History was made last night here at NYPH’12 HQ at the Arena; amazing stories and heartfelt insights from Eugene Richards, Reza, Platon, Lori Grinker, and Bruce Davidson for moderator Glenn Ruga’s panel On Razor’s Edge: Form and Content in Documentary Photography. Really the best we have done I think. Intimate, remarkable, incredible. Thanks for everyone who asked superb questions and made the masters think and expound and stun us with their experiences and perspectives.
These are the 2012 New York Photo Festival Invitational Multimedia Winners!
If your name is on this list, congratulations, your work has been accepted to the New York Photo Festival for the inaugural Invitational Exhibition to take place May 16-20; you must now prepare to send your multimedia finished work to the exhibit location.
Selected pieces will be scheduled for daily viewing on our main stage during NYPH’12; please email, drop off, or ftp your file (contact Nina for more info).
Ed Kashi and Catherine Karnow
Romain Blanquart, Kathy Kieliszwewski and Suzette Hackey
Diego Ibarra Sanchez
The Photography Collective (Please send us an email with your name and information)
New York Photo Festival
ATTN: Nina Mendez Marti
37 Main Street
Brooklyn, NY 11201
tel 347-853-7447 x 135
If you plan to come to the Festival, please let us know, we will reserve a VIP pass for you.
Holy cow was this massive. Over 6600 submissions, reviewed by 20 top photo industry professionals, split into two aesthetic sides….a massive sorting and evaluating system that has brought to the top of the list incredible examples of what’s being done in Documentary, Fine Art, Advertising and Book making right now.
What did our esteemed jurors think? Just your everyday NYPH participant awesomeness!
The level was so profound this year that several artists were ranked for achievements in multiple categories; in some instances by different teams of jurors. Where multiple top rankings exist, notations will be made to your exhibiting pieces noting the dual citation; your strongest ranking will be invited for exhibition.
We are still researching a few contacts for image pieces listed at the end of this Notice of Invitation; everyone will be contacted directly by email over the next 24 hours regarding title, category and deadline for artwork receipt.
If your name is on this list, congratulations, your work has been accepted to the New York Photo Festival for the inaugural Invitational Exhibition to take place May 16-20; you must now prepare to send your finished work to the exhibit location OR have your files sent to our official festival partner photo lab SLE for printing, and mounting and framing partner L2 (if you wish mounted); see details at end of this post.
We will be announcing a summer-long initiative at the festival regarding an expanded presentation of the Invitational, so if your name is not on this list, stay tuned to the NYPH’12 web site for further developments.
|Anoek Steketee and Eefje Blankevoort|
|Arnaud De Wolf|
Chong Kok Yew
|Diego Ibarra Sánchez|
|G. Ligaiya Romero|
|Ilisa Katz Rissman|
|Jacek Piotr Pulawski|
|Philippe de Poulpiquet|
*Multimedia winners will be announced at the end of this week.
WHAT TO DO NEXT:
1) to send your work directly to exhibition site; please make arrangements for return postage if you want your work returned:
Nina Mendez Marti
New York Photo Festival
37 Main Street
Brooklyn, NY 11201
tel 347-853-7447 x135
2) Printing: If you need help producing your work for the exhibition: we have set up a partnership with Sous Les Etoiles (www.souslesetoiles.ne
3) Mounting: Should you have your work printed at Sous Les Etoiles OR you wish to you have your self-printed work mounted or framed, send to:
L2 FINE ART MOUNTING AND FRAMING
337 East 89th Street, Brooklyn NY 11236
ATT: LESLIE SAMET leslie@L2mounting.com t. 718-346-6666
NYPH’12 is proud to announce the open competition of the New York Photo Awards 2012, open to all amateur and professional photographers, artists, and students; platform will be open to the public April 15 and submissions will be accepted through August 17, 2012.
Runners-up and Winners will be exhibited at POWERHOUSE ARENA in Dumbo, Brooklyn, during the famous and world renowned Dumbo Arts Festival, with reported attendance of over 200,000 art aficionados over three days, September 28-30. Some of the prizes to be awarded: commercial gallery exhibition and representation; agency representation; stock agency feature; digital short eBook; commercial book contracts.
An expanded jury pool from New York Photo Festival Invitational will select runners-ups and finalists; winners will be announced at a special presentation during the festival. For more information and to particulate, see www.NYPH.at/Awards.
NYPH’12 is pleased to announce the jurors for the inaugural New York Photo Festival Invitational:
Claude Grunitzky (NYPH’12 Curator)
Peter Hay Halpert
Adriana Teresa Letorney
Paul D. Miller aka DJ Spooky, That Subliminal Kid (NYPH’12 Curator)
Glenn Ruga (NYPH’12 Curator)
Amy Smith-Stewart (NYPH’12 Curator)
There is no limit on the number of submissions across any category: fine art, documentary, advertising, photo books, and multimedia. Winning work will be chosen by the jurors and NYPH curators. Submission in multiple categories increases chances for exposure and recognition; entrants are encouraged to submit early to benefit from chronological placement in juror review tables, and to take advantage of a special bonus opportunity to be announced shortly.
Deb Archambault has worked at BBH, Publicis and Deutsch, and has produced award-winning campaigns for clients including British Airways, Sprite, LG, Vaseline, Axe, UBS, Citibank, Tommy Hilfiger and Revlon. Daily responsibilities include photography production, illustration negotiations, mood board creation, and visual inspiration aggregating for the creative department. During the past ten years, she has worked with photographers ranging from world-renowned to up-and-coming, and actively seeks to ground-break new talent.
Michelle Chant has been an Art Producer for the past seventeen years, over eight of those at Wieden + Kennedy’s New York office. Recent productions include the current campaign for Delta Airlines, featuring black and white photography. Michelle has worked at several other advertising agencies including 180 in Amsterdam, Fallon NY, Deutsch, J. Walter Thompson and Kirshenbaum & Bond.
Craig Cohen is the Executive Publisher at powerHouse Books, and has been with the firm since 1996. He created and manages the company’s POWERHOUSE CUSTOM PUBLISHING program (yes, PCP), and has been responsible for signing, designing, manufacturing, and selling over $4MM in artist’s books and pop culture visual tomes in his two years as Publisher. His newest signing—the largest in the history of pH—is a house-hold creative name whose book will be released in 2013.
Sean Corcoran is the Curator of Prints and Photographs at the Museum of the City of New York, where he has been since 2006. He previously served as Assistant Curator of Photography at George Eastman House, Rochester, and as adjunct faculty of Ryerson University’s Masters Program in Photographic Preservation and Collections Management in Toronto. Over the years, he has organized a wide range of photographic and media exhibitions, including: Occupy Wall Street: A Photographic Document; and the exhibitions currently on display, Police Work: Photographs by Leonard Freed, 1972-1979, and Stories the City Tells Itself: The Video and Photography of Neil Goldberg.
Yolanda Cuomo, Principal of Yolanda Cuomo Design, is an experienced Art Director and avid educator. Her work has been honored with several important industry awards – her firm’s direction of Aperture was a recipient of the prestigious 2004 National Magazine Award in the category of General Excellence from The American Society of Magazine Editors (ASME). Top honors were also received in 1990 and in 2004 from the International Center of Photography’s annual Infinity Awards. Currently, Cuomo teaches within the Department of Photography and Imaging at NYU’s Tisch School of the Arts. She has also taught or guest lectured at ICP, LOOK3 Festival of the Photograph, Parsons School of Design, The University of Delaware, Rensselaer Polytechnic Institute and The Magazine Publishers of America Folio Show.
Dana Faconti is the Editor and Publisher of Blind Spot magazine as well as the Executive Director of Photo-Based Art, the non-profit publisher of the journal. A native of New York and a graduate of Parsons School of Design, she has worked with Blind Spot since 1999. She has presided over the design, production, and publication of several books, including Chronologies and On The Beach by Richard Misrach, Aaron Siskind 100, The Hudson Valley by Stephen Shore, and Yours in Food by John Baldessari. She has worked at the Aperture Foundation and with the Time Life Picture Collection, and has taught photography at the School of Visual Arts in New York City.
Claude Grunitzky (NYPH’12 Curator) is the founder of TRACE Magazine, and co-founder/chairman of TRUE, a New York- and Paris-based think tank and transcultural marketing agency in association with TBWA Worldwide. Grunitzky has created media projects all over the world, and has written for leading newspapers The Guardian, Libération, NRC Handelsblad, and Globo, as well as co-producing a documentary for the BBC. An MIT Sloan Fellow and a French American Foundation Young Leader, Grunitzky sits on the board of Humanity in Action, a foundation that works internationally to build global leadership, defend democracy, protect minorities and improve human rights. The recipient of many distinctions, he was named a finalist for the Ernst & Young “Entrepreneur of the Year” award in 2007.
Peter Hay Halpert is a collector, private art dealer and curator specializing in contemporary young and emerging photographers. He represents and exhibits artists from the U.S., Canada, England, Scotland, France, Germany, Russia, Sweden, Holland, Argentina, and Japan. Work from his stable of artists can be found in The Metropolitan Museum of Art, MoMA, ICP, the Whitney, the Guggenheim, the Getty, Boston’s MFA, the Museum of Fine Arts, Houston, SFMOMA, the Tate, and the Victoria & Albert Museum. He has written more than 600 articles as Contributing Editor of American Photo and The Artnewsletter, and writes for publications such as Aperture, Art & Auction, Artnews, Art Press International, and La Lettre De La Photographie. He is the author of the book Motion Picture, on Hiroshi Sugimoto, and has contributed an essay to the retrospective catalogue of Sugimoto’s work. He will publish this year Identities Now: Contemporary Portrait Photography. A former professor at SVA & ICP, he has lectured at universities and museums around the world, including the Whitney, the High Museum of Art in Atlanta, and the Royal College of Art in London.
Whitney Johnson is the Director of Photography at the New Yorker, where she oversees the photographic vision for the magazine, the New Yorker iPad edition, and newyorker.com, which have included award-winning portfolios on the United States military and world leaders. She contributes regularly to the magazine’s photography blog, Photo Booth, and is an adjunct professor at New York University. Previously, Johnson worked at the Open Society Foundations (OSF), where she coordinated an international grant competition for documentary photographers and the Moving Walls exhibition.
Adriana Teresa Letorney is co-founder of FotoVisura (2009) and Visura Media (2010), which produces Visura Magazine (where she is Editor and Publisher), and the end-user photo enthusiast site FotoVisura.com (creative director). In 2011, she began the FotoVisura Residency for War Photographers and Photojournalists in Vermont. This year sees the debut of The FotoVisura Grant, which will be the subject of a staged presentation at the New York Photo Festival. Adriana Teresa is a contributing writer to The New York Times Lens blog, La Lettre de la Photographie, and the Huffington Post’s Latino Voices section. In January 2011, she co-founded The Envision Foundation for Photography and Digital Media, an international non-profit organization that empowers young people to become involved in, and contribute to, their communities and the world through photography and digital media.
Kristen Lubben is Curator and Associate Director of Exhibitions at the International Center of Photography. A member of the curatorial staff since 1998, she has curated numerous exhibitions focusing on documentary practice and social uses of photography, including Susan Meiselas: In History; Magnum Contacts; Gerda Taro; Francesc Torres: Dark Is the Room Where We Sleep; Amelia Earhart: Image and Icon; El Salvador: Work of Thirty Photographers; and co-curated Dress Codes: The Third ICP Triennial of Photography and Video with Vince Aletti, Carol Squiers, and Christopher Phillips. Ms. Lubben is the author and editor of several publications, including the recent Magnum Contacts (Thames & Hudson) and the catalogue for the exhibition In History, which received the Kraszna Krausz Either/Or Award (UK) for best photography book of 2009 and best historical photography book from Les Rencontres d’Arles. Ms. Lubben received her BA in art history and women’s studies at the University of California, Irvine and graduate degree at the Institute of Fine Arts, New York University.
Paul D. Miller aka DJ Spooky, That Subliminal Kid (NYPH’12 Curator) is a composer, multimedia artist and writer. His written work has appeared in The Village Voice, The Source, Artforum, and Wired, amongst other publications. Miller’s work as a media artist has appeared in a wide variety of contexts such as the Whitney Biennial; The Venice Biennial for Architecture (2000); the Ludwig Museum in Cologne, Germany; Kunsthalle, Vienna; and The Andy Warhol Museum in Pittsburgh. In 2011, Miller released a graphic design project exploring the impact of climate change on Antarctica through the prism of digital media and contemporary music compositions, or, “acoustic portraits,” of Antarctica entitled The Book Of Ice, included in the 2011 Gwangju Biennial by Korean architect Seung H-Sang and Chinese dissident artist Ai Weiwei. Miller is currently a Contributing Editor to C-Theory and the Arts Editor of Origin Magazine, which focuses on the intersection of art, yoga and new ideas.
Mark Murrmann is the Photo Editor at Mother Jones magazine, and has a background as a working photojournalist, having covered Congress, worked on documentary projects, and extensively photographing the world of punk rock. In addition to his work at Mother Jones, Mark is a regular contributor to the San Francisco-based collective Hamburger Eyes, a contract photographer with ZUMA Press, and holds degrees from Indiana University and UC Berkeley Grad School of Journalism.
Daniel Power (NYPH’12 Director) is a Founder of the New York Photo Festival, established in 2008, and is the CEO of powerHouse Cultural Entertainment, Inc., a fancy name for…book publishing (est. 1995) and related initiatives, including The POWERHOUSE Arena (2006), and powerHouse Packaging & Supply (formally Quirk, 2011). This year powerHouse Digital will debut, and a new top-shelf amenities installation in the Arena will take place.
Glenn Ruga (NYPH’12 Curator) is the Executive Director at the Photographic Resource Center at Boston University, and founder of SocialDocumentary.net, a website for documentary photographers to create online galleries of their work. Ruga received a BA from the University of Massachusetts in Social Thought and Political Economy and an MFA from Syracuse University in Graphic and Advertising Design. In 1984, he started Visual Communications, a graphic design firm working primarily with non-profit organizations. From 1993-2009, Ruga was the volunteer Executive Director of the Center for Balkan Development. He has produced four traveling documentary photography exhibits, two of which were based on his work in the former Yugoslavia.
Michael Shulman has been Director of Publishing at Magnum Photos since 2002. He has worked as a consultant on many diverse book, CD, and film projects, including Bob Dylan’s Together Through Life CD and video, the new New York in Color book published by Abrams, “Freedom Riders” for WGBH, and “The Architect & the Painter: the Creative Lives of Charles & Ray Eames” for PBS.
Lauren Steel is the Manager of Photography for Reportage by Getty Images, and is responsible for a group of renowned photographers who have won numerous awards and recognitions, including World Press Photo, POYi and OPC. Recently she edited Mario Tama’s book Coming Back: New Orleans Resurgent. She started at Getty Images in 2003 as an entertainment assignment editor for the news wire, assigning the daily coverage of entertainment events for the east coast. She has also been a part of the Eddie Adams Workshop faculty for the last 8 years. Steel graduated from Boston University with a bachelor of science in photojournalism and immediately went to work at LIFE magazine as the photo and art assistant, working on various special projects over the years, including the NYT Best Seller One Nation. Lauren also worked for Rolling Stone and ImageDirect.
Amy Smith-Stewart (NYPH’12 Curator) has organized more than fifty exhibitions in museums and galleries. She was Curator at P.S.1 Contemporary Art Center/The Museum of Modern Art, New York from January 2002 through December 2005, where she mounted solo exhibitions including Adrian Paci, Ernesto Caivano, Katharina Sieverding, Aleksandra Mir, Mika Rottenberg, Phoebe Washburn, and Christian Holstad, among others. She was also one of six curators of Greater New York 2005. In 2006, Smith-Stewart was a Curatorial Advisor for the Mary Boone Gallery, where she organized three group exhibitions and a solo exhibition of Aleksandra Mir. From 2006-2008, Smith-Stewart was a Guest Curator for the Peter Norton Collection. Presently, she is on faculty at the School of Visual Arts, MFA Fine Arts Department, and the Sotheby’s Institute, New York, MA Contemporary Art program.
Corinne Tapia is the Director at Sous Les Etoiles in New York and has been involved in the photography world as a collector and consultant for the last 20 years. Tapia also collaborates in portfolio reviews with Photolucida (Portland), ICP (New York), and Les Rencontres d’Arles (France). She has initiated artist exchange programs with international photo galleries, and recently shifted focus to contemporary Japanese photography with several thematic exhibitions of Japanese photographers in partnership with Gallery 21 in Tokyo. A member of the TOKYO-GA commissioner’s board in Japan, Ms. Tapia spearheads the selection committee and programming schedule for the 2013 Tokyo Museum of Photography exhibition’s U.S. delegation.
Catherine Wyatt is the Associate Director of ClampArt, a Chelsea gallery specializing in modern and contemporary art with an emphasis on photography. Wyatt joined the staff in 2007. Prior to that she worked as a gallery assistant for Jenkins Johnson Gallery, and her first position in New York City was with Laumont, one of the country’s top photographic labs. Additionally, Ms. Wyatt is part of Spring Fever Arts, a curatorial team concentrating on the production of exhibitions in alternative spaces for up-and-coming artists.
What Do You Believe In
This select group exhibition of sixteen artists— Jen DeNike, Hank Willis Thomas, Leah Beeferman, Stuart Hawkins, Yamini Nayar, Fay Ray, Luke Stettner, Anissa Mack, Kenya Robinson, Xaviera Simmons, Nicole Cherubini, Nyeema Morgan, Sara Greenberger Rafferty, Matthew Spiegelman, Daniel Gordon, Ignacio Lang—explores how photography shapes our ideas—who we are, why we do the things we do, how our thinking happens, and where it evolves. Works in the exhibition will range from collage, installation, video, sculpture, and photography and span the mystical, ideological and political. Many of the works explore self-perception from an existential or spiritual perspective to popular culture’s impact on personal development. But what all of the artists attempt to show us is where we are and where we might be heading.
The Razor’s Edge: Between Documentary and Fine Art Photography
All artists walk a razor’s edge between form and content. It is the core struggle all artists must resolve with their work. By its very nature though, documentary leans heavily toward content. But the marketplace creates an environment that is uncomfortable with the emphasis on content and demands an emphasis on form.
The core concern of documentary photographers is the subject matter, and the photographer, as an artist, uses the formal language of visual art to communicate this context to their audience. But when documentary photography enters the fine art world of commercial galleries, the connection to the subject matter is downgraded and the formal values of the work, manifest in the print, is elevated. Gallery sales, though potentially lucrative, can substantially change the nature of the work.
There has always been an uncomfortable relationship between documentary photography and fine art photography. Even “fine art” photographers who work primarily in the documentary genre often will not admit to the term. The elephant in the room in the fine art world is that tendentious work—work that has a motive beyond pure “artistic” pleasure—is tainted and beneath work that is purely fine art.
But quite the opposite is true. Documentary has twice the pressure as art based in formalism. Not only must documentary excel in formalism, it must then channel this honed skill to create a meaningful message. Documentary can tell us truths about our relationships to other people, to nature, and to ourselves. Isn’t that what we want from art—truth?
Fundamentally our culture does not want to face difficult or complex truths about our world. Is it that we don’t care? Or that the truth is too painful, or that our guilt is too great, or just that the truth is too enormous for the average human psyche to fully grasp. It is much easier and safer to parse the subtleties of form than it is to grapple with the complexities of a world wrought with poverty, disease, hunger, exploitation, and war, or to explore dissonant gender and family relationships, or radical ideas about relationships to power and commerce—in other words the fare of documentary photography.
The dictates of the marketplace don’t help us answer this question; for markets to flourish, they must present a never-ending optimism and conformity, warranted or not. Photographers grappling with complex social issues are thus persona non-grata in the marketplace of art unless they turn their discourse to formal values that are more palatable to buyers of art.
The landscape documentary photographers face is both a culture that avoids facing difficult issues and a marketplace that rewards obfuscation. But luckily we have artists who demand truth, explore far beyond the measure of normality and the pedestrian, and who grapple with complex issues. But they want—and need—some measure of success in the marketplace, as we all do in contemporary society. They therefore must walk a razor’s edge fraught with these contradictions.
This show—featuring Bruce Davidson, Reza, Platon, Rina Castelnuovo, and Eugene Richards—is about that tension, and exploring where these artists stand on this edge and how they grapple with these contradictions.
the Curse and the Gift
Henri Cartier-Bresson once famously said that, “to take a photograph is to align the head, the eye and the heart. It’s a way of life.” In this age of iPhones and Android digital photography, where Instagram and Picasa allow for easy photo editing, with endless retouching and sharing options, the art photographer’s perspective has been sacrificed at the altar of instant gratification. Photography is a way of life, and as we all become touch-screen photographers, emailing and Facebooking away, art photography takes on an entirely new meaning in its role in helping us to understand the way we live now. With our modern societies in flux, and many forms of cohesion in jeopardy, it helps to reflect on those changing human dynamics by looking at images that were composed calmly, away from the pressure of instant delivery. The three photographers I chose for this exhibition approach image-making in very different ways, but they share a nomadic sensibility that often translates into sharp social commentary. It comes out in the tones and undertones.
Evangelia Kranioti is from Athens, but she has been living in Paris, on and off for the past decade. Her work deals with the endless human journey, with the sea and maritime voyages as her great inspiration. Venturing into the Mediterranean to Italy or the Atlantic through the docks of Rio de Janeiro, she is constantly searching for dignity and humanity, seeking tangible traces of beauty in this world. In doing so, she often finds herself in borderline situations, in zones where others might feel personal and social discomfort. But, whether she is photographing downtown prostitutes or wayward sailors, the tension feeds her lens and the result is a series of unvarnished testimonies about human weakness, where vulnerability is the common attribute, courage is viewed as a currency and desire becomes the equalizer.
Irmelie Krekin lives in Stockholm, but her parents came to Sweden from the Russian border, a place called Karelia. The images shown in the exhibit are the result of a personal exploration of her childhood memories, when she would travel to the forest, carrying her secrets in her backpack and watching the world unfold before her young eyes. In the summer of 2009, she began to revisit her childhood summers and recreated, through her observations of her own children, the personal stories that she had once constructed from those fleeting moments, from the hidden experiences of innocent youth. The faded memories and unspoken family secrets are finally shared, reconstructed and turned into a road movie of sorts: a road movie with no car and no sound, just the melancholy of silence.
Christian Witkin, who lives in Brooklyn, New York, was born to an American artist father and a Dutch mother. Like many of the great twentieth century documentarians, he is interested in discovering the world through a series of surveys where the images are created through spontaneous street experimentations. The portraits shown here are telling us something about the people he met in India, Thailand, Ethiopia and the hometown boroughs of New York City. Although these characters seem detached from their surroundings, in reality they are completely absorbed in their cultural environments. The stories that are told through the gaze in their eyes end up pointing to a world where imagination subverts reality. Because of his preference for classical compositions that leave room for the spontaneity of chance encounters, he is able to embrace both the tradition in ancestral cultures and the modernity of assumed eccentricities.
Sinfonia Antarctica (The Book of Ice)
The Soviet architect, graphic designer, and collage artist Gustav Klutsis once said of his music-staging loudspeaker arrays: “Fantastic work. Looking for new media. Surface. Space. Construction.”
For the New York Photo Festival, Paul D. Miller aka DJ Spooky takes a look at how the role of the “archive” of Antarctic history—in photography, graphic design, and contemporary composition—has shaped some of the ways we think about contemporary digital media aesthetics. In conjunction with NYPH’12, Miller will present material from his recent Book of Ice project through the prism of an intersection of sculpture, architecture, live performance, moving image, and digital media installation. From the molecular structure of ice to the composition of atmospheric pollutants as they color the night skies, the material for Miller’s installation with NYPH’12 will explore the linkages between the physical realm of beautiful remote places like the ice fields of Antarctica, and the ethereal realms of digital media portraits of a rapidly changing world.
The New York Photo Festival is pleased to announce the appointment of its 2012 edition curators: Amy Smith-Stewart (site, NYT article), Glenn Ruga (SocialDocumentary.net, PRC at BU), Claude Grunitzky (Wiki listing), and Paul D. Miller (aka DJ Spooky, That Subliminal Kid; site, Wired interview).
These four esteemed individuals exert momentous force in the fields of fine art curation, committed social documentarian photographic work, transcultural art and brand identification and investigation, and polymathic exploration and mixtape documenting of cultural touchstones high and low. (All are wickedly smart and really great people too. —Ed.)
Featured artists will be announced shortly, as will curator sites, satellite exhibitions, evening programming, and killer special events (intimate artists’ talks, book signings, slideshows).
The exhibition site of the New York Photo Festival Invitational will take place in the massive POWERHOUSE ARENA at 37 Main Street; it will be the first time in the history of the New York Photo Festival that individual and collective submissions of photographic work will be included formally in the festival; each NYPH’12 curator will head up a team of renowned photo world leaders in his or her category to choose the top finalists and winner of each category to be exhibited. The rest of the curatorial jury will be announced next week; submissions should be placed at www.NewYorkPHotofestival.com; it is strongly advised to enter early (results are presented to jurors by chronological upload), and interim award offers will begin March 23rd.