COURSES AND PROGRAMS SPRING 2019

icp.org @ICP @ICPhotog ICP CONTINUING EDUCATION COURSES AND PROGRAMS FOUNDATION & TECHNIQUES HOW TO USE YOUR DIGITAL SLR OR SPRING 2019 MIRRORLESS CAMERA Apr 6 | Sat 10 AM–5 PM Lester Lefkowitz | 19SCEDP001A Jun 8 | Sat 10 AM–5 PM Robert Meyer | 19SCEDP001B 3 FOUNDATION & TECHNIQUES 15 PART-TIME PROGRAMS $290 Digital Photography This workshop demystifies the digital single- Digital Workflow lens reflex (DSLR). As students practice 16 FULL-TIME PROGRAMS taking digital photographs, they learn how New Media / Video to use all the settings and functions of their Printing cameras. Topics include auto white balance, Film Photography color space, color temperature, formatting, 17 TEEN ACADEMY correct exposure for digital images, and Alternative Processes the advantages of shooting in different file Lighting formats. Participants explore the many func- 18 MORE FROM ICP tions that a DSLR shares with a traditional Exhibitions film camera, and discover how to use them to create the best possible image. 8 IDEAS & PRACTICE Public Programs Documentary and Visual Journalism Membership iPHONE PHOTOGRAPHY 101 Cityscape / Landscape Museum Education Apr 13 | Sat 10 AM–5 PM Clinton Weldon | 19SCEDP011A The Portrait Community Partnerships Jun 9 | Sun 10 AM–5 PM Personal Vision Clinton Weldon | 19SCEDP011B 19 HOW TO REGISTER $120 13 STRATEGIES FOR THE PHOTOGRAPHER Portfolio Reviews Your iPhone is capable of more than just vacation photos and food pics. It’s a photo- Best Practices Class Policies graphic tool that can be used to capture and Book Design and Production Facilities share your vision of the world around you. In this hands-on class, students discover Teaching Assistantship Volunteer Program © Bryan Whitney how to create frame-worthy images with an iPhone. Participants will learn the basic 14 ONLINE CLASSES techniques of image composition, tips on Foundation courses provide beginning, intermediate, and PHOTOGRAPHY I shooting portraits, and the camera apps and advanced photographers with the fundamental principles, Apr 8–Jun 17 | Mon 6:30–9:30 PM editing tools that can elevate a photograph Claudia Sohrens | 19SCEDP000A from a casual snapshot to a thoughtful and techniques, and skills needed to support their photographic personal image. Apr 10–Jun 12 | Wed 10 AM–1 PM practice and vision. Bradly Dever Treadaway | 19SCEDP000B PHOTOGRAPHY II Apr 11–Jun 13 | Thurs 6:30–9:30 PM Heidi Norton | 19SCEDP000C Apr 9–Jun 11 | Tues 6:30–9:30 PM Registration for spring term the time and experience needed to make Christine Callahan | 19SCEDP100A the best purchase decision. Through the $820 + $40 fee Digital Photography Apr 11–Jun 13 | Thurs 10 AM–1 PM begins Wednesday, February 20. generosity of Canon and Pentax, this is now Our digital media courses cover a range Apr 27–28 & May 4–5 | Sat & Sun Jeanette May | 19SCEDP100B possible. Cameras can be reserved on a first- Classes begin Saturday, April 6. of issues, including the basics of digital 10 AM–5 PM photography, the integration of digital come, first-served basis after registering for $820 + $40 fee Sophie Barbasch | 19SCEDP000D techniques into photographic practice, a class. To reserve a camera, please call the Jun 1–2 & 8–9 | Sat & Sun 10 AM–5 PM and the exploration of new possibilities Education department, 212.857.0001. Jun 1–2 & 8–9 | Sat & Sun 10 AM–5 PM Christine Callahan | 19SCEDP100C through web design, multi- media, and digital Michele I. Arazi | 19SCEDP000E REGISTER EARLY MACINTOSH BASICS $770 + $40 fee video. Advanced classes provide access to $770 + $40 fee high-end professional equipment, such as Apr 6 | Sat 10 AM–1 PM In this intermediate course, students Hasselblad high-resolution scanners and the h. eugene foster | 19SCEMB000A This course introduces beginners to the improve their creative and technical skills AND SAVE 15% Canon 1000, 2000, and 4000 archival inkjet creative and technical possibilities of digital and, through lectures and assignments, Apr 7 | Sun 2–5 PM printers, which generate mural-size prints. All photography. Through demonstrations and explore the aesthetic and compositional h. eugene foster | 19SCEMB000B Wednesday, February 20 through students enrolled in a digital class receive 10 hands-on sessions, students learn the basics aspects of photography. Presentations hours free toward Digital Media Lab usage. Wednesday, March 13, use code $100 of using cameras and imaging software to on historical and contemporary artwork note: All digital classes are taught on produce digital photographs. Topics include introduce various photographic genres, such This workshop provides an introduction to PGFY19 to receive 15% off tuition Macintosh computers. For further informa- camera operation, shutter speed, aperture, as portraiture, landscape, and documentary. computers in general and the Macintosh on all spring term Continuing tion, please contact the Digital Media focal length, RAW file formats, white balance, Using Adobe Lightroom, students develop system in particular. Students learn all the department, 212.857.0077. and composition. Using Adobe Lightroom, effective workflows for sorting and editing Education classes. ICP Members basic features necessary to use a Macintosh participants also delve into file management, images, refine image adjustment skills, and computer for digital photography. Through receive an additional $25 off.* image enhancement, and printing. Lectures perfect printing ability. As they work toward DIGITAL CAMERAS hands-on instruction, they become familiar on historical and contemporary artwork developing a personal visual language, Through the generous support of Canon Register online at icp.org/register with the computer’s components—the explore creative approaches to photography, U.S.A. and Pentax U.S.A., ICP now has a large participants also learn advanced techniques desktop, its contents, and removable media, and assignments build photographic skill inventory of state-of-the-art DSLRs to loan for converting images to black-and- white. *Discount is not valid on prior purchases, such as CD-ROMs and DVD disk drives—and sets. for beginners beginning students taking Photography I: learn to create, save, open, and retrieve Prerequisite: Photography I: Digital, Adobe yearlong courses, or Teen Academy Note: A DSLR camera capable of shooting RAW Lightroom for beginners or portfolio review Digital and/or DSLR Video for Photographers. documents; use folders; and work efficiently. classes. Offers cannot be combined. We often suggest that incoming students files is required. Prerequisite: Macintosh literacy Upon completion, students may advance to or Macintosh Basics (free of charge) borrow a camera rather than purchase one more demanding applications. at the onset, thus providing the student with

cover: © Júlia Pontés right:2 FACULTY © Emily Schiffer BIOS | icp.org/faculty REGISTER | icp.org/register 3 CONTINUING EDUCATION CONTINUING EDUCATION

the software of the scanner and continues NEW ADVANCED DIGITAL with Photoshop. This course addresses the Digital Workflow WORKFLOW: CAPTURE ONE AND unique considerations that accompany the ADOBE LIGHTROOM digitization of film and the preparation of ADOBE LIGHTROOM: those files for high-quality digital output. COMPREHENSIVE May 18–19 | Sat & Sun 10 AM–5 PM Ports Bishop | 19SCELR105 Participants learn how film grain, pixel Apr 9–Jun 11 | Tues 10 AM–1 PM $540 + $20 fee resolution, and post-production techniques Ports Bishop | 19SCELR001 combine to translate film into beautifully $820 + $40 fee Designed for students with a working knowl- satisfying digital prints, and explore strate- edge of digital photography, this advanced Adobe Lightroom offers an intuitive, simple, gies that allow them to create the images course explores the professional uses of yet professional solution for organizing, they envision. Capture One and Adobe Lightroom. Partici- adjusting, and outputting large quantities pants examine these powerful and essential of digital images. Students will learn to sort NEW MODERN TRAVEL WORKFLOW software systems from capture through images into easily manageable databases, WITH A MOBILE TOUCH: output, gaining increased control over their color correct and retouch images, and CAPTURE, EDIT, AND STYLIZE YOUR images and knowledge of advanced tonal output images for various purposes, such as LARGER CAMERA IMAGES WITH and color adjustments. They also develop printing, emails, slide shows, and websites. IOS HARDWARE AND SOFTWARE new skills in output, asset management, For beginners April 13–14 | Sat & Sun 10 AM–5 PM and tethered capture, making new workflow Prerequisite: Macintosh literacy or Macintosh Dan Burkholder | 19SCEDP016 possibilities faster and more intuitive, and Basics (free of charge), or portfolio review $380 thus maximizing all that these modern work- flows have to offer. Whether you’re embarking on a once-in-a- NEW ADOBE LIGHTROOM OVERVIEW Prerequisite: Photography I: Digital, lifetime trip or struggling as a photographer May 4–5 | Sat & Sun 10 AM–5 PM Photoshop I, Adobe Lightroom for Beginners, or on the go, learn to enjoy amazing image-ed- Ports Bishop | 19SCELR104 portfolio review iting and organizational power on your ipad $540 + $20 fee or iphone. In this class, participants design PHOTOSHOP I: This weekend course provides digital photog- an ideal travel package—complete with DIGITAL IMAGING FOR lenses, apps, storage, and other hardware raphers with an overview of Adobe Lightroom, PHOTOGRAPHERS goodies—and develop a personalized work- which offers an intuitive, simple, yet profes- Apr 8–Jun 17 | Mon 10 AM–1 PM flow for the way they shoot, think, and share sional solution for organizing, adjusting, Christopher Giglio | 19SCEPS000 when traveling. Reenergize your photog- and outputting large quantities of images. Taking a professional approach to this $820 + $40 fee raphy and discover commanding ways to © Ports Bishop © Dan Burkholder create professional, fine art images in the powerful software, students gain increased This course delves into Photoshop’s basics, palm of your hand. control over their images and knowledge of from scanning and digital-camera input to PHOTOSHOP I: Photoshop, and explore the use of fine art advanced tonal and color adjustments. They digital prints. It also explores the capabil- Note: Students should bring an iPad or iPhone FOR ADOBE LIGHTROOM USERS media. Lightroom and non-Lightroom users Printing HOW TO ORGANIZE YOUR DIGITAL THE PERFECT SCAN with at least 15gb of free space and running also develop new skills in output and asset ities of the “electronic darkroom” through are welcome. PHOTOS USING LIGHTROOM Jun 15–16 | Sat & Sun 10 AM–5 PM IOS 12.x. The instructor provides a list of apps management, making workflow possibilities computer-imaging hardware and software Apr 10–Jun 12 | Wed 10 AM–1 PM that participants need to install before the first Prerequisite: Photoshop II or portfolio review FINE ART DIGITAL PRINTING I Apr 14 | Sun 10 AM–5 PM Ben Gest | 19SCEDT101 faster and more intuitive, and thus maxi- technology. Students learn about resolution, Kathleen Anderson | 19SCEPS106 class. Clinton Weldon | 19SCEDP012 $540 + $40 fee mizing all that Lightroom has to offer. white balance, and noise reduction, as well $820 + $40 fee Apr 11–Jun 13 | Thurs 6:30–9:30 PM $120 Prerequisite: Macintosh literacy, Macintosh as how to import camera files into Bridge, Perri Hofmann | 19SCEPR100 The digital workflow necessary for This course is for students who have Basics (free of charge), Photography I: Digital or open Camera RAW files, and scan film. The $820 + $70 fee Capturing great images is one thing, but successful image production begins with refined their use of Adobe Lightroom’s New Media / Video portfolio review course covers nondestructive tonal and keeping them organized is quite another. color and tonal adjustments, and are This hands-on course covers the funda- color correcting with levels and curves, In this one-day class, we look at the best, ready to explore and incorporate the DIGITAL VIDEO PROJECTS I mentals of image editing, including RAW adjustment layers, basic retouching on a most efficient ways to store, browse, more intricate and nuanced methods of Apr 10–Jun 12 | Wed 6:30–9:30 PM conversion, localized adjustments, and separate layer, and printing with profiles. and catalogue your images using Adobe local image adjustments and retouching color to black-and-white conversions, as For beginners Bradly Dever Treadaway | 19SCEDV117 Lightroom. Learn how to sort and tag your offered by Photoshop. We cover effective $820 + $40 fee well as printer profiles, driver settings, and Prerequisite: Macintosh literacy or Macintosh pictures, find out how external hard drives use of layers and blending modes for a soft-proofing. With an introduction to basic Basics (free of charge) This hands-on course leads students in can provide cost-effective storage, and variety of retouching and image-adjust- elements of process control, students learn the creation of short digital video projects. explore the differences between various ment techniques, as well as how to modify how to approach troubleshooting options PHOTOSHOP II: Participants learn the practical operation image file types. We also cover the ins and layer masks with a range of brushes and efficiently. By continuously applying these DIGITAL IMAGING FOR and creative possibilities of shooting outs of image backups to protect against selection tools. Students also learn various techniques and concepts to their own PHOTOGRAPHERS video, capturing sound, and editing in data loss. sharpening techniques and more. images, participants also hone the skills Adobe Premiere. Focusing on production, Apr 9–Jun 11 | Tues 6:30–9:30 PM Prerequisite: Photography II: Digital, Adobe necessary to ensure that their prints accu- primarily with a DSLR camera and Zoom rately reflect both the technical and aesthetic iPHONE II: ADVANCED TECHNIQUES Christopher Giglio | 19SCEPS100 Lightroom for Advanced Users, Adobe Lightroom $820 + $40 fee Comprehensive, or portfolio review sound recorders, the class also covers qualities of their digital images. manual operation of camera controls, Jun 15 | Sat 10 AM–5 PM Prerequisite: Photoshop I or portfolio review Clinton Weldon | 19SCEDP111 In this intermediate course, students refine PHOTOSHOP III: shot types, camera movement, and more. their use of Photoshop’s basic tools by $120 ADVANCED DIGITAL IMAGING FOR DSLR-enabled video cameras are available FINE ART DIGITAL PRINTING II investigating advanced working methods, PHOTOGRAPHERS for 10-week student loan. Zoom sound Take your iPhone photography to the next such as Camera RAW techniques, selection recorders are available for three-day Apr 11–Jun 13 | Thurs 10 AM–1 PM level! This class covers tips and techniques Apr 8–Jun 17 | Mon 10 AM–1 PM and masking techniques for adjustment checkout periods; contact ICP’s Equipment Ben Gest | 19SCEPR200 for posing your subject, including low-light Keisha Scarville | 19SCEPS201 layers to correct color and tone, retouching Office. $820 + $70 fee shooting techniques, as well as how to find with the history brush, and black-and-white $820 + $40 fee Prerequisite: Photography I: Digital, DSLR Making exhibition-quality digital prints takes and understand “good light.” We also delve conversion methods in adjustment layers. Strengthen your problem-solving skills familiarity, or portfolio review time and expertise. In this hands-on course, into advanced settings and modes, which This course is recommended for photog- and expedite your use of Photoshop tools students learn ways to bring out detail and apps to use, and how to edit your photos for raphers confident with digital input, overall and techniques in this advanced course. fine-tune color and contrast in specific stunning results. adjustment, and output in Photoshop who Students learn nonlinear editing with areas of an image to improve its overall Prerequisite: iPhone Photography 101 or require the skills to refine particular areas of Adjustment Layers, advanced masking, and quality. Topics include masking techniques, portfolio review their digital images. blending modes. We also discuss other blending mode options, advanced sharp- Prerequisite: Photoshop I or portfolio review nondestructive editing techniques, and ening techniques, noise-reduction methods, demonstrate how to incorporate Smart and various means of retouching. A variety Objects and Smart Filters into the Photo- of inkjet papers are supplied for use with shop workflow. We review the scanning of different Epson inkjet printers. film and the editing of exported TIFF files in © Christine Callahan Prerequisite: Fine Art Printing I, Photoshop II, or portfolio review

4 FACULTY BIOS | icp.org/faculty REGISTER | icp.org/register 5 CONTINUING EDUCATION CONTINUING EDUCATION CONTINUING EDUCATION

PRINTING ON ALTERNATIVE MATERIALS THE POWER OF THE COLOR IMAGE: NEW USING COLD WAX: DIGITAL NEGATIVES AND PLATINUM/ and on location. Through hands-on practice ADVANCED LIGHTING TECHNIQUES EXPLORING COLOR IN & OUT OF THE GUM BICHROMATE PRINTING and assignments, students learn how to Apr 10–May 8 | Wed 6:30–9:30 PM AN ADDED STROKE OF MIXED MEDIA Apr 8–Jun 17 | Mon 6:30–9:30 PM DARKROOM use lighting equipment and accessories, as Bryan Whitney | 19SCEPR203 Jun 1–2 | Sat & Sun 10 AM–5 PM Robert Meyer | 19SCELI212 Apr 13–14 | Sat & Sun 10 AM–5 PM well as a range of light sources, including $540 + $100 fee Apr 10–Jun 12 | Wed 6:30–9:30 PM Tricia Rosenkilde | 19SCEAP203 $680 + $45 fee Jill Skupin Burkholder | 19SCEAP004 tungsten, studio strobe, portable strobe, and Bill Armstrong | 19SCEFC002 $420 + $100 fee This workshop introduces students to $380 + $30 fee Lighting is everything: whether the source $705 + $70 fee daylight. We also review examples of the printing photographic images on materials Cold wax is a painting medium that is In this hands-on workshop, students delve direction and quality of light, and discuss is the sun, artificial continuance light, studio Many photographers prefer printing from such as watercolor paper, diaphanous silk, becoming popular for its beauty, safety, and into the fundamentals of creating digital their function in the photograph. strobes, portable strobes, or speed lights. color-negative film because of its flexibility, negatives, as well as the finer points of durable water-resistant fabrics, transparent ease of use. When combined with photog- Prerequisite: Photography I or portfolio review This course is for photographers who have simplicity, and superb reproduction of both producing handcrafted platinum-palladium film, Mylar, and more. Imaging on these alter- raphy, it can extend the photographer’s inten- *Note: This workshop is held at Splashlight chosen to use lighting as a form of creative subtle and brilliant colors. This course native substrates can open up new potential tion and guide the viewer’s interpretation of prints. Participants learn how to make Studios, 75 Varick Street, 3rd Floor, NYC expression. Students refine their skills in integrates instruction in aesthetics and in photographic practice that goes beyond a photographic image. This class presents enlarged digital negatives from digital files lighting and aesthetics for the purpose of technique into hands-on printing sessions, craft and can be used for exhibitions and contemporary examples of photographers or scanned film negatives and successful MASTERING THE PORTABLE FLASH developing a personal style, and are guided critiques of student work, and lectures on installations. We print images on the above who use drawing and painting in their work, platinum-palladium prints with the option AND PORTABLE STUDIO LIGHTING KIT toward personal projects that result in materials, view work that has made use of color photography. Using both past and of adding a layer of color gum bichromate dynamic portfolio images. This course also and examines both why and how to incor- Apr 9–Jun 11 | Tues 7–10 PM these materials, and discuss the aesthetic current negatives, students refine printing pigments for extra richness and tone. The presents advanced lighting techniques, porate this intriguing mixed-media option. Nelson Bakerman | 19SCELI203 opportunities that are available to the artist skills and learn to work with speed and workshop covers various creative options, contemporary theories, and refined applica- Students work with cold wax and oil paint $680 + $75 fee consistency on ICP’s computerized Kreonite using them. to complete creative exercises and to learn such as gold-toning platinum prints, selec- tion processes. print processor. This introductory course Do you have flash anxiety? Are you Prerequisite: Photography I or portfolio review techniques. tive glycerin development, combination Prerequisite: Photography II, Lighting is for photographers who have previous printing with cyanotype, and more. constantly raising your ISO to avoid using Techniques: An Overview, or portfolio review experience with black-and-white darkroom your flash? Knowing how to manipulate light THE DIGITAL PORTFOLIO MASTER NON-SILVER PRINTING Prerequisite: Photoshop I, Lightroom, or CLASS: ARCHIVAL INKJET PRINTING techniques. portfolio review and make it work for you, no matter what you MINIMALIST LIGHTING: Apr 8–Jun 17 | Mon 10 AM–1 PM are shooting, is the key skill that separates TECHNIQUES FOR AVAILABLE LIGHT Apr 10–Jun 12 | Wed 2–5 PM LARGE-FORMAT Tricia Rosenkilde | 19SCEAP100 the professional from the amateur. Whether Ben Gest | 19SCEPR300 Apr 12–Jun 21 | Fri 10 AM–1 PM $775 + $70 fee you are indoors or out, shooting a formal $820 + $100 fee Apr 11–Jun 13 | Thurs 2–5 PM Carol Dragon | 19SCELI115 Lighting portrait or a casual scene, you can learn Richard Rothman | 19SCELF100 Featuring fine art papers, hand-applied $680 + $45 fee In this master class, students learn how how to use the equipment you already have $655 + $30 fee archival emulsions, and simple techniques, to refine their techniques and methods LIGHTING TECHNIQUES: to your, and your subject’s, best advantage. Through visual presentations and in-class historic photographic processes present AN OVERVIEW of production in the creation of muse- The large-format camera has unique This class focuses on all aspects of how to exercises and assignments, students in compelling alternatives to both traditional um-quality prints, as they create a consistent features that influence the photographic Apr 9–Jun 11 | Tues 10 AM–1 PM use your portable flash unit, from theory to this class delve into the color, quality, and silver methods and modern digital prints. and professional portfolio. Participants process and the quality of the resulting Robert Meyer | 19SCELI100A practice. The class will also cover Canon and direction of ambient light. The instructor In this hands-on course, students produce gain insight into the visual language of image. This course investigates the tech- $680 + $45 fee Nikon flashes, AlienBees, Quantum Turbo will emphasize personal observation and an enlarged digital negatives that can be used photography, color theory, and the digital nical and aesthetic aspects of using the view units, and other equipment. understanding of techniques to maximize for contact printing in various processes. May 4–5 | Sat & Sun 9AM–4PM techniques necessary to create images that camera, in contrast to the 35mm camera. the possibilities of available light. We will Participants work in the digital lab to create Andrew French | 19SCELI100B* Prerequisite: Photography II or portfolio review articulate ideas and convey meaning. They Topics include perspective control, bellows shoot in various locations during the class new enlarged negatives from original film $470 + $45 fee Note: Classes are held in the instructor’s studio also explore various materials, mural printing factor, basic sheet-film handling, contact in Downtown Brooklyn. to offer hands-on experience. Very few tools negatives or slides, prints, and/or digital (Epson 7890), and advanced production printing, and processing. Although this This introductory course provides an over- are needed to see and take advantage of files, and then print these negatives in the techniques in a small class of skilled and course is technically intensive, students are view of the essential principles, techniques, the magic of light—but once you have the traditional wet darkroom to create unique dedicated photographers. encouraged to pursue their own aesthetic and tools for lighting a variety of situations. knowledge and experience, it will change the handmade prints. Prerequisite: Fine-Art Digital Printing II and © Eva Nikolova directions. For participants who do not own Demonstrations take place both in the studio way you see and photograph. Prerequisite: Photoshop I or portfolio review portfolio review, strong knowledge of Photoshop, a large-format camera, ICP provides 4x5 Prerequisite: Photography I or portfolio review color management, and inkjet printing cameras. Note: Students should have a solid under- firm grasp of basic darkroom techniques PHOTOGRAPHY II IN standing of shooting RAW and working and BLACK-AND-WHITE and are required to undertake a coherent Prerequisite: Photography I in Black-and-White or portfolio review printing in either Lighting or Photoshop and themed body of work. The instructor Apr 9–Jun 11 | Tues 6:30–9:30 PM Note: All students signing out equipment will be introduces advanced camera and darkroom Film Photography Jim Megargee | 19SCEFB100 required to take it home for the duration of the INTRODUCTION TO ELECTRONIC techniques that help you move toward a $705 + $55 fee class. ICP is unable to accommodate storage of FLASH (SPEEDLIGHTS) PHOTOGRAPHY I IN completed project. equipment. Jun 8–9 | Sat & Sun 10 AM–5 PM BLACK-AND-WHITE In this intermediate course, which empha- Prerequisite: Photography II in Black-and-White sizes the relationship between exposure, film Lester Lefkowitz | 19SCELI102 Apr 8–Jun 17 | Mon 7–10 PM or portfolio review development, and the finished print, students $380 + $25 fee Michael Silverwise | 19SCEFB000 Note: Students must have a strong basic knowl- refine their technical and aesthetic skills in edge of the darkroom Alternative Processes $705 + $55 fee Whether working with digital images or film, black-and-white photography. With approx- getting properly exposed flash pictures is This course is for beginners seeking an imately two-thirds of class time devoted THE FINE PRINT IN BLACK-AND-WHITE CHEMIGRAMS: often a conundrum. This workshop demysti- introduction to both camera handling and to hands-on darkroom printing, students EXPERIMENTAL PHOTOGRAPHY Apr 9–Jun 11 | Tues 6:30–9:30 PM fies flash technique by providing a thorough basic black-and-white darkroom techniques. enhance darkroom skills, experiment with WITHOUT A DARKROOM OR CAMERA Brian Young | 19SCEFB200 overview of the aesthetics and techniques of Topics include camera operation, principles toners, explore different photographic papers $705 + $60 fee Jun 9 | Sun 10 AM–5 PM electronic flash photography, thereby proving of exposure, film development, printing, and and chemistry, and more. Assignments and Douglas Collins & Eva Nikolova | that flash images can look excellent. Exten- picture content. Weekly assignments and critiques foster the development of both This course is designed to expand your 19SCEAP000 sive demonstrations cover the various flash lectures on historical and contemporary skills and style. Students are encouraged to understanding of the relationship between $270 + $60 fee “looks”; the operation of small, on-camera artwork explore the technical and aesthetic develop film and do additional work outside negative and print. Various film and paper flash units (automatic, manual, and TTL After a brief look at the physics of gelatin possibilities of photography. The majority of class. developers are available for students to dedicated); bounce and fill-in flash; multiple silver emulsion and a review of black-and- of class time is devoted to working in the explore the medium and how these choices flash and slaves; portable, professional, and white darkroom procedures, students learn darkroom and building printing techniques. PHOTOGRAPHY III IN aesthetically impact their style and/or vision introductory studio strobe techniques; and how to subvert these classic methods and, For beginners BLACK-AND-WHITE of a photographic project. The class is for appropriate accessories. by adding new twists, derive color prints FOR BEGINNErs Note: For students who prefer to learn about the those with an ongoing or completed project Apr 10–Jun 12 | Wed 7–10 PM from black-and-white materials—the tradition Prerequisite: Photography I or portfolio review basics in color, please see The Power of the Color who want to unify concept, content, and Jim Megargee | 19SCEFB301 Image: Exploring Color In & Out of the Darkroom. aesthetic choices. Participants are expected of the chemigram. In this workshop, partic- . (see top of 4th column) $705 + $60 fee to spend a minimum of two to three hours in ipants explore how simple maneuvers can This course begins where Photography II the darkroom each class session. give rise to incredibly complex and powerful images. The class is open to anyone who ends. The goal is for students to start the Prerequisite: Photography III in Black-and- serious process of establishing a personal White or portfolio review wants to create images, rather than capture technical and aesthetic vocabulary, which them. An artistic inclination is a plus. can be used toward discovering a personal visual language. Participants should have a © Lester Lefkowitz

6 FACULTY BIOS | icp.org/faculty REGISTER | icp.org/register 7 CONTINUING EDUCATION IDEAS & PRACTICE weekly assignments, participate in field trips, NEW ART WALK: examine the vast interpretations of what it participants work on projects that combine graphic genres, which are supported by and present their work for critique in class. OFF TO THE GALLERIES! means to direct their own shoot, and learn to portraiture and photographs of place into enlightening examples from the pros. No two Prerequisite: Photography II or portfolio review hone and master an aesthetic that propels seamless visual stories. We also explore classes are the same from one semester to Apr 13, May 4, 18, Jun 1 | Sat 1–5 PM a refined photograph into an iconic image. different ways that visual photographic the next, so students can take this workshop Abigail Simon | 19SCEPV094 Moving from art to fashion and fashion narratives are constructed, including brief again and again, and continuously grow. $160 to art, we discuss the blurred notions of photographic essays and long-form book Weekly shooting assignments and in-depth Cityscape / Landscape As photography students and professionals, glamour, fashion, classic portraiture, and projects. Open to a full range of storytelling critiques increase your understanding of we are often so immersed in our own work narrative. forms, the class emphasizes communicating photography as an expressive medium. NEW THE HIGH LINE: that we forget to look up and allow ourselves Note: This workshop is held at Splashlight effectively and poetically while expressing Prerequisite: Photography II or portfolio review AN EXPLORATION OF THE to be inspired by what is showing at the Studios, 75 Varick Street, 3rd Floor, NYC. This oneself creatively. MEATPACKING DISTRICT, CHELSEA, moment. This class offers a curated experi- course is non-vocational. Prerequisite: Photography I or portfolio review NEW CONTEMPORARY STILL LIFE AND HUDSON YARDS ence of the city’s cultural environment in the PHOTOGRAPHY Apr 8–Jun 17 | Mon 10 AM–1 PM company of colleagues who are as seriously INSPIRATION, INSIGHT, AND Apr 8–Jun 17 | Mon 6:30–9:30 PM Brian Rose | 19SCELA211 THE CREATIVE PROCESS: committed to—and passionate about—the Personal Vision Bryan Martello | 19SCEPV272 $655 + $75 fee THE EXPANDED VISION study of photography and fine art as you are. $655 + $45 fee The High Line, an elevated rail viaduct on PEOPLE, PLACE, AND Apr 8–May 6 | Mon 2–5 PM This course investigates still life photog- Manhattan’s West Side, once served the VISUAL STORYTELLING Palmer Davis | 19SCEPV244 raphy, from its 16th-century origins to its docks of New York’s industrial past. Today, Apr 8 –Jun 17 | Mon 10 AM–1 PM $410 The Portrait contemporary uses. We look at a diverse the trains have been replaced by millions of Richard Rothman | 19SCEPV168 This intensive course is for advanced variety of still life practices and delve into visitors walking a meticulously landscaped $655 CLASSIC PORTRAITURE FROM A–Z: photographers ready to move beyond their the variety of ways they provide a platform promenade, as the surrounding neighbor- BREAKING THE RULES Photography has the ability to tell complex comfort zones, and focus on aesthetic for meaning. Through engaging lectures hoods explode with new development. Apr 9–Jun 11 | Tues 6:30–9:30 PM stories about the times in which we live and conceptual concerns. Each week, we and basic in-class demonstrations, students Embark on a visual exploration of the urban Neal Slavin | 19SCEPO104 and the places we inhabit. In this class, examine provocative themes from all photo- consider different approaches to the genre, landscape that encompasses the High Line. $680 + $100 fee from the candid to the constructed, and Each student produces a series of pictures, create work from weekly assignments and the class designs a print-on-demand Delve into the pleasures of creating portraits intended to challenge their understanding book to be presented to the ICP Library. from your own perspective. Students in of it. Prerequisite: Photography II or portfolio review this course are exposed to cross-disci- plinary mediums, such as drawing, music, Prerequisite: Photography II or portfolio review EXPLORING THE NEW YORK and painting, in order to maximize their NEW WORDS AND PICTURES WATERFRONT creative photographic portrait abilities. © Elinor Carucci Often breaking the “how to” rules of classic Apr 8–Jun 17 | Mon 6:30–9:30 PM Apr 9–Jun 11 | Tues 10 AM–1 PM portraiture, participants also learn the basic Jacques Menasche & Andrew Lichtenstein | Kristin Holcomb | 19SCENY104 elements—finding character, location versus 19SCEPV284 ICP offers a broad spectrum of courses and workshops, INTRODUCTION TO STREET $655 + $20 fee PHOTOGRAPHY: CAPTURING THE studio, lighting, the use of props, posing, $655 New York is surrounded by water: harbors, makeup, gesture—and tackle the age-old from Documentary Photography and Visual Journalism, to FLEETING MOMENT Created for imagemakers who want to marshes, rivers, and streams. In recent dilemma of whether to use flattery as augment their pictures with words, as well as Personal Vision, to Lighting and Portraiture, all dedicated to Apr 11–Jun 13 | Thurs 10 AM–1 PM years, the waterfronts of Manhattan and opposed to stark realism. for writers who want to harness the power of Natan Dvir | 19SCEPJ109 Brooklyn have become accessible, exciting, inspiring the photographer’s creative process. Prerequisite: Photography I and portfolio pictures, this workshop explores the exciting $655 + $20 fee and crowded. This field class travels to review multidimensional landscape where images In this course, students explore approaches some of the city’s less developed waterfront and text meet. The course shows students phers— from Henri Cartier-Bresson to Katy to photographing people on the street, as areas. Students have the opportunity to THE EDITORIAL PORTRAIT how to create—and complete—dynamic new Documentary and Grannan—offer a clear vision of the world they learn to identify photographic oppor- photograph everything from aging factories Apr 10–Jun 12 | Wed 6:30–9:30 PM projects, from multimedia pieces to artist from a personal perspective. In this course, tunities and capture candid moments in a to migrating birds, and from grand vistas to Paul Sunday | 19SCEPO112 books to films and exhibitions. Structured Visual Journalism students view a wide range of street photog- dynamic environment. We take field trips intimate byways—from the Bronx River to $655 around personalized writing and photo- raphy, and then hit the streets, camera in around New York, which are accompanied by Jamaica Bay. This is a great opportunity to graphic assignments and critiques, the class ON THE STREET: hand. Assignments shape and strengthen weekly in-class critiques and frontal lectures see New York’s edges before global warming Shooting portraits for magazines can be is geared toward advanced-level practi- APPROACHING STRANGERS your vision and goals, leading to a distinctive focusing on topics such as technical forever changes them. exciting, rewarding, and challenging. This tioners and those embarking on new work. Jun 8–9 | Sat & Sun 10 AM–5 PM body of work. considerations, lens selection, creative use Prerequisite: Photography I or portfolio review course tackles every aspect of creating a Prerequisite: Photography II or portfolio review; Greg Miller | 19SCEPJ006 Prerequisite: Photography II or portfolio review of available light, portraiture, and cultural portfolio of portraiture in an editorial style. participants must have the following: a photog- NEW We also delve into developing and main- $380 + $20 fee sensitivities. We also discuss photographs STRUCTURE / INFRASTRUCTURE: raphy project in mind, basic writing skills, and THE DOCUMENTARY PROJECT: and projects of master photographers, as PHOTOGRAPHING NYC’S BUILT taining a creatively rewarding practice in Why live in a city of 8 million people, if you familiarity with photo-editing software THE PHOTOGRAPHER AS STORYTELLER well as personal styles and contemporary ENVIRONMENT portraiture. Coursework includes production, aren’t going to talk to any of them? In this casting, lighting, post-production, printing, Apr 9–Jun 11 | Tues 6:30–9:30 PM street photography. Apr 11–Jun 13 | Thurs 2–5 PM NEW ART OF NOTICING COLOR intensive yet fun workshop, students take to marketing, and networking. Ultimately, we Natan Dvir | 19SCEPJ203 Prerequisite: Photography I or portfolio review Jade Doskow | 19SCELA104 the streets, to directly confront their fear of demystify the fascinating ritual of the formal May 13–Jun 17 | Mon 6:30–9:30 PM $655 + $15 fee $655 + $75 fee approaching strangers. Participants in this portrait setting and prepare students to Christine Callahan | 19SCEPV282 ADVANCED STREET PHOTOGRAPHY: class learn how to get the picture they want A picture is said to be worth a thousand In this rigorous class, students explore New develop a cohesive portfolio of portrait work, $410 efficiently by communicating their desires. FINDING YOUR VOICE words. A great documentary project York City through its rapidly transforming with strategies for sharing that work with the Students in this course learn to utilize color We explore all aspects of photographing Apr 11–Jun 13 | Thurs 6:30–9:30 PM exploring a social, cultural, political, or architectural landscape. We travel to well- world. as a powerful tool. We explore quality of people, including fears and boundaries, Natan Dvir | 19SCEPJ222 personal issue has the power to tell a story known and contemporary locations, such Prerequisite: Photography I or portfolio review light, weather and time of day, efficient prac- model consent forms, and historical context. $655 + $20 fee in a unique, convincing, and visually compel- as Hudson Yards, as well as gritty industrial tices for capturing different color tempera- All photographic formats are welcome. ling way. In this class, students examine and The field of street photography has evolved nooks and crannies in Brooklyn. Museum PORTRAITURE: tures, and strategies for creating meaning practice the various aspects of conceptual- dramatically in the past 20 years. In this and gallery visits pertain to the subject ART TO FASHION, FASHION TO ART— with color. Class time is divided between STREET PHOTOGRAPHY AS izing, planning, and executing their documen- class, students are encouraged to work on matter at hand, and class critiques and slide- BEAUTY, TRUTH, IMAGINATION critiques and presentations of historical and POINT OF VIEW tary projects through discussions, field trips, shows present classic examples of New an ongoing series based on their personal May 11–12 & 18–19 | Sat & Sun 9 AM–4 PM contemporary color photography. We also personal assignments, and photo critiques. York and architectural photography. Most of Apr 9–Jun 11 | Tues 10 AM–1 PM interests related to the genre. We explore Andrea Blanch | 19SCEPO219 discuss camera techniques; however, we Documentary essays by master and contem- the classes meet on location. On the final Jeff Mermelstein | 19SCEPJ220 advanced techniques, including nighttime $555 + $75 fee do not cover imaging software. Participants $655 + $30 fee porary photographers are also discussed. photography, portable lighting solutions, day, students present their strongest work. may work in digital or analog formats. Prerequisite: Photography II or portfolio review portraiture series, complex composition Prerequisite: Photography I or portfolio review This course encompasses all aspects of a Street photography’s point of view can be Prerequisite: Photography II or portfolio review strategies, online photography, and recent Note: This class is for students who have an successful shoot. Together, we delve into the the inspiration for all kinds of picture-making technical developments, and discuss advanced understanding of equipment and creative process and explore the relationship of our world, as well as those who inhabit photographs and projects of contemporary photography. Students are welcome to shoot in between artist and sitter. Students also it. The most memorable street photogra- digital or analog street photographers. Participants complete © Lynn Saville

8 FACULTY BIOS | icp.org/faculty REGISTER | icp.org/register 9 CONTINUING EDUCATION CONTINUING EDUCATION

happens if you conceive of photographs with diaspora, migration, and multiple NEW FLUID FORMS: as the beginning of your artistic process, identities. We focus on reconstructing IMAGES IN CONSTELLATIONS rather than the final product—whether you family/community history by utilizing wheatpaste your images on the streets, use mediums such as photography, interviews, Apr 27–28 | Sat & Sun 10 AM–5 PM collage techniques, or design new platforms story collection, and art practices. After Jesal Kapadia | 19SCEPV091 for social engagement. studying photographers and writers who $380 Prerequisite: Photography II or portfolio review; have created similar projects, we dig into Everything around us is directly connected— students must have a body of work or a work in our own personal archives and mate- in harmony, rhythm, and the flow of social progress rial culture. Our resulting reconstructed relations, emotions, affinities, and resis- albums address questions about family tances. Focusing on the non-narrative and the HISTORY OF CONTEMPORARY and archive, and access stories relating to abstract, and tracing moments that precede PHOTOGRAPHY ancestry, buried family history, and mean- language, this workshop explores photo- Apr 11–Jun 13 | Thurs 6:30–9:30 PM ings of “home.” graphic images within their constellation Michael B. Foley | 19SCEPV023 forms. Using collage, montage, installation, $655 FASHION: THE INSIDE STORY* and diaristic methods, we place photographs in relation to words, poems, sounds, videos, In a seminar-style setting, this course exam- Apr 13–14 & 27–28 | Sat & Sun objects, and bodies, thus creating environ- ines today’s current trends in photography by 10 AM–5 PM ments and bringing to life ideas that are studying the last 40 years of the medium’s Janusz Kawa | 19SCELI123 experienced through a maze of references. history. How did we get here and where are $555 + $100 fee Prerequisite: Photography I or portfolio review we headed? Whether you are a photographer, In this course, students develop a personal a collector, or simply would like to learn and practical approach to fashion photog- NEW more about the medium, this discussion PICTURING REVOLUTION: raphy, acquiring the fundamental skills ENVISIONING PROGRESS clarifies the development of contemporary needed to produce compelling photographs themes in photography. Emphasis is on and learning how to use the basic tools May 4–5 | Sat & Sun 10 AM–5 PM the development of the medium from early and techniques within a professional photo Lesly Deschler-Canossi & Zoraida commercial enterprise to valued art object. studio setting. Participants are challenged Lopez-Diago | 19SCEPV092 Selected theoretical texts and assigned to conceptualize, communicate, and create $280 + $35 fee gallery homework round out the lively visual a unique portfolio of images in association This unique seminar-workshop surveys lens- presentations. with models, professional makeup artists, based imagemakers who examine conflicts, and hair stylists. Students gain insight into crises, and revolution. First, an expert in the NEW INVESTIGATION AND © Keren Benbenisty posing and relating to the model, examining field guides us through a special collection EXPRESSION: CREATING TENSION various qualities and temperatures of light, of photographic work that explores these IN PHOTOGRAPHS and more. issues. Then, via video chat from Ireland, Apr 11–Jun 13 | Thurs 6:30–9:30 PM NEW THE SURREALIST RECONSTRUCTING THE Prerequisite: Photography I or portfolio review award-winning documentary photographer Janelle Lynch | 19SCEPV175 PHOTOGRAPHIC COLLAGE FAMILY ALBUM *Note: This workshop is held at Splashlight Camille Seaman shares her process of $655 + $40 fee Studios, 75 Varick Street, 3rd Floor, NYC. working in some of the farthest-reaching Apr 12–Jun 21 | Fri 2–5 PM Apr 13–14 | Sat & Sun 10 AM–5 PM sites on the planet. We exchange ideas, build A tension of necessity is perhaps visually Barbara Confino | 19SCEPV090 Kamal Badhey | 19SCEPV079 © Greg Miller relationships, and, ultimately, nurture your identifiable, but definitely palpable, in the $655 + $75 fee $380 + $25 fee talent. This class is open to all who believe in viewing experience. Yet its origins must Inspired by methodologies in anthropology, exercises, we explore topics such as curi- Collage, the medium that puts imagina- the transformative power of images. NEW HOW THE HUMAN CONDITION NEW THE WALK: OBSERVATIONS reside within the photographer during the sociology, and fine art, this course deals osity, seeing vs. looking, storytelling, secrets, tion first, is seen everywhere in today’s art EXPRESSES ITSELF AND THE WORLD AT LARGE creation of the work. What is it that you need and self-criticism. Each week, we share and world, especially in photography, where it Apr 9–Jun 11 | Tues 6:30–9:30 PM to express or investigate photographically? discuss photography assignments, utilizing Apr 10–Jun 12 | Wed 10 AM–1 PM is frequently used as a primary strategy. In Lauren Silberman | 19SCEPV291 How will you translate that into an image? meaningful personal reflection in order to Keren Benbenisty | 19SCEPV093 this workshop, we explore surrealist collage, $680 In-class exercises, along with weekly assign- enhance self-awareness. $655 + $20 fee which emphasizes surprise, disjunction, and ments and critiques, stimulate and challenge the marvelous. Taking a hands-on approach What are we trying to say when we make Prerequisite: Photography I or portfolio review Inspired by the literary work of Swiss writer photographers to articulate their own needs by using both cut-and-paste and digital pictures? What are we seeking to represent Note: This is not a technical class. Robert Walser (1878–1956), this class show- and to make formally and technically sound layering techniques, participants delve into in our work as imagemakers? What are cases how small, everyday moments and images that convey them clearly. we drawn to when we choose a subject? THE GRAMMAR OF PHOTOGRAPHY the work of historical and contemporary observations can provide insight into more Prerequisite: Photography I or portfolio review Through weekly assignments and writing, masters, such as Hannah Höch, Max Ernst, Apr 10–Jun 12 | Wed 10 AM–1 PM pressing issues affecting humanity and the students work through these questions while and David Hockney, while developing a Christopher Giglio | 19SCEPV051 world at large. Focusing on a theme, such DEVELOPING A PHOTOGRAPHIC they shoot, sequence, and reshoot to tell a signature style of their own. $655 as duration, distance, or objects, students PRACTICE: FROM CONCEPTS TO story that reflects how the human condition attempt to reveal the unofficial reality behind SKILLS TO REFINING YOUR PORTFOLIO NEW expresses itself. Participants may work in Based on ideas suggested in two seminal the facade of capitalism. As a flâneur, like ART WALK: Apr 11–Jun 13 | Thurs 6:30–9:30 PM any genre, as we explore how different ones writings on photography, John Szarkowski’s Walser, participants draw inspiration from OFF TO THE GALLERIES! Bill Armstrong | 19SCEPV273 can tell a meaningful story. The Photographer’s Eye and Stephen Shore’s everyday experiences, thus injecting into the Apr 13, May 4, 18, Jun 1 | Sat 1–5 PM $655 + $30 fee Prerequisite: Photography II or portfolio review The Nature of Photographs, this class mundane the flavor of poetry and philosophy. Abigail Simon | 19SCEPV094 functions as a primer of visual literacy for Contemporary photography is a dynamic and $160 NEW CULTIVATING SELF photographers. Through weekly shooting NEW IF YOUR PICTURE vibrant artistic medium. Due to the relative As photography students and professionals, AWARENESS: LESSONS LEARNED assignments, lectures, and critiques, WAS THE BEGINNING: ease with which digital images are made, the we are often so immersed in our own work FROM RICHARD AVEDON students learn about balance, tempo, ways DEFINING HOW YOUR WORK emphasis today is on concepts and original that we forget to look up and allow ourselves of organizing space, the significance of WILL LIVE IN THE WORLD ideas as much as technical skills. Whether Apr 9–Jun 11 | Tues 6:30–9:30 PM to be inspired by what is showing at the geometric structure, and why the edges of developing an original project or finishing up Liam Cunningham | 19SCEPV174 Apr 11–Jun 13 | Thurs 10 AM–1 PM moment. This class offers a curated experi- the frame are important. In-class exercises a portfolio, students in this class learn how $655 Emily Schiffer | 19SCEPV283 ence of the city’s cultural environment in the examine how we see what we see, and to refine a vision and get it out into the world. $655 + $40 fee company of colleagues who are as seriously When I was a student in Richard Avedon’s enable participants to produce stronger, The course includes critiques, lectures on committed to—and passionate about—the last master class here at ICP, he often said, clearer pictures. Do you have a solid body of work that is contemporary trends, writing artist state- study of photography and fine art as you are. “My portraits are more about me than they ready for the world to see? This course ments, a gallery field trip, and guest artist are about the people I photograph.” In this invites participants to invent new ways of visits. course, we gather as a group to practice sharing images that engage viewers beyond Prerequisite: Photography II or portfolio review both self-awareness and photography. traditional outcomes such as books and Through various experiential classroom exhibitions. Together, we explore what

© Natan Dvir

10 FACULTY BIOS | icp.org/faculty REGISTER | icp.org/register 11 CONTINUING EDUCATION CONTINUING EDUCATION STRATEGIES FOR THE PHOTOGRAPHER SO YOU WANT TO TRAVEL PHOTOGRAPHY: from pre-trip planning to the mechanics of COLLECT PHOTOGRAPHY: THE NITTY GRITTY AND THE CREATIVE traveling, to what to do once you’re there– INSIDER TIPS AND planning your days (and nights), getting May 18–19 | Sat & Sun 10 AM–5 PM BEHIND-THE-SCENES VISITS the lay of the land, determining where Lester Lefkowitz | 19SCETR001 photography is prohibited, photographing May 10–11 | Fri 10 AM–5 PM & $380 Sat 11 AM–6 PM strangers—and when you get home. Whether your trip is to a festival in Brooklyn, Alice S. Zimet | 19SCEPV078 a safari in Africa, or a Renaissance village $380 + $25 fee NEW MASTER CLASS: in Tuscany, your ability to come home BEYOND THE LIMITS OF Kick-start your collection and increase your with successful, compelling photographs PHOTOGRAPHY confidence with this nonstop, fact-filled, depends on the mundane, the technical, and two-day “boot camp.” First, we discuss what the creative. This class covers every aspect, Jun 1–2 & 8–9 | Sat & Sun 10 AM–5 PM to do before spending a penny—questions from pre-trip planning to the mechanics of Antoine d’Agata | 19SCEPV292 to ask, where to shop, pricing, stamps, traveling, to what to do once you’re there— $770 signatures, editions, dealing with galleries, planning your days (and nights), getting Join Magnum photographer Antoine d’Agata buying at auctions—as the instructor the lay of the land, determining where in an exploration of immersive photographic provides tons of insider tips and house- photography is prohibited, photographing practice designed to push the boundaries keeping advice, including how to insure strangers—and when you get home. of your artistic or professional approach. and appraise your photographs and best © Brian Rose Participants in this class must be ready to practices for framing. Then, we go behind- NEW MASTER CLASS: photograph intensively throughout the work- the-scenes to visit galleries, meet dealers, BEYOND THE LIMITS OF shop, confronting obsessions and contra- and look at photographs up close. of your own photographic practice. It is PHOTOGRAPHY dictions as they shape a series of images Note: This is a nonvocational class. ideal for those who are building a website that convey their private relationship with Jun 1–2 & 8–9 | Sat & Sun 10 AM–5 PM or submitting applications for grants, NEW the world. Through an intensive and intimate PRACTICAL GUIDE TO Antoine d’Agata | 19SCEPV292 THE ARTIST STATEMENT MADE EASY residencies, colleges, or graduate schools, CREATING ONE’S REALITY process, students look beyond the purely $770 and may be uncomfortable writing about aesthetical aspects of photography and May 11 | Sat 10 AM–5 PM May 11–12 & 18–19 | Sat & Sun their work. Through in-class exercises, Join Magnum photographer Antoine explore a more political and/or existential Liz Sales | 19SCEPV076 10 AM–5 PM students will use myriad writing strategies d’Agata in an exploration of immersive approach to imagemaking. $290 Fryd Frydendahl | 19SCEPV293 and techniques to craft a creatively and photographic practice designed to push the $460 + $25 fee This one-day introduction to art writing clearly written statement, and leave with boundaries of your artistic or professional © Liam Cunningham allows you to articulate the unique nature that statement in hand. Photography is stolen moments: we take approach. Participants in this class must be little parts of reality, put them into new ready to photograph intensively throughout Whether your interest is in gaining concrete information for two-day “boot camp.” First, we discuss what Book Design and Production contexts, and make them our own. The the workshop, confronting obsessions and to do before spending a penny—questions to medium is relatable to everyone, because contradictions as they shape a series of marketing and editing your work, exploring a new direction, ask, where to shop, pricing, stamps, signa- MAKING A PHOTOBOOK: it mirrors what we believe to be a shared images that convey their private relation- learning good practices to protect your rights, or how to enter tures, editions, dealing with galleries, buying FROM EDITS TO ENDPAPERS reality. In this workshop, students create ship with the world. Through an intensive at auctions—as the instructor provides tons May 11–12 & 18–19 | Sat & Sun an artist book, a zine, or an installation, and intimate process, students look beyond the world of photography, these courses are designed to of insider tips and housekeeping advice, 10 AM–5 PM while exploring the practical and theoretical the purely aesthetical aspects of photog- provide you with a myriad of ways to engage with the including how to insure and appraise your Bonnie Briant & Bobbie Richardson | aspects of their photography and how their raphy and explore a more political and/or photographs and best practices for framing. 19SCEDT005 work relates to their reality. We also look at existential approach to imagemaking. photographic community. Then, we go behind-the-scenes to visit $770 + $75 fee boundary-breaking photographers, such as galleries, meet dealers, and look at photo- Ranging from homemade zines to Torbjørn Rødland. PHOTOGRAPHY DAY AND NIGHT: graphs up close. hardbound retrospectives, the artist book Prerequisite: Photoshop I, Photography II, or CHASING THE LIGHT DEVELOPING A PHOTOGRAPHIC Note: This is a nonvocational class. portfolio review; must be familiar with Photoshop provides a forum and structure for work Jun 8–9 & 15–16 | Sat & Sun 10 AM–5 PM Best Practices PRACTICE: FROM CONCEPTS free from the restrictions of walls and Lynn Saville & Kristin Holcomb | TO SKILLS TO REFINING YOUR THE ARTIST STATEMENT MADE EASY MAKING A PHOTOBOOK: screens. In this course, presentations 19SCEPV144 PORTFOLIO FROM EDITS TO ENDPAPERS NEW May 11 | Sat 10 AM–5 PM and hands-on workshop sessions guide $460 CULTIVATING SELF Apr 11–Jun 13 | Thurs 6:30–9:30 PM Liz Sales | 19SCEPV076 students through the processes of editing, May 11–12 & 18–19 | Sat & Sun AWARENESS: LESSONS LEARNED Travel and landscape photographers know Bill Armstrong | 19SCEPV273 $290 sequencing, designing, typesetting, printing, 10 AM–5 PM FROM RICHARD AVEDON all too well how dramatically the appear- $655 + $30 fee constructing, and finally binding their Bonnie Briant & Bobbie Richardson | Apr 9–Jun 11 | Tues 6:30–9:30 PM This one-day introduction to art writing ance of a location can vary as the light unique maquette or artist book. Other 19SCEDT005 Liam Cunningham | 19SCEPV174 Contemporary photography is a dynamic and allows you to articulate the unique nature changes. The warm glow that sunset casts topics include demonstrations of best $770 + $75 fee $655 vibrant artistic medium. Due to the relative of your own photographic practice. It is becomes eerie or mystical as darkness practices in Adobe InDesign and finding ease with which digital images are made, the ideal for those who are building a website Ranging from homemade zines to descends. Taught by travel photographer When I was a student in Richard Avedon’s the right format and approach so that your emphasis today is on concepts and original or submitting applications for grants, hardbound retrospectives, the artist book Kristin Holcomb and fine-art photographer last master class here at ICP, he often said, work lives beyond the printed page. ideas as much as technical skills. Whether residencies, colleges, or graduate schools, provides a forum and structure for work Lynn Saville, this workshop will explore “My portraits are more about me than they Prerequisite: Students should have a cohesive developing an original project or finishing up and may be uncomfortable writing about free from the restrictions of walls and several locations in the city that change are about the people I photograph.” In this their work. Through in-class exercises, body of work that they are ready to turn into a portfolio, students in this class learn how a photobook or similar one-of-a-kind object. screens. In this course, presentations dramatically from daylight to darkness. course, we gather as a group to practice students will use myriad writing strategies to refine a vision and get it out into the world. Previous knowledge of InDesign is helpful, but not and hands-on workshop sessions guide Classes will begin at ICP, where we will both self-awareness and photography. The course includes critiques, lectures on and techniques to craft a creatively and necessary. students through the processes of editing, review images from previous shoots and Through various experiential classroom contemporary trends, writing artist state- clearly written statement, and leave with sequencing, designing, typesetting, printing, discuss the best way to capture light. We exercises, we explore topics such as ments, a gallery field trip, and guest artist that statement in hand. constructing, and finally binding their will then travel to our location to explore curiosity, seeing vs. looking, storytelling, visits. unique maquette or artist book. Other secrets, and self-criticism. Each week, we daylight; as it fades, we will have dinner TRAVEL PHOTOGRAPHY: share and discuss photography assign- Prerequisite: Photography II or portfolio review topics include demonstrations of best together, and then return to the same THE NITTY GRITTY AND THE CREATIVE practices in Adobe InDesign and finding locations to shoot as natural light turns to ments, utilizing meaningful personal reflec- SO YOU WANT TO COLLECT the right format and approach so that your artificial. tion in order to enhance self-awareness. May 18–19 | Sat & Sun 10 AM–5 PM PHOTOGRAPHY: INSIDER TIPS AND work lives beyond the printed page. Prerequisite: Photography I or portfolio review Lester Lefkowitz | 19SCETR001 BEHIND-THE-SCENES VISITS $380 Prerequisite: Students should have a cohesive Note: This is not a technical class. body of work that they are ready to turn into May 10–11 | Fri 10 AM–5 PM & Whether your trip is to a festival in Brooklyn, a photobook or similar one-of-a-kind object. Sat 11 AM–6 PM a safari in Africa, or a Renaissance village Previous knowledge of InDesign is helpful, but not Alice S. Zimet | 19SCEPV078 necessary. in Tuscany, your ability to come home $380 + $25 fee with successful, compelling photographs Kick-start your collection and increase your depends on the mundane, the technical, and © Paul Sunday confidence with this nonstop, fact-filled, the creative. This class covers every aspect,

12 FACULTY BIOS | icp.org/faculty REGISTER | icp.org/register 13 CONTINUING EDUCATION ONLINE CLASSES PART-TIME PROGRAMS presentations of their projects, comprised The Track, Advanced Track, and Online Low-Residency Programs are of at least 25 and up to 80 images ready for exhibition, a book publication, or a website community-driven, academically structured post-baccalaureate programs slide show. grounded in our Continuing Education curriculum. All three programs can be UNDERSTANDING COMPOSITION FOR tailored to the individual’s goals and level of proficiency with the medium. VISUAL STORYTELLERS Apr 11–Jun 13 | Thurs 2–4 PM Anja Hitzenberger | 19SOLPV011 How to Apply for Part-Time Programs $515 An application, interview, and portfolio This class invites students to develop and review are required for each program. refine their composition skills—and improve their photographic seeing—while telling To learn more about application stories with their photographs. Participants procedures and portfolio guidelines, visit cultivate a heightened sensitivity to their icp.org/school/part-time-programs surroundings by photographing in a variety of urban environments. During group For more information: [email protected] critiques, we analyze what works in an image and what doesn’t. Discussion topics Online Info Session include compositional tools, aesthetic Tuesday, March 5 | 7–8 PM intentions, and effective editing. After several weekly assignments, students work In-Person Info Session on their own projects for the remainder of Thursday, March 7 | 6:30–7:30 PM the course.

NEW FINDING YOUR CREATIVE PURPOSE Apr 17–Jun 19 | Wed 7–9 PM Online Low-Residency Program Joanne Dugan | 19SOLPV114 $515 Engage in an online photographic journey from conception © Martine Fougeron to completion in a concise program of production and Recent advances in photographic technology digital-skill development. This program consists of three make the medium accessible to everyone. terms of both critique and technical seminars in a coordinated BUILDING A PERSONAL BODY OF WORK There are overwhelming numbers of images Join our creative community from anywhere in the world digital curriculum stressing creativity and practical that confront us on a daily basis, and as Apr 10–Jun 12 | Wed 1–3 PM © Meredith Moore development of professional skills. through our unique online education platform. Our live hands- artists, this phenomenon can keep us from Martine Fougeron | 19SOLPV205 finding our own authentic voice. This class Students meet in two seminars a week, once in a on courses offer students the opportunity to engage in group $515 will encourage students, through a series of critiques and discussions with an international array of two-hour Production Seminar to critique new work and This course provides the insight, impetus, unconventional quick “sketch” assignments Track Program Advanced Track Program explore ideas through discussion and critical readings; photographers in faculty-led sessions. Participants access process, and tools students need to take a and active class discussions, to practice the and a second comprehensive two-hour Technical Seminar personal project to the next level. Through art of channeling their own perceptions and The Track Program is a three-term program open to 12 The Advanced Track Program is a three-term program addressing Adobe Lightroom, Photoshop, and Advanced open to 12 intermediate students who possess a strong course material, shoot and upload assignments to a class weekly critiques and discussions, students unique voices into work that truly matters. students who want to pursue photography at a higher level Photoshop techniques over three terms. learn how to orchestrate all of the important Class feedback is individualized so students than they might ever have before. Students can begin the working knowledge of contemporary photography and are website, and meet weekly for intimate two-hour sessions via ready to pursue a further investigation of technical and Upon completion, students are invited for a One-Week decision-making processes and means of all levels are welcome. program in the fall or winter. In their first term, students theoretical issues as it relates to their own artistic vision interactive video conferencing. necessary to achieve the self-defined goal enroll in the first of three required seminars exclusive to the Residency (5–7 working days) in August at ICP in New Prerequisite: Photography I or portfolio review and the broader context of contemporary photographic of bringing their projects to fulfillment. The Track curriculum. In this weekly seminar, students examine York City to work with a master digital printing instructor production. Each week, students meet for two structured To learn more about our online courses or to register for a class, workshop culminates with student contemporary and historical ideas surrounding photography, in the editing and development of a printed portfolio. and participate in weekly critiques of new work supported seminars, one focusing on critique and the creation of new Tuition: $5,200 + $800 fee please call 212.857.0001 or visit us at icp.org/classes/online. by critical and theoretical readings and discussions. In photographic work, the other providing specific skills mastery addition to the Track seminar class, students generally and methods towards refining vision and craft. The critique note: Students are responsible for all travel and lodging enroll in one or two elective courses each term, selected seminar provides vigorous examination of new student arrangements and expenses for the August residency. All printing materials, excluding paper/portfolios. from the broader Continuing Education course offerings. work supported by critical and theoretical readings and NEW QUEER: EXPLORING IDENTITIES NEW FINDING INTIMACY A total of three Track seminars and five elective courses is discussions. The technical seminar facilitates the creation of New sessions begin once per year in the fall term. IN THE PHOTOGRAPHIC PROJECT student artist books, websites, and statements, and covers Applications will be available online, Apr 11–Jun 13 | Thurs 12–2 PM required in order to complete the Track Program. grant and fellowship applications, digital workflow and icp.org/school/part-time-programs Apr 16–Jun 18 | Tues 3–5 PM Elinor Carucci | 19SOLPV010 New sessions may begin during the fall, winter, and high-end image production, and promotion of best practices. Pablo Lerma | 19SOLPV009 $515 spring terms. Students also select two electives from the broader $515 REQUIRED SEMINARS: Many artists find that their best work Application deadline is March 13, 2019. Continuing Education course offerings. The program This online class explores the concept of is inspired by the personal, physical, or culminates in an exhibition. PRODUCTION SEMINAR queer in relation to the human identity in the mental spaces in which they experience the REQUIRED SEMINARS: New sessions begin once per year in the winter term. THIRD TERM photographic project. We revise the history lives and stories of others. In this course, TRACK SEMINAR Apr 8–Jun 17 | Mon 12–2 PM of the queer community through audiovisual students enhance their vision while realizing ADVANCED TRACK SECOND TERM Janelle Lynch | 19SOTSR200 materials and readings of works by Michel personal photo projects and examining the PRODUCTION SEMINAR Foucault and Annamarie Jagose, among emotions and nuances of their lives: their Apr 10–Jun 12 | Wed 6:30–9:30 PM Apr 9–Jun 11 | Tue 6:30–9:30 PM TECHNICAL SEMINAR others, and examine a wide range of images. surroundings, the people and places they Jean Marie Casbarian | 19SCTSR100 Ports Bishop | 19SCTPD100 THIRD TERM This class is open to individuals who want to choose to observe, their intimate encoun- TRACK SEMINAR Apr 12–Jun 21 | Fri 12–2 PM delve into the concepts of identity and queer- ters. Breaking through the boundaries ADVANCED TRACK SEMINAR THIRD TERM Ben Gest | 19SOTPD200 ness with their cameras. All are welcome, between themselves and their subjects, THIRD TERM Apr 10–Jun 12 | Wed 6:30–9:30 PM without restrictions of gender, identity, race, participants unveil the intimacy necessary to Apr 11–Jun 13 | Thurs 6:30–9:30 PM PRINTING AND PORTFOLIO DEVELOPMENT and/or age. capture those around them. Janelle Lynch | 19SCTSR200 Elinor Carucci | 19SCTSR300 Aug 5–11 | Mon–Sun 10 AM–5 PM Tuition: $8,500 + $1,173 fee. Fee provides full access to Tuition: $9,500 + $1,173 fee. Fee provides full access to Ben Gest | 19MOTPR100 facilities, equipment rental, and equipment insurance. facilities, equipment rental, and equipment insurance. Classes will be held at ICP. © Elinor Carucci

14 FACULTY BIOS | icp.org/faculty REGISTER | icp.org/register 15 FULL-TIME PROGRAMS TEEN ACADEMY ICP’s Full-Time Programs help imagemakers become stronger visual storytellers DOCUMENTARY PRACTICE AND ICP’s Teen Academy program offers a range of opportunities for teenagers to VISUAL JOURNALISM through four unique programs. Find the one that's right for you. develop their knowledge of photography, as well as their critical thinking, writing, Chairperson: Karen Marshall and public speaking skills. Classes include 10-week black-and-white and color The Documentary Practice and Visual Journalism program focuses specifically on the investigative skills darkroom instruction, digital intensives, and a yearlong advanced program called and technical knowledge necessary for students to Imagemakers. All curricula feature darkroom time, visual presentations, photo- advance in the complex and constantly changing world graphic and writing assignments, discussions, critiques, a guest artist visit, and of visual storytelling. ICP’s long-standing commitment to documentary practice ensures that this program engages a field trip. By the end of each course, students will have produced a portfolio of faculty who are some of the foremost practitioners in the prints and an artist statement. All classes culminate in a final presentation for field today. Visiting photographers discuss best practices, methodologies, and innovative media, as well as political, family and friends that celebrates the participants’ achievements. ethical, and social concerns. Scholarships are available for all Teen Academy classes. The student-centered curriculum emphasizes class discussions and critiques in a supportive learning atmosphere. Participants explore the history of visual journalism; develop new and challenging technical skills PHOTOGRAPHY I IN BLACK-AND-WHITE: NEW PHOTOGRAPHY II IN BLACK-AND-WHITE: in still photography, multimedia, and video; learn strate- CAMERA AND DARKROOM STREET PHOTOGRAPHY gies for publication; and create long-term documentary Apr 6–Jun 22 | Sat 11 AM–2 PM Apr 7–Jun 23 | Sun 11 AM–2 PM projects that examine the human experience. Néstor Pérez Moliére | 19STAFB000A Curtis Willocks | 19STAFB113 © Añes Ollivier-Yamin $705 + $55 fee Apr 11–Jun 13 | Thursday 4–6:30 PM, NEW MEDIA NARRATIVES Addition field trip TBA Designed for more advanced teen photographers, this Chairperson: Elizabeth Kilroy Ifétayo Abdus-Salam | 19STAFB000B course offers students the chance to explore approaches PHOTOGRAPHY II IN COLOR: to photographing on the streets. Through class outings, FOCUSING ON TECHNIQUE New Media Narratives invites photographers, documentar- $705 + $55 fee shooting assignments, and critiques, participants learn how Apr 7–Jun 23 | Sunday 2–5 PM ians, and artists to tell important stories creatively. Working In this course, teenagers will learn the basics of black-and- to choose the right equipment and film, address technical Sarah Warshaw | 19STAFC102 across different media and employing innovative forms of white photography, from making exposures with a 35mm and practical issues, and cultivate strategies for gaining $705 + $55 fee storytelling and narrative experience, students reveal the camera to processing film and creating prints in ICP’s the trust and access necessary to photograph people and Participants expand their color film and darkroom photog- issues that make up the hidden strata of our individual and darkrooms. During shooting assignments and field trips, places in and around New York City. Each student creates a raphy practice in this course. More advanced students collective lives. students will expand their understanding of the technical series of images anchored in a theme of their choice. strengthen their technical and aesthetic skills through a and aesthetic possibilities of analog imagemaking. © Gaia Squarci By exploring photography, film, immersive media, and Prerequisite: Photography I in Black-and-White or as approved by variety of shooting assignments, critiques of student work, Community Programs staff sound, participants work between digital and more traditional and hands-on printing sessions. By the end of the course, lens-based technologies to engage audiences in new ways. teens will have developed a theme-based body of work of PHOTOGRAPHY II IN BLACK AND WHITE: their choosing. Prerequisite: Photography I in Color or as FOCUSING ON TECHNIQUE ICP-Bard Master of Fine Arts One-Year Certificate Programs “Today everything exists to end in a photograph,” wrote approved by Community Programs staff Chairperson: Nayland Blake ICP offers three intensive One-Year Certificate Programs: Susan Sontag in her seminal book, On Photography (1977). Apr 7–Jun 23 | Sun 2:30–5:30 PM Creative Practices (formerly General Studies in Photog- As we address the sociocultural effects of pervasive image Sam Margevicius | 19STAFB100 TEEN ACADEMY IMAGEMAKERS The ICP-Bard program offers a rigorous exploration of raphy), Documentary Practice and Visual Journalism, and capture and sharing in our day-to-day lives, we also delve $705 + $55 fee all aspects of photography through an integrated Sept 24, 2018–Jun 10, 2019 | Mon 4–6:30 PM New Media Narratives. Each full-time program provides into the relationships between the physical and the virtual curriculum of studio and creative practice, critical study, In this course designed for more advanced teen photogra- Jaime Schlesinger | 18FIMFB200A committed students with a unique yearlong course of in making meaningful work. phers, students refine their technical and aesthetic skills in and Resident Artist Projects. The master of fine arts Sept 26, 2018–Jun 12, 2019 | Wed 4–6:30 PM study, where they explore the many disciplines that inform black-and-white photography. The course will emphasize degree covers the production of a final solo exhibition of Lesly Deschler Canossi | 18FIMFB200B media and art today. Students develop a distinctive the relationship between exposure, film development, and original artwork, participation in a final group exhibition, personal portfolio and present a final project in a year-end the finished print. Students will have the opportunity to $2940 + $165 fee and a cumulative publication, as well as the completion For more information: exhibition. strengthen darkroom skills, explore different photographic of class assignments and internships. icp.org/school | [email protected] Teen Academy Imagemakers is currently in progress. For papers and chemistry, and experiment with toners. Other more information about this yearlong program for juniors 212.857.0006 The ICP-Bard approach emphasizes creative vision and CREATIVE PRACTICES topics will include metering different lighting situations and and seniors, please visit icp.org/school/teen-academy. presenting finished prints. The course will foster the devel- openness to examining the many iterations of the image, Chairperson: Darin Mickey from photography to digital imaging, installation, and opment of technique, concept, and style, while students create a sophisticated portfolio and accompanying video. By considering how photographs are created, The Creative Practices program embraces a diverse range Applications for the 2019–20 year will be available in personal vision statement. April 2019. presented, discussed, used, and documented, students of photographic approaches for innovative expression in an gain an intimate knowledge of the ways in which images atmosphere of cooperative learning. Students are not only Affiliate Programs PHOTOGRAPHY I IN COLOR: increasingly structure modern society and consciousness. encouraged to explore and define their own goals, but also The International Center of Photography offers photography COLOR FILM AND DARKROOM For more information: challenged to situate their work within the broader context instruction in partnership with several other educational With its strong emphasis on writing and publication, the of the cultural, artistic, sociopolitical, and psychological use institutions, including Bard College, St. John’s University, Apr 6–Jun 22 | Sat 2–5 PM [email protected] | 212.857.0058 program encourages students to articulate the relation- of images. Carla Liesching | 19STAFC100 Barnard College, Marymount Manhattan College, Pace To register for classes: ship between their practice and that of other artists. University, Ringling College of Art and Design, and Bard $705 + $55 fee Featuring an accelerated investigation into the history of icp.org/school/teen-academy | 212.857.0058 Through ongoing studio work, critiques, and internships, College at Simon’s Rock, Massachusetts. For more informa- photography, contemporary theory, and craft, the curric- Teenagers explore color film and darkroom photography in students challenge their ideas and test new approaches tion about the programs offered through these collabora- this introductory class. Working with speed and consistency ulum also boasts a large selection of electives. Through to image making, synthesizing the program’s varied tions, visit icp.org/school/affiliate-programs. on ICP’s computerized Kreonite print processor, they learn these varied offerings, students can let their curiosity Teen Academy and Imagemakers are made possible with generous experiences and defining their own ways of working. to make exposures with a 35mm camera and refine their and passions lead them in new directions, ranging from support from the Phillip and Edith Leonian Foundation, The Chervenak- printing skills. Through assignments, participants expand nontraditional documentary narrative to experimental Nunnalle Foundation, The Alesio Family Fund, Joy of Giving their understanding of the technical and aesthetic possibili- Something, Inc., and the Milton and Sally Avery Arts Foundation. image production to other media, including video, sound, ties of color film photography. These programs are supported, in part, by public funds from the performance, and installation. By solidifying each student’s Prerequisite: Photography I in Black-and-White or as approved by New York City Department of Cultural Affairs in partnership with technical skills and broadening their vision, we build a Community Programs staff the City Council. foundation for ongoing, meaningful, and content-driven individual and collective practice.

© Nikola Burnett

16 FACULTY BIOS | icp.org/faculty REGISTER | icp.org/register 17 EXHIBITIONS PUBLIC PROGRAMMINGPROGRAMS MEMBERSHIP HOW TO REGISTER Registration for spring term begins Wednesday, FEBRUARY Class Auditing: Auditing of classes is not permitted under any circumstance. February 20. Classes begin Saturday, April 6. • Wednesday, February 13 | 6–8 PM • Saturday, February 23 | 11 AM–1 PM Inclement Weather Policy: In case of severe weather conditions, which could result in the cancellation of classes and or events, please Sign up at icp.org/register • Wednesday, February 27 | 6–8 PM refer to our website, icp.org. This information is generally posted by New to ICP? MARCH 7 AM and will be updated as necessary. You may also call the ICP Weather Hotline: 212.857.9777. Create a student account to register, view upcoming class • Saturday, March 9 | 11 AM–1 PM schedules, participate in class evolutions, and more. • Tuesday, March 26 | 6:30–9 PM REFUND POLICIES PORTFOLIO REVIEW FEST, RSVP Required Requests for refunds must be submitted to [email protected]. Returning Student? Note: Each participant will receive a 20% class The date will determine eligibility for a refund. All approved refunds Log in to your student account to sign up for a new class. take at least two weeks to process. ICP cannot be responsible for discount coupon valid between Mar 26–Apr 2, 2019. providing refunds for classes or programs missed as a result of You can also register in person (1114 Avenue of the • Saturday, March 30 | 11 AM–1 PM events beyond ICP’s control. Five- and Ten-Week Courses: Cancellation up to five business days Americas at 43rd Street NY, NY 10036) or by phone RSVP: [email protected] (212.857.0001). Payment must be made in full when prior to the first class: 100% refund, less a $55 withdrawal fee (per By Appointment, in-person: Tuesday–Friday, course); up to five business days prior to the second class: 50% registering. Registrations by phone require a payment by refund, less a $55 withdrawal fee (per course). No refunds/credits will © Jacque Donaldson © Alice S. Zimet credit card in full. Registration in person and by phone is 11 AM–4 PM. Please email [email protected] be given after that time. Theaster Gates, Where Black Power Lives, Gary, Indiana, 2018 available Monday–Friday, 9 AM–6 PM and Saturday, or call 212.857.0064 to set up an appointment. Part-Time Programs: Refunds of tuition and fees for students who © Madeleine Thomas 9 AM–5 PM. Appointment times are subject to availability. Please withdraw from the Program voluntarily or due to illness are listed Join us at the International Center of Photography Become an ICP Member today! Open the door reserve a spot at least two days prior to your request. below. Refunds are based on the date ICP receives written notice of to hear from experts, academics, critics, artists, to a vibrant and active network of individuals who Check this catalog to see if the course that interests you the withdrawal and apply to payments made for the term in which the ON VIEW FEBRUARY 8– APRIL 28, 2019 Portfolio review and registration are on a first-come, imagemakers, and storytellers, responding to both share your passion for photography. With access requires a portfolio review or prerequisite class. withdrawal occurs, not to prior terms. first-served basis. • 100% Refund for withdrawal 14 days prior to the first day of the term, the themes embodied by our current exhibitions and to dynamic exhibitions, thought-provoking less withdrawal fee of 100 USD For Freedoms: Where Do We Go From Here? There is a $30 nonrefundable registration fee each term. If you are unable to attend in-person or via scheduled the images that shape our society today. programs, and a wide range of classes, ICP • 80% Refund for withdrawal 7 days prior to the first day of the term, appointment hours, please email [email protected] In the wake of the 2018 midterm elections, For Members drive the conversation about the less withdrawal fee of 100 USD CONTINUING EDUCATION or call 212.857.0064. • 70% Refund for withdrawal 7 days after the first day of the term, Freedoms: Where Do We Go From Here? explores Optics: A New Way of Seeing medium today. less withdrawal fee of 100 USD PORTFOLIO REVIEW FEST the role of art and visual representation in Amer- Contemporary Culture • No Refunds will be issued after that time • Unlimited free admission to the ICP Museum Tuesday, March 26 | 6:30–9 PM HOLIDAY INFORMATION ican civic life through the work of For Freedoms, No refunds will be issued in cases of suspension, expulsion, or This ongoing discussion series invites critics, artists, RSVP Required: [email protected] an artist-led collective that investigates how art • Discounts at the ICP Museum shop and café Spring classes and workshops will not meet, dismissal. and imagemakers to analyze the pictures that shape Note: Each participant will receive a 20% class discount Weekend Workshops: Cancellation up to five business days prior and artists can help to deepen public discourse • A $25 discount on ICP School classes unless otherwise specified on: contemporary culture and current events. coupon valid between March 26–April 2, 2019. • Passover and Easter: to the first class: 100% refund, less a $55 withdrawal fee (per work- and political awareness in the United States. The shop). No refunds/credits will be given after that time. • Invitations to Members-only events Friday, April 19–Sunday, April 21 group recently launched the 50 State Initiative, a Dismantling the Gaze: Check Redeposit Fee: If for any reason a student’s check or charge • And more! PORTFOLIO REVIEWS • Memorial Day Weekend: nationwide series of decentralized exhibitions, Looking, Power, and Visual Culture does not clear for payment, an additional fee of $15 will be charged. Saturday, May 25–Monday, May 27 ICP does not guarantee placement until payment is resubmitted. public art commissions, town halls, and additional If you do not have the prerequisite for the course you The series addresses topics such as institutional Become a Member: Transfer Fee: A $25 nonrefundable fee will be charged for all transfers events designed to reinforce the idea that citizen- would like to enroll in, you may have your portfolio CLASS POLICIES responsibility, the film industry-as-flashpoint for icp.org/membership initiated by the student. Transfers from one class to another may take ship is defined by participation, and not by ideology. reviewed in-person or on Skype. This informal review is Absences: It is not possible for students to make up a missed class place only before classes begin. lens-based media and gender relations, the role of 212.857.0003 used to ensure appropriate class placement. Students by attending an equivalent class on another day. There are no refunds Continuing in this collaborative spirit, the exhibition ICP is not responsible for loss or damage to students’ personal journalism and viral media in the #MeToo moment, [email protected] should bring 10 to 15 images that reflect their current for missed classes. also serves as an active space where members of property. ICP is a public building and students should care for their visual literacy and theory in regards to looking and technical and aesthetic abilities in photography. Cancellations: Classes are subject to cancellation up to three days personal belongings as they would in any other public building. For Freedoms, along with other nonprofits and the power, gender, and more. prior to the start of class due to under-enrollment. A full credit or In-Person: Education staff-led portfolio reviews are for refund will be issued. The International Center of Photography is committed to equal public, can discuss the importance of civic engage- opportunity employment. course advisement and/or classes with a prerequisite Date Changes: During the term, a class meeting may need to be ment and develop related educational programming. See full schedule: COMMUNITY PARTNERSHIPS unless stated otherwise. rescheduled. A make-up class will be scheduled within the term or The exhibition features photographs that reenvision icp.org/events added to the end of the course. American artist Norman Rockwell’s Four Freedoms (1943), a series of paintings that illustrates freedom of speech, freedom of worship, freedom from want, and freedom from fear, inspired by Franklin D. Roos- MUSEUM EDUCATION evelt’s 1941 State of the Union Address.

Your Mirror: Portraits from the ICP Collections Through studio portraits, snapshots, and documen- tary photographs, Your Mirror: Portraits from the ICP Collections surveys the nuanced ways that people present themselves for the camera, how and by whom subjects are represented, and who is deemed worthy of commemoration. Drawn from the ICP Collections, the works on view include a daguerreo- Facilities Teaching Assistantship type of an invalid woman by Southworth & Hawes, ICP’s state-of-the art photographic facilities include: Volunteer Program a carte de visite featuring Sojourner Truth holding © Sabrina Giocomaggio • four digital media labs her knitting needles, Samuel Fosso’s performative • two large black-and-white darkrooms Teaching Assistant positions are available each self-portraits, and FBI wanted posters, among ICP’s Community Partnerships provide young • a color darkroom term. TAs have the opportunity to volunteer in the © Jaime Schlesinger others. From nineteenth-century daguerreotypes to people from underserved communities with life • a shooting studio Photo Lab Office, Digital Media Lab Office, or Library. twenty-first century self-portraits, these remarkable skills and educational resources. To this end, ICP • digitally equipped classrooms Teaching Assistants who are eligible can also TA Our Museum Education program provides tours, for Continuing Education, Full-Time Programs, Teen images offer insight into the ways that photography has established collaboratively designed programs • a well-stocked equipment room interpretative materials, and events for educators. Academy, and Community Program classes. As has shaped our ideas about ourselves and others. with schools and community-based organizations • an extensive library These resources introduce visitors to our museum a perk of the Volunteer Program, TAs earn credit throughout the city to teach photography, critical • an exhibition gallery exhibitions while building visual literacy and critical hours that may be used in the Digital Media Labs and Learn more: thinking, writing, and public speaking with the goal For comprehensive information about ICP’s thinking skills. darkrooms or submitted to the Education Office for icp.org/exhibitions facilities, including a complete list of equipment of fostering self-esteem, community development, tuition reduction (50% off of class tuition). For more and social change. and resources available to students, Book a group tour: information, visit icp.org/jobs/teaching-assistant. please visit icp.org/school/facilities. icp.org/contact/group-tours Learn more: 212.857.0005 icp.org/community/partnerships photos: © Suzanne Nicholas

18 FACULTY BIOS | icp.org/faculty 19 Non Profit Org. U.S. Postage 1114 Avenue of the Americas at 43rd Street PAID New York, New York 10036 New York, NY 212.857.0001 Permit No 7289 icp.org/school

JOIN THE CONVERSATION @ICP @ICPhotog ICP

Registration for spring term begins Continuing Education Full-Time Programs Wednesday, February 20. Classes begin Saturday, April 6. PORTFOLIO REVIEW FEST APPLICATION DEADLINES Tuesday, March 26 | 6:30–9 PM FOR SPRING 2020 RSVP Required: [email protected] Friday, January 17, 2020 Note: Each participant will receive • ICP-BARD MFA PROGRAM REGISTER EARLY a 20% class discount coupon valid between March 26–April 2, 2019. Friday, March 6, 2020 • DOCUMENTARY PRACTICE AND AND SAVE 15% VISUAL JOURNALISM • CREATIVE PRACTICES Wednesday, February 20 through • NEW MEDIA NARRATIVES

Wednesday, March 13, use code For more information, PGFY19 to receive 15% off tuition please email [email protected]. on all spring term Continuing Education classes. ICP Members receive an additional $25 off.*

Register online at icp.org/register

*Discount is not valid on prior purchases, yearlong courses, or Teen Academy classes. Offers cannot be combined.

© Linda Rosier