Portfolio Reviews



2017 Portfolio Reviews
The Gladstone Hotel
Sunday, May 7 and Monday, May 8, 2017
$200+HST for 4 reviews

Registration is open now through Monday, April 24, 2017.

International curators, directors, publishers, and photo editors are brought together during CONTACT to review work by emerging artists, with a focus on documentary, photojournalism, narrative or photo-based art practices. This is an important event for those with projects at an advanced stage of development who are seeking opportunities for publishing and exhibiting nationally or internationally—as well as looking for guidance on conceptual approaches or career development advice.

Please note that due to limited space, all submissions will go through a selection process to ensure that a high caliber of work is presented in this program.

Supported in part by Ontario Arts Council, Vistek, Toronto Image Works and Steam Whistle Brewery.

2017 Reviewers

Clinton Cargill
Director of Photography, Bloomberg Businessweek and Bloomberg Markets, New York

Diane Evans
Gallery Manager, Presentation House Gallery, Vancouver

Benjamin Füglister
Artistic Director, CAP Prize for Contemporary African Photography, Berlin

Audrey Genois
Executive Director, Le Mois de la Photo, Montréal

Candy Pilar Godoy & Eva M. Kunz
Founders, Ceiba Editions, New York/Italy

Romke Hoogwaerts
Creative Director, Rubber Factory Posters, New York

Tarin Hughes
Executive Director, AKA Artist-Run, Saskatoon

Liz Ikiriko
Freelance Photo Editor/Curator, Toronto

Shane Lavalette
Director, Light Work, Syracuse

Bonnie Rubenstein
Artistic Director, CONTACT

Brian Sholis
Independent curator, editor, and writer, Toronto

Teun van der Heijden & Sandra van der Doelen
Founders, Heijdens Karwai, Amsterdam

The Portfolio Reviews Award

Reviewer Bios

Clinton Cargill is director of photography for Bloomberg Businessweek and Bloomberg Markets magazines. Since he joined Businessweek in 2014, the magazine's photography has been recognized by American Photography, Pictures of the Year International, the Society of Publication Designers, The Creative Review, Photo District News and the American Society of Magazine Editors. Before joining Businessweek , he was a photo editor at The New York Times Magazine , where he worked from 2004 - 2014. He has taught courses on editorial photography at the International Center of Photography and serves on the board of directors at the Center of Photography at Woodstock and the Society of Publication Designers.

Bloomberg Businessweek is a weekly news magazine covering business, global economics, politics, current events and technology. The magazine has developed a strong visual point of view, defined by bold design and strong photography. As photo director, Clinton commissions a variety of photographic work, from portrait, documentary and landscape to fine art, conceptual and fashion. As such, Clinton is open to reviewing all types of work, but is particularly interested in photography that depicts or engages with real world subject matter. Clinton can provide editorial advice, critical feedback on developing and refining long-term projects, guidance on sequencing and editing portfolios, making contacts and how to pitch editors.

As Gallery Manager at Presentation House Gallery, a public gallery devoted to photography and media art, Diane Evans has been involved in gallery programs and operations since 1988. She oversees the production of exhibitions of international, historical and contemporary photography, publications, editions and fundraiser auctions. She is manager of PHG's specialty photography bookstore and website.

In addition to her work at PHG she has taught photography and its histories at Emily Carr University in Vancouver as a sessional instructor since 1996. She has curated and juried exhibitions and awards, and reviewed portfolios at the Houston FotoFest in 2012 and 2014.

As a portfolio reviewer Diane can offer participants advice on developing work as an artist, will discuss your work, offer professional development and guidance. She is interested in viewing cohesive bodies of work related to all types of creative and innovative photography including documentary, street photography and portraits. She prefers not to review commercial, fashion, travel, wedding and stock photography.

Benjamin Füglister was born in Switzerland in 1978 and is an artist and cultural entrepreneur. He has lived in Berlin, Germany since completing his studies at the Basel Art School in Switzerland and the Utrecht Art School in the Netherlands. In his artistic practice he explores social conventions and their visual transformations. He is particularly interested in photography as a medium for visualising the shifting human image. Since 2006 Benjamin Füglister has worked in an editorial capacity for European Photography magazine. In 2009 he founded piclet.org, an online platform for hand-picked photographic portfolios and directory for photography festivals, magazines and institutions. He is the founder of the CAP Prize for Contemporary African Photography, tendered for the first time in 2012. Füglister is a nominator for the prestigious Prix Pictet and sits on the Photo Basel advisory board. He regularly works as a reviewer at international photography festivals such as European Month of Photography in Vienna or the Houston FotoFest.

He is interested in all kinds of contemporary photography and media projects with a special interest in African and South East Asian works. He does not wish to review commercial or applied projects. In an editorial capacity he can offer photographers the possibility of publishing their work. He can suggest applicable publication channels in print and online, competition opportunities and exhibition possibilities.

Audrey Genois has been the Executive Director of Le Mois de la Photo à Montréal since 2016. She holds an M.A. in Museum Studies, and has been very active in national and international contemporary art communities. For fifteen years she held the position of Associate Curator at Galerie de l’UQAM, where she acquired solid experience in the field. Over the course of this 15-year period she coordinated over 60 exhibitions, as well as 12 national and international touring shows. Through her involvement in the world of publishing, she has edited and coordinated the production of 40 publications on contemporary art. In particular, she curated the following exhibitions: Expansion: Les 40 ans de l’UQAM (with Louise Déry); Videozoom: Between the Images (presented in 12 venues in Canada and abroad, with the curatorial collective La Fabrique d’expositions, of which she is a member); and Motion (in conjunction with HEAD–Genève and La Fabrique d’expositions). In 2007 she served as Assistant Curator for the exhibition David Altmejd: The Index, at the Venice Biennale (Canadian Pavilion).

Candy Pilar Godoy was born and raised in Hell's Kitchen, NYC. She graduated from Cornell University and has lived and worked alternately in New York and Rio de Janeiro, Brazil. She co-founded ceiba in 2014, and works in photography production around the globe.

Eva Kunz has long been passionate about photography and books. She discovered the photobook around 2005 and has become avid reader and collector since. After a few years of collaborating with others, she co-founded ceiba in 2014, a small and dedicated publishing house for high-quality but affordable editions. Personal and passionate involvement in chosen projects is what she does and looks for when viewing work.

Romke Hoogwaerts is based in Brooklyn, NY and is the creative director of Rubber Factory Posters . He formerly ran Mossless , a photography magazine and photobook company. He has also worked as a photo editor at MSNBC, The New York Times Magazine and Bloomberg Businessweek . He was raised internationally and spent most of his youth in South East Asia.

Tarin Hughes is a curator based in Saskatoon, SK, where she is currently the Executive Director of AKA artist-run. Hughes received her B.A. in Art History from the University of Waterloo. Recent curatorial projects include: Scott Benesiinaabandan, Lori Blondeau, Leslie Supnet and Svea Ferguson, Do it like the sun; every day is a new day , Art Athina, Athens, Greece (May, 2016), Hang upon tomorrow and lose today with Jane Buyers and Zachari Logan (November, 2016), and She is spitting a mouthful of stars , co-curated with Lori Blondeau (January, 2017). Her writing has been included in Akimblog, BlackFlash Magazine, Canadian Art, Canadian Museum Association’s MUSE, and C Magazine.

Hughes has a particular interest in documentary photography and its incorporation into artist practices, as well as narrative lens-based work.


Liz Ikiriko has been a photo director, visual researcher and curator in Toronto for the past 10 years. She has worked with the CBC, Toronto Life magazine, Macleans , Canadian Business and Wedge Curatorial Projects. She recently was the photo director curating the exhibition spaces for the National Music Centre in Calgary, Alberta. She currently is the art director of the online media journal, The Ethnic Aisle .

Shane Lavalette is an American photographer, the Director of Light Work, a non-profit in Syracuse, New York, and the founding Publisher/Editor of Lavalette. His photographs have been shown widely, including exhibitions at the High Museum of Art, Center for Documentary Studies at Duke University, Aperture Gallery, Montserrat College of Art, The Carpenter Center for Visual Arts at Harvard University, The Center for Photography at Woodstock, The Museum of Fine Arts, Boston, and Musée de l’Elysée, in addition to being held in private and public collections. His editorial work has been published in various magazines, including The New York Times Magazine, The New Yorker, Newsweek, Esquire, Bloomberg Businessweek, Vice Magazine, The Wire, and Wallpaper, among others.

Lavalette is interested in viewing developed, cohesive photographic projects as well as photobook mock-ups and sequences. He can offer editorial guidance and feedback, as well as advice on applications for publication, exhibition, or residency programs. Before meeting with Lavalette, please familiarize yourself with his work, publishing projects, and the programs at Light Work.

Brian Sholis is an independent curator, editor, and writer in Toronto. He has fifteen years of professional experience in the United States, where he has worked as a curator and programmer for museums; as an editor and author of books, magazines, and online texts; and as a professor, visiting critic, grant panelist, prize juror, and public speaker. He was previously Curator of Photography at the Cincinnati Art Museum, and, prior to his time in Ohio, he worked as an editor at Aperture Foundation and at Artforum . Sholis is the author of the 2016 book Kentucky Renaissance: The Lexington Camera Club and Its Community, 1954–1974 (Yale University Press) and the editor of two previous anthologies published by the New Museum and Sternberg Press. A longtime art critic, he has written catalogue essays for numerous museums and he has been published in Artforum , Frieze , Art in America , Aperture , and elsewhere. Sholis has taught at five American universities and has been a visiting critic or guest lecturer at two dozen more.

Teun van der Heijden and Sandra van der Doelen are graphic designers and owners of Heijdens Karwei, a graphic design agency based partly in Amsterdam and partly in New York. They are known for the design of award-winning photography books like Black Passport, Diamond Matters, Rape of a Nation, Latitude Zero, War Porn, Gold Coast, Belgian Autumn, Inshallah, Carpe Fucking Diem, When I was Six and recently Magic Party Place. Sandra and Teun have collaborated with many well known photographers among them: Ying Ang, Nina Berman, Marcus Bleasdale, Elina Brotherus, Alexander Chekmenev, Stanley Greene, Kadir van Lohuizen, Anais Lopez, Jan Rosseel, Donald Weber and many more. For more then ten years, Heijdens Karwei has designed the World Press Photo yearbooks and exhibitions. Teun and Sandra also teach photo book workshops all over the world.

Submission Details

Please create an account if you haven't already at register.scotiabankcontactphoto.com. When submitting online you will be asked to upload the following:

1. A CV or artist statement (PDF format only)

2. Five (5) images with your name and captions in the file name. Please size your images to be minimum 1200px on the short side.

Once you have been notified of your acceptance you will be able to continue the registration process.

If you are having difficulties uploading, please email brian@scotiabankcontactphoto.com.

Payment will be due only once we have notified you of your acceptance. Payment can be made through PayPal on the registration site, or at our office either by cheque or cash. All payments are non-refundable.


The Portfolio Reviews are an opportunity to make important contacts and receive valuable feedback on your work. Take the time to research which reviewers will be interested in viewing your work.  Be prepared to talk about your work coherently and have questions prepared for the reviewers to optimize your time with them.

We are accepting submissions from artists and photographers with a focus on photojournalism, documentary, or photo-based art projects. Participants are advised that this year's reviewers would be least likely to be interested in still life, traditional nudes, or fashion photography.

We especially encourage those that have published or exhibited work within the last two years and/or have formal education in art and/or photography from a post-secondary institution to apply.

Limit the number of images in your portfolio and focus on one series you wish to show. Present your work in a format that is easy to view. Examples include book, portfolio box, loose-leaf folder or laptop screen.

It is a good idea to prepare contact details (business card, postcard, or printout) to give to reviewers and other artists and photographers you meet.

Coming from out of town? The Gladstone Hotel is pleased to offer Portfolio Reviews registrants a special rate, just inform the hotel you are a registrant when booking your room. If you have any questions about your travels to Toronto and other ways to participate in the festival please see our website or call our office - we will be happy to assist you.


Do I have to be a professional photographer to participate in the Portfolio Reviews?
No. The portfolio reviews are for anyone who is serious about photography. It is not a requirement to be a professional who earns income from their practice, or to have studied visual art. Participants go through a selection process to ensure a high calibre of work is presented in the program.

How should I decide which images to submit?
We suggest focusing on only one or two bodies of work, rather than a group of disparate images, to ensure you are showing your strongest work and to allow reviewers to gain a deeper understanding of your project. The work that you submit for the jury process does not have to be the same work you want to present to reviewers during the event.

What will happen on the portfolio review days?
The reviews will take place over two days at the Gladstone Hotel. You will receive a schedule indicating what times you will meet with reviewers. Each session is 20 minutes long. There will be an area for participants to wait and quietly prepare for reviews, as well as a secure storage room for your portfolio materials that you can make use of.

Before your first review, you will have to sign in. You can come and go during the day, but you should be at the Gladstone at least 15 minutes in advance of your review. If you are late, you forfeit your time slot.

Will I be able to choose the reviewers that I meet with?
When you register, you will be asked to indicate which reviewers you are most interested in meeting. We use a computer-generated lottery to create the schedule, which gives all participants a fair and equal opportunity to meet with their preferred reviewers. We cannot guarantee you will meet all your preferred reviewers, but due to the number of available slots, most people will see their top selections.

When will I get my schedule for the Portfolio Reviews?
Schedules will be sent out as soon as they are ready, around a week before the event. It is a good idea to allow yourself plenty of time to dedicate to the portfolio reviews, and not make too many other commitments on that weekend.

How can I know which reviewers I should meet with?
Each reviewer has a distinct set of experiences that inform their opinions, as well as different roles that they play in their relationship to photography and photographers, such as curating, publishing, or magazine work.

We encourage participants to take the time to research which reviewers will be interested in viewing their work, or which reviewers' opinions they are most interested in.

How should I present my work to the reviewers?
There is no particular rule for how to present your work. The review rooms will be set up with 6-ft-long tables on which to lay out your work, so with that mind, you can use whichever format would most benefit your work. Participants have used a range of formats, from traditional portfolio boxes with mounted or unmounted prints, to self-published books, to laptop or tablet computer presentations. It depends on what works for you and for your project. In general, loose prints (11x14" is a nice, manageable size) in a protective case or box, is an effective, professional way to display your work.

You may also wish to bring your business cards, a postcard or flyer to leave with reviewers, and a notebook to take notes on your conversations.

How should I prepare for the Portfolio Review days?
Think about your goals for the portfolio reviews—whether it is a specific question you want addressed, or a diversity of opinions on work in progress, or a connection you want to make. Having specific questions relevant to your reviewers’ area of expertise is a good idea.

If you've never done a portfolio review before, you may want to practice with a friend, to help you get comfortable presenting your work in a focused and concise way. This can help you to devote more of the session to receiving feedback, making the most of your time with the reviewers.

I’m only available on one of the two days. Can I still participate? 
If you have scheduling conflicts, you can still participate; however, we may not be able to accommodate your reviewer choices. If this is the case, please let us know as soon as possible. You will still receive the same number of review sessions, but they might not be with your top choices.