World Premiere - Lodz Fotofestiwal (Poland) | June 2014
US Premiere - Photoville - Brooklyn, NY | September 2014
Curator - Jamel Shabazz
Editor - Sam Barzilay
Creative + Multimedia producer - Tracie Williams
Presented by - United Photo Industries
We Live in Brooklyn, Baby was an outdoor multi-media projection that featured over 30 Brooklyn photographers and showcased over 300 images of Brooklyn. On the opening night of Photoville 2014, the screening was backed by a live Brooklyn inspired soundscape of music and found sounds selected live by DJ’s Chris Devlin and Prince Klassen.
Created specifically for Photoville | Brooklyn, NY 2014
Moderator - Marvin Heiferman
Creative Producers - Anna Ekros + Tracie Williams
Presented by - International Center of Photography
Book Layout + Design - Marisa Sottos + Jessica Thalmann
Poster + Postcard Design - Jessica Thalmann
Website Design - Beau Torres
CALL + RESPONSE + RESPONSE was a summer long collaboration with 12 fellow classmates, the 2015 ICP-Bard MFA Candidates, moderated
by Marvin Heiferman. We corresponded in an elaborate scheme of CALL + RESPONSE, with three rounds of production of which resulted in 39 artworks in total. The design of the space we created to exhibit the work reflected both our process and our interconnectivity as artists. This immersive exhibition demonstrated how photography operates as a conversational tool which initiates engagement and triggers discourse.
Featuring - Esther Nila Boesche, Stephanie Colgan, Joseph Desler Costa, Anna Ekros, Connor McNicholas, Marie Louise Omme, Kat Shannon, Marisa Sottos, Daniel Terna, Jessica Thalmann, Beau Torres, Kimberly J. Wade, Tracie Williams
Created specifically for Photoville | Brooklyn, NY 2013
Conceived by - Pete Brook
Creative Producer - Tracie Williams
Presented by - United Photo Industries
When asked to pick out a single image they absolutely treasure, people generally don’t hesitate. A snap of their children, a Polaroid of their parents, a formal pose from precious life event, or perhaps even a photograph with the prescribed artistic balance of composition, contrast and exposure. Whether the choice is dictated by emotional memory or technical concerns, the question “What is your best photo?” is not an unusual one. But what about the question, “What is your worst photo?” To put it another way, what photograph of yours is obsolete, worthless, old news or just plain bad? Which single photograph of yours would you like to officially state on the record as unwanted?
There might be many of your images that you could trash, but by asking you to choose only one, we hope you’ll take the opportunity to think about the proliferation of images in society and your relationship to the everincreasing number. Photoville will officially recognize your image as Unwanted with a numbered certificate and unique catalogue code. One-by-one, as the images interrelate and build the Depository, new meanings will emerge. The arbitrary definitions brought to the project by you the public will amount to a unique view. The Depository Of Unwanted Photographs is an unpredictable interrogation of quality that crucially is made by the public, not by the dominant voices of those in the media or culture industries
Photoville 2013 extended an open invitation to the public to submit one of their photos to The Depository of Unwanted Photographs. We accepted prints as well as the digital form—delivered via e-mail, post or in person. We had a printer on site and affixed the image to the form displayed here. We then asked each participant to fill out the form detailing why the image was unwanted by them, and no longer needed in the world. Once the deposit was received to the depository, the form was stamped with TDOUP seal and participants were then given a receipt. In addition, they were asked to delete the digital images that were deposited from their personal archives. The design of the exhibition container resembled that of a bank equipped with a typewriter, a metal desk, velvet ropes and pens attached to the counters. Over the course of the two-week festival we crowdsourced over 200 unwanted images and stories, with content varying from light-hearted to heart-braeaking.
AUSTRALIAN CONTEMPORY FAMILY PROJECT
Vientiane, Laos | 2011
Curators - David Lloyd, Moshe Rosenzveig + Jules Tennant
Founder/Project Manager - Dawne Fahey
Produced by - Fier Institute
The aim of The Contemporary Australian Family Photographic Project was to make photographs that record the social-cultural landscape of contemporary "family" life, however that may be construed, where the results reflected the diversity among these relationships. As I was living in Laos at the time, I documented a contemporary Australian expat family—Greg, Mel + Mala.
Featuring - Aileen Hubbard, Alan Moyle, April Ward, Brad Wagner, Chiara Terraneo, Christine Rose Divito, Cim Sears, Dawne Fahey, Hazel Buckley, Janette Anderson, Jim Filmer, Joel Rainford, Kevin Cooper, Lari Gadza, Laura Palmer, Lesley Downie, Lynn Gail, Matthew Goddard-Jones, Maurizio Salvati, Melissa Anderson, Michelle Dupont, Peter Eve, Philippe Schneider, Robyn Hills, Sally Mayman, Sandra Edwards, Steve Marshall, Tracie Williams, Vanessa Wiggins
2012 | Foto Freo Festival | Breadbox Gallery | Northbridge, WA Australia
2012 | Momento Showrooms | Chippendale, NSW Australia
2013 | Brisbane Powerhouse | Brisbane,QLD Australia
2013 | Australian Latin Foundation | Teatro Mayor | Bogota, Columbia
2012 | Canon APPA (Australian Professional Photography Awards) Photography Book of the Year
2012 | HP Asia/Pacific Japan Digital Consumer Book of the Year w/ Momento Pro
COPE VISITOR CENTER
Vientiene, Laos | February 2008
Visitors / year - 20,000
Project Manager - Jo Periera
Producer + Designer- Tracie Williams
Curators - Didi, Maz Carruthers, Jo Perera + Tracie Williams
Production - COPE Workshop Staff
The COPE Visitor Centre is a permanent, multi-disciplinary, interactive exhibition highlighting the work of COPE (Cooperative, Orthotic and Prosthetic Enterprise), a local project based in the capital of Laos that supports the government run service in providing prosthetics, orthotics, mobility devices and rehabilitation services free of charge to those who cannot afford to pay—designed with the intention of dismantling stigmas associated with physical disabilities.
The visitor centre was also designed to educate both local and international visitors of the impact of the 9-year bombing campaign the US carried out on this small country over 4 decades ago and the challenges people with disabilities face—especially in a country struggling to develop in a post-conflict landscape. The legacy of the "Secret War" still continues to kill and maim each year, where approximately 40% of COPE’s prosthetic patients are bomb related.
In October 2016, President Barak Obama became the first sitting president to visit Laos. The White House held one of their press conferences at the COPE Visitor Centre where President Obama pledged $90 million over a three year period for clearance of unexploded bombs and victim assistance. The last installment was allocated in March 2018..
Featured Artists - Among COPE’s permanent exhibition are drawings by Lao villagers (c. 1971) who survived the U.S. bombing (courtesy of Legacies of War and Fred Branfman) sculptures by Anousone Vong Aphay, illustrations by Colin Cotterill, photographs by Jo Periera, images and interviews by Jim Harris, the critically acclaimed documentary film Bomb Harvest by Kim Mordaunt + Sylvia Wilczynsk, and 60+ photographs from my project Every.Eight.Minutes.
Obama Pledges To Help 'Heal' Laos, Decades After U.S. Bombings - NPR | September 6, 2016
Remarks by President Obama at the Cooperative Orthotic and Prosthetic Enterprise (COPE) Centre | The White House - Office of the Press Secretary | September 07, 2016
Behind the Lens: From Lake Tahoe to Laos - Medium | September 9, 2016
Obama hits the tourist trail on the banks of the Mekong: President visits Buddhist temple and sips from a coconut during historic visit to Laos
Medium | September 9, 2016