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FotoFest Biennial 2026. Ten by Ten Exhibition. Houston, Texas.
No full textThe Biennial 2026, Global Visions – FotoFest at 40, marks four decades of photographic arts and education programming in Houston, Texas. It presents key works and themes from the 20 previous biennials between 1986 and 2024, with more than 450 artists from the United States and 58 countries represented.
Curated by FotoFest co-founder and former artistic director Wendy Watriss and FotoFest executive director Steven Evans, with co-curators Annick Dekiouk and Madi Murphy, the Biennial 2026 reconstitutes the exhibitions and citywide photo and mixed-media presentations that have defined FotoFest’s history.
The 2026 FotoFest Biennial marks the thirtieth anniversary of Ten by Ten. Originally called Discoveries of the Meeting Place, this biennial exhibition is dedicated to sharing the work of artists who participate in FotoFest’s Meeting Place Portfolio Review. Since its founding, The Meeting Place has provided thousands of photographers with the opportunity to meet one-on-one with leaders in the world of contemporary photography.
For each Ten by Ten exhibition, ten reviewers are selected from the most recent Biennial portfolio reviews. These reviewers then nominate a selection of photographers whose work they consider riveting. Of these nominees, ten photographers are invited to show one project from their oeuvre for the final presentation. The selection process, including ten reviewers and ten artists, is the inspiration for the name Ten by Ten. The resulting exhibitions have consistently offered a broad range of photographic themes, styles, perspectives, technologies, and presentations, inviting the audience to explore the varied possibilities of the photographic art form.
An integral component of each Ten by Ten exhibition is the essay that each reviewer writes about their selected artist. The writing contextualizes the work in the exhibition within the framework of photographic history and contemporary discourse. For emerging photographers participating in the exhibition, this essay is often the first scholarly text written about their work. For others, this text strengthens their presence within an international context.
Ten by Ten 2026 presents the work of artists who participated in FotoFest’s 2024 Meeting Place Portfolio Review and 2025 Meeting Place Virtual Portfolio Review. The exhibition features images and objects exploring themes of intimacy, family, historical erasure, environment, and pilgrimage, along with contemporary conversations around identity, race, grief, and belonging. While many of the projects speak to one another, there is no overarching theme. Far from weakening the exhibition, this underscores the myriad approaches photographers use to convey their perspectives. Together, the works presented in Ten by Ten 2026 provide insight into each artist’s lived experience and personal interests while also reflecting the broader concerns shaping photography today.
Celine Marchbank was nominated for the exhibition by Crista Dix, Director of the Griffin Museum of Photography, Massachusetts USA
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FotoFest
No full textText for an article about Houston's FotoFest that was published in the March 1996 issue of Texas Highways magazine
Forest
No full textOriginating from the FotoFest Meeting Place Portfolio Review for Artists, Ten by Ten is one of the FotoFest Biennial's most popular exhibitions. Presented alongside the FotoFest Biennial 2020 central exhibition, Ten by Ten (formerly known as the Discoveries of the Meeting Place), highlights ten portfolios chosen by ten international reviewers from the Meeting Place in 2018.The featured artists are just a few of the hundreds of success stories that emerge from the FotoFest portfolio reviews every year
Roshini Kempadoo - Ghosting Portfolio pages in the 2018 Fotofest Biennial Catalogue - INDIA: Contemporary Photographic and New Media Art
No full textRoshini Kempadoo - Ghosting
Portfolio pages in the 2018 Fotofest Biennial Catalogue - INDIA: Contemporary Photographic and New Media Art.
“Nineteen fifty-five was also the year Langston Hughes and Roy DeCarava published The Sweet Flypaper of Life, … the photographs spoke to me in a manner that I will never forget, and they led me ask questions about the photographs we had in our house.”1
Deborah Willis’ words resonate with my looking, thinking about and creating photographs. The album photograph becomes central to a personal reflection inextricably linked to the family home and the influential work by Hughes and DeCarava as narrators of African American culture. Similar to Willis and DeCarava are the ways in which Ghosting is created with photographs as indelible prompters to memory and imagination, conjuring other possibilities of being and living.
Ghosting is created from the historical traces of Trinidad and its interconnectedness to Britain, India and West Africa, evoked through the plantation landscape as a legacy of slavery and indentureship. Conceived as a multimedia single screen-based artwork of spoken word and still images for the retrospective Roshini Kempadoo: Works 1990 – 2004, Ghosting is also manipulated and layered images as a series of photographic prints.
Imagine a working plantation of days past in Trinidad. Our memory is prompted and guided by historical and contemporary photographs, documents, maps, and illustrations as representations of Trinidad. These fragmented, disjointed stories are about the workers who sustained the plantation. Ghosting invites you to reconsider plantation life through Mary Louise, Ram, Elsie, and other fictional characters conjured from historical figures and events. As characters, they reveal narratives and life experiences of resilience, canniness, violence, and loss. The characters are based on absent images, unwritten diary accounts, and buildings long demolished in the plantation landscape.
Ghosting traces plantation life stories in which there was little choice —after all, there was no escaping it. It was their reason for being in Trinidad, and in becoming Trinidadian.
1 Deborah Willis, Picturing Us: African American Identity in Photography (New York: New Press, 1994), 4
Ep. #007 - FotoFest 2016 (featuring Judy Natal & Marina Zurkow)
No full textThis recording and transcript form part of a collection of podcasts conducted by the Cultures of Energy at Rice University. Cultures of Energy brings writers, artists and scholars together to talk, think and feel their way into the Anthropocene. We cover serious issues like climate change, species extinction and energy transition. But we also try to confront seemingly huge and insurmountable problems with insight, creativity and laughter.This week’s Cultures of Energy podcast is a double episode focusing on two art shows that CENHS has sponsored for Houston’s FotoFest 2016 biennial, “Changing Circumstances: Looking at the Future of the Planet” (http://2016biennial.fotofest.org). In the intro segment, Cymene and Dominic talk to Rice English Professor Joseph Campana, Director of CENHS’s Arts & Media Research Cluster. Joe curated the CENHS-FotoFest show and realized it in collaboration with the Rice Building Workshop. We discuss the concept for the show and it’s many reinventions and creative partnerships along the way.
Then we delve deeper with the artists themselves. First, (12:53) we speak to Marina Zurkow about the collaborative project Dear Climate (http://dearclimate.net) that she has developed together with Una Chaudhuri, Oliver Kellhammer, and Fritz Ertl. Dear Climate juxtaposes punky agitprop posters with podcasts encouraging meditation and compassion for our environment. It unfolds from the certainty that no paradigmatic changes are coming without changing how we think about the world. With Marina, we talk about how art should hybridize instead of proselytize, creating material encounters that can short-circuit expectations. Jellyfish and dandelions also make special guest appearances.
In the final segment (44:46) we interview Judy Natal about her latest multimedia project, Another Storm is Coming. Judy describes her research adventures in East Texas and Southern Louisiana. She talks about the beautiful people she met in places like Port Arthur and Cameron Parish and how they have struggled to remain resilient in one of the world’s most active hurricane corridors. We talk about the cultural complexity of storms, about the entanglements of oil culture and nature, and what is fascinating about shorelines and other liminal spaces. Judy asks us (all): What kind of light and air do we want to live with in the future
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Full text linkWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
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