ICP (1133 Avenue of the Americas at 43rd Street, New York, NY)
For a decade between 2001 and 2010, Philadelphia photographer Zoe Strauss (b. 1970) showed her photographic works once a year in a public space beneath an I-95 highway overpass in South Philadelphia. In these annual one-day exhibitions, Strauss mounted her color photographs to the concrete bridge supports and viewers could buy photocopies for five dollars. Through portraits and documents of houses and signage, Strauss looked unflinchingly at the economic struggles and hardscrabble lives of residents in her own community and other parts of the United States. She describes her work as “an epic narrative about the beauty and struggle of everyday life.” Strauss, a self-taught photographer and political activist, sees her work as a type of social intervention, and she has often used billboards and public meetings as venues. This exhibition is a mid-career retrospective and the first critical assessment of her decade-long project.
Zoe Strauss: 10 Years was organized by the Philadelphia Museum of Art with support from The Pew Center for Arts & Heritage through the Philadelphia Exhibitions Initiative. The ICP presentation is supported by the ICP Exhibitions Committee and by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.
ICP and Jason Fulford invite you for a brief and transcendental exchange in celebration of his new book, Hotel Oracle.
Hotel Oracle, a book by Jason Fulford, is a sustained visual meditation on the cosmos—what constitutes it, what its future might be, and how to reconcile the world of the supernatural with the world of the 99-cent store. Fulford’s photos of people and places search out the clues and signs of the prophetic and the numinous, readily mingling them with the banal and the preposterous. The pictures in Hotel Oracle were taken in the United States, Canada, Italy, Greece, the Czech Republic, Poland, South Korea, Japan, Hungary, India, Bermuda, and Germany.
This event takes place at 481 Eighth Avenue at 34th Street. Look for Trophonius. Please be discreet, and everything will run according to plan.
Please note that due to professional obligations, photographer’s book signing dates may change without notification. Limit of two signed copies per customer. Pre-orders and reserve orders are not guaranteed but every effort is made to fulfill orders. Books must be purchased from the ICP Store. If purchased before date of event, please bring your receipt. For more information, call 212.857.9725.
This event takes place during voluntary contribution hours at the museum.
Horton & Spink (American, active ca. 1876) Portrait of Lewis Hine as a small child, ca. 1876, albumen print, carte-de-visite, Transfer from Photo League Lewis Hine Memorial Committee; ex-collection of Corydon Hine
Lewis W. Hine (American, 1874-1940), Portrait of Lewis Hine, ca 1930, gelatin silver print, Transfer from Photo League Lewis Hine Memorial Committee; ex-collection of Corydon Hine
Unidentified Photographer, Lewis Hine photographing children, ca. 1910, gelatin silver print, Transfer from Photo League Lewis Hine Memorial Committee; ex-collection of Corydon Hine
Happy Birthday, Lewis Hine! (Born in Oshkosh, Wisconsin, September 26, 1874)
Lewis Hine (American 1874-1940) is linked both with the progressive reforms of the 19th and early 20th centuries and the straight documentary style of photographic art that became prominent in the 1930’s. Trained as a teacher and in the rising field of sociology, Hine used his camera to challenge economic injustice and document the lives of exploited children, recent immigrants, the poor and other marginalized people. Working for a variety of progressive organizations, including the National Child Labor Committee, and the Red Cross, Hine made photographs to be reproduced as magazine illustrations, posters and lantern slides in support of a variety of movements aimed at changing both law and opinion.
At the end of World War I, Hine made his only trip to Europe to document refugee relief efforts in France and the Balkans. These pictures show not only his continuing compassion for the individuals caught up in world events but the fascination a new and different visual culture held for him. On return to the United States, his focus had changed, and his new images began to show a celebratory attitude towards work and workers. This is the period of “Powerhouse Mechanic”, the building of the Empire State Building and Men at Work, the only book of his photographs produced during his lifetime.
By the late 1930’s, the separate worlds of social reform and photography had both changed. The private philanthropy of the Progressive Era had been replaced by the government agencies of the New Deal which found Hine difficult and old-fashioned. At the same time artists and art historians like Berenice Abbott and Beaumont Newhall began to champion a new modern style of photographic art, recognizing Hine as the spiritual ancestor of Walker Evans and Charles Sheeler.
"In collaboration with the Museum of the City of New York, ICP presents a photography exhibition detailing the damage and recovery from Hurricane Sandy. Drawn from an open call for submissions from the public that drew over 5,000 entries, the exhibition will include 100 works by more than 90 professional photographers, community members, and bystanders who photographed the effects of the devastating storm and the subsequent recovery efforts."
Rising Waters will be on view Saturdays and Sundays, 12–6 pm, and Labor Day on Monday, September 2, 12–6 pm. The closing reception will be held on Sunday, September 22.
Our presentation of “Touching Reality” is the US debut of an important work by a globally renown artist. ICP Triennial artist Thomas Hirschhorn will be discussing his article ”Why is it Important Today to Show and Look at Images of Destroyed Human Bodies,” which provides the arguments…
Photofeast invites you to contribute to Parson’s annual Feast Week hosted in the photo studios at Parsons The New School for Art and Design. The week will take place from May 20-25 with several different events going on. All NYC photography programs are welcome to submit work in answer to the open call and attend any and all events of the week.
This is a chance to gather as a community of artists and photographers and share our ideas. Past shows have been a major success with students participating from Pratt, NYU Tisch, ICP, Cooper Union, SVA, Hunter College, FIT, and Laguardia Community College, all of which are invited again to submit their work.
The open call is for all media, open to students of all levels, and the submission form can be accessed at www.photofeast.org the deadline for submissions is May 3rd.
If students wish to participate in Feast Week, but not necessarily submit work to be curated, there are more open events inviting all students to bring work for pin-up or trade (zine trade, pin-up show/print trade).
Today we celebrate the birthday of ICP’s founder, Cornell Capa.
Born in Budapest, Capa moved to Paris in 1936 to join his brother, legendary war photographer Robert Capa. Although he had intended to study medicine, Cornell was drawn to photography through his brother and began making prints for him, as well as for Henri Cartier-Bresson and Chim (David Seymour), and in 1937 he moved to New York to pursue a career.
After he had worked in the darkrooms of the Pix agency and LIFE for a few years, his first photo story was published in Picture Post in 1939. During World War II, Capa worked for the US Army Air Corps Photo-Intelligence Unit and the Army Air Corps’s public relations department. In 1946, he became a staff photographer at LIFE, based mainly in the American Midwest, and covered some three hundred assignments over the next three years. He was the magazine’s resident photographer in England for two years, after which he returned to the United States.
Upon Robert’s death in 1954, Capa left LIFE to continue his borther’s work at Magnum. Over the next twenty years, Capa photographed many important stories for Magnum, including the activities of the Perón government in Argentina; the Democratic National Conventions of 1956, 1960 and 1968; and John F. Kennedy’s first hundred days in office.
In the mid-1970s he devoted himself more to the care and promotion of other photographers’ work through his International Fund for Concerned Photography. In 1974, he organized the exhibition The Concerned Photographer, which led to the establishment of the International Center of Photography. ICP’s mission was to give support to photography as a means of communication and creative expression, and to the preservation of photographic archives as a vital component of twentieth-century history. Capa served as ICP’s Director Emeritus until his death in 2008.
HAppy Birthday Cornell from the Pratt BFA Photo Dept.
Holding on so tightly to what I believed was sanity yet consumed by fear of depression and schizophrenia prevented me from being fully present to her reality. She slowly slipped away from the aggressive paranoia of my youth to an almost calming sense of delusion.
As a young boy, I watched…
SEE Pratt Photo professor Josua Lutz talk tonight at ICP