FEP was founded in 2003 as a non-for profit organization. Based in Minneapolis, a city with a vibrant tradition for support for the arts, FEP has achieved substantial results in its first decade, with its shows travelling to 35 countries on 4 continents, and catalogues produced in many different language editions.
FEP has always valued collaboration with institutions and individuals, and has worked with curators, historians, critics and educators in the pursuance of its goals. Among the distinguished experts who have contributed to FEP’s projects are Joan Simon (curator-at-large, Whitney Museum); A. D. Coleman (historian, critic and curator); Patterson Sims (former assistant director MoMA); Tobia Bezzola (curator, Kunsthaus Zürich); Carol Squiers (curator, International Center of Photography, New York); Ronald J. Gedrim (historian); Pamela Roberts (curator and historian, former curator at the Royal Photographic Society); Katy Homans (graphic designer); Olivier Lugon (professor, University of Lausanne).
Among the institutions we have worked with closely are the Musée de l’Elysée, Lausanne; the Jeu de Paume, Paris; the Kunsthaus, Zurich; the Art Gallery of Ontario, Toronto; the Musée national des beaux-arts du Québec; the Williams College Museum of Art, Williamstown, Mass.; the Museum of Art Fort Lauderdale, Florida; the Norton Museum of Art, West Palm Beach, Florida; the Kunstmuseum Wolfsburg; the Museo Nacional Centro de Arte Reina Sofia, Madrid; the Museo del Traje, Madrid; Galleria Carla Sozzani, Milan; the Nelson-Atkins Museum of Art, Kansas City, Missouri.
Among the publishing house we have worked with: Thames & Hudson, London and Paris; Hatje Cantz Verlag, Ostfildern; Skira, Italy; W.W. Norton & Company, Inc., New York.
Todd Brandow is the founding Executive Director of the Foundation for the Exhibition of Photography, Minneapolis/New York/Paris/Lausanne, which celebrated its tenth anniversary in 2013. He has been based in Paris since 1997, working during that time as a photography curator, foundation director, and book publisher. He co-curated and co-produced Edward S. Curtis exhibition tours, a retrospective tour of Finnish photographer Arno Rafael Minkkinen with critic A. D. Coleman and co-curated three exhibitions on Edward Steichen with William Ewing and Nathalie Herschdorfer. Projects recently produced include the first major thematic show independently curated from the Condé Nast Archive, Coming into Fashion; an Arnold Newman retrospective, co-produced with the Harry Ransom Center; a Lorna Simpson exhibition co-produced with the Jeu de Paume and a Vik Muniz exhibition co-produced with the High Museum of Art, Atlanta. Projects in development include major thematic exhibitions on Polaroid art and technology with MIT Museum and on 21st century art, "Civilization: The Way We Live Now", co-produced with the National Museum of Modern and Contemporary Art of Korea, monographs on Hiroshi Sugimoto, Manuel Alvarez Bravo, and Lee Friedlander, as well as a longterm collaborative relationship with the International Center of Photography, NY.
David Campany writes and curates exhibitions in the fields of photography and film. His recent shows include A Handful of Dust (Le Bal / Pratt Institute NYC / Moderna Museet Stockholm), The Open Road: photographic road trips across America (currently touring the US) and Walker Evans: Anonymous (currently touring Europe). For each show Campany has written substantial books. His other titles include Photography and Cinema (2008), Jeff Wall: Picture for Women (2010) and Art and Photography (2003). Among his 150 published essays he has written three for monographs of William Klein’s work; others on the work of Lewis Baltz, Chris Killip, Eugène Atget, John Stezaker, Doug Rickard, Tod Papageorge, Lise Safarti. He has written for major museums including MoMA, Tate, Centre Pompidou, The Photographer’s Gallery and the Stedelijk Museum.
Joshua Chuang is a curator, writer, and editor whose work has thus far centered on postwar American and contemporary photography. He began his curatorial career at the Yale University Art Gallery, where was appointed the museum’s first dedicated curator of photography, and subsequently served as chief curator at the Center for Creative Photography in Tucson, Arizona. Among his projects are the acclaimed touring retrospective exhibition Robert Adams: The Place We Live; First Doubt: Optical Confusion in Modern Photography; and The Pure Products of America Go Crazy, along with their attendant publications. In addition to his work as a curator, he has made key contributions to more than twenty artist’s monographs, including those on the work of Robert Adams, Lee Friedlander, Judith Joy Ross, Santu Mofokeng, and Mark Ruwedel.
A. D. Coleman is a prolific writer of photography history and criticism who has published widely since the 1960s. Born in 1943, he is based in New York City. During the 1960s and 1970s, Coleman was a regular columnist for the Village Voice, Popular Photography, The New York Times and Camera 35. His books include The Grotesque in Photography (1977), Light Readings: A Photography Critic's Writings (1979), Critical Focus: Photography in the International Community (1995) and The Digital Evolution: Photography in the Electronic Age, Essays, Lectures and Interviews, 1967-1997 (1998). Curatorial projects include Testimonies: Photography and Social Issues (Houston Fotofest International 1990) and SAGA: The Journey of Arno Rafael Minkkinen (FEP, 2005, co-curated with Todd Brandow). He received the first Art Critic's Fellowship ever awarded in photography by the National Endowment for the Arts in 1976, and a major Hasselblad Foundation Grant in 1991. A Fulbright Senior Scholar in Sweden in 1994, he received the prestigious Kulturpreis der Deutschen Gesellschaft für Photographie (The Culture Award of the German Photographic Society) for 2002.
Deborah G. Douglas is Director of Collections and Curator of Science and Technology at the MIT Museum. In 2010, she acquired the Polaroid Company Historical Collection which contains more than 10,000 rare artifacts including cameras, prototypes and test equipment. A specialist in the history of technology and science, Douglas has curated more than 30 exhibitions and displays including the museum's largest, the MIT 150 Exhibition for the Institute's sesquicentennial celebration in 2011. Author of several books and articles, her most recent publication is Countless Connecting Threads, MIT´s History Revealed Through Its Most Evocative Objects (The MIT Press, 2013).
Luke Erickson is a photographer, curator and educator who lives in Minneapolis, Minnesota. Since 2011, he is the director of FEP Minneapolis. He received a BA from the University of Redlands and a MA from the University of Illinois-Chicago in art history. Luke was director of the film program in the Department of Public Programs at the Minneapolis Institute of Arts. Luke worked for many years as a photographer in Los Angeles and directed the short film Frank Gehry’s Schnabel House. He was a creative director, location scout and photographer for many film companies in Los Angeles. He collaborated with Pablo Ferro on the title sequence for the film Late Last Night. He has exhibited widely in the United States and his work is in many private, corporate and municipal art collections. Luke is also the curator of RUNNER RUNNER Gallery in Minneapolis. He also teaches classes on art and film.
William A. Ewing is a well-known curator and writer on photography. From 1977 to 1984 he was Director of Exhibitions at the International Center of Photography, New York, and between 1996 and 2010 he was Director of the Musée de l’Elysée, Lausanne. His exhibitions have been shown at many museums in America and Europe, including the Museum of Modern Art, New York; the Centre Pompidou, Paris; the Hayward Gallery and the Serpentine Gallery, London; the Kunsthaus Zürich; and the Montreal Museum of Fine Arts. His recent books include The Body, The Century of the Body, and Face: The New Photographic Portrait. He has also co-authored, with Brandow and Herschdorfer, two Edward Steichen publications: Edward Steichen: Lives in Photography and Edward Steichen: In High Fashion, the Condé Nast Years 1923-1937. Mr Ewing is also Director of Curatorial Projects for the international publishing house, Thames & Hudson. His most recent publications are Landmark: The Fields of Landscape Photography (Thames and Hudson, 2014), Edward Burtynsky: Essential Elements (Thames and Hudson, 2016), and William Wegman: Being Human (Thames and Hudson, 2017).
Francois Hébel has been Director of Les Rencontres de la photographie at Arles in 1986-1987, when he showed works by a new generation of photographers, including seminal figures of the 1980s such as Martin Parr, Nan Goldin, Paul Graham, Annie Leibovitz, Sebastiao Salgado, and Eugene Richards. Between 1987 and 2000, he led the photography agency, Magnum (Paris and International). He returned to the prestigious festival Les Rencontres in 2001 as Director, where he has remained for thirteen years. Hébel also co-created the Photo Spring festival in Beijing, China. His publications include Mick Jagger: The Photobook (Contrasto +4, 2010) and Harry Gruyaert, Rivages (Textuel, 2003).
Nathalie Herschdorfer is an art historian specialized in history of photography. Curator at FEP, she is also Director of the Museum of Fine Arts, Le Locle, Switzerland. In 2010 she was named director of the photography festival Alt. +1000 in Switzerland for which she curated two years of programming. Previously, she was a curator at the Musée de l’Elysée in Lausanne, where she worked for twelve years on major exhibitions, including Face: the Death of the Portrait, and retrospectives of Edward Steichen, Leonard Freed, Ray K. Metzker and Valérie Belin. She is the author of Afterwards: Contemporary Photography Confronting the Past (2011), editor of Le Corbusier and the Power of Photography (2012) and co-author, with William A. Ewing, of reGeneration: Tomorrow’s Photographers Today, two books dedicated to emerging photography on the international scene. Among her recent projects are a dictionary of photography including over 1,200 concise yet fully detailed entries on all aspects of the subject (Thames & Hudson/Editions de La Martinière, 2015), the book NewSwissArchitecture (2015), and Coming into Fashion: A Century of Photography at Condé Nast, a travelling exhibition produced by FEP and accompanied by a book published in 6 editions.
Barbara Hitchcock, former Cultural Affairs director, joined Polaroid Corporation in the 1970s in a research and development capacity. In 1978 Hitchcock joined Polaroid's international division publicity department, where she coordinated all the photographic requirements of the subsidiary publicity departments. Appearing as a Polaroid spokesperson on national and international television and radio broadcasts, she promoted new Polaroid films and hardware. Since 1982, Hitchcock was made responsible for the strategic marketing communications and program planning, development and execution of Polaroid's cultural activities. She acquired fine art photographs for Polaroid, managed its multi-million dollar art collections and its traveling exhibitions. She has been the curator of several exhibitions, including The Big Picture; Olivia Parker: Objects and Implications; Sightseeing: A Space Panorama, a collaboration with NASA; In Grand Perspective; Polaroid 50: Art and Technology; It’s a Dog’s Life: Photography by William Wegman; Fins, Wings and Other Such Things: Photographs from the Polaroid Collections; Ansel Adams & Edwin Land: Art, Science & Invention - Photographs from the Polaroid Collections; and Sanctuary: Anna Tomczak Photography. During the late 1980s and 1990s, she oversaw Polaroid’s 20x24-studio program, expanding both its artist support and commercial growth.