The Lucie Foundation is proud to present its third Open Call supporting World Central Kitchen where we will be donating 50% of the profits received to support their efforts.


World Central Kitchen (WCK), a non-profit organization that uses the power of food to heal communities and strengthen economies in times of crisis and beyond. 

This Open Call will feature 50 photographers / images that will be displayed in an Online Exhibition that will be live next week. Stay tuned!


Theme for this Open Call is: THE PORTRAIT PROJECT 

Categories: Self /Portrait, Together as One (Relationships with Friends / Family, Groups of People or Singles), Candid (Moments Captured), B/W, and Alternative/Abstract



Lisa Sorgini: Behind Glass – Self portrait with my sons

Claudia Caporn: Alexander’s Band
Kennedi Carter: Untitled (Self Portrait)
Nancy Floyd: Weathering Time 1984/2013/2020
Dominique Jean-Marie: Le Petit Prince
Justin Keene: Elmarco
Heather McDonough: RePose (Ann-Whistler’s Mother, Whistler)
Karen Navarro: Fragment
Rashod Taylor: Reflection of me
Nolan Ryan-Trowe: Kenosis #2

Lisa Sorgini – Behind Glass is a portrait series documenting 25 mothers and their children experiencing isolation in their homes during the global pandemic and a period of enforced social distancing to control the transmission of COVID-19 in Australia. I have built a practice investigating relationships between mother and child and In this series I explore my long-held fascination with photographing through windows to frame a subject – a process I have never felt is more poignant than now.

Behind glass, mother and child appear like living and breathing masterpieces – divine comedies of domesticity.

Claudia Caporn – Spontaneously captured on my family farm on an incredibly hot and stormy summer afternoon, the spectacle of a double rainbow quickly drew my younger sister and I out of the safety of our house to marvel at nature’s balance of beauty and ferocity.

Kennedi Carter – This is an image I took of myself during the 3rd month of quarantine. I’d been growing out my hair for a bit of time, due to barber shops being closed. I turned to my father for help with shaving my head.

For so long I felt my beauty was rooted in my hair, it wasn’t until I’d cut it all off that I felt most femme. I feel this portrait is a reflection of that, how an action such as your father shaving your head is often one we see with a masculine connotation, but here it’s flipped and in conversation with the feminine.

Nancy Floyd – I have been photographing myself for thirty-nine years. Most often I’m by myself in these straightforward images, but sometimes I’m with family and friends. As time passes, births, deaths, celebrations, and bad days happen. Pets come and go, fashions and hairstyles evolve, typewriters, analog clocks, and telephones with cords disappear; and film gives way to digital and the computer replaces the darkroom. The triptych submitted for this call chronicles my youth to the dawn of my old age.

Dominique Jean-Marie – Like all parents, I have great expectations for these little boys. My relationship with them is defined by the emotion they cause in me. This series is a quest for love, inheritance and security for all my beautiful black boys that I raise like kings.

Justin Keene -This image forms part of a project in Mitchells Plain, Cape Town, that uses photography and formal structures of image-making to explore themes of citizenship and place-related identity in post-apartheid South Africa. The work confronts the ethics of viewership as a way of questioning our collective participation in the production of the post-colony. Justin’s focus on the youth of Mitchells Plain challenges mainstream media portrayals of the area to create an intimate social dialogue and renewed visual economy after a history of documentary realism in the country.

Heather McDonough – This series is about invisibility, aging, self-worth, role-play and identity. I am searching for portraits that I saw as a child—pictures that are in my memory bank. I am specifically interested in American and English paintings from the period between the mid 19th and mid 20th century, an important time in the evolution of painting that coincides not only with the birth of photography but with the advent of women emerging as artists in their own right. Each of the photographs is based on a portrait painting depicting the often complex experience of the women pictured.

Karen Navarro – Like a puzzle, my identities intersect, coming together to construct my multiple sense of self. Although I do not appear in the pictures, I see the works as self-reflective, and the process of putting the image back together becomes a form of meditation that reflects my efforts to reconstruct and to make sense of my own identity.

Identity is a social and cultural construct, how we perceive ourselves, and how we are perceived by others sometimes differs. For this reason, I made each of the squares in this image so they can be rearranged to create a new piece, just like perceptions change.

Rashod Taylor – These images are part of an ongoing series “Little Black Boy”. In the series I address themes of race culture family and legacy. These images are a kind of family album, filled with friends and family, birthdays, vacations, and everyday life. At the same time, these images tell you more than my family story; they’re a window onto the Black American experience. As I document my son I am interested in examining his childhood and the world he navigates. At the same time these images show my own unspoken anxiety and fragility as it pertains to the well-being of my son and fatherhood.

Nolan Ryan-Trowe – This photo is about my disabled self trying to touch my former self. It’s an attempt to remember who I was before my injury. It’s not that I believe that I’m an entirely different person, but I do forget what it was like to be ablebodied. The more time passes the more I feel that former self of mine drifting away, like a hot air balloon swiftly into a gusty afternoon sky. I can almost remember, I can almost touch it, but there is a disconnect that grows in distance with every day passing. It’s about memory. A memory of who I was and who I am. A double-exposure.


How has Covid-19 and the accompanying isolation affected the subject of your work?

In a lot of ways it is a continuation of some of the themes in my work, isolation is not a new concept for mothers who are home caring for young children.

In the past year I have found that there seems to be a growing sense of understanding and acknowledgment of the juggle that mothers are faced with.

For example, a zoom meeting from home while children pop in and out of the conversation is now considered a relatively normal experience for many now that we have all experienced trying to work from home.

Your series “behind glass”, which this image is a part of,  “explores your long-held fascination with photographing through windows to frame subjects”.  Could you tell us about that?

When I first began making portraits of mothers and their children a couple of years before Covid I would almost always at some point in the shoot use a window to frame a couple of images. It wasn’t a conscious thing but I definitely noticed a pattern after a while and wanted to delve into and understand my fascination with it.

The framing of a window teamed with the contrast of light and dark for me helps to make it feel timeless, the physical frame gives a sense of looking in on a live artwork.

At the same time, the window of a home elicits a sense of the relatable and the domestic.

This image is so layered;  it is  beautiful, a story about the mother /child relationship and also reminiscent of our time during this epidemic, could you tell us about your thinking in composing this image?

Thank you. In the making of this series I was aware that I wanted each image to hint at the lightness and the darkness both aesthetically and metaphorically. On a personal level, in this image I was so exhausted and anxious during the period of isolation in looking after my two young children with the absence of my external support systems but at the same time enjoying the closeness with them. I wanted to communicate a sense of both extremes.

How has your personal story influenced your own work?

I lost my mother during the same year as becoming a mother myself.

These two events happening so closely together were a catalyst for such profound and transformative upheaval and completely changed the course of my life and my work. Making images of this time became therapeutic, a way to process my unrecognisable new life, I so often felt out of my own body that looking in on these images . Almost 5 years later and I am still as fascinated as ever with motherhood in modern society and the way it looks and changes over time.

How do you plan to evolve the story “when you say how the mother role looks and changes over time”

The evolution is occurring naturally for me as my children grow and we experience the challenges and beauty that each stage brings. To be able to capture what I am experiencing with other mothers at similar points in life is a powerful way for me to make sense of my own experiences and hopefully present a healthy and well rounded visual conversation on what motherhood looks and feels like.

As a society we are also shifting and I am noticing more acceptance and interest in the conversation of motherhood in modern society and a willingness to embrace the not so shiny parts.

Can you tell us what you are working on now or a project you will be starting in the near future?

This year I plan to firstly remain flexible and open to opportunity as this last year has taught me and to work at injecting more honesty into the work I put out.

I have a new project in the research stage and I will be continuing my work on the project ‘In-Passing’, a series that documents my familial space during my children’s formative years and undercurrents the departure and slow return to self that has been my own experience of becoming a mother.


See more of Lisa’s work online at:


Anthea den Hollander: Ageless

Wesley Bernard: Blue Ribbon Winner, Carter Stanton age 5, Otsego County Fair 2019 Blue Ribbon Ayrshire Cow
Kelly-Ann Bobb: Sacred bodies
Nehemiah Brent: Family Heirloom
Neil Kramer: Quarantine in Queens, Day 26
Orna Naor: Portraits
Therese Öhrvall: Annie & Hannes, 2020
Silvia Rocchino: Carnale
Milena Villalón: Summer’s End
Kate Warren: Let the Ghosts Speak from Our Hearts

Anthea den Hollander – We were running through a field like a couple of hippies. Naked … free … and most of all … in love. Laying down eventually, the grass touching our bare skins, cuddling up to each other. Heartbeats. This was our moment, our world, our life. This was us and nobody could tell us otherwise.

Wesley Bernard – The Blue Ribbon project consists of photographs that were taken on location at county fairs shortly after the young farmers won the ribbons. I am intrigued at the dedication and devotion that is put into raising and showing livestock and agriculture at such a young age, and how important it is to the survival of us all.

This 5 year old boy won the Blue Ribbon for his Ayrshire Cow.

Kelly-Ann Bobb – Sacred bodies and the divine. From the inception of the photographic practice, spirituality, sex and race have influenced the portrait. It is important for the Caribbean photographer to capture and document his/her community and experiences. This portrait manifests both the strength of the female and the softness of the masculine form.

Nehemiah Brent – For this piece, we have brothers Alex and Peter Santiago with their dad’s 1970 Chevy Malibu. This car originally belonged to their grandfather. Their dad will be passing on this car to them in the future for them to share.

Neil Kramer – When the pandemic hit Queens back in March, I found myself trapped in a small apartment with my 86 year old mother and my ex-wife from Los Angeles. Suddenly, there was no privacy. I couldn’t even take a bath without my mother or my ex-wife walking in on me. A project evolved that documents the anxiety and humor of our confinement together. “Quarantine in Queens” became a commentary on caregiving, boundaries, love, and family responsibility. It’s a project that continues today. It has been featured in the Washington Post, The New York Post, Featureshoot, and NBC’s Today Show.

Orna Naor – Young Orthodox Jews celebrating Purim in Bnei Brak Israel

Therese Öhrvall – Portrait of Annie and Hannes kissing, taken in Stockholm, Sweden in July of 2020. A moment of closeness and intimacy during one of the loneliest periods of our lives.

Silvia Rocchino – “Carnale” is our shell, the appearance that has been given to us, humans, with bodies of tissues and bones, subject to changes dictated by time.

Focusing on women’s bodies, The project highlights all their differences and peculiarities, celebrating what should never be criticised and abused or victim of taboos and ostentation, of precarious fashions and laws. Teasing the senses of the observer through textures and colours of our flesh, “Carnale” talks about feminine support and empowerment.

Milena Villalón – I took this picture as a part of my long term project ‘Sommer der Haut’ during my photography studies at Ostkreuzschule für Fotografie. I documented the relationship of my best friends during several years, and this was the last picture I took shortly before they broke up. For me, the position of their bodies really talks about their feelings, or maybe, the way I was seeing their feelings.

Kate Warren – In the wake of the pandemic and racial uprising of 2020, Let the Ghosts Speak from Our Hearts explores racial and gender dynamics within my interracial relationship. After being apart through the summer of unrest, my partner and I reunited to reckon with and heal years of racial trauma. We fought to find new ways of being heard, seen, and valued in our relationship and society as we clung to our love for one another. The portrait illustrates the rawness, tenderness, and vulnerability necessary to engage in this dialogue, one with which America itself continues to struggle.


Alain Schroeder: Grandma Divers

Todd R. Darling: American Idyll
Susanna De Pascalis: Family after lockdown
Florian Koenigsberger: A Mother’s Wisdom
James Lattanzio: Portrait of Artist and Naturalist Wanda von
Hayley Lohn: Gravity
Rebecca Moseman: The Car Boys
Maggie Shannon: Under the Pepper Tree
Mireia Vilaplana: Let me out (again)
Steve West: Shannon

Alain Schroeder – Jeju island, known for its basalt volcanic rock, sits off South Korea. It is the home of the Haenyeo or women of the sea who free dive off the black shores of Jeju harvesting delicacies from the sea. Wearing thin rubber suits and old fashioned goggles, this aging group of women (50 and many are well over 70) are celebrated as a national treasure and inscribed on the UNESCO list of Intangible Cultural Heritage, but the tradition is slowly fading as fewer women choose this hazardous profession.

Todd R. Darling – Born and raised in New Jersey my work on the city of Paterson is a lyrical interrogation of the American Dream inspired by local poets William Carlos Williams and Allen Ginsberg. This picture was taken on Summer Street which is part of an open air drug market in the city’s 4th ward. Ra Ra with his brother and the newly adopted neighborhood dogs.

Susanna De Pascalis – Find my family after lockdown. Use the potography as the hug and kisses I can’t give yet

Florian Koenigsberger – The time in lockdown has afforded me a unique view into and understanding of the layers of my parents’ life. This time has coincided with my first deliberate journey to grow my hair out. My mother’s skill in working with the nuances of Black hair have led me to lean on her for advice—on both hair and life—in this extended moment of isolation, and this image speaks to this growth in our relationship through my literal and figurative roots.

This self-portrait was made on a medium-format film Hasselblad 500 C/M camera using a cable release.

James Lattanzio – Portrait of German artist and naturalist Wanda von Bremen, taken at my home in August during a lull in the intensity of the pandemic in the New York Metropolitan area. After spending months in lockdown and in zoom meetings it was a pleasure to get back to collaborating with someone in person. Ecology and environmental issues are central concepts in Wanda’s artwork. During the pandemic, many people have rediscovered nature and the outdoors as a safe way to escape and to relieve the anxieties we have all felt this year. The nest is from my garden and and we used my garage as a studio to work in.

Hayley Lohn – “Gravity” was taken this year in Canada when Comet Neowise appeared. I was feeling very isolated and alone at the time like many others because of the COVID-19 pandemic. While I was taking this self-portrait, I felt free and in harmony with the sky above me. This experience was a much-welcomed interlude of joy during this year.

Rebecca Moseman – Three Irish Traveler boys, Billy, Steven, and Paddy who live in the Carrowbrowne Halting Site, use an abandoned car as their playground. The boys have no natural areas to play and so display boredom, frustration, and aggression by destroying the car. The Carrowbrowne halting site, a rat-infested site is located on the outskirts of Galway city next to a waste management site. Although the site was intended to be temporary, it has now become their permanent area of living.

Maggie Shannon – An exhausted Taylor Almodovar clutches her partner Justin Gardner during a contraction under the pepper tree at Chemin Perez’s New Life birth center in Arcadia, CA.

Mireia Vilaplana – In the eyes of a child, a global pandemic is a hard concept to grasp. Days go by with its ups and downs. Laying on the couch, rolling in the garden, waiting for the friends that never seem to arrive. With a million questions and very few answers. Nothing else to do but play with what you hear and what you see, even if it makes absolutely no sense.

Steve West – Portrait of photographer, Shannon McCollum who’s a friend and a regular subject in front of my camera.


Selene Magnolia: ZOR

José Alvarado Jr.: The Food Delivery Workers of NYC’s Covid Pandemic
Lucy Bohnsack: *pre-existing condition
Julien James: Black Boy, Black Boy They Love Everything About You Except You!
Gabrielle Motola: David in the GeoSea
Jessica Page: Worthy
Clara Pereira: Through the window
Melinda Reyes: “The Struggle Continues” – From “Inside the Walls: An Intimate Look at our Elders during COVID-19
Erinn Springer: McKay and Mom’s Wallpaper
Chin-Fa Tzeng: Ba Jian Jian Sitting Bombs

Selene Magnolia – With the awakening of nationalist sentiments, in Europe the urgency to preserve national identity burns along borders but also inside, forcing minorities into ghettos. Like wounds, these need to be healed, prevented from infecting what is around them, closed. ?Roma people are in 2019 more than 11 million, and Stolipinovo, in Plovdiv, Bulgaria, is today the biggest Roma ghetto in Europe. In contrast with a strong community-based culture, its alleged 75000 people live in squalid decay and daily social emergency. Stolipinovo is a portrait of systematic discrimination in Europe in our century.

José Alvarado Jr. – New York City, New York — October 31, 2020: As the morning sun makes it way over Manhattan, Gustavo Ajche attempts to keep warm by moving about on Lafayette Street and Broom Street near Lt. Petrosino Square as he waits for deliveries. Since early March, the complexities of COVID-19 has shed light on the various obstacles in the gig economy, from wage theft to bare-bones wages, leading many to voice their frustrations to the growing mistreatment of this invisible army. Originally photographed for The New York Times

Lucy Bohnsack – *pre-existing condition

*An excuse our society has been using to justify the death of over 250,000 people. My 4 year old son has asthma, a pre-existing condition, and the world would not be worth living in without him. We need to stop believing that it is a personal choice to follow safety guidelines. Especially when there are 250,000+ grieving families who had no say.

Julien James – This portrait is a visual letter to my son, Maison. On the surface level, it explores the innocence of boyhood, summertime, and friendship. But the more time you spend with my son and my nephew Hans (in the back), their gaze reveals deeper truths about the greatness they possess, the power of them, and the dark realities that await them as they grow into Black men in America.

Gabrielle Motola – David a recent immigrant to Iceland from the Bahamas by way of Flordia relaxes in GeoSea, Husavik’s geothermal pool. The image was made with an infrared full spectrum converted camera with an IRchrome filter. Like many foreigners the questions he will likely be asked will be ‘where are you from’ and ‘why are you in Iceland’? A monoculture, there are relatively very few people of colour in Iceland. “Natives” have a strong idea of who is Icelandic and who is not. Even someone who was born to Icelandic parents outside of Iceland who returns is commonly considered an outsider – útlandingur.

Jessica Page – This image exemplifies a black man able to choose his own path, free of obstruction.

Clara Pereira – After 5 months of confinement in the city, a road trip and a few days in the countryside was a much needed break.

When I looked through the window I saw this peaceful moment, she was there, present. This year, simple moments like this, gained a new significance, a different brightness. And I’m grateful to have had this one.

Melinda Reyes – July 17th 2020 – Boston, Massachusetts

As the world began to open up to many of us, it did not for the majority of our elders. As they were one of the hardest hit populations, strict regulations continued within the Nursing Homes to protect the patients. Entering into the 9th month of lockdown, patients, like John, began to feel “more forgotten than ever” and struggled with the ongoing isolation.

Erinn Springer – My family gets together once a year during Wisconsin’s deer hunting season in late November. This year has been a bit different, but we still managed to be together in our childhood home. This photo is of my niece getting a haircut during Thanksgiving.

Chin-Fa Tzeng – Ba Jia Jiang is one of the most representative folk cultures in Taiwan. All face paintings of eight generals are based on their grimacing expressions. Because their responsibility is to defend the family and protect the country, people dress up to play as gods with exaggerated makeup and show supernatural abilities.

Therefore, the cannon becomes the representative of god’s superpowers when they are sitting in bombs.

It is the finale when the Ba Jia Jian performs this epic activity.


Robert Kalman: Ashleigh 2

Jonathan Banks: The Portrait of a Torture Survivor
Julia Fullerton-Batten: CONTORTION, 2020
Tom Chambers: Hide Your Eyes
Shawn Fender: Ready to help anywhere
Lara Gilks: The Siren 2
Aimée Hoving: Elly
Aviva Klein: Bermuda Blue
Jessica Levin: This is Not a Test
Matuschka: Arkville Solarized

Robert Kalman – Tintype portrait of body paint artist Ashleigh Alexandria. Made during quarantine in Brooklyn, NY

Jonathan Banks – The portrait features Desiré Lemoupa, a survivor of Torture from Cameroon who fled his home country seeking safety, recovery, & political asylum. He was persecuted for standing up for freedom of speech & tortured by a repressive government.

Survivors are the strongest and most effective voice in the campaign to abolish torture.

Not all survivors want to be recognised for fear of repercussions to their friends & family. Each survivor selected a photograph that was significant to them. The photograph was then projected over the individual, sometimes obscuring their identity.

Julia Fullerton-Batten – Contortionism is one of the oldest physical art forms, dating back to ancient civilization as illustrated in paintings and sculptures from ancient Greece, Rome and Egypt. Apart from the bodily characteristics of flexibility, strength and apparent double-jointedness, a contortionist requires years of dedication to extremes of discipline and training, often beginning in childhood, to acquire the fluid artistry needed to create a serpentine dance of the human body.

Tom Chambers – My photographic series “Tales of Heroines” is collection of stories about the lives of young women told through portraits. The subjects squarely face the viewer and the images employ a consistent format with a low horizon line, vertical orientation, and arched framing which invites the viewer into the story. Using magic realism, the power of storytelling emanates from the details in the photomontages. The stories are intentionally provocative enticing the viewer to engage with questions about the Tales of Heroines.

Shawn Fender – I wanted to photograph a front lines worker in an irregular environment to visually demonstrate their willingness to serve in any location.

Lara Gilks – The Siren, a Greek mythological creature – half bird and half woman.

Aimée Hoving – From a work in progress with my daughter. In this picture the child is holding a portrait of her great grandmother, in a heavy theatrical décor in a French chateau. It is inspired by the Victorian portraits where the child was often held by the hidden mother, except here it’s reversed.

The model in these pictures is in fact my own daughter. Together, we recreate my childhood memories in staged pictures. It is a photographic journey reflecting certain fears and dreams I had when growing up.

Aviva Klein – I made this photo in 2019 on assignment for Conde Nast in Bermuda.

Jessica Levin – A gentle moment of trust in a perpetual state of collective reflection. Taken summer of 2020 in Chicago, IL. Multidisciplinary artist and dancer, Angela Townsend on Kodak Portra 400 film.

Matuschka – Shot on negative 35 film, this image was exposed twice (upside down next to the first exposure)  on a sheet of 11 x 14 Silver Gelatin Fiber Based Paper. When the paper was in the developer. I exposed the print to light, and solarized it before toning the print. Arkville, a self-portrait shot in 1989, is one of many self- portraits I created for a series entitled “The Ruins” in which I explored themes of feminine cultural identity. It is a commentary on social notions of female disposability and exploitation through the juxtaposition of a beautiful organic body against its sharp environment.


Lynn Goldsmith


Lynn Goldsmith’s multi award–winning career in photography has included:  The Lifetime Achievement Award from the Professional Photographers of America, the Lucien Clergue, the World Press in Portraiture, and the 2021 Lucie Honoree for Achievement in Portraiture, to name a few. Her images have appeared on and between the covers of some of the most respected publications across the globe:  Life, Time, Newsweek, Rolling Stone, Interview, People, Sports IllustratedStern, Paris Match, Elle, etc.  With fourteen photo books of her images as well as hundreds of groundbreaking album covers from Patti Smith’s Easter to Frank Zappa’s Sheik Yerbouti, her commercial and personal focus in photography has always been on the portrait. The National Portrait Gallery, Moma, The Museum of Contemporary Photography, The Kodak Collection, and other prestigious museums include her work in their permanent collections.

Though a magna cum laude graduate in the liberal arts from the University of Michigan, Lynn considers herself to be a self-taught artist and entrepreneur. Others have called her a pioneer. She was the one of the first women to direct network television, to be a manager of a rock and roll group, to be the founder of the first photo agency focused on celebrity portraiture and to be the ‘mother’ inventor of ‘The Selfie-Stick.’ She changed art book publishing models  with her New York Times best-selling Rizzoli monograph New Kids and now she’s taken on the job of fighting a legal battle, risking everything she has, to secure the rights for all visual artists in the United States who should be entitled by our constitution to control the rights to that which they have created.

Adrian Octavius Walker

Mixed Media Artist

Adrian Octavius Walker is a mixed-media artist based in Chicago, IL, by way of St. Louis, Missouri.

His work is inspired by the black body, dynamics of the black family, and archival work related to the African American experience and the untold stories they share. Working in both film and digital-format photography, Walker creates penetrating portraits influenced by his deep awareness of the nuances that pervade the human experience.

His greatest milestone to date is being one of the prize-winning artists in The Outwin 2019: American Portraiture Today Competition currently on display at the National Portrait Gallery Smithsonian in Washington, D.C.

Pt.2 Gallery Oakland, CA currently Represents Walker.

You can find him curating artist talks and creating dynamic installation work. He enjoys collecting photobooks, some commercial photography, and discovering artists on the web. Give him a shout @aoctaviusW

Aldeide Delgado

Founder & Director
Women Photographers International Archive (WOPHA)

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, California Institute of the Arts (CalArts), and The New School. Delgado is a 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. Her areas of scholarly interest include a feminist and decolonial re-reading of the history of photography and abstraction within Latin American, the Caribbean and Latinx contexts. 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, Art Table and the steering committee of the Feminist Art Coalition.

Suzanne Donaldson

Senior Director, Global Brand Creative Production

Suzanne Donaldson is the Senior Director of Global Brand Creative Production for Nike. She moved to Nike four years ago to help create its first Global Art Buying department and has built a production team to commission imagery for Nike’s various sports categories. Prior, Suzanne spent 12 years as the Executive Photo Director of Conde Nast’s Glamour magazine, working with world class photographers such as Liz Collins, Patrick Demarchelier and David Slijper to name a few. As Photo Director she has previously influenced the artistic direction of such publications as Vanity Fair, Interview, Oprah, Lucky and SELF magazines. Her unique vision on press has been fine-tuned with exposure to advertising and the art world having holding positions at Arnell Group, Wieden and Kennedy, Luhring Augustine Gallery and Robert Mapplethorpe studio.

Jacqueline Tobin

Rangefinder Magazine

Having worked in the photo industry for over three decades, Rangefinder editor-in-chief Jacqueline Tobin is passionate about the medium itself as well as supporting the talented creatives behind the camera. After graduating from Cornell University in 1985, where she studied Communications and worked as a staff photographer on the Cornell Daily Sun, Ms. Tobin’s first real job was in 1986 as assistant editor for Photo District News (PDN), where she moved up the ranks as Photo Editor, then Managing Editor and finally, Deputy Editor. After 25 years at PDN, she was asked to take over their newly-acquired sister publication, Rangefinder, where she currently works as Editor-in-Chief of the publication and website. Ms. Tobin has written two books during her photo career— Wedding Photography Unveiled: Inspiration and Insight From 20 Top Photographers (Amphoto, 2009) and The Luminous Portrait: Capture The Beauty of Natural Light for Glowing, Flattering Photographs (with Elizabeth Messina, Amphoto, 2012). She regularly does portfolio reviews at PhotoPlus Expo every year, speaks at conferences around the country—including WPPI in Las Vegas—and is constantly on the lookout to discover new talent.

The photographer must be the sole author and owner of the copyright of photos entered in to the competition. Copyright and all other rights remain that of the photographer. Any photograph used by Lucie Foundation shall carry the photographer’s credit line and will not be used for any other purposes other than the exhibition and promotional material for the exhibition including online and through social media and email newsletters. Images may be displayed on the Lucie Foundation website and social media platforms for promotion of the Open Call.
For additional questions, please contact: 

This Open Call is in partnership with Sony and supporting World Central Kitchen.

World Central Kitchen (WCK) uses the power of food to heal communities and strengthen economies in times of crisis and beyond. WCK has created a new model for disaster response through its work helping devastated communities recover and establish resilient food systems, and has served more than 40 million fresh meals to people impacted by natural disasters and other crises around the world in countries including The Bahamas, Indonesia, Lebanon, Mozambique, Venezuela, and the United States. WCK’s Resilience Programs in the Caribbean and Central America have trained hundreds of chefs and school cooks, advanced clean cooking practices, and awarded grants to farms, fisheries and small food businesses while also providing training and networking opportunities. Learn more at