Photo Oxford Festival
Saturday 29 April 2023
MEET THE REVIEWERS
Tiffany Jones is the founder of Overlapse, a London-based photobook imprint started in 2015. With over 30 years dedicated to arts publishing and photojournalism, she is an editor, designer, researcher and educator working with global programmes and institutions. She collaborates in tandem with photographers and artists to communicate through the making of unique, desirable, and beautifully produced books. Subjects and stories address social, cultural, and environmental issues, and highlight enduring and universal themes connected to human experience. Notable publications include ‘You can call me Nana’ by Will Harris (finalist, 2021 Paris Photo–Aperture Foundation First Photobook prize); ‘A Parallel Road’ by Amani Willett (top 10 photobooks of 2021, David Campany for ICP); and ‘Beyond Drifting: Imperfectly Known Animals’ by Mandy Barker (nominated for the 2018 Deutsche Börse Foundation Prize).
Hana Kaluznick is Assistant Curator of Photography at the Victoria and Albert Museum (V&A), London, UK. She joined the V&A in 2020 to support the development and inaugural displays for Phase 2 of the V&A’s Photography Centre, opening spring 2023. She is a PhD student at University of Liverpool, in partnership with the V&A, studying the industrial history of early colour photography in Britain between 1890 and 1935.
Dr Caroline Molloy
Dr Caroline Molloy is an artist, academic and writer. She is the programme director of Fine Art, Digital Arts and Photography at University for the Creative Arts in Farnham. She holds an MA in Photography from the Royal College of Art, an MA in Visual Anthropology from Goldsmiths UoL. and recently achieved a practice-led PhD from Birkbeck in the Centre for Photographic History and Theory. Her research interests are focused on the marginalised voice in both gender and post/decolonial colonial contexts. Her work has been shown in group exhibitions at Arles Photography Festival, Jaipur Photo, The Foyer Gallery, UCA Farnham, New Art Gallery Walsall, Four Corners, London and the palace of Westminster. Recent peer reviewed written publications include, (2023) ‘Identity Politics: A study of diasporic identity mediated through family photography’ in Handbook of Research on the Relationship between Autobiographical Memory and Photography. IGI Global and (2020) ‘Rethinking the photographic studio as a politicised space’, in Developing a Sense of Place: Models for the Arts and Urban Planning. London: UCL publishing. In addition to this, she regularly writes for Visual Studies, The Journal of Visual Practice, 1000words magazine and Photomonitor around the relationship between photography and visual culture.
Clare Grafik is Head of Exhibitions at The Photographers’ Gallery. She has worked in public institutions including the ICA, Whitechapel, Hayward Gallery and National Portrait Gallery. At The Photographers’ Gallery she has worked on exhibitions with Lise Sarfati, Isa Genzken, Larry Sultan & Mike Mandel, Taryn Simon, Katy Grannan, Antoine D’Agata, Zineb Sedira and Keith Arnatt. Group shows include ‘The Photographic Object’, 'Photography & Collage’ and 'Double Take: Photography & Drawing'. Other projects include a Bettina Von Zwehl exhibition at the Freud Museum, and catalogue contributions including Alex Prager's 'Silver Lake Drive', and more recently ‘Another Country’. She has been a Sessional Lecturer at Birkbeck College, London, teaching a course on photographic archives, and has lectured at institutions including UAL, USW, Plymouth and Sotheby’s Institute of Art.
Christiane Monarchi is the founding co-editor of Hapax Magazine, which commissions photographic artists and curators to make new work specifically for this publication. She also founded the online platform Photomonitor, dedicated to photography and lens-based media, which published more than 1,400 features online 2011-2022.
Matthew Finn (b. 1971 UK) explores personal relationships both within the corpus of the family as well as the wider stage of personal relationships through long-term photographic projects. Finn cultivates a working practice of an auteur, in charge of all the elements of the work where the craft of the print and the process are equally important. Finn continues to make significant long-term bodies of work including his series of portraits of students, which commenced in the early 1990s and durational bodies of work that focus on the province of family life and close relationships.