning with the cast shadow of the self and through exploring its independent, isolated and wayward behaviour. I have previously made a short monograph “Shadow:Other:myself” (ISBN 978-1977535535, preview )

To take this goal of community building further my intention is to make a limited edition, hardback book publication of your contributions. The book will feature 20 (approx. ) artists with images and facing text. In the first instance, two copies will be posted to each published participant. We can then discuss our next steps.
Initially, send an image and an account (200 words) to describe your Self’s response to the Other with a URL for other relevant work. The artist must confirm that they own copyright in the image and text.
On progress the selected image must be available in hi-res (3000 x 3000 pixels) — the artist will at all times retain control of copyright both of image and text. As editor I can help you with any translation from your own words, the text of the book will be published in English.

Deadline 30/01/2018
Keywords : alterity , ipseity , intersubjectivity
Email :
Web : and


Emerging Curator Call, Wash. D.C. area. Deadline: Dec. 15, 2017


VisArts invites applications from emerging curators to work with an experienced mentoring curator to develop and present an exhibition.

The VisArts Emerging Curator Program offers a unique opportunity for an emerging curator to work with an experienced mentoring curator to develop and present an exhibition and to assist in the presentation of the mentor’s exhibition. In an effort to develop expanded education programming/enhanced visitor experiences, the 2018 Emerging Curator and the Mentoring Curator will also focus on developing tools, templates, technological enhancements and funding strategies to support public programming that promotes social interaction, creative exchange and audience engagement.

VisArts will provide the Emerging Curator with an exhibition budget of $10,000. Additional funding and staff support for printing, promotions, and execution of exhibition programming is available. The program is one year and will begin in January 2018. Application Deadline is December 15, 2017, midnight.

The selection panel includes the VisArts’ Curator, Artist Advisory Council, Gallery Committee and 2018 Mentoring Curator.


For more information and application details:


Call for papers – After Post-Photography. Deadline: 20 Dec. 2017

————- English (véase abaja para español ————

Call for papers, for Conference


Сultural, Historical and Visual Studies in Photography

16-18 May 2018, European University in St. Petersburg, Russia

That photographic media, in one way or the other, record, depict and represent truth, realities and the past, is a staple. In theory this relation has been called into question, in particular with the advent of digital image manipulation, and the doubts have been extended since to analogue photography, too. Yet despite these doubts the notion of photographs being somewhat true permeates most, if not all, practices with these media: in science and humanities, photographic images replace and represent the object of research; in an ID, the portrait connects a face and a body with a name and other personal data; photographs in family albums and books allow to look back into the past. And though it may have been the reason for recent doubts in photography’s veracity, digital photography thrives on this promise as well: we share meals with our social networks the moment they are served, video telephony lets us talk not only to a voice but a face, and GPS metadata tells us where on Earth we took a certain picture. Moreover, photography is hybridized when the camera in our smartphones becomes a scanner for QR-codes, drones are equipped with face-recognition software, and augmented reality systems transform the material world into a space and surface for digital data.


Under these conditions, photography has ceased to be a specific medium generating still images. It has become a dispositif in the sense of being a network of applications, institutions, materialisations and theoretical settings such as its privileged relation in representing truth – which, looking back, it has always been. The discussions concerning the re-evaluation of photography, however, usually give most attention to individual pictures as products and as depictions. What we would like to focus upon  with our next conference are the modes of the technical, optical, chemical and social conditions of pre-, post-, mass and over-production, of  the distribution, consumption, circulation and archiving of what is so commonly known as photographs. We welcome in particular submissions concerned with new theoretical and empirical approaches and perspectives on these fields. And we would be delighted to receive papers dealing with rarely researched topics such as photographic optics, photochemistry and the applications of soft- and hardware for generating photorealistic images. We plan to arrange the talks in four panels:


  • Ça eu été? What photography has been and will become.
  • What is needed. The material bases of photography
  • How to use them. Production, dissemination, application and perception of photographic images
  • What else is new? Photographic practices at the fringes of photography.


Please submit your application, including a short summary of your paper (250-400 words) in English using the following link: no later than 20 December 2017. Note that you should register at the Easychair website in order to submit your application. There is no participation fee.

We shall consider the possibility of online participation for a limited number of participants. The working languages of the conference are Russian and English. Conference materials are planned for publication in 2018-2019. For programs of After Post-Photography since 2015 and past publications, please see

We would appreciate it if you would circulate the call to your own networks and other mailing lists.

Organising committee After Post Photography 4:

Maria Gourieva, Olga Davydova, Natalia Mazur, Daria Panaiotti, Friedrich Tietjen



————— Español ——————–

Convocatoria de trabajos, para conferencia


Estudios culturales, históricos y visuales en fotografía

16 -18 de mayo de 2018, Universidad Europea de San Petersburgo, Rusia

El medio fotográfico de una u otra manera, registra, representa y plasma la verdad, las realidades y el pasado, como un elemento fundamental. En teoría, esta relación se ha puesto en tela de juicio, en particular con la aparición de la manipulación de la imagen digital y las dudas se han extendido desde entonces también a la fotografía analógica. Sin embargo, a pesar de estas dudas, la noción de fotografía como algo verdadero impregna la mayoría, si no todas, las prácticas: en ciencia y humanidades. Las imágenes fotográficas sustituyen y representan el objeto de la investigación; como identificación, el retrato conecta un rostro y un cuerpo con un nombre y otros datos personales; las fotografías en álbumes y libros de familia permiten mirar hacia atrás en el pasado. Y aunque puede haber sido el motivo de la recientes dudas sobre la veracidad de la fotografía, la fotografía digital también se basa en esta promesa también. Compartimos las comidas con nuestras redes sociales en el momento en que se sirven, la videotelefonía nos permite hablar no sólo con una voz sino con una cara, y los metadatos GPS nos dicen en qué lugar de la Tierra tomamos una determinada foto. Además, la fotografía se hibrida cuando la cámara de nuestros smartphones se convierte en un escáner para códigos QR, los drones están equipados con software de reconocimiento facial y los sistemas de realidad aumentada transforman el mundo material en un espacio y una superficie para datos digitales.

En estas condiciones, la fotografía ha dejado de ser un medio específico para generar imágenes fijas. Se ha convertido en un dispositivo en el sentido de ser una red de aplicaciones, instituciones, materializaciones y escenarios teóricos como su relación privilegiada en la representación de la verdad -que, mirando hacia atrás, siempre lo ha sido. Sin embargo, los debates sobre la reevaluación de la fotografía, sin embargo, por lo general prestan la mayor atención a las imágenes individuales como productos y como representaciones.

Lo que nos gustaría destacar en nuestra próxima conferencia son los modos de las condiciones técnicas, ópticas, químicas y sociales de pre, post, producción y sobreproducción del medio, la distribución, consumo, circulación y archivo de lo que comúnmente se conoce como fotografías. Son especialmente bienvenidas, los proyectos relativas a nuevos enfoques teóricos y empíricos y las perspectivas sobre estos ámbitos. Y nos encantaría recibir trabajos sobre temas raramente investigados como la óptica fotográfica, la fotoquímica y las aplicaciones de soft- y hardware para la generación de imágenes fotorealistas. Planeamos organizar las charlas en cuatro paneles:

– Qué fue? Lo que la fotografía ha sido y será.

– Lo que se necesita. Las bases materiales de la fotografía.

– Cómo usarlas. Producción, difusión, aplicación y percepción de imágenes fotográficas.

– ¿Qué hay de nuevo? Prácticas fotográficas al margen de la fotografía.


Por favor envíe su solicitud, incluyendo un breve resumen de su trabajo (250-400 palabras) en inglés utilizando el siguiente enlace: a más tardar el 20 de diciembre de 2017. Tenga en cuenta que debe registrarse en el sitio web de Easychair para enviar su solicitud. No hay cuota de participación.

Consideraremos la posibilidad de participación en línea para un número limitado de participantes.

Los idiomas de trabajo de la conferencia son el ruso y el inglés.

Los materiales de la conferencia están previstos para su publicación en 2018-2019.

Para los programas de After Post-Photography desde 2015 y las publicaciones anteriores, por favor vea

Le agradeceríamos que hiciera circular el llamada entre sus redes y listas de correo.

Comité Organizador After Post Photography 4: Comité Organizador

Maria Gourieva, Olga Davydova, Natalia Mazur, Daria Panaiotti, Friedrich Tietjen

Correo electrónico: DIFUNDE LA PALABRA-




New Fellows Welcomed for the 2017-2018 Academic Year

New York, NY, November 13, 2017 – The New-York Historical Society is now accepting applications for its prestigious fellowship program for the 2018–2019 academic year. Leveraging its rich  collections of documents, artifacts, and works of art detailing American history from the perspective of New York City, New-York Historical’s fellowships—open to scholars at various times during their academic careers—provide scholars with material resources and an intellectual community to develop new research and publications that illuminate complex issues of the past.

Visit for instructions and application checklists for each fellowship. The application deadline for all fellowships is January 8, 2018. The available fellowships include:

Andrew W. Mellon Foundation Predoctoral Fellowships in Women’s History
The two recipients of the Andrew W. Mellon Foundation Predoctoral Fellowship in Women’s History should have a strong interest in the fields of women’s and public history. This unique part-time fellowship introduces young scholars to work outside the academy in public history and may not directly correspond with their dissertation research. They must be currently enrolled students in good standing in a relevant PhD program in the humanities. The Predoctoral Fellows will be in residence part time at the New-York Historical Society for one academic year, between September 5, 2018 and June 29, 2019, with a stipend of $15,000 per year. This position is not full time and will not receive full benefits.

National Endowment for the Humanities Fellowship
The fellowship is available to individuals who have completed their formal professional training and have a strong record of accomplishment within their field. There is no restriction relating to age or academic status of applicants. Foreign nationals are eligible to apply if they have lived in the United States for at least three years immediately preceding the application deadline. The ten-month residency will carry a stipend of $42,000, plus benefits. This fellowship will begin September 5, 2018 and will end June 29, 2019.

Bernard and Irene Schwartz Fellowships
Offered jointly with the Eugene Lang College of Liberal Arts at the New School, two Bernard and Irene Schwartz Fellowships are open to scholars who will have completed their PhD in History or American Studies before the end of the 2017-2018 academic year. Fellows will teach one course per semester at Eugene Lang College in addition to conducting focused research in residence at the New-York Historical Society. These fellows carry a stipend of $60,000, plus benefits. The fellowship will begin September 1, 2018 and will end June 29, 2019.

Robert David Lion Gardiner Foundation – Andrew W. Mellon Foundation Fellowship
This fellowship will be awarded to an early-career scholar. Research projects should expand public understanding of New York State history and should include research based on the collections and resources of the New-York Historical Society. This ten-month residency will carry a stipend of $60,000, plus benefits. The fellowship will begin September 5, 2018 and will last through June 29, 2019.

Andrew W. Mellon Foundation Fellowships
The Andrew W. Mellon Foundation Fellowship will be awarded to a candidate who has earned their PhD between 2013 and 2015. Research projects should be based in some way on the collections and resources of New-York Historical. This ten-month residency will carry a stipend of $60,000, plus benefits. The fellowship will begin September 5, 2018 and will last through June 29, 2019.

Short-Term Fellowships
New-York Historical Society awards a variety of short-term fellowships to enable researchers to conduct research on site for two-to-four week periods.  Each award brings with it a stipend of $2,000. The fellowship period runs from July 1, 2018 through June 29, 2019. Applicants should apply simply for a short-term fellowship. New-York Historical will decide which fellowship to award a successful applicant based on the particular proposal.

2017-2018 Fellows at the New-York Historical Society

New-York Historical is also pleased to announce 12 fellows, now in residence during the 20172018 academic year. New-York Historical offers fellowships to scholars dedicated to understanding and promoting American history. Fellowship positions at the New-York Historical Society are made possible by the generous support of Bernard and Irene Schwartz, the Andrew W. Mellon Foundation, the National Endowment for the Humanities, Robert David Lion Gardiner Foundation, Sid Lapidus, the Lehrman Institute, and Patricia and John Klingenstein. All fellows receive research stipends while in residency, and Bernard & Irene Schwartz Fellows each teach two courses at Eugene Lang College at the New School for Liberal Arts during their year as resident scholars. This year’s fellows are:

Joseph Murphy, an adjunct instructor at Hunter College, the Gilder Lehrman Institute of American History, and Adams State University, is the 2017-2018 National Endowment for the Humanities Fellow. He received a BA in history from Temple University in 2004, an MPhil in history from CUNY Graduate Center in 2014, and a PhD and certificate in American studies from CUNY in 2016. “Neither a Slave Nor a King: The Antislavery Project and the Origins of the Civil War and Reconstruction,” examines how antislavery forces developed an alternative vision of the American nation-state which provoked a constitutional crisis and set the stage for a new order based solely on fundamental human equality. Dr. Murphy’s research recovers the antislavery origins of the Civil War and Reconstruction, clarifying the terms of the sectional crisis while upending some long held beliefs about 19th-century politics and reform. In order to complete two chapters of his scholarly monograph and incorporate additional research into two more, Dr. Murphy will make extensive use of New-York Historical’s archival collections. Among other sources, Murphy will rely heavily on the Slavery Collection and Civil War Papers. He will also consult its collection of broadsides and anti-slavery newspapers, such as the Free Soil Advocate.


Sarah Gronningsater, assistant professor of history at the University of Pennsylvania, is one of two Andrew W. Mellon Foundation Fellows for 2017-2018. She received an AB in history and literature from Harvard University in 2003, an MSt in history from Oxford in 2004, and a PhD from the University of Chicago in 2014. Gronningsater’s project, “The Arc of Abolition: The Children of Gradual Emancipation and the Origins of National Freedom,” explores the long and legally-oriented transition from slavery to freedom in New York, from the first widespread Quaker emancipations in the mid-18th century to the passage of the Reconstruction amendment at the conclusion of the Civil War. During her tenure at New-York Historical, Gronningsater intends to fine tune her manuscript, completing research for certain chapters and completely rewriting others. She will be consulting New-York Historical’s extensive holdings of family papers from prominent citizens in New York, both slave-holding and otherwise, the Gilder Lehrman collections, and more.


Julia Rose Kraut is a legal historian who recently served as the inaugural Judith S. Kaye Fellow for the Historical Society of the New York Courts and is one of two recipients of the Andrew W. Mellon Foundation fellowship for the 2017-2018 year at New-York Historical.  Dr. Kraut received a BA in history from Columbia University in 2003. She received a JD in 2006 from American University Washington College of Law, and was admitted to the New York State Bar in 2008. Dr. Kraut received a PhD in history from New York University in 2015. Dr. Kraut’s book project is a legal, social, and political history of the exclusion and deportation of foreigners from the U.S.  based on their beliefs, associations, and expressions.  Her manuscript is under contract to Harvard University Press, and the archives at the New-York Historical Society will be essential to its completion. Among others, some of the sources Dr. Kraut will use include documents related to the Alien Act of 1798 and calls for its repeal, documentation of Chinese Exclusion, and the suppression of anarchists following President McKinley’s assassination in 1901.



Frank Cirillo is one of two Bernard and Irene Schwartz Fellows for 2017-2018. He received a BA in history from Yale University in 2011, and a PhD from the University of Virginia in 2017. Cirillo’s tenure at New-York Historical will be spent revising his dissertation into a publishable manuscript and by beginning research for another publishable work. Cirillo’s dissertation analyzes the relationship between abolitionism and support for the Union effort during the Civil War, touching on themes like activism and wartime pacifism. In order to expand his current research for this work, he will use several collections including manuscripts from Charles Sumner, Edward Everett, and Horace Greeley. For his second project, exploring the contours of postwar abolitionist memory, Cirillo will examine memoirs from ex-activists like Francis Jackson Garrison and Henry Wright.


Michael Hattem is one of two Bernard and Irene Schwartz Fellows for 2017-2018. He received a BA in history from the City College of New York in 2011, and a PhD from Yale University in 2017. Before the American Revolution, colonists held the same past in common with their British counterparts across the Atlantic. In the years leading up to the conflict, Hattem argues, this collective past was replaced by a new national narrative specific to the American colonies. Hattem’s research examines intersections between politics and culture in the revolutionary era to account for this shift. Several collections held at New-York Historical, including the John Jay Papers, the William Livingston Collection, and the Alexander McDougall Papers, will aid in the completion of Hattem’s monograph.



Anna Nau, a PhD candidate in architecture and historic preservation at the University of Texas in Austin, is one of three Patricia and John Klingenstein Fellows for 2017-2018. She received a BA in art history from Southwestern University in 2006, and an MA in architectural history in 2009 from the University of Virginia. She received an MS in architectural conservation in 2011 from the University of Edinburgh. Nau’s dissertation focuses on the origins of architectural preservation in the United States in an attempt to reframe the relationship of preservation and architectural practice. Ms. Nau’s research at New-York Historical will focus on the archives of the McKim, Mead, and White architecture firm as well as the collection of architect Cass Gilbert.

Franklin Sammons, a PhD candidate at the University of California, Berkeley, is one of three Patricia and John Klingenstein Fellows for 2017-2018. He received a BA in history and American studies from Sarah Lawrence College in 2008, and an MA in history from the University of Georgia in 2011. Sammons’ dissertation resurveys the Yazoo land sales in the Yazoo land fraud of 1795. He will be examining how the intersection of emerging financial markets and claims to native land shaped the development of territorial expansion, constitutional law, and the political economy of the early Republic. Sammons will examine the papers of Nathaniel Pendleton, Nicholas Low, and Rufus King, among others.
Natale Zappia, the Nadine Austin Wood Chair in American history and associate professor of history at Whittier College in California, is one of three Patricia and John Klingenstein Fellows for 2017-2018. He earned a BS in human development and family studies from Cornell University in 1996, an MA in history from Claremont Graduate University in 2003, and a PhD in history from the University of California at Santa Cruz in 2008. Professor Zappia’s work explores the evolution of food in the early American West. Using New-York Historical’s collection of John Jacob Astor’s papers, letters, and memoirs in addition to those of the American Fur Company and the Whiting Family, among others, Zappia hopes to synthesize materials produced in different regions and different periods.


The Andrew W. Mellon Pre- and Postdoctoral Fellows in Women’s History will work on scholarly, programmatic, and curatorial aspects of the New-York Historical Society’s new Center for Women’s History, the first of its kind in the nation within the walls of a major museum.



Nicholas A. Juravich is the incoming Andrew W. Mellon Postdoctoral Fellow in Women’s History, a two-year appointment through 2019. He received a BA in history from the University of Chicago in 2006, an MPhil in economic and social history from the University of Oxford in 2008, and a PhD in history from Columbia University in 2017.


Joanna Scutts is completing her term as the inaugural Andrew W. Mellon Postdoctoral Fellow in Women’s History. She received a BA in English from the University of Cambridge (UK) in 2000, an MA from Sussex University (UK) in 2003, and a PhD in English and comparative literature from Columbia University in 2010. Her book, The Extra Woman, a study of self-help literature for single women from the 1930s to the 1960s, will be published in November 2017 by Liveright, an imprint of W.W. Norton. As the inaugural Mellon Postdoctoral Fellow in Women’s History, she helped create public programming and permanent installations for the launch of the Center for Women’s History, and is co-curating the exhibition Hotbed, opening in November 2017.

Nicole Mahoney, a doctoral candidate in American History at the University of Maryland, College Park is one of two Andrew W. Mellon Predoctoral Fellows in Women’s History for 2017-2018. She received a BA in French studies and history from Wagner College in 2010, and an MA in history and literature from Columbia University in Paris in 2013.
William J. Simmons, a Provost’s PhD Fellow in the Humanities and a doctoral student in art history at the University of Southern California, is one of two Andrew W. Mellon Fellows in Women’s History for 2017-2018. He earned a BA in the history of art and architecture and LGBTQ studies from Harvard University in 2014 and was a graduate teaching fellow at the Graduate Center of the City University of New York and an adjunct lecturer in art history at the City College of New York until spring 2017.
The New-York Historical Society, one of America’s preminent cultural institutions, is dedicated to fostering research and presenting history and art exhibitions and public programs that reveal the dynamism of history and its influence on the world of today. Founded in 1804, New-York Historical has a mission to explore the richly layered history of New York City and State and the country, and to serve as a national forum for the discussion of issues surrounding the making and meaning of history.
The Patricia D. Klingenstein Library at the New-York Historical Society is home to over 350,000 books, nearly 20,000 linear feet of manuscripts and archives, and distinctive collections of maps, photographs, and prints, as well as ephemera and family papers documenting the history of the United States from a distinctly New York perspective. The Library’s collections are particularly rich in material pertaining to the American Revolution and the early Republic, the Civil War, and the Gilded Age. Significant holdings relate to Robert Livingston and the Livingston family, Rufus King, Horatio Gates, Albert Gallatin, Cadwallader Colden, Robert Fulton, Richard Varick, and many other notable individuals. Also well documented within the Library’s collections are major social movements in American history, especially abolitionism, temperance, and social welfare. The Library’s visual archives include some of the earliest photographs of New York; a significant collection of Civil War images; and the archives of major architectural firms of the later 19th century. Among the more than 1.6 million works that comprise the museum’s art collections are all 435 preparatory watercolors for John James Audubon’s Birds of America; a preeminent collection of Hudson River School landscapes; and an exceptional collection of decorative and fine arts spanning four centuries.


Marybeth Ihle, (212) 873-3400

European Master of Contemporary Photography Grants, Madrid. Deadline: Dec. 4, 2017.

The 8th edition of this program, which has changed its title from European Master of Fine Art Photography to European Master of Contemporary Photography will start next April. As every year, we are looking for two exceptional students to join the course with a stipend, which covers 50% of the tuition fees (worth 4250 Euros). The stipend is given to exceptional talents, who are willing to lead the group and help the other students grow. We have had some very very talented winners for this grant in the last years, such as Marcio Vilela, Jana Hartmann, Duarte Amaral Netto, Alena Zhanderova, Jorge Fuembuena, Nikita Pigorov, and Yutaka Nozawa. If you know of anybody who might be suitable and interested in this opportunity, please send them the following link to participate:

Go to to find more information on the European Master of Contemporary Photography, and our other programs.

IED Madrid has been selected repeatedly as one of the best places to study photography, e.g. by Jebiga, Vogue, and Art Photography Schools.

The Master program offers a practical and innovative training where students develop their personal projects, coached by a team of tutors and teachers of international fame: Martin Parr, Joan FontcubertaSimon Roberts or Andreas Müller-Pohle, to name just a few.

—— Español ——

Becas para el Máster Europeo de Fotografía Contemporánea 2018

Deadline: 4/12/2017 – 18:00

¿Quieres abrirte camino en el mundo de la fotografía artística? Fórmate en nuestro programa de referencia: el Máster Europeo de Fotografía Contemporánea, que arranca su octava edición en abril de 2018.

Ofrecemos una formación práctica e innovadora en un máster único. Un programa donde podrás desarrollar tu proyecto personal, que gozará de un seguimiento individualizado por parte de nuestro equipo de tutores y docentes de fama internacional: Martin ParrJoan FontcubertaSimon RobertsAndreas Müller-Pohle, entre otros.


Dos becas que cubren el 50% de la tasa del curso, equivalente a 4.250 euros.


Fecha límite de recepción de trabajos: 4 de diciembre de 2017 a las 18.00 h, hora de Madrid (GMT+1).
Fecha de la comunicación de los ganadores: 11 de diciembre de 2017 a las 18.00 h, hora de Madrid (GMT +1).

Los ganadores se publicarán en



Photography Grants to an UNHEARD VOICE, and for PORTRAITS. Deadline: Dec. 15, 2017

The Jacob Johnson Memorial Grants will fund three stories of people, places, moments or issues that are meaningful to the artist’s life.

A panel will judge applications based on the following components: personal narrative, photographic excellence and need for funding.


To honor the city that helped shaped Jacob Johnson as an artist, one grant will be awarded to a Chicago-based photographer. The local photographer will also be invited to attend Jacob Johnson’s Memorial art show on January 22, 2018.


To honor those often excluded from mainstream media due to their race, gender or social philosophy, one grant will be given to a photographer producing work that gives voice to the underrepresented.


In honor of our relationship, in which we photographed one another without hesitation, one grant will be awarded to a photographer working on a portrait series.

What is the timeline?

Applications open October 28, 2017.

The deadline to submit is 11:59 p.m. December 15, 2017.

Winners will be announced by January 22, 2018.

Who is eligible?

Any photographer over the age of 18, able to submit an application in English. Winners must be able to accept grant money via PayPal.

What is the purpose of the grants?

To fund and reward personal narratives, stories that have directly impacted or involve the photographer, or portrait series on a topic of personal significance to the artist.

“Home-land”. Photography Exhibition Call, Netherlands. Deadline: Nov. 26, 2017

We call for entries from photographers and photographic artists with images that are dedicated to “Home-land”. Our second exhibition will be on view with this title from December, 13th until January, 27th, 2018, in our wonderful gallery at the Vijverhofstraat. It will show our selection from the works that were submitted in the call. The deadline for the call is November, 26th.

We will be assisted in making this selection by Otto Snoek. He is a Rotterdam-based photographer with international renown, exhibiting his work all over the world. He will be the guest curator for this exhibition.


“you don’t live in a country. You live in your home-land. But what is it?”

Home-land….is this your fatherland? If so, what defines your fatherland, apart from the clichés which most often are not true? Is it the land you live in? The land you where born? The hometown, house or maybe even just the room you live in? Does it have any connection with your community? What about other communities claiming the same homeland? Is it your language? How do you feel about your home-land? What do you see?

The notions of “nation”, “community”, “region”, “people” are very elusive and have always been so. Henri Cartier-Bresson (1908-2004) in his series for “Europe” tried to find the cultural phenomens that divide or bind us as Europeans; the photography of Josef Koudelka (b. 1938) on the other hand shows us the feelings and observations of an exile. Modern photographers like Otto Snoek and Martin Parr (b. 1952) show us the behavior of our compratiots, without any comments, but still leaving you behind with an awkward feeling.

What will you show us?

Your work can be anything from a straight photograph, to manipulated and even drawn photoshop projects, from alternative 19th century photographic techniques to modern, computer made images, graphic arts (etchings, litho’s…), as long as it’s based on one or more photographic images (no drawings or paintings) and you can show us how it looks by sending us a digital file.

More information: