HOUSTON — At the opening reception of the FotoFest biennial on March 7, co-founder Wendy Watriss humorously remarked, “If you think there are too many pictures here, you’re right.” For its 40th anniversary, the event showcases a vast retrospective with works from over 450 artists representing 58 countries. “We wanted people to see the breadth and the scope of FotoFest, from China to Argentina, from Russia to England, from Canada to Africa, and on and on,” Watriss explained.
Watriss and her husband, Frederick Baldwin, established FotoFest after being inspired by the Rencontres d’Arles in France in 1983. They aimed to create a festival in Houston that embraced “internationalism, opening the door to new opportunities around the world, and making sure that the United States doesn’t remain as parochial as it often is,” Watriss noted. These foundational principles were pioneering when the festival began in 1986 and remain relevant today.
Despite concerns over censorship and political pressure, the atmosphere at FotoFest was lively and positive. Executive Director Steven Evans commented on the current climate, stating simply, “I’m against it.” While acknowledging some opposition, Evans focused on the art being celebrated. The biennial spans three buildings, includes commissions at Project Row Houses, and offers a variety of public programs, all documented in a 192-page guide and a comprehensive catalog by Schilt Publishing.
FotoFest has remained distinct in its approach, concentrating on well-researched themes since its inception. Past biennials have explored subjects such as Indian contemporary photography (2018), Russian Pictorialism (2002), and Latino photography in the US (1994). From scientific studies by Theodore Schwenk to Susan Meiselas’s photojournalism, the retrospective highlights the festival’s diverse artistic scope.
As the oldest photography festival in the US, FotoFest has forged enduring connections with featured artists. Lola Flash and Delilah Montoya, both participants in past editions, reflected on the inclusive nature of the festival. Despite the political climate, Houston’s art scene thrives independently, embodying the resilience and autonomy that FotoFest has championed for four decades.
