Aldeide Delgado is the founder and director of Women Photographers International Archive (WOPHA). She has a background in advising and presenting at art history forums based on photography including, lectures at the Tate Modern, Perez Art Museum Miami, The New School, and California Institute of the Arts. Delgado is a recent recipient of a 2019 Knight Arts Challenge, 2018 School of Art Criticism Fellowship, and a 2017 Research and Production of Critic Essay Fellowship. She is the author of the online archive Catalog of Cuban Women Photographers, as well as the namesake ongoing book. Publications, where she has contributed, include Cuban Art News, Artishock, Terremoto, C&America Latina, Arcadia, as well as diverse independent art blogs. She writes for Artishock, Terremoto, ArtNexus, and C&America Latina. She is an active member of PAMM’s International Women’s Committee, IKT International Association of Curators of Contemporary Art, US Latinx Art Forum and Art Table.

Francisco Masó is an AfroLatinx visual artist living and working in Miami, FL. He is the co-founder and creative director of Women Photographers International Archive (WOPHA). Masó’s artwork delves into the contemporary understanding of socially shaped “unconscious behaviors” and challenges what is accepted by society as natural, necessary, and normal.

Amy Rosenblum-Martín is an independent curator of contemporary art and a Guggenheim educator with expertise in Latinx art. Having worked with various international museums, including The Bronx Museum, MoMA, MCA Chicago, London’s National Portrait Gallery, Reina Sofía, and MACBA in Barcelona, she is committed to equity and community engagement.

Francis Oliver is a Latinx cultural researcher, editor, and proofreader based in Athens, Georgia. She previously worked in collections management, archival research, oral histories, curatorial assistance, and artist residency supervision at the Deering Estate museum and ecological field station. She is interested in the intersections of public history, archives, cultural geography, political ecology, diaspora studies, and contemporary art.

Andrea Sofía Matos is currently majoring in Art History with a minor in Photography at Florida International University and seeks to be a curator and arts administrator. Her passion for the art, history, and culture of the Caribbean, Latin America, and the African Diaspora are why she aspires to champion and connect with the emerging visual artists from these communities globally.

Mane Adaro, based in Santiago, Chile, is a researcher and art and photography curator whose practice investigates feminisms, archives, and decolonial politics. She is director and editor of the online magazine, Atlas Imaginarios Visuales, a project dedicated to the study of the image and the dissemination of texts and works produced primarily by women and dissident bodies.

Idurre Alonso is Associate Curator of Latin American Collections at the Getty Research Institute. Previously, she was Curator at the Museum of Latin American Art (MOLAA) (2003-2014), where she organized numerous exhibitions including LA Presencia. Latin American Art in US Collections (2007); Changing the Focus. Latin American Photography 1990-2005 (2011); and Regina Galindo. Vulnerable (2012). Alonso worked on two exhibitions part of Pacific Standard Time: Los Angeles/Latin America initiative in 2017: The Metropolis in Latin America (1830-1930) co-curated with Maristella Casciato for the Getty Research Institute, and Photography in Argentina, 1850-2010: Contradiction and Continuity co-curated with Judith Keller for the Getty Museum. Idurre’s research interests include experimental practices in photography from Latin America, the intersections between art and experimental poetry, the iconography and development of national narratives since nineteenth century, and issues of power hierarchies in emerging art from Latin America.

Maurice Berger (May 22, 1956 – March 22, 2020) was an accomplished writer, cultural historian, and curator whose work focused on the intersection of race and visual culture. He was research professor and chief curator at the Center for Art, Design, and Visual Culture at the University of Maryland, Baltimore County. “Race Stories,” his monthly column for the Lens section of the New York Times, explored the relationship of photography to concepts and social issues about race not usually covered in the mainstream media.

Alpesh Kantilal Patel is an associate professor of contemporary art and visual culture at Tyler School of Art and Architecture, Temple University. His art historical scholarship, curating, and criticism reflect his queer, anti-racist, and transnational approach to contemporary art. A frequent contributor of exhibition reviews to artforum.com, he also writes for frieze, Artforum, Art in America, and Hyperallergic.com.

Marie Vickles is the Director of Education at the Pérez Art Museum Miami and administers programs at the museum that directly serve over 100,000 youth and adults annually. Marie has organized arts educational programs, workshops, and exhibitions across the United States and the Caribbean for over 15 years. She is currently the Curator-in-Residence at the Little Haiti Cultural Complex and maintains an active practice as an independent curator producing over 30 exhibitions and curatorial projects. Her curatorial work includes the co-curation of Prizm Art Fair, Miami, FL (2013), Visionary Aponte: Art and Black Freedom, Little Haiti Cultural Complex, Miami, FL (2017), walls turned sideways are bridges: narratives of resistance at Florida Agricultural and Mechanical University (FAMU), Tallahassee, FL (2019), and Dust Specks on the Sea, Little Haiti Cultural Complex, Miami, FL (2019). In her work as an arts educator and cultural practitioner, she is concerned with the relationship between creativity and community engagement – with the goal of supporting equity, sustainability, and access for all, through the arts.

Laylah Amatullah Barrayn is a documentary photographer who occasionally organizes exhibitions. She is the co-author of MFON: Women Photographers of the African Diaspora, the first anthology in nearly thirty years that highlights photography produced by women of African descent. Barrayn is a frequent contributor to The New York Times, and has been published in National Geographic, Vogue, NPR, VOX, among other publications.

Grace Aneiza Ali is a Curator and an Assistant Professor in the Departments of Art and Art History at Florida State University in Tallahassee, Florida. Her curatorial, research and teaching practices center on curatorial activism, art and social justice, art and migration, global contemporary art, and art of the Caribbean Diaspora with a focus on her homeland Guyana. Ali serves as Curator-at-Large for the Caribbean Cultural Center African Diaspora Institute in New York. She is an Andy Warhol Foundation for the Visual Arts Curatorial Fellow and Fulbright Scholar. Her essays on contemporary art have been published in Asian Diasporic Visual Cultures and the Americas, Wasafiri, Harvard’s Transition Magazine, Small Axe, and Nueva Luz Photographic Journal. Her recent book, Liminal Spaces: Migration and Women of the Guyanese Diaspora explores the art and migration narratives of women of Guyanese heritage. Ali was born in Guyana and migrated to the USA when she was fourteen years old.

Arantza Aramburu Hamel is a cultural manager, curator, and expert on gender and international relations. She is co-president and co-director of the organization International Women in Photo (Paris) that promotes the recognition of women in the photography sector and works with image as a tool for equality. She also runs her own arts management consultancy, Myartspy. Her previous experiences are in the development field, having worked at the OECD in Paris and as an expert in development cooperation for various EU programs in Sub-Saharan Africa and the Caribbean. A Spanish national, Arantza holds a Masters in International Law from King’s College London.

Ariella Aïsha Azoulay is an expert in visual culture and photography whose research focuses on how history is told through visual mediums—photographs, film, drawings, and other visual elements. She is a film essayist and curator of archives and exhibitions, and is a professor of modern culture and media, and comparative literature at Brown University.

Vanessa Charlot is a Haitian-American, award-winning photojournalist documentary photographer, filmmaker, lecturer, and curator. Her work focuses on the intersectionality of race, spirituality, economics, and sexual/gender expression. She shoots primarily in black and white to disrupt compositional hierarchy and to explore the immutability of the collective human experience. The purpose of her work is to produce visual representations free of an oppressive gaze.

Abby Chen is Senior Associate Curator and Head of Contemporary Art at the Asian Art Museum of San Francisco. During the pandemic, she launched outdoor-viewable murals by American artists including Jas Charanjiva, Chanel Miller, and Jenifer K Wofford, followed by the museum reopening in March, 2021. Previously, she served for over a decade as the Curator and Artistic Director at the Chinese Culture Center of San Francisco. Under her leadership, the organization was transformed into an open and process-driven platform for contemporary art. Multiple initiatives such as Xian Rui/Fresharp and WOMEN我們 on genderqueer were established during her tenure.

Karen Cordero Reiman is an independent curator, art historian, and writer based in Mexico City. She is the author of numerous publications in her areas of specialization: twentieth and twenty-first century Mexican art; the relationship between the so-called “fine” and “popular” arts in Mexico; the historiography of Mexican art; body, gender, and sexual identity in Mexican art; and museological and curatorial discourses in Mexico.

Maya Dagnino is a self-taught photographer whose subject matter is the body—bodies of all materials; flesh, stone, bronze, cloth. Dagnino also practices music, in particular percussion and Yoruba singing. She has lived in Venezuela, India, New York, and Cuba. She currently resides in Paris and works with Ibeyi.

Aldeide Delgado is the founder and director of Women Photographers International Archive (WOPHA). She has a background in advising and presenting at art history forums based on photography including, lectures at the Tate Modern, Perez Art Museum Miami, The New School, and California Institute of the Arts. Delgado is a recent recipient of a 2019 Knight Arts Challenge, 2018 School of Art Criticism Fellowship, and a 2017 Research and Production of Critic Essay Fellowship. She is the author of the online archive Catalog of Cuban Women Photographers, as well as the namesake ongoing book. Publications, where she has contributed, include Cuban Art News, Artishock, Terremoto, C&America Latina, Arcadia, as well as diverse independent art blogs. She writes for Artishock, Terremoto, ArtNexus, and C&America Latina. She is an active member of PAMM’s International Women’s Committee, IKT International Association of Curators of Contemporary Art, US Latinx Art Forum and Art Table.

Lesly Deschler Canossi is a photographer, photography educator, and cultural producer. She holds an MFA from the Maryland Institute College of Art, where she focused on the museological object’s role in constructing culture. She is a faculty member at the International Center of Photography and has taught at Columbia University, the Metropolitan Museum of Art, and the Lamar Dodd School of Art in Cortona, Italy.  In 2016, she and Zoraida Lopez-Diago co-created Women Picturing Revolution (WPR), an organization dedicated to women photographers who have documented conflicts, crises, and revolutions in private realms and public spaces. In 2020 WPR presented for Fast Forward: Women in Photography at the Tate Modern on their forthcoming volume Another Way of Knowing: Representations of Black Motherhood in Contemporary Photography, Leuven University Press, distributed by Cornell University Press in North America (fall 2022). By highlighting the intersections of the human experience, Lesly is interested in visual storytelling as a means for social change.  She currently works as an independent cultural producer, visualizing concepts, lecturing, and curating panels for educational institutions, nonprofit organizations, and corporate clients. Her ongoing personal photographic practice and teaching project Domestic Negotiations (2012 – present) explores autonomy, partnership, and the role of the mother as artist.

Heather Diack is an associate professor of art history at the University of Miami, specializing in contemporary art and the history of photography. She is the author of Documents of Doubt: The Photographic Conditions of Conceptual Art and co-author of Global Photography: A Critical History.

Ibeyi (pronounced ee-bey-ee) means “twins” in the language of the Yoruba culture of Lisa-Kaindé Diaz and Naomi Diaz. Their albums, their videos, and Lisa’s pictures of Naomi, tell the story of two sisters: their relationship, their origins, their shared history, and their musical chemistry. The twins’ roots are reflected in the polyglot nature of the lyrics—in English, Spanish, French, and Yoruban (they were born in Paris to a French-Venezuelan mother and Cuban father)—and music which combines ritual chants with synths and samplers, the traditional with the modern. This uniquely cosmopolitan sound is the perfect vehicle for their intimately personal stories.

Ibeyi (pronounced ee-bey-ee) means “twins” in the language of the Yoruba culture of Lisa-Kaindé Diaz and Naomi Diaz. Their albums, their videos, and Lisa’s pictures of Naomi, tell the story of two sisters: their relationship, their origins, their shared history, and their musical chemistry. The twins’ roots are reflected in the polyglot nature of the lyrics—in English, Spanish, French, and Yoruban (they were born in Paris to a French-Venezuelan mother and Cuban father)—and music which combines ritual chants with synths and samplers, the traditional with the modern. This uniquely cosmopolitan sound is the perfect vehicle for their intimately personal stories.

Catherine D’Ignazio is a scholar, artist/designer and hacker mama who focuses on feminist technology, data literacy, and civic engagement. She has run reproductive justice hackathons, designed global news recommendation systems, created talking and tweeting water quality sculptures, and led walking data visualizations to envision the future of sea level rise. With Rahul Bhargava, she built the platform Databasic.io, a suite of tools and activities to introduce newcomers to data science. Her 2020 book from MIT Press, Data Feminism, co-authored with Lauren Klein, charts a course for more ethical and empowering data science practices. Her research at the intersection of technology, design & social justice has been published in the Journal of Peer Production, the Journal of Community Informatics, and the proceedings of Human Factors in Computing Systems (ACM SIGCHI). Her art and design projects have won awards from the Tanne Foundation, Turbulence.org and the Knight Foundation and exhibited at the Venice Biennial and the ICA Boston. D’Ignazio is an Assistant Professor of Urban Science and Planning in the Department of Urban Studies and Planning at MIT. She is also Director of the Data + Feminism Lab which uses data and computational methods to work towards gender and racial equity, particularly in relation to space and place.

Ángeles Donoso Macaya is an immigrant educator, researcher, and organizer from Santiago, Chile, based in New York City. She is Professor of Spanish at The Borough of Manhattan Community College, CUNY; Faculty Lead of Archives in Common: Migrant Practices / Knowledges / Memory, part of the Mellon Seminar on Public Engagement and Collaborative Research at The Center for the Humanities at The Graduate Center / CUNY; and a 2020-2021 Mellon/ACLS Community College Faculty Fellow. Her research centers on Latin American photography theory and history, counter-archival production, human rights activism, and feminisms. She is the author of The Insubordination of Photography: Documentary Practices under Chile’s Dictatorship (University of Florida Press 2020), awarded Best Book in Latin American Visual Culture Studies, 2021, and recently published in Chile as La insubordinación de la fotografía (Metales Pesados, 2021). Ángeles is also member of the activist research collective colectiva somoslacélula.

Deborah Dorotinsk received her B.A. in Cultural Anthropology from the University of California, Berkley in 1985. She holds an M.A. and Ph.D. in Art History from Universidad Nacional Autónoma de México (UNAM) 2003. She is a full-time researcher at the Instituto de Investigaciones Estéticas in UNAM, Mexico City, where she chaired the Art History Graduate Program in 2011-2017. Her areas of research include the History of Mexican Ethnographic Photography 1850-1950, Visual Culture and gender in Mexico 1920-1950, and Popular Arts through the 20th century. Her book, Viaje de sombras. Fotografías del Desierto de la soledad y los indios lacandones en los años cuarenta was published by UNAM-IIE in 2013. She has published articles in scientific journals and collective academic books. She is a member of the research group A+C (Arte+Ciencia), exploring the crossings between art and science.

Cristina Favretto is the Head of Special Collections at the University of Miami Libraries. She has worked in a variety of bookish capacities at the Boston Public Library, Harvard, Duke, San Diego State, and UCLA, curating and building collections on zines, culinary history, surfing, and Aldus Manutius, to name a few. She also has had a shadow life as a performance artist and lead singer in a post-punk cabaret band, the Red Hot Vulvas. At the University of Miami, she has built a significant archive of punk/post-punk and countercultural materials, including local music archives, art and political ephemera, books about “edge culture”, unique artists books, and over 15,000 zines from around the world.

Elizabeth Ferrer is Vice President, Contemporary Art at BRIC, a non-profit arts and media organization based in Brooklyn. She is also a curator and writer specializing in Latino and Mexican art and photography. Ferrer has curated major exhibitions of modern and contemporary art for numerous venues in the United States and Mexico, and has written and lectured extensively on topics related to her fields of interest.

Anna Fox is one of the most acclaimed British photographers of the last thirty years and is Professor of Photography at the University for the Creative Arts. Working in color, Fox first gained attention for Work Stations: Office Life in London (1988), a study of office culture in Thatcher’s Britain. She is best known for Zwarte Piet (1993-8), a series of portraits taken over a five-year period that explore Dutch black-face’ folk traditions associated with Christmas. Her collaborative projects Country Girls (1996 – 2001) and Pictures of Linda (1983 – 2015) challenge our views about rural life in England while her more intimate works My Mother’s Cupboards and My Father’s Words (1999) and Cockroach Diary (1996 – 99) expose the dysfunctional relationships at work in the family home in a raw and often surprising manner. Anna Fox Photographs 1983 – 2007, was published by Photoworks in 2007. Fox’s solo shows have been seen at Photographer’s Gallery, London, Museum of Contemporary Photography, Chicago amongst others and her work has been included in international group shows including Centre of the Creative Universe: Liverpool and the Avant Garde at Tate Liverpool and How We Are: Photographing Britain at Tate Britain. She was shortlisted for the 2010 Deutsche Borse Photography Prize. Fox is currently working on the research project Fast Forward; women in photography for which she has been awarded a Leverhulme International Networks Grant. www.fastforward.photography.com

Nereida García Ferraz is a Cuban-born artist whose practice encompasses painting, photography, video, sculpture, and social art projects exploring identity and feminist themes, nature, beauty, and the physical world. Her work has been exhibited by or is in the collections of The Museum of Modern Art, Yale University, The San Francisco Art Institute, among many others.

Laura González-Flores, PhD, is a teacher, curator, and researcher of photography theory and criticism. She is a senior researcher at the Institute of Aesthetic Research, National Autonomous University of Mexico (IIE-UNAM) and teacher at the Postgraduate Visual Arts and Art History Programs at UNAM. She is a member of the National Research System (CONACYT) and is on the Advisory Board of the National Photographic Archive System.

Nadia Huggins is a visual artist from St Vincent & the Grenadines who works primarily with photography. Her work merges documentary and conceptual practices to explore identity, memory, and belonging through the landscape and the sea. Her work has been exhibited in Human stories: Circa no future, Now Gallery, London UK; Relational Undercurrents, Art of the Caribbean Archipelago, California/New York/Maine/Florida, USA; A love ethic, Wedge Curatorial Projects, Toronto, Canada; Addis Foto Fest 2018, Addis Ababa, Ethiopia; The Jamaica Biennial 2017, Kingston, Jamaica; Couleurs Pays, Photaumnales Festival 2017, Beauvais, France; and Caribbean Queer Visualities, Belfast/Glasgow, UK. She is the co-founder of ARC Magazine and One Drop in the Ocean – an initiative that aims to raise awareness about marine debris. Nadia currently lives and works in St. Vincent & the Grenadines.

Ates Isildak lives and works in Palm Beach County. His parents are both from Turkey. Ates Isildak received a B.A. in English Literature from University of Central Florida, and is an Alumn of Dreyfoos School of the Arts. Using short films, music videos, and photography, Ates Isildak aims to create a safe space and medium in which marginalized communities can exuberantly express themselves. He is a recipient of the 2019-2020 South Florida Cultural Consortium, third place in the South Florida Cultural Council’s 2021 Biennial, and is currently working on an Art In Public Places documentary for the City of West Palm Beach. Ates Isildak’s works have appeared at NSU Art Museum Fort Lauderdale, Museum of Contemporary Art North Miami, Spectrum Miami Art Basel, Cultural Council (Stuart & Lake Worth), Fritz Gallery. His video work has been premiered online by Troma, Spin Magazine, Flood Magazine, Office Magazine, Consequence of Sound, Noisey, & Vice.

Charlotte Jansen is a British Sri Lankan author and journalist based in London. Since earning an MA at Oxford University in Modern Languages, Jansen has written for extensively on contemporary art for The Guardian, The Financial Times, ELLE, Frieze, The British Journal of Photography, Wallpaper*, and Artsy. She has been the Editor-at-Large of Elephant magazine since 2015. In 2017, she published her first book, Girl on Girl: Art and Photography in the Age of the Female Gaze; the critically-acclaimed publication was released as a paperback edition in November 2019. She is a contributing author to several artist monographs including the British painter Lucy Jones. In 2019 she co-curated the exhibition Birth at TJ Boulting. Her latest book, Photography Now, published by Tate Publishing and Ilex, comes out in March 2021.

Whitney Johnson is the director of visuals and immersive experiences at National Geographic. From 2007 to 2015, Johnson was on the staff of The New Yorker, first as a picture editor and later as the director of photography. Her work has earned numerous awards from the American Society of Magazine Editors, the Society of Publication Designers, and the International Academy of Digital Arts and Sciences (the Webbys).

Maria Kapajeva is an Estonian artist, who works in London. She received a BA in Photography from The University for the Creative Arts, Farnham and an MA in Photographic Studies from The University of Westminster, London. Her work was internationally exhibited, including most recently: Latvian Museum of Photography (2019), CBS Digital Art Space (Denmark, 2019), RIBOCA Biennial (Latvia, 2018), Kaunas Photography Gallery (Lithuania, 2018), Narva Art Residency (Estonia, 2017), WOAK Gallery (Poland, 2017), Detroit Oloman Gallery (USA, 2017). Her video works have been shown at Luminocity Festival (Canada, 2018), NexT Film Festival (Romania, 2017) and Berlin Feminist Film Week (2016). In 2016 she received a Gasworks & Triangle Network Fellowship to work at Kooshk Residency in Tehran. Kapajeva’s first artist book You can call him another man, published by Kaunas Photography Gallery, was shortlisted for Aperture Photobook Award 2018.

Carlotta Boettcher is a Cuban-born documentary photographer. She studied philosophy and art history at the University of Madrid, and later studied printmaking at the National School of Fine Arts in Paris. Inspired by the growing movement of cultural and sociopolitical unrest that was happening in the United States in the late sixties, she moved to San Francisco in 1971—where she pursued a BA in Photography and an MA in Film and Visual Anthropology at San Francisco State University. Her work addresses family, identity, gender, and strategies of survival and resistance in everyday life.

Simone Lagrand is a poet, spoken word artist, creative writer, and poetry workshop facilitator. Her work is a conversation with her motherland Martinique. As a yich déwò (child from abroad) she constantly intends to build a creative biotope which questions her dual relationship with language (creole and french) through the observation of intimate bonds such as love dialogues, erotism, but also motherhood. Her poetry uses various mediums such as embroidery, sonic landscaping, or video.

Luce Lebart is a photography historian, curator, and researcher for the Archive of Modern Conflict collection. Her research focuses on images and practices that have remained in the shadow of history. She is particularly interested in photographs produced without artistic intent, archives, the history of techniques and collections, and scientific and documentary photography. Her latest books include “Une Histoire Mondiale des Femmes Photographes” which she edited with Marie Robert (Textuel, 2020), “Inventions 1915-1938” (RVB Books – CNRS, 2019), “Gold and Silver” (RVB Books, 2018), “Les Grands Photographes du XXe siècle” (Larousse, 2017), “Lady Liberty” (Le Seuil, 2016) and “Les Silences d’Atget” (Textuel, 2015). She is also the author of photo books such as “Mold is Beautiful” (Poursuite, 2015) and “Tâches et Traces” (Diaphane, 2015). She is currently preparing an exhibition on home economics at the National Archives and a book on Albert Kahn that will be published by Gallimard in November 2021, for the opening of the new museum.

Miguel A. López (Lima, 1983) is a writer, researcher, and curator. Between 2015 and 2020 he worked at TEOR/éTica, in Costa Rica, first as chief curator and, since 2018, as co-director and chief curator. Recent curatorial projects include: “and if I devoted my life to one of its feathers?,” Kunsthalle Wien, Vienna, 2021; “Cecilia Vicuña, a Retrospective Exhibition”, Witte de With, Rotterdam, 2019; (co-curator) “Virginia Pérez-Ratton. Central America: Desiring a Place”, MUAC, Mexico City, 2019; “Victoria Cabezas and Priscilla Monge: Give Me What You Ask For”, Americas Society, New York, 2019; and “Social Energies/Vital Forces. Natalia Iguiñiz: Art, Activism, Feminism (1994–2018)”, ICPNA, Lima, 2018. Recent books include: Ficciones disidentes en la tierra de la misoginia (Dissident Fictions in the Land of Misogyny, 2019), and Robar la historia. Contrarrelatos y prácticas artísticas de oposición (Stealing History: Counter-narratives and Oppositional Art Practices, 2017]. López is also a co-founder of the independent art space Bisagra, active in Peru since 2014. His writing has appeared in Afterall, Artforum, Art in America, e-flux journal, and Manifesta Journal, among others. López lives and works in Lima.

Zoraida Lopez-Diago stands at the intersection of visual, social, and environmental justice; she is a photographer, curator, activist and co-founded of Women Picturing Revolution (WPR) with Lesly Deschler Canossi. Her photographs center around themes of gender, race, incarceration, and migration and have been exhibited at institutions throughout the US and Latin America. She has lectured at Harvard University, the Tate Modern, and La Universidad de Antioquia (Colombia), among others. Zoraida is currently writing an essay, paired with images, on the intersection of photography, the Black body and nature for Duquesne University’s academic journal, Duquesne Studies in Phenomenology. She is also co-curating “Picturing Black Girlhood,” an exhibition from February to June 2022, as part of the conference “Black Portraiture[s] VII: Play and Performance” at Rutgers University-Newark and with Deschler Canossi, co-editing Black Matrilineage, Photography and Representation: Another Way of Knowing, a collection of academic essays accompanied by a curated selection of photographic images, to be published by Leuven University Press, distributed by Cornell University Press in North America.

Roxana Marcoci is Senior Curator of Photography at The Museum of Modern Art, New York. She holds a PhD in Art History, Theory and Criticism from the Institute of Fine Arts, New York University. The recipient of the Center for Curatorial Leadership Fellowship in 2011, Marcoci chairs the Central and Eastern European group of MoMA’s C-MAP (Contemporary and Modern Art Perspectives in a global world). She is visiting critic in the graduate program at Yale University and a contributor to Aperture, Art in America, Art Journal, and Mousse. She has co-edited and authored Photography at MoMA, a three-volume history of the expanded field of photography (2015/17). Major exhibitions she curated or co-curated include Louise Lawler: WHY PICTURES NOW (2017); A Revolutionary Impulse: The Rise of the Russian Avant-Garde (2016); Zoe Leonard: Analogue (2015); Transmissions: Art in Eastern Europe and Latin America, 1960-1980 (2015); From Bauhaus to Buenos Aires: Grete Stern and Horacio Coppola (2015); Christopher Williams: The Production Line of Happiness (2014); The Shaping of New Visions: Photography, Film, Photobook (2012); Taryn Simon: A Living Man Declared Dead and Other Chapters I–XVIII (2012); Sanja Iveković: Sweet Violence (2011); Staging Action: Performance in Photography Since 1960 (2011); Pictures by Women: A History of Modern Photography (2010); The Original Copy: Photography of Sculpture, 1839 to Today (2010); Take your time: Olafur Eliasson (2008); Comic Abstraction: Image-Breaking, Image-Making (2007); and Thomas Demand (2005). Marcoci is currently at work on a Wolfgang Tillmans retrospective, scheduled to open at MoMA in February 2021.

María Martínez-Cañas, a Cuban-born, Miami-based artist working with innovative, non-traditional photo-graphic media, has exhibited extensively in the United States and abroad. Her works are included in the permanent collections of The Philadelphia Museum of Art, MoMA, the Museum of Contemporary Art in Chicago, the National Museum of American Art, and Smithsonian Institution in Washington, DC, among others.

Shoair Mavlian is Director of Photoworks. She is responsible for the strategic vision and artistic direction of the organization including exhibitions, publishing, digital content, and learning & engagement. Recent Photoworks projects include ‘Photoworks Festival: Propositions for Alternative Narratives’ (2020), ‘Ursula Schulz-Dornburg, Zone Grise/The Land In between’ (MEP, Paris 2019), and ‘Brighton Photo Biennial: A New Europe’ (2018). From 2011-2018 Mavlian was Assistant Curator, Photography and International Art at Tate Modern, London, where she curated the major exhibitions ‘Don McCullin’ (2019) ‘Shape of Light: 100 Years of Photography and Abstract Art’ (2018), ‘The Radical Eye: Modernist Photography from the Sir Elton John Collection’ (2016), ‘Conflict, Time, Photography’ (2014), ‘A Chronicle of Interventions’ (2014) and ‘Harry Callahan’ (2013). While at Tate Modern she helped build the photography collection and curated collection displays enjoyed by over 5 million visitors per year. Mavlian has a background in fine art photography practice and the history of photography with a focus on conflict and memory, Central and Latin American photography, and emerging contemporary practice. In 2018 she was named one of Apollo Magazine’s 40 under 40 Europe – Thinkers.

Andrea Nelson is associate curator in the department of photographs at the National Gallery of Art, Washington. She received her Ph.D. in art history from the University of Minnesota in 2007 and has published on modern and contemporary photography and the history of the photobook. At the National Gallery she has organized several exhibitions and installations including The New Woman Behind the Camera (2021), Richard Mosse: Incoming (cocurator, 2019), The Memory of Time: Contemporary Photographs from the National Gallery of Art (cocurator, 2015), and A Subtle Beauty: Platinum Photographs from the Collection (2014). She also serves as co-chair of the museum’s Time-based Media Art Working Group.

Laure Parise is an entrepreneur and advocate for art and design. Business developer for Artprice.com, and co-president of IWPA. After a master’s degree in communication law at Panthéon Assas University, she began her career as Public Relations for L’Oréal in Malaysia before founding her first web agency in Kuala-Lumpur. In 2016, she co-founded Antidote art.design, an online platform for emerging artists and designers from the Middle East and South East Asia. With over 15 years of experience abroad in the management and production of art and design projects such as the production of international exhibitions (like the first Pavilion Pakistani at the Venice Biennale in 2018), she also pioneered the online art market and digital strategy. In 2016, she joined IWPA (International Women Photographers Association) and launched the IWPA Award. Since then, the Association works for parity and diversity in the world through photography, and promotes women photographers of all origins and nationalities.

Alpesh Kantilal Patel is an associate professor of contemporary art and visual culture at Tyler School of Art and Architecture, Temple University. His art historical scholarship, curating, and criticism reflect his queer, anti-racist, and transnational approach to contemporary art. A frequent contributor of exhibition reviews to artforum.com, he also writes for frieze, Artforum, Art in America, and Hyperallergic.com.

Claire Raymond is the author of several books on feminist aesthetics, poetics, and critical race theory, including Selfie, Temporality, and Contemporary Photography (2021), The Photographic Uncanny (2019), and Women Photographers and Feminist Aesthetics (2017), as well as two monographs on the American photographer Francesca Woodman, and the Oxford University Press textbook 16 Ways of Looking at a Photograph. She is a Visiting Research Collaborator at Princeton University, and in coming faculty at The Institute for Doctoral Studies in the Visual Arts and at the University of Maine.

Marie Robert is head curator of the photography at the musée d’Orsay. She has organized around 10 exhibitions of the collection marked by the social sciences and also co-curated, among other shows: Splendour and Misery. Pictures of Prostitution, Who’s Afraid of Women Photographers? and, in Summer 2021, Jazz Power! She taught, from 2014 to 2017, the history of photography through the gender eyes at the Ecole du Louvre. With Luce Lebart, in 2020 she co-edited Une histoire mondiale des femmes photographes at éditions Textuel. Her current research is on the criss-crossing relationships between photography and other media. After reintroducing early cinema into the museum’s permanent collection in 2019, she has prepared, with Dominique Païni and Paul Perrin, Cinema at last! Arts, images and entertainment in France 1833-1907, an exhibition that just opened in September 2021.

Verónica Sanchis Bencomo is a Spanish-Venezuelan photographer and curator. Her images have appeared in the South Wales Evening Post, YLE News, Helsinki Sanomat, and Ventana Latina magazine. In 2014, she founded Foto Féminas, an online resource for promoting Latin American and Caribbean women photographers. In addition, she has curated and produced photo exhibitions in Argentina, China, Guatemala, Mexico, Chile, and Peru.

Ileana L. Selejan, PhD is a Research Fellow with the Decolonising Arts Institute and Associate Lecturer at the University of the Arts London. As Honorary Research Fellow in the Department of Anthropology at University College London, she is part of the European Research Council (ERC) funded project, “Citizens of Photography: The Camera and the Political Imagination.” She was the Linda Wyatt Gruber ’66 Curatorial Fellow in Photography at The Davis Museum at Wellesley College, where she curated the exhibition “Charlotte Brooks at LOOK: 1951-1971.” With a focus on photography in Latin America, her research investigates Nicaraguan citizens’ engagement with politics through photography, and how photographs are circulated across the public sphere.

Abigail Solomon-Godeau is Professor Emerita, Department of Art History, University of California, Santa Barbara and since 2010 lives and works in Paris. She is the author of Photography at the Dock: Essays on Photographic Histories, Institutions and Practices (1992); Male Trouble: A Crisis in Representation (1997); Chair à Canons: Photographie, discours, féminisme (2015); Photography After Photography: Gender, Genre and History (2017); She has written monographs on the Australian artist Rosemary Laing (2011) and the Austrian artist Birgit Jurgenssen (co-authored with Gabriele Schor, 2013). Her essays on photography, 18th and 19th-century visual art, feminism, and contemporary art have been widely anthologized and translated.

Maggie Steber is a Guggenheim Foundation Fellow, 2017-2018, and documentary photographer who has worked in 70 countries photographing stories concerning the human condition. She is a contributing photographer to National Geographic Magazine. In 2013 Steber was named as one of eleven Women of Vision by National Geographic Magazine. Her current personal project is The Secret Garden of Lily LaPalma, a project differing greatly from her documentary work, and supported by a generous two-year grant from the Guggenheim Foundation. Her honors include Joseph A. Sprague Memorial Award for commitment to the craft of visual journalism that advances the profession in 2020, the Pulitzer Prize Finalist 2019, the Lucie Award for Photo-journalism 2019, Leica Medal of Excellence, World Press Photo Foundation, Pictures of the Year, Medal of Honor for Distinguished Service to Journalism from the University of Missouri, the Alicia Patterson Grant, a Knight Foundation Grant and the Ernst Haas Grant. Steber has worked in the small nation of Haiti for 30 years. Aperture published her monograph on Haiti entitled DANCING ON FIRE. Her work is exhibited in dozens of festivals and galleries throughout the United States and overseas, Her photographs are included in the American Women Collection at the Library of Congress, the Guggenheim Foundation, and the Richter Library. She is affiliated with VII Photo Agency. She lives in Miami, FL. And the National Foundation for Young Arts.

Eugenia Vargas Pereira is a multidisciplinary artist born in Chillan, Chile. She has extensive international experience in performance, installations, video, and photography. In her early work, she used her body as an instrument for expression. Throughout her career, she has explored gender issues and the natural environment. Her reflections mostly come from her own experience, her nomadic way of life, and her need to redefine her identity due to constant geographical changes. As part of her work, she stages photographic tableaus with herself as the main subject, playing different roles that defy cultural stereotypes and speak on issues of gender identity. In 1999 she staged a series of remarkable Home Shows, by allowing artists intermittently to take over her one-story home in Miami. She has represented Chile in several biennials.

Deborah Willis, PhD, is University Professor and Chair of the Department of Photography & Imaging at the Tisch School of the Arts at New York University. She is the recipient of the MacArthur Fellowship and a Guggenheim Fellowship. She is the author of The Black Civil War Soldier: A Visual History of Conflict and Citizenship and Posing Beauty: African American Images from the 1890s to the Present, co-author The Black Female Body: A Photographic History among others. Professor Willis’s curated exhibitions include: “Let Your Motto Be Resistance: African American Portraits” at the International Center of Photography; Out of Fashion Photography: Framing Beauty at the Henry Art Gallery and “Reframing Beauty: Intimate Moments” at Indiana University.

Daniella Zalcman is a Vietnamese-American documentary photographer based in New Orleans. She is a multiple grantee of the National Geographic Society and the Pulitzer Center on Crisis Reporting, a fellow with the International Women’s Media Foundation, and the founder of Women Photograph, a non-profit working to elevate the voices of women and nonbinary visual journalists. Her work tends to focus on the legacies of western colonization, from the rise of homophobia in East Africa to the forced assimilation education of Indigenous children in North America. Her ongoing project, Signs of Your Identity, is the recipient of the Arnold Newman Prize, a Robert F Kennedy Journalism Award, the FotoEvidence Book Award, the Magnum Foundation’s Inge Morath Award, and part of Open Society Foundation’s Moving Walls 24. Daniella is also a proud member of the Authority Collective and Diversify Photo, one of the co-authors of the Photo Bill of Rights, a co-founder of Indigenous Photograph and We, Women, and a member of the board of trustees of the W. Eugene Smith Memorial Fund and the board of directors of the ACOS Alliance.

Vanessa Rocco (PhD, Art History, CUNY Graduate Center) is Associate Professor of Humanities and Fine Arts at Southern New Hampshire University, Manchester, and former Associate Curator at the International Center of Photography (ICP) in New York. Her latest book, Photofascism: Photography, Film, and Exhibition Culture in 1930s Germany and Italy, was recently published by Bloomsbury Academic and will be converted to paperback in March 2022. The research was supported in part by a Getty Research Institute Library Grant. She is also co-editor with Elizabeth Otto of The New Woman International: Representations in Photography and Film from the 1870s to the 1960s (University of Michigan Press, 2011/2012.)

Adama Delphine Fawundu is a photographer and visual artist born in Brooklyn, NY to parents from Sierra Leone and Equatorial Guinea, West Africa. She received her MFA from Columbia University School of the Arts. Her art explores the strength of African and Black diaspora culture and identities that continue to evolve despite the social violence of the transatlantic slave trade and colonialism. Fawundu is a co-founder and author of the book and movement, MFON: Women Photographers of the African Diaspora. Her awards include the Rema Hort Mann Emerging Artist Award, New York Foundation for the Arts Photography Grant, and the Brooklyn Arts Council Grant. Fawundu’s works can be found in private and public collections such as the Brooklyn Museum of Art, The Brooklyn Historical Society, The Norton Museum of Art, Corridor Art Gallery, The Museum of Contemporary Art at the University of São Paulo, Brazil, and David C. Driskell Center, For the Study of Visual Culture of African Americans and the African Diaspora, University of Maryland.