Faculty Chair

Nayland Blake
Internationally acclaimed interdisciplinary artist and educator. Represented by Matthew Marks Gallery, New York. Exhibited widely in the United States and abroad. Work included in the collections of Brooklyn Museum of Art; Des Moines Art Museum; Museum of Fine Arts, Boston; San Francisco Museum of Modern Art; Whitney Museum of American Art; and University Art Museum, Berkeley. Writing published in Artforum, Interview, Out, Outlook, and numerous exhibition catalogues. Faculty, Milton Avery Graduate School of the Arts, Bard College (1997–). Former faculty, Studio Arts Program, Bard College (2000–03). Former visiting faculty member, San Francisco Art Institute; California Institute of the Arts; University of California, Berkeley; Parsons School of Design; New York University; School of Visual Arts; and Harvard University School of Visual and Environmental Studies. Visiting artist at numerous colleges and universities, including Yale University, The Museum School, Rhode Island School of Design, Williams College, and The Art Institute of Chicago. B.A., Bard College; M.F.A., California Institute of the Arts.

Core Faculty

Nancy Davenport
Represented by Nicole Klagsbrun Gallery, New York. Exhibited at the 25th Bienal de São Paulo; PROA Fundación in Buenos Aires; Musée d’Histoire de Luxembourg; Photo & Contemporary, Turin; and Rockford Art Museum. Featured in numerous publications including October, Artforum, Art in America, and Village Voice. Faculty, Graduate Photography Department at the School of Visual Arts, New York. Taught in the General Studies Program, ICP. B.F.A., York University, Toronto; M.F.A., School of Visual Arts.

Moyra Davey
Photographer, writer. Editor, Mother Reader: Essential Writings on Motherhood, an anthology of texts on the intersection of motherhood and creative life. Author of the essay and photographs, The Problem of Reading. Other publications include Maternal Metaphors, The Rochester Contemporary, catalogue essay; L'Inconvenient; The Modernist Document; Le Mois de la Photo à Montréal, catalogue; Harper's, Copperhead series in Readings; Echoes; Grand Street; review for C Magazine; and Purple Prose, photographs by Davey, text by Jennifer Montgomery. Solo exhibitions include American Fine Arts, Co., New York; Goodwater, Toronto, Canada; Rena Bransten Gallery, San Francisco; John Goodwin/Shark Editions, Toronto. Recent group exhibitions include Alexander and Bonin, New York; Orchard, New York; Aldrich Museum, Conn.; Caren Golden Gallery, New York; Art Gallery of Concordia University, Montréal; Bard College; Newark Museum, New Jersey; Institute of Contemporary Arts, Boston; International Center of Photography; The New Museum of Contemporary Art; and Photographers' Gallery, London, England. Film/Video screenings at Into the Lapse, Santa Monica; University of California, San Diego; Mandeville Gallery, La Jolla; Tom Cugliani Gallery, New York; Collective for Living Cinema, New York; Artists' Space, New York; and LACE, Los Angeles. Recipient, Anonymous Was a Woman Award, Canada Council B-Grant, Canada Council Project Grants, Short Term Grants, Art Matters Fellowship, UCSD Regents Fellowships, Mayer Foundation Grant, Ontario Arts Council Grant, and O.A.C. Exhibition Assistance. Teacher, Programme d'études Critical Curatorial Cybermedia in Geneva, Univeristy of Arizona, Yale University, and Vermont College of the Union Institute. M.F.A., University of California, San Diego; B.F.A., Concordia University, Montréal; Whitney Independent Study Program, New York.

David Deitcher
Art historian, critic, writer. Published in Artforum, Art in America, Village Voice, Frieze, and Parkett; and in numerous anthologies and monographs on artists such as Felix Gonzalez-Torres, Wolfgang Tillmans, and Isaac Julien. Editor, The Question of Equality: Lesbian and Gay Politics in America Since Stonewall. Organizer, Dear Friends: American Photographs of Men Together, 1840–1917, a widely acclaimed exhibition presented at ICP (2001); and author of the accompanying catalogue, which won a 2001 Lambda Literary Foundation Book Award. Teaches contemporary art history and critical theory at Cooper Union for the Advancement of Science and Art (1992–). Faculty at University of Rochester, California Institute of the Arts, and the Center for Curatorial Studies at Bard College. B.A., M.A., New York University; Ph.D., Graduate Center, City University of New York.

Edward Earle
ICP curator of digital media. Former director of collections, American Museum of the Moving Image, Queens, New York; former associate director for exhibitions, collections, and new media projects, California Museum of Photography, University of California, Riverside (1982–97). Widely acknowledged for his leadership in championing internet-based art as a means for exposing a wider audience to traditional photographic imagery. Organized dozens of gallery and internet exhibitions and contributed to numerous publications over the last 20 years. Awarded the Reva and David Logan Foundation grant for critical writing on photography in 1986 and 1987. B.A., University of Notre Dame; M.F.A., Visual Studies Workshop, Rochester, New York.

Marvin Heiferman
Curator, writer, and book packager. Exhibitions include John Waters’ Change of Life, The New Museum for Contemporary Art, New York (2004); Paradise Now: Picturing the Genetic Revolution, Exit Art, New York (2000); Fame After Photography, Museum of Modern Art (1999); Talking Pictures, International Center of Photography (1994); and Image World: Art and Media Culture, Whitney Museum of American Art (1989). Writing on photography and visual culture published in Artforum, BOMB, and publications produced by Museum of Modern Art; Whitney Museum of American Art; International Center of Photography; the Stedelijk Museum, Amsterdam; P.S. 1; A&E Television Networks; and New York City’s Department of Cultural Affairs. Author of the books Love is Blind, I'm So Happy, and Still Life. Producer of photographer Nan Goldin’s slide show and book Ballad of Sexual Dependency. Former director of Castelli Photographs (1975–82), and assistant director of Light Gallery, New York (1971–74). Adjunct professor, School of Visual Arts, M.F.A. Program in Photography and Related Media. B.A., Brooklyn College, City University of New York. Studied at School of the Arts, Film Program, Columbia University.

Christopher Phillips
ICP curator. Former senior editor, Art in America. Widely published critic and photography historian. Curated and co-organized numerous exhibitions, including Between Past and Future: New Photography and Video from China (2004); The Rise of the Picture Press (2002); Cosmos (1999); Voices (1998); Montage and Modern Life (1992); and The Metropolis and the Art of the Twenties (1991). Books include Photography in the Modern Era, The New Vision (with Maria Morris Hambourg), and Steichen at War. B.A., University of North Carolina, Chapel Hill; M.F.A., Rochester Institute of Technology.

Carol Squiers
ICP curator, writer, editor. Exhibitions include the five-part series "Imaging the Future: The Intersection of Science, Technology, and Photography" (2001–04). Former curator of photography, P.S.1. Former senior editor, American Photo. Contributor to numerous publications including New York Times, Artforum, Vanity Fair, Aperture, Art in America, Vogue, Parkett, Village Voice, in addition to numerous exhibition catalogues including Peek: Photographs from the Kinsey Institute and Barbara Kruger: A Retrospective. Contributor to numerous books and catalogs, including Strangers: The First ICP Triennial of Photography and Video; Barbara Kruger; Police Pictures: The Photograph as Evidence; Sandy Skoglund: Reality Under Seige; Paul Graham; and The Contest of Meaning. Edited The Critical Image: Essays on Contemporary Photography and OverExposed: Essays on Contemporary Photography. Author of The Body at Risk: Photography of Disorder, Illness, and Healing. B.A., University of Illinois.

Brian Wallis
Writer and editor. ICP chief curator and director of exhibitions. Former curator, New Museum of Contemporary Art, New York. Former senior editor, Art in America. Publications include Art Matters: How the Culture Wars Changed America; Land Art; Constructing Masculinity; Rock My Religion: Writings and Art Projects by Dan Graham, 1965–1990; Democracy: A Project by Group Material; Blasted Allegories: Writings by Contemporary Artists; and Art After Modernism: Rethinking Representation. Contributor to numerous publications including Artforum, Art in America, Aperture, Washington Post, New York Times, and Village Voice. Taught at Yale University, Williams College, New York University, and City University of New York. B.A., Colgate University; M.A., University of Virginia.

Back to Top

Master Class Faculty, 2006–2007

Vince Aletti
Photography critic for the Village Voice since 1987. Regular columnist for Modern Painters (London) and Photograph. Contributor to Aperture, Art Review, and Artforum. One of the two featured writers in The Book of 101 Books: Seminal Photographic Books of the Twentieth Century (2001). Former art editor, Village Voice (1994–2005). Former rock critic at Rolling Stone and columnist for Creem, Crawdaddy, Fusion, and Record World (the last as a weekly chronicler of the rise of disco from 1974–78). Cocurator, Settings & Players: Theatrical Ambiguity in American Photography (2000), White Cube 2 Gallery, London; Organizer, exhibition of Steven Klein's fashion work the Musée de l'Elysée, Lausanne, Switzerland. Curator, Male (1998), Female (1999), Wessel + O'Connor Gallery, New York. Coeditor of the fall 1999 "Male/Female" issue of Aperture, featuring his interview with Madonna, later anthologized in Da Capo's Best Music Writing (2000).

Barbara Bloom
Photographer, writer. Solo and group exhibitions and installations include "twirl video" Petuelpark, Munich (commissioned); Absent-Present, Galerie Raffaella Cartese, Milan; Vexations Carpet, Gorney, Bravin & Lee, New York; The Gaze, Parrish Art Museum, Southampton, New York, and Margo Leavin Gallery, Los Angeles; among others.  Extensive contributions to books, films, periodicals. Taught at School of the Arts, Columbia University; Yale University; School of Visual Arts; Riksakademie voor Veeldende Kunst, Amsterdam. Recipient of Guggenheim Fellowship (1998); Louis Comfort Tiffany Foundation Award (1989); DAAD Fellowship (1986); National Endowment for the Arts fellowship (1986); among other awards. Attended Bennington College. B.F.A., California Institute of the Arts, Valencia.

Larry Fink
Photographer. Recipient of two Guggenheim Fellowships and two National Endowment for the Arts grants. Widely collected and exhibited. Solo exhibitions include Museum of Modern Art, Whitney Museum of American Art, San Francisco Museum of Art, Musée de la Lausanne Photographie in Belgium, and Musée de l’Élysée in Switzerland, as well as galleries in New York, Los Angeles, and Paris. Books include Social Graces, Forbidden Pictures, Boxing, and Runway. Published in Vanity Fair, W, GQ, Detour, New York Times Magazine, and The New Yorker. Commercial work includes advertising campaigns for Smirnoff, Bacardi, and Cunard Lines (Q.E.2). Taught at School of Visual Arts, New School University, Yale University, and New York University. Professor of photography, Bard College. Recipient, honorary doctor of fine arts, College for Creative Studies, Detroit, Michigan.

Jacqueline Hassink
Recipient, Prix No Limit d’Arles at the Rencontres de la Photographie in Arles, France, given to a photographer who pushes the boundaries of the medium. Most known for her global photo art projects that deal with the world of economic power, focusing since 1993 on global Fortune 500 companies; these projects include The Table of Power and Female Power Stations: Queen Bees and Mindscapes. Exhibited internationally in Huis Marseille, Foundation for Photography, Amsterdam; Fotomuseum Winterthur, Zürich; Scalo Gallery, New York; Galerie Deux, Tokyo; and the Photographers' Gallery, London. Collections include the Pont Foundation in Tilburg, The Netherlands; LaSalle Bank Photography Collection in Chicago; and DG Bank, Frankfurt am Main. Visiting professor, L'École d’arts appliqués, Vevey, Switzerland and the Academy of Art and Design, St. Joost, Breda, The Netherlands.

James Welling
Collected and exhibited extensively in the United States and abroad, including midcareer retrospective at the Wexner Center for the Arts in Columbus, Ohio, which traveled to the Museum of Contemporary Art, Los Angeles; retrospective at the Palais de Beaux Arts in Brussels, Belgium; group exhibition, The Los Angeles Art Scene, 1955–85, at the Centre Georges Pompidou in Paris, France; and solo exhibitions at David Zwirner Gallery, New York; Wako Works of Art, Tokyo, Japan; Galerie Nachst St. Stephan, Vienna, Austria; and numerous others. His three series Light Sources, Screens, and Flowers, address the centrality of light in the process of photography. Work published in numerous catalogues, monographs, books, and publications including New York Times, Time Out, Village Voice, BOMB, Art Forum. Professor, Department of Art, University of California, Los Angeles. Lecturer, Visual Art Program, Massachusetts Institute of Technology. B.F.A., M.F.A., California Institute of the Arts, Valencia.

Back to Top

Upcoming Master Class Faculty

Clarissa Sligh
Photographer, artist, bookmaker, and educator. Internationally and nationally exhibited, including Toronto Photographers Workshop; Light Work, Menschel Media Center, Syracuse; Washington Project for the Arts; White Columns; Museum für Angewandte Kunst, Frankfurt; Klingspor Museum, Offenbach; Museum of Art and Design, New York; Museum of Photographic Arts, San Diego; Walker Art Center; The New Museum; The Smithsonian Institution; The Photographic Resource Center at Boston University; Corcoran Gallery of Art, Washington, D.C.; Museum of Modern Art; Southeastern Center for Contemporary Art; Banff Centre for the Arts; Institute of Contemporary Art, Boston; The Studio Museum in Harlem. Work included in the collections of Museum of Modern Art; Australian National Gallery, Canberra; Corcoran Gallery of Art, Washington, D.C.; International Museum of Photography and Film, Rochester, New York; Museum of Fine Arts, Houston; National Museum of Women in the Arts, Washington, D.C.; Schomburg Center for Research in Black Culture, New York; Center for Creative Photography; Museum of Fine Arts, Boston; Victoria and Albert Museum's Collection of Artists' Books, London, England; and Philadelphia Museum of Art. Artists' books include Wrongly Bodied Two; It Wasn't Little Rock; Voyage(r): A Tourist Map to Japan; Reading Dick and Jane with Me; and What's Happening with Momma?. Published in numerous books, including Photography: A Cultural History; The Black Female Body: A Photographic History; Different: Contemporary Photographers and Black Identity; Reflections in Black: A History of Black Photographers; A New Life: Stories and Photographs from the Suburban South; Reframings: New American Feminist Photographers; and The World History of Photography. Recipient of numerous grants and awards including Anonymous Was a Woman (2001); Andrea Frank Foundation (2000); New York Foundation for the Arts Fellowship in Photography (2000, 1988); International Center for Photography Infinity Award (1995); and National Endowment for the Arts fellowship (1988). B.F.A., Howard University; Skowhegan School of Painting and Scultpure; M.F.A., Howard University; M.B.A., University of Pennsylvania.

Adam Fuss
Represented by Cheim & Read Gallery, New York. Solo exhibitions include FotoMuseum, Winterthur; Galerie Karsten Greve, Paris and Cologne; Fraenkel Gallery, San Francisco; and Cheim & Read Gallery, New York. Group exhibitions include Visions of America: Photographs from the Whitney Museum of American Art, 1940–2001; The Antiquarian Avant-garde, Sarah Morthland Gallery, New York; Some Options in Abstraction, Carpenter Center for the Visual Arts, Harvard University; and The Crafted Image: Nineteenth-Century Techniques in Contemporary Photography, Boston University Art Gallery. Work included in the collections of Victoria and Albert Museum, Museum of Modern Art, Metropolitan Museum of Art, Whitney Museum of American Art, Los Angeles County Museum of Art, Denver Art Museum, and Cincinnati Art Museum. Recipient of the ICP Infinity Award for Art (2000).

Amanda Means
Photographer, artist, and educator. Represented by Ricco/Maresca Gallery, New York. Widely collected, exhibited, and published. Work included in the collections of Whitney Museum of American Art; San Francisco Museum of Modern Art; Museum of Fine Arts, Houston; National Gallery of Canada, Ottawa; Albright-Knox Art Gallery, Buffalo; Los Angeles County Museum of Art; Museum of Fine Arts, Boston; and National Museum of Photography, Film and Television, England. Solo and group exhibitions at Ricco/Maresca Gallery; Howard Yezerski Gallery; Zelda Cheatle Gallery, London; Metta Galeria, Madrid, Spain; Museum of Fine Arts, Houston; International Center of Photography; National Museum of Photography, Film and Television, England; Emily Carr at College of Art and Design, Vancouver; and New Museum of Contemporary Art, New York. Faculty and lecturer at New School University; International Center of Photography; SUNY, Plattsburgh; Hartford Art School; and Pratt Institute, Brooklyn. Published in Exploring Color Photography (2004); pdn; 2wice Magazine; GLOW; Oprah Magazine; The Brain (2002); Photography's Antiquarian Avant-Garde: The New Wave in Old Processes; Harper's Magazine; and The New Yorker. Master printer, 1985–2000; clients include Robert Mapplethorpe and Roni Horn. Contributing editor to BOMB Magazine. Executor, Estate of John Coplans. B.A. Cornell University; M.F.A., SUNY Buffalo; Visual Studies Workshop, Rochester, New York.

Laurie Simmons
Exhibited internationally in solo and group exhibitions, including Sprengel Museum, Hannover; and Kunstrum Munchen, Munich; Whitney Biennial; Museum of Modern Art; and Baltimore Museum of Art. Articles and books include Linda Yablonsky's "Laurie Simmons," BOMB (1996); Bill Arning's "Dream Works," World Art, #15 (1997); "Laurie Simmons," interview by Sarah Charlesworth, New York: Artpress (1994); and Laurie Simmons: The Music of Regret, Baltimore Museum of Art (1997). B.F.A., Tyler School of Art, Philadelphia.

Carrie Mae Weems
Solo exhibitions include Carrie Mae Weems: The Hampton Project, Williams College Museum of Art, which traveled to ICP; High Museum of Art, Atlanta; Nelson-Atkins Museum of Art, Kansas City, Missouri; University Art Museum, University of California, Long Beach; Hood Museum of Art, Dartmouth College; Carrie Mae Weems: The Kitchen Table Series, Contemporary Arts Museum, Houston; From Here I Saw What Happened and I Cried, Rhona Hoffman Gallery, Chicago, also shown at Krannert Art Museum, University of Illinois at Urbana-Champaign; Gallery Paule Anglim, San Francisco; and Bunting Institute, Cambridge; Carrie Mae Weems Reacts to Hidden Witness, J. Paul Getty Museum of Art; and Museum of Modern Art; Carrie Mae Weems, traveled to National Museum of Women in the Arts, Washington, D.C.; Forum, St. Louis; Museum of Modern Art, San Francisco; Afro-American Museum, Los Angeles; Contemporary Arts Center, Cincinnati; Center for the Fine Arts, Miami; Walker Art Center; Portland Art Museum; and Institute of Contemporary Art, Philadelphia. Former artist-in-residence at Wellesley College, Art Institute of Chicago, and Rhode Island School of Design. Visiting professor at Harvard University, Williams College, and California College of Arts and Crafts, among others. Recipient of the Photographer of the Year award by the Friends of Photography, Ansel Adams Center, San Francisco; and the National Endowment for the Arts Visual Arts grant. B.A., California Institute of the Arts; M.F.A., University of California, San Diego.

Fred Wilson
Represented by Pace Wildenstein, New York. Group exhibitions include Speak of Me as I Am, American Representative, 50th Venice Biennale; Collected, Photographer’s Gallery, British Museum; Museum Studies: Eleven Photographer's Views, High Museum of Art, Atlanta; Millennium Eve Dress, Contemporary Arts Center, Cincinnati; Heart, Mind, Body, Soul: American Art in the 1990s, Whitney Museum of American Art; Microminiatures from Armenia: The Eye of the Needle, Yerba Buena Center for the Arts, San Francisco; To the Rescue: Eight Artists in an Archive, ICP, traveled to Miami Art Museum and Contemporary Arts Museum, Houston; The Museum as Muse, Museum of Modern Art, New York, traveled to Museum of Contemporary Art, San Diego; Uniform, Center for Curatorial Studies, Bard College; Outbound: Passages from the '90s, Contemporary Arts Museum, Houston; Play's the Thing, organized by Whitney Museum of American Art Independent Study Program, Art Gallery of the Graduate Center, City University of New York; W, Musée des Beaux-Arts; Crossing the Line, Queens Museum of Art, New York; Museum as Subjects, National Museum of Art, Japan; and Unpacking Europe, Museum Boijmans Van Beuningen, The Netherlands. Work included in the collections of Baltimore Museum of Art, Denver Art Museum, Museum of Modern Art, Seattle Art Museum, and Whitney Museum of American Art, among others. Awards include Distinguished Visiting Fellow in Object, Exhibition, and Knowledge, Skidmore College, Saratoga Springs, New York; 10th Larry Aldrich Foundation Award, Aldrich Museum of Contemporary Art, Ridgefield, Connecticut; The MacArthur Foundation Genius Grant, Chicago; New York Foundation for the Arts Fellowship in Sculpture; and a National Endowment for the Arts fellowship, among others. B.F.A., State University of New York, Purchase.

In 2004–05, the following photographers and artists served as master class faculty: Robert Beck, Robert Blake, Barbara Ess, Andrea Fraser, Lyle Ashton Harris, Susan Jahoda, Chuck Kelton, Martha Rosler, David Levi Strauss, and Jon Winet & Margaret Crane. In 2003–04, the master class faculty included: Shimon Attie, Mary Lucier, Susan Meiselas, Sam Samore, Gary Schneider, Stephen Shore, and Lorna Simpson.

Back to Top