Manifesting Her Way To FotoFest: Talking with Madi Murphy

On a cold rainy night in January, just as the new year began, I met up with Madi Murphy at Bistro Menil in Houston to discuss her new position as Associate Curator at FotoFest. Both of us are alumni of the University of Houston College for the Arts, so we reminisced about our overlapping time there and the great people we got to know and learn from. Madi talked about getting settled into her new position (along with a new apartment she shares with her dog and cat) and looking forward to putting down roots in the local photo scene. She has worked previously with FotoFest on a past Biennial and is delighted to return to the organization in a full-time curatorial role. She describes herself as an introvert, yet she exudes a warm, sincere vibe, and we find ourselves toasting to the new year and her new position. What follows is an email exchange where we delve into how Madi found herself in Texas, her own photography practice, and how FotoFest was her destination all along.  

 

Cammie Tipton (CT): Tell me about yourself. Where did you grow up? Did you have an artsy upbringing? Where did you go to school?

Madi Murphy (MM): I grew up primarily in Charlotte, North Carolina, where I attended school from kindergarten through 12th grade. However, I was born in Denver, Colorado, and spent part of my early childhood there. My mother raised me in a very creative environment where I was exposed to art and individual artists pretty much since birth. 

When I was very young, she led the art program for the Denver International Airport during its construction. I was able to see the artworks come to life as the space was being built. After we moved to Charlotte, she served as the Public Art Director for the Arts & Science Council, a nonprofit organization managing public art programs, community engagement, and educational initiatives for the City of Charlotte and Mecklenburg County. Later, she transitioned to working as an independent public art consultant and fiction author. 

Because of her creative background, my mom ensured I had access to a robust arts education at every school I attended and frequently brought me along on her travels, where I experienced museums, galleries, artist studios, and large-scale public art projects firsthand. It was an extraordinary childhood that deeply influenced my appreciation for art. My artistically infused upbringing led me to attend Maryland Institute College of Art (MICA) in Baltimore, Maryland, for my undergraduate studies and later the University of Houston for graduate school.

 

CT: I would love to hear more about your experience in photography. As a creative, this will undoubtedly help you to better understand and contribute to the decision-making at FotoFest. What led you to pick up a camera? Do you still take photographs? What is your own personal photographic process like?

MM: My mom gave me my first camera in elementary school – an Olympus OM-1, the same camera she used during college. I still have it today. Around that time, one of her close friends, a photographer and international photojournalist for the Charlotte Observer and other publications, became a mentor of sorts. She spent time teaching me how the camera worked, sparking my curiosity. A traveling solo exhibition of her work was on view in Charlotte, featuring photographs she took of the Tiananmen Square protests and massacre. I remember being fascinated with the emotion of the imagery and the impact of the enlarged photographs. Of course, as a kid, I had yet to comprehend the full weight of the images. Seeing that show and interacting with the photographer introduced me to the photographic process and the breadth of capabilities that photography could offer as both an artistic tool and a storytelling medium.

I took my first black-and-white film photography class in high school and fell in love with the process. I was very experimental during that time. I liked to layer altered negatives in the enlarger, using the tip of bent paperclips or push pins to scratch into the film emulsion to reveal various elements and create unique composite images. As a senior, I won both local and national Scholastic Art awards for my photography and was offered scholarships to attend both MICA and Savannah College of Art and Design. After being heavily recruited by MICA, I chose it and majored in photography. 

One of the most impactful experiences during college was attending a summer study abroad program in Paris called Photo in the City of Lights. The program focused on visiting photography exhibitions at museums and galleries throughout the city and taking pictures in our free time. I remember sharing darkroom space with local fashion photographers and seeing beautiful prints torn up and discarded because they weren’t perfect. To say the experience was an inspiration would be an understatement. 

After graduating from MICA, I moved to Seattle, where I began my career working in a portrait studio located in a beautiful loft space a few blocks away from Pike Place Market. It was an incredible learning experience. Since then, I have held several roles that incorporated photography in different ways.

Photography remains a personal passion. I enjoy exploring different cameras, experimenting with film stocks, or simply capturing moments with my phone. I find film photography more rewarding than digital, but with the cost and challenge of developing film today, I don’t do it as often as I would like. As my wallet would attest, I am also an avid collector of new and vintage cameras.  

CT: I believe this is your first curatorship position. How did you find your way to curating? Was this the plan all along? 

MM: This is my first position as a curator, and I am excited for this new chapter. In many ways, curating has always been an interest of mine. My first real exposure to the curatorial process came during my senior thesis exhibition at MICA, where we not only created a collection of works but also made decisions about how to present the work, including design, didactics, and what supplementary materials to incorporate. The experience taught me how to consider works of art in a greater context and sparked my interest in curating.

My desire to work in museum and gallery spaces began while I was living in Seattle around 2014. I worked as a social media specialist at the Seattle Art Museum and volunteered at the Frye Art Museum. My goal was to work full-time for a museum, but the competitive job market in Seattle made that a challenge. During my time in Seattle, I also lived in Tashiro Kaplan Artist Lofts, an artist live/work space, and participated in the monthly Pioneer Square art walks and open studios. During that time, I was able to practice curating and exhibiting my own work, which at the time centered on painting, drawing, and mixed media.

In 2019, I was accepted into a graduate program in Charleston, South Carolina, so I left Seattle to pursue an M.S. in Historic Preservation at the College of Charleston. I was interested in artwork conservation and admired Charleston’s dedication to preserving historic objects and architecture. After delaying my enrollment for a semester to save up some money, the pandemic hit, and quarantine began. I had a studio space at Redux Contemporary Art Center during that time and focused my energy on creating and figuring out the next steps. I ultimately decided that historic preservation was not the career path I wanted to follow and began applying to master’s programs with a focus on museum studies.

I was accepted into the University of Houston’s Arts Leadership master’s program in 2021. The program prepares students with the practical, administrative, and leadership skills needed to manage or lead visual and performing arts organizations. I knew I wanted to pursue a career as a curator almost immediately after starting at UH. I took advantage of the program’s flexibility by pursuing a graduate certificate in museum and gallery management and selecting electives in the history of photography, art theory, and criticism to further shape my curatorial knowledge. 

During my orientation at the University of Houston, I was asked which arts organization in Houston I dreamed of working for. I chose FotoFest. Inspired by my undergraduate studies, I envisioned working for a photography-focused organization with international connections. While I was in school, I (somewhat aggressively) pursued a curatorial internship at FotoFest and was hired as Curatorial Assistant for the 2022 Biennial, If I Had a Hammer. I worked closely with Max Fields, who was a wellspring of knowledge and a wonderful mentor. Observing how Max collaborated on curatorial vision with executive director Steven Evans and other team members leading up to and during the Biennial made me fall in love with the organization and solidified my desire to be a curator at FotoFest. 

After the Biennial opened, I moved on to a year-long fellowship in the exhibitions department at the Museum of Fine Arts, Houston. I later transitioned to a curatorial administrator role in both the Modern & Contemporary and the Prints & Drawings departments at MFAH. When I heard the curatorial position at FotoFest was opening up, I jumped at the opportunity. 

CT: What do you hope to contribute as Associate Curator at FotoFest? What does this role mean to you?

MM: I have a deep passion for visual art, both as a creator and through my work in various roles within visual arts organizations. Growing up immersed in the visual art paradigm and experiencing how different departments and organizations of various sizes function has provided me with a valuable hands-on education. My background allows me to approach situations from multiple perspectives and understand the intricacies of different functions within arts organizations.

As I mentioned earlier, becoming a curator at FotoFest has been a goal of mine since I began my graduate education, so this position means a great deal to me. As Associate Curator at FotoFest, I hope to contribute the knowledge I have gained through both my professional and personal experiences within the art world. I am eager to bring my passion, skills, and insights to the role and collaborate with the team to support FotoFest’s curatorial vision.

CT: Houston has a robust and thriving photography scene and is respected internationally in the photo world. (Someone recently told me that Houston has the most photography galleries of any city in the U.S.) FotoFest is quite a large part of this. Where do you see FotoFest heading in the near future? What are its current goals and intended areas of growth and expansion?

MM: I am still relatively new to FotoFest, so I am cautious about commenting on specific areas of growth at this stage. However, I am thrilled to be a part of a storied organization with such a rich history. FotoFest has an amazing team, and with Steven Evans at the helm, along with a dedicated Board of Directors, the organization is in a great place to keep thriving. Additionally, the supportive and collaborative Houston arts community has played a key role in FotoFest’s success over the past 40 years. With all the support for the organization, both locally and internationally, I am excited to see the organization’s continued growth through innovative projects and new collaborative initiatives in the future.

CT: I recently read Making a Scene! by Tracey Xavia Karner. Have you read it? Was it required reading for the job? She’s also from the University of Houston, teaching Sociology! (She was inspired to research photography in Houston after a trip to Arles!). No pressure…but there are big shoes to fill here…Wendy and Fred are legends. How does it feel to be in the midst of this special space and tasked with keeping it thriving?

MM: I did read Making a Scene! and I completely agree that it is an invaluable resource for anyone interested in the Houston photography scene and actually beyond. Before reading the book, I was familiar with the legendary roles that Wendy Watriss, Fred Baldwin, and Anne Tucker played in shaping the Houston photography community, but it was enlightening to learn more about their personal journeys and how collaboratively the MFAH, FotoFest, and Houston Center for Photography worked together in their early days. It made me even more proud to have worked for two of those organizations myself. 

Being back at FotoFest and immersed in that inspirational history feels amazing, and I’m excited about the opportunity to contribute to the organization’s future. 

CT: Every other year, the FotoFest Biennial takes over Houston in the best possible way. It is reliably expansive, open-minded, and curious. It never feels derivative or stale. It is very out-of-the-box stuff that enables us all to view photography as so much more than a simply framed still image. The Biennial always illuminates new technologies and experimentation in the photo world. What is the theme of FotoFest Biennial 2026? Who will be presented? Any guest curators? Will you be working on this along with Steven Evans? I’m sure the machinery is already churning. What can you tell us?

MM: Having played a small role in the 2022 Biennial, I am excited to take on a more integral role in the 2026 biennial. It has always been an incredible platform for pushing boundaries in photography and new media art, and I am confident that the 2026 Biennial will continue that tradition. The team has been working on the theme for the 2026 Biennial, but it is still in the planning stages, so unfortunately, I am not yet able to share specific details. Keep an eye out for an announcement in the next few weeks. 

CT: The FotoFest Biennial began in 1986 (*The organization was founded in 1983, but the first Biennial occurred in 1986), the first of its kind in North America. So many talented contemporary photographers gained acknowledgment in the art world due to their inclusion here. Then, in the 90s, photo festivals took off in Europe, Latin America, Africa, and beyond. Today, with so many photography Biennials and festivals worldwide, how is FotoFest able to stand out in this global crowd and maintain its reputation in innovation and experimentation?

MM: I believe the FotoFest Biennial stands out because of its consistent vision, willingness to tackle important issues, and the strong collaborative community in Houston. One of the organization’s co-founders, Wendy Watriss, remains actively involved as Chairperson of the board. She is a key voice in maintaining a consistent vision for the organization. Steven Evans’ leadership over the past ten years has further reinforced this consistency. In nonprofit organizations, success often hinges on stable leadership and a clear vision, and FotoFest is a great example of that. It allows the organization to focus on creating impactful exhibitions and programming rather than spending its energy on frequent structural or leadership changes.

The unique collaborative spirit in Houston also lends to FotoFest’s success. Unlike many cities known for their arts and culture, Houston has a particularly supportive environment where arts organizations and individual artists actively collaborate with and support one another. 

This spirit of collaboration and support is also central to FotoFest’s approach. On the curatorial side, the organization is committed to supporting emerging artists and innovative ideas. Through programs like Literacy Through Photography, FotoFest provides meaningful educational opportunities to grade school students, while the Meeting Place portfolio reviews offer photographers at all career levels invaluable feedback and connections. All of these facets lend to how FotoFest is able to stand out internationally. 

CT: You’ve just begun. What is the first order of business on your desk?

MM: My first task is working on an exhibition opening this March called Flor Garduño: Paths of Life. Garduño is a photographer based in Mexico City, and this show includes work she has created over the past four decades. The exhibition is divided into six thematic sections, featuring everything from images of daily life and portraiture to fictional landscapes and still lives. Her work has a magical quality to it that really draws viewers in. 

CT: What are some themes within the discourse of photography that you are particularly interested in? 

MM: I am currently interested in exploring the concept of home, both as a physical and mental space, and how artists depict or reference these intimate environments. This theme feels both personal and universal, as home can evoke a wide range of emotions and associations.

Additionally, I am drawn to work that utilizes photography as a tool for processing grief or trauma. This is especially relevant in today’s world, where we are constantly confronted with heavy, life-changing events such as war, genocide, political unrest, and unrelenting natural disasters. Photography offers a way to document, process, and reflect on these moments, transforming individual experiences into collective ones.

CT: In addition to the Biennial, FotoFest displays some fantastic exhibitions year-round. Will you be working on these? What do you want to see more or less of in these exhibitions? (I personally liked the new artist-run, artist-organized show as a new addition bringing opportunities to art collectives).

MM: Yes, I will be working on exhibitions year-round. Two exciting shows are coming up in 2025, including Flor Garduño: Paths of Life, which I mentioned earlier, and Hillerbrand+Magsamen: nothing is special, everything is game. FotoFest will be sharing more information about that exhibition in the coming months. I share your admiration for the artist-run, artist-organized exhibition. It was a great way to spotlight art collectives and their unique perspectives, and I hope to continue similar projects in the future. Looking ahead, I would love to see more exhibitions that feature the work of 2-5 artists. I appreciate how different artworks or projects can interact, contrast, or complement one another in a shared space.  

CT: In the vein of the Proustian Questionnaire (potentially more like a basic celebrity podcast), I propose a few rapid-fire questions:

What books or readings are on your nightstand? The Cultural Cold War by Frances Stoner Saunders and All Things Are Too Small by Becca Rothfeld.

Black and white or color? Black and white

Favorite camera? My favorite camera from my personal collection is a Pentax 67. 

What camera do you want to add to your collection? A friend of mine in undergrad let me borrow his Kowa Six for a project, and I have wanted one ever since. 

Favorite guilty pleasure? Eating amazing food at a fancy restaurant just because. 

Favorite photobook? One of my favorites from my personal collection is a catalog for an exhibition of Jaume Plensa’s work from 2006-07 called I in his eyes as one that found peace. It features a series of “Self Portraits,” which are composed of digitally altered photographs sourced from 19th-century ethnographic journals, vellum embossed with fragments of Shakespeare’s Macbeth, and dripping black enamel. The images are layered, moody, and fascinating.   

An exhibition that impacted you? Richard Avedon Photographs 1946-2004 at the Jeu de Paume in 2008. 

Favorite place to travel on vacation? Anywhere near the ocean or with a good food culture.

What is inspiring to you right now? This new position at FotoFest and the experiences it will bring in the years ahead.