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Vogue
4 days ago
- General
- Vogue
Free digital portfolio reviews • PhotoVogue 2025
PhotoVogue is committed to championing equal opportunities for artists of all backgrounds. We believe that creative talent should be nurtured through access, mentorship, and care—regardless of financial means or industry connections. As part of our Women by Women and East and Southeast Asia Panorama open calls, a number of the most deserving participants will be selected for one-on-one virtual portfolio reviews with members of our expert panel—an extraordinary group of editors, curators, professors, and creatives from around the world. These sessions offer a unique opportunity to engage directly, exchange ideas, and refine one's practice through meaningful dialogue. We are deeply grateful to the reviewers who, on this occasion, have generously agreed to dedicate their time and expertise to supporting emerging talent. Their generosity is a powerful reminder that a more supportive and inclusive creative culture is not only possible, but already in motion. Through these acts of mentorship and solidarity, we strive to foster a community grounded in shared growth, mutual respect, and the belief that generosity can be truly transformative. The reviews will be held on Saturday, November 22nd via Zoom, so artists from every background and region will have the opportunity to participate. Discover this year's reviewers! Adama Sanneh Co-Founder and CEO of the Moleskine Foundation Alessia Glaviano Head of Global PhotoVogue & Director, PhotoVogue Festival Amber Olson Senior Agent, Art Partner Picasa Amber Terranova Executive Producer, Amplifier Amber Venerable Creative Director, Allure & Self Andrea Vollmer-Hess Visual Editor, Vogue Germany Antonio Carloni Head of photography projects and commissions, Intesa Sanpaolo & Director, Gallerie d'Italia Arianna Rinaldo Independent curator and photo editor, Curator of Photography, PhEST Ashleigh Kane Writer, editor, creative consultant, and curator Azu Nwagbogu Founder and director of the African Artists' Foundation (AAF) and founder and director of the LagosPhoto Festival Bernadette Tuazon Director of photography, CNN Digital Bertan Selim Founder VID Foundation for Photography Bruno Ceschel Founder Self Publish, Be Happy Caterina De Biasio Visual Editor, PhotoVogue Charlotte Rose Head Visuals Producer & Bookings Editor Vogue Australia, GQ Australia Chiara Bardelli Nonino Indipendent Curator & Executive Features Director Harper's Bazaar Italia Christiane Monarchi Curator, lecturer, founding co-editor of Hapax Magazine, and founding editor of Photomonitor Daniel Rodríguez Gordillo Senior Education Manager, Strategic Content Initatives & Curator, PhotoVogue Festival Diego Portillo Visuals Editor, Vogue Elisa Medde Editor and curator Elliott Ramsey Curator Francesca Marani Senior Photo Editor, Vogue Italia Giuseppe Oliverio Founder of PhMuseum Irene Opezzo Photo Director, Robb Report and Curator Jae-hyun Seok Independent Curator, Director of Art Space LUMOS & Director of Busan International Photo Festival James Estrin New York Times Senior Staff Photographer Jamie Spence Visuals Director, British Vogue Jane'a Johnson Editor, Aperture Jann Pascua Art Director, Vogue Philippines Jody Fathalla Visuals Editor, Vogue Arabia Julia Filgueiras Art Director, Vogue Brasil Julieta Sartor Visuals Editor, Vogue Spain Karla Acosta Head of Design, Vogue Mexico and Latin America Karly Domb Sadof Visual Investigations, Wall Street Journal Kathryne Hall Visuals Director for Allure & Glamour Kira Pollack Creative director and photo editor Laura Beltrán Villamizar Writer, Curator and Creative Director Laura Roumanos Creative Producer at Instagram Lekgetho Makola Chief Operations Officer at Market Theatre Foundation, Yale Directors Forum Fellow Maddalena Scarzella Architect and Independent Curator Marina Paulenka Director of Exhibitions, Fotografiska Berlin Margaret Steber Documentary Photographer Maria Teresa Salvati Curator, Educator Marie Gomis-Trezise Founder and Curator, Galerie Gomis Michaela Perau Visual Director, Vogue France Michael Famighetti Editor of Aperture magazine Marzio Emilio Villa Narda van't Veer Gallerist, The Ravestijn Gallery Natalia Jimenez Senior Photo Editor for International & Climate/Business/Health Matt McClain Natalie Matutschovsky Creative Director Nathalie Herschdorfer Director of Photo Elysée Noelle Flores-Theard Senior Digital Photo Editor, The New Yorker Olfa Feki Olivia Anani Member of the Board of Directors, Friends of Palais de Tokyo Olivier Laurent Deputy Director of Photography, The Washington Post Marvin Joseph Philip Clarke Programme Director of the Fashion courses, Central Saint Martins Rahaab Allana Curator/publisher, Alkazi Foundation for the Arts in New Delhi Reyes Domínguez Visuals Editor & Photo Studio Director, Condé Nast Spain Rica Cerbarano Curator, Writer and Project Coordinator Rikki Keene Photography and Talent Casting Director, Vogue Australia Sagal Ali Art and Cultural Heritage Professional and Founder, Somalia Arts Foundation Samira Larouci Writer and Editor Sara Hemming Founder Sara Hemming Studio Sarah Leen Photographer, Photo Editor, Teacher and founder the Visual Thinking Collective Shannon Ghannam Director of Development and Programming, Peter Marlow Fundation Stephanie Tran Visuals Director, GQ Teneshia Carr Photographer, EIC & Owner Blanc Magazine Tracey Woods Director of Photography, The Luupe Valentina Collado Fashion Director, Vogue Mexico & Latin America
New York Times
21-05-2025
- Business
- New York Times
Embracing the Soft Power of Art
On a recent sunny Tuesday, 17 people sat in a circle in a gray-and-white loft space, listening intently as the Swiss Cameroonian curator Simon Njami waxed poetic about the benefits of culture. Hailing from around the world, these cultural leaders were here in Milan thanks to the Creativity Pioneers Fund, an initiative launched by the Moleskine Foundation — a nonprofit organization funded by the Moleskine Company, but which operates independently. This morning's conversation was part of a leadership seminar they were attending at the foundation's office space at BASE Milano, in the city's Tortona district. The clutch of mustard-yellow buildings, which now house not only the foundation's space but also fashion studios, exhibition spaces, co-working offices and even a bar, was once an industrial metalworking plant. After the plant was closed in the 1980s, the city decided to transform the buildings into this creative hub. It is, said the Moleskine Foundation's chief executive and co-founder Adama Sanneh, a perfect example of public-private partnership, with the city of Milan leveraging its cultural and creative sector to create economic growth. 'This is not just a theoretical approach,' Sanneh said in a video interview from Milan a week before the conference. 'And you are able to create this only as a city if you create the condition so that the economic indicator is not the only one that counts for public interest.' Worldwide, this idea of investing in the creative industries has seen an uptick over the last decade as governments realize filmmaking, visual arts, music, fashion, design, dance, theater and craftsmanship can not only galvanize economies but also help countries present themselves in a positive light. This concept was the focus of 'Culture as Capital: Can the Arts Galvanize Economies?', a panel discussion at the Art for Tomorrow conference in Milan last week, an annual event convened by the Democracy and Culture Foundation with panels moderated by New York Times journalists and others. During the conversation, participants discussed how their cities and countries — Milan, Korea and Uzbekistan — are using their creative industries to attract investment and foster social progress. According to Jelena Trkulja, the senior adviser for academic and cultural affairs at Qatar Museums who moderated the panel, the creative economy is currently valued at over $2.2 trillion. During an interview beforehand, she said, 'in many cases, some countries are realizing that the cultural industries should be deeply embedded in government strategy of social, economic and human development, and this is why they're investing, because the returns are there.' Milan, for example, has long been known as one of the world's great fashion and design capitals. According to Tommaso Sacchi, the city's deputy mayor for culture, who was a panelist, 10 percent of the city's GDP comes from the creative sector, with 10 percent of the city's population working in that space. But, he said, the city understood that it also needed to expand within the cultural sector. It not only has invested in BASE, but in other projects, such as converting Fabbrica Del Vapore, a former tram factory, into an art complex. Sacchi said that the city would also be spending €300 million in state and city public funds on new libraries, new museums and multifunctional spaces with both social and cultural missions. 'Milan is in a more mature, more upgraded process of metamorphosis,' he said during an interview the day before the panel, at his office next to the Duomo. Across the Atlantic, Detroit has rebranded itself largely through cultural endeavors. For decades, its downtown was a poster child for urban blight that many locals avoided. But in recent years, public sector investment has helped to revitalize downtown — and draw locals and visitors back. The abandoned Beaux-Arts Michigan Central Station downtown was for years a haven for drug addicts and the homeless, a physical symbol of the downward spiral of a city that made — and lost — its fortunes in the automotive industry. But through a public-private partnership funded by the city of Detroit, the state of Michigan and the Ford Motor Company — which, on its own, invested almost $1 billion —,the station reopened last June as both an innovation hub for Ford and as a multiuse space for exhibitions and concerts. Several miles away, what was once blocks of vacant, boarded-up buildings has become a creative campus, called Little Village. It includes the Shepherd, a church over a century old, that has been turned into an art space. Nearby, a former bakery now houses two arts nonprofits; the neighborhood even has a skate park designed by the skateboarder Tony Hawk. Time magazine recently named the neighborhood as one of the World's Greatest Places 2025. Afa S. Dworkin, the president and artistic director of the Sphinx Organization, a Detroit-based classical music development program for young Black and Latino people, said the creative sector in the city was not just about aesthetic enrichment. 'It is,' she wrote in an email, 'a driver of opportunity, education, and community empowerment.' This sort of community empowerment can take many forms. In South Korea, there is an emphasis on ensuring that the country puts homegrown cultural producers on the global stage. 'We really have recognized the importance of this production of originality as a key factor for the creative industry,' said Jiyoon Lee, the chief executive of SUUM Project, an independent curatorial office, said in an interview after the panel. Governments are also starting to understand that creative production helps shape global perception of a place. 'We've entered an era where influence isn't only measured by military or industrial strength,' Lyndsay Duthie, pro vice-chancellor for academic partnerships and industry engagement at the University for the Creative Arts in England, said in an email. She cited the 'cultural reach' of K-pop from South Korea and Nollywood from Nigeria, which create a kind of soft diplomacy. In Uzbekistan, where some 60 percent of the population is under 30, the government has made it an economic pillar to invest in the arts and make it easier for craftspeople to promote and sell their work. In 2017, the president, Shavkat Mirziyoyev, created the Uzbekistan Art and Culture Development Foundation (A.C.D.F.) by decree. The group is renovating four of the country's museums, and also oversaw the opening of the Center for Contemporary Art, housed in a former diesel power station. In April, the country hosted the Aral Culture Summit, focused on helping transform the region through culture, art, science and design. In September, the country will also host the inaugural Bukhara Biennial, aiming to promote craftsmanship from across the country, but also feature international artists such as Antony Gormley and Carsten Höller. Gayane Umerova, the chair of A.C.D.F. and a panelist, said during the discussion that she saw a 'clear vision in leadership' from her country in terms of investing in culture and supporting young artists in those industries. 'We'll have to build up the ecosystem in Uzbekistan because what was missing were things like a Center for Contemporary Art and art residencies,' she said in an interview after the panel. 'And these are important elements in creating infrastructure.' Trkulja could not have agreed more. 'Culture is becoming central to how nations grow, compete and tell their stories,' she said in her opening remarks. 'Governments are treating the arts as more than enrichment; they are viewing it as essential infrastructure.'
