Since 2016, one of the main purposes of the Blurring the Lines program has been to choose among hundreds of projects the most promising and relevant to the annual competition theme through its network of photography schools and art universities. The jury is presided over each year by curators from various regions of the world, among others, Yining He (2023), Sarker Protick (2022), Amak Mahmoodian (2021), and John Fleetwood (2020). Each year's theme helps to reflect on the evolution of visual language, the forms of narration, and the challenges of the contemporary landscape increasingly conditioned by images. Alongside the various partners of the initiative, I coordinate the competition and the publication of the awarded works.
Since 2016, one of the main purposes of the Blurring the Lines program has been to choose among hundreds of projects the most promising and relevant to the annual competition theme through its network of photography schools and art universities. The jury is presided over each year by curators from various regions of the world, among others, Yining He (2023), Sarker Protick (2022), Amak Mahmoodian (2021), and John Fleetwood (2020). Each year's theme helps to reflect on the evolution of visual language, the forms of narration, and the challenges of the contemporary landscape increasingly conditioned by images. Alongside the various partners of the initiative, I coordinate the competition and the publication of the awarded works.
Hi! I am Steve, a professional in the field of photography and visual arts, with a background as a curator, art director, and educator.
I’m a “mestizo,” as they say—Venetian on my father’s side, with a French surname that dates back to Napoleon’s campaigns, and a soldier from around Montpellier. My mother was born in Belgium to a Dutch family. My grandfather from Hoboken, New Jersey, on the Hudson River. I grew up a bit here and there; I currently live in Paris.
I have known the world before smartphones, computers, and the internet. Before low-cost flights. The backseat of my father's car was my window. Studies pushed me to embrace complexity, a quite observation. A gaze that "touches," that dares in some way, that strives to forge a connection.
I spent the past 20 years questioning the role of images in society.
• Coaching and Portfolio Review
Go to Coaching and Portfolio Review page
Steve Bisson has also been giving lectures, mentoring, and collaborating with cultural and educational institutions worldwide such as: Lasalle College of Arts (Singapore) | Novia University, Master of Culture and Arts, Entrepreneurship in the Arts, and Photography (Finland) | FotoDepartment (Russia) | Museum of Contemporary Art of Vojvodina (Serbia) | FAAP – Fundação Armando Alvares Penteado (Brazil) | Fondazione Benetton Studi e Ricerche (Italy) and multiple other academies and institutions.
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Design by Roberto Vito D'Amico
Hi! I am Steve, a professional in the field of photography and visual arts, with a background as a curator, art director, and educator.
I’m a “mestizo,” as they say—Venetian on my father’s side, with a French surname that dates back to Napoleon’s campaigns, and a soldier from around Montpellier. My mother was born in Belgium to a Dutch family. My grandfather from Hoboken, New Jersey, on the Hudson River. I grew up a bit here and there; I currently live in Paris.
I have known the world before smartphones, computers, and the internet. Before low-cost flights. The backseat of my father's car was my window. Studies pushed me to embrace complexity, a quite observation. A gaze that "touches," that dares in some way, that strives to forge a connection.
I spent the past 20 years questioning the role of images in society.
• Coaching and Portfolio Review
Go to Coaching and Portfolio Review page
Steve Bisson has also been giving lectures, mentoring, and collaborating with cultural and educational institutions worldwide such as: Lasalle College of Arts (Singapore) | Novia University, Master of Culture and Arts, Entrepreneurship in the Arts, and Photography (Finland) | FotoDepartment (Russia) | Museum of Contemporary Art of Vojvodina (Serbia) | FAAP – Fundação Armando Alvares Penteado (Brazil) | Fondazione Benetton Studi e Ricerche (Italy) and multiple other academies and institutions.
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Design by Roberto Vito D'Amico