Urbes Mutantes and Caio Reisewitz   Not displaying correctly? View it in your browser.
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Yola Andrade
Yolanda Andrade, The boy and the inferno (El niño y el infierno), Mexico City, 1985. Collection Leticia and Stanislas Poniatowski. © Yolanda Andrade.



Alumni Perspectives on Urbes Mutantes
August 8, 15, 22 | Fridays | 6 pm
Join ICP alumni in the exhibition as they lead discussions while sharing their personal perspectives as Latin American photographers.


Capa in Color
Thursday–Sunday | 11:30 am–5:30 pm
Robert Capa regularly used color film from the 1940s until his death in 1954, but the majority of the images had never been printed, seen, or even studied. Capa in Color at Governors Island presents a selection of images from the exhibition that offer a fascinating look at this master of black-and-white photography.

Also on view will be a preview of the forthcoming exhibition Sebastião Salgado: Genesis, opening at ICP on September 19. This will be accompanied by family-oriented iPhone workshops called Taking Care of Our Environment. Visit www.icp.org for more information.
Barbara Brandli
Barbara Brändli, Untitled, from the series Nervous System (Sin título, de la serie Sistema nervioso), Caracas, 1973–75. Collection Leticia and Stanislas Poniatowski. © Barbara Brändli.

Caio Reisewitz
Caio Reisewitz, Casa Canoas, 2013. Courtesy Luciana Brito Galeria, São Paulo. © Caio Reisewitz.

Robert Capa
Robert Capa, [Woman on the beach, Biarritz, France], August 1951. © International Center of Photography/Magnum Photos.

Todd Webb
Todd Webb, Sixth Avenue between 43rd and 44th Streets, New York, April 23, 1948. © Estate of Todd and Lucille Webb. Courtesy Todd Webb Photographs, Portland, Maine.
Picture Windows: Todd Webb
The latest installment in the innovative Picture Windows project at ICP is an extraordinary panorama of a single New York City block taken by American photographer Todd Webb (1905–2000) in 1948. The panorama was originally comprised of eight 8x10-inch contact prints montaged together to form an image nearly seven feet long. The original print is in the ICP collection, and is enlarged and presented here through the courtesy of the Todd Webb Estate.

Our thanks to Duggal Visual Solutions for this magnificent installation, and for its generosity in offering all ICP students a discount of 30% on photographic art production. Duggal


Sebastião Salgado: Genesis
Genesis is the third long-term series on global issues by world-renowned photographer Sebastião Salgado (born Brazil, 1944), following Workers (1993) and Migrations (2000). The result of an eight-year worldwide survey, the exhibition draws together more than 200 spectacular black-and-white photographs of wildlife, landscapes, seascapes, and indigenous peoples—raising public awareness about the pressing issues of environment and climate change. ICP is proud to be the first American venue of this momentous exhibition, which is curated by Lélia Wanick Salgado.
Sebastiao Salgado
Sebastião Salgado, Iceberg between Paulet Island and the South Shetland Islands on the Antarctic Channel. At sea level, earlier flotation levels are clearly visible where the ice has been polished by the ocean's constant movement. High above, a shape resembling a castle tower has been carved by wind erosion and detached pieces of ice. The Antarctic Peninsula, 2005. © Sebastião Salgado/Amazonas images—Contact Press Images.


Roman Vishniac Rediscovered
On view through August 24, 2014
The Jewish Historical Museum, Amsterdam

This exhibition follows Roman Vishniac's long and accomplished career from early engagements with European modernism in the 1920s through the highly inventive color photomicroscopy in the 1950s and '60s. It also introduces recently discovered and radically diverse new bodies of work, and repositions his iconic photographs of Eastern Europe within the broader tradition of 1930s commissioned social documentary photography.
Roman Vishniac
Roman Vishniac, [Zionist youth learning construction techniques while building a school and foundry, Werkdorp Wieringen, The Netherlands], 1939. © Mara Vishniac Kohn. Courtesy International Center of Photography.

Register for fall classes and January workshops today.
Download the pdf of the fall programs guide.

Subscribe to the fall ICP Lecture Series or buy tickets for each lecture before they sell out.

Want to learn about all of the School's programs?
RSVP for the Open House on September 17.
ICP Class
© Lavonne Hall


We are accepting applications for the 2015 ICP-Bard MFA and One-Year Certificate Programs. Apply now.

Information Sessions
On Fridays at 3 pm, talk to staff in-person about ICP's Full-Time Programs.

Elective Affinities, the exhibition by the 2014 students of the One-Year Certificate Programs, is on view in the Education Gallery through August 11.
Lily Landes
© Lily Landes


The iPad as Mobile Darkroom with Amadou Diallo
In this hands-on class, students work with the best apps available to correct, enhance, and share images, without having to use the built-in filters of Facebook or Instagram.

Check out all of our upcoming summer classes.
Amadou Diallo
© Amadou Diallo


Jason Andrew (PJ07) is featured in TIME magazine.

Alejandra Ugarte Bedwell (MFA10) is featured on Ventana Latina.

Alumni News Archive
Silver Patron Member since 1999

What first brought you to ICP and why did you decide to become a member?
My first visit to ICP must have been around 1994 on a trip to New York from London. This institution fascinates me as it not only trains photographers, but also questions and opens up discussions on the reading of images and their presentation. My husband Hugh and I joined as members after we made New York our permanent home in 1999.

What has been your favorite ICP moment, class, program, exhibition, or photographer so far?
I love the lecture series at ICP!
Renate Aller
© Renate A. Aller
If you could meet a photographer, who would it be?
Valie Export. Her work influenced me greatly during my years at art school and thereafter. She encompasses many media, including photography, as vehicles for her work as an artist and activist. Her work is sensual, witty, and seductive whilst creating political and social awareness.

Do you collect photography? Do you have any notable works in your collection?
As artists exchange their work and have done so for centuries, I am very lucky to own works by wonderful artists that were presents or art exchanges from Norman Parkinson, Horst P. Horst, among others.

As a visual artist, have there been any defining moments in your career or interesting experiences you would like to share with us?
One of my teachers at art school in London was Ian Breakwell. His book Seeing in the Dark had a major influence in the direction of my work, and it helped me to realize that engaging with an image is similar to the experience one has in front of a cinema screen. As spectators of the scene, we are "here" yet we are able to project ourselves to "somewhere else."

What inspires you?
The moment between sound and silence.

Are you working on any projects that you would like to tell us about?
A new photography project accompanied by a monograph titled Ocean | Desert (publication fall 2014) is an extension of the ongoing series and book oceanscapes 1999 to present (Radius Books, 2010). I continue to make images of the ocean from a single vantage point, but for the last several years, I have also photographed sand dunes in New Mexico and Colorado. I paired the resulting images in a new series that continues my investigation into the relationship between Romanticism, memory, and landscape in the context of our current socio-political awareness.

Do you have any words of advice for young artists?
Believe in your own projects and do not follow trends.
Renate A. Aller
© Renate A. Aller

The Member Spotlight is an opportunity for members to discuss their most memorable experiences at ICP. If you would like to share your story, send us an email at membership@icp.org.

Learn more about ICP Membership at www.icp.org.
by Brian Wallis, ICP Chief Curator
Among the holdings in the ICP collection is an important archive of photo-illustrated periodicals from the 1930s and 1940s. These weekly news magazines—many of which are now quite rare—chronicle the rise of photojournalism and photomontage and include such pioneering efforts as USSR in Construction (Russia), Life (US), AIZ (Germany), Vu (France), Estampa (Spain), and Picture Post (England). Recently, we acquired 36 early issues of Shashin Shuho (Photo Weekly), an important World War II-era Japanese propaganda organ published by the government's Naikaku Johobu (Cabinet Information Division) between 1937 and 1945. The goal of this widely distributed publication was to encourage nationalist sentiments as Japan engaged in wars with China and the Allies. While the subject matter ranges from features on a local swim team to celebrations of Japan's growing military prowess, the photographs and layouts (mostly by unidentified artists) are always visually arresting. Throughout the war, Shashin Shuho maintained its upbeat patriotic message. Then, in July 1945, just before the bombing of Hiroshima and the end of the war, Shashin Shuho abruptly stopped publishing. These rare publications, many of which were destroyed during World War II, represent an important record of highly effective journalistic propaganda created using the most advanced standards of mid-20th-century photojournalism and graphic design.
Shashin Shuho
Shashin Shuho, Mar. 3, 1941, Collection International Center of Photography.
Transcommunality: Laura Anderson Barbata, Collaboration Beyond Borders
On view through August 31
BRIC House, 647 Fulton Street, Brooklyn

Transcommunality documents the work of Mexican-born, New York-based artist Laura Anderson Barbata, focusing on the decade-long project she pursued with stilt-walking communities in Trinidad and Tobago, Mexico, and Brooklyn. Admission is free.
Frank Veronsky
© Frank Veronsky
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Major support for ICP's programs in 2014 is provided by our Trustees, members, and donors; The Altman Foundation, Banco Itaú, Ford Foundation, The Rita and Alex Hillman Foundation, The Pinkerton Foundation, Surdna Foundation, and The Wall Street Journal; and by public funds from the Institute of Museum and Library Services, National Endowment for the Arts, New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature, and the New York City Department of Cultural Affairs in partnership with the City Council.
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