ICP’s onsite One-Year Certificate Program priority deadline for admission and merit-based scholarships has been extended to March 15, 2026. Don’t miss this opportunity to learn what makes a strong application to ICP’s onsite One-Year Certificate Programs, including:Creative PracticesDocumentary Practice and Visual JournalismIn this session, you will receive an overview of key admission deadlines, the academic timeline, program structure, tuition, and scholarship opportunities. You’ll also gain insight into what the Admissions Committee looks for in successful applicants and have the chance to ask questions directly to the Admissions Team.Apply by March 15, 2026 for priority admission and scholarship consideration.ICP’s onsite One-Year Certificate Programs begin in mid-August 2026 at our New York City campus.About the Event Format This is an online event held via Zoom. Please register in advance for this free event. ZOOM LINK HereIf you have questions about the event, please contact [email protected] by Matthew Septimus

Tickets to attend the program are $5 and include access to ICP’s galleries.ICP in collaboration with The Judith Center and Magnum Foundation presents Beyond Violence:The Impact of Evolving Technologies in Wartime Photography, a lecture by renowned Ukrainian curator Kateryna Radchenko.Radchenko’s lecture will explore the historical uses of photography—largely as a tool of authoritarian domination and as a means of witnessing and recording violence—and consider new possibilities for the medium in light of emerging technologies and broader social shifts. Following the lecture, Radchenko will be joined in a conversation with Cynthia Young, Director of the Robert Capa and Cornell Capa Archive at ICP, moderated by Kathryn Andrews, artist and Founder and Director of The Judith Center. About Magnum FoundationMagnum Foundation expands creativity and diversity in visual storytelling, activating new audiences and ideas through the innovative use of images. Through grants, mentorship, and creative collaborations, we partner with socially engaged imagemakers exploring new models for storytelling. Since our founding in 2007 by members of the Magnum Photos cooperative, we have made more than 600 direct grants to visual storytellers from over 80 countries.About The Judith CenterThe Judith Center is a 501(c)(3) nonprofit organization based in Los Angeles, California. In the United States, sexual discrimination is a systemic issue. At The Judith Center, we believe current efforts to combat this suffer from siloed thinking. Our mission is to advocate nationally for gender equality through interdisciplinary actions. We organize art commissions, exhibitions, talks, and events in collaboration with activists, scientists, artists, and politicians. We partner with university art museums and nonprofits to present our programming to a range of audiences. Our projects respond to critical contemporary situations and unearth the histories that have shaped them. We are impact-focused. We measure success through audience expansion, the creation of new forms of data, increasing opportunities for artists, and influence on policy. About the SpeakersKateryna Radchenko is a curator, artist, and photography researcher based in Ukraine. She is the Founder and Director of Odessa Photo Days, an international art festival established in 2015. Most recently, she was the curator of the touring exhibition “Beyond the Silence” (2024–2025) in collaboration with Magnum Photos; she also served as a Fellow in the Magnum Foundation’s Counter Histories Program. Radchenko has curated exhibitions at various international institutions, including Hangar Art Center, Brussels; Robert Capa Contemporary Photography Center, Budapest; and Mattatoio, Rome, among many others. Her writing has been published in the British Journal of Photography, MoMA Magazine, Photography & Culture Magazine, Fotograf, Magenta, EIKON, Foam Magazine, and Over.Cynthia Young is the director of the Robert Capa and Cornell Capa Archive at ICP. She has curated numerous exhibitions on photojournalism in the 1930–50s, including Capa in Color; We Went Back: Photographs from Europe 1933-1956 by Chim and The Mexican Suitcase: The Rediscovered Spanish Civil War Negatives of Robert Capa, Chim and Gerda Taro. Kathryn Andrews is a Los Angeles–based conceptual artist whose practice spans sculpture, large-scale printmaking, performance, and sound. Her work explores how seeing and sensemaking are political acts shaped by the seer’s position within economic, sociocultural, and linguistic systems. Her work has been exhibited internationally at museums and galleries, including the Nasher Sculpture Center, Dallas; the Museum of Contemporary Art, Chicago; Museum Ludwig, Cologne; and Yuz Museum, Shanghai. Andrews is the founder and director of the nonprofit organization The Judith Center. Image by Valentyn Kuzan

This event is free with museum admission. No RSVP required for ICP members.Join us for weekly guided walking tours of the exhibitions: Eugène Atget: The Making of a Reputation, HARD COPY NEW YORK and Latitudes: Nuits Balnéaires and François-Xavier Gbré. About the ExhibitionsEugène Atget: The Making of a Reputation While Atget's work has been celebrated worldwide for documenting the lost Paris, this exhibition marks the first deep dive into how his reputation was built, and the pivotal role of Berenice Abbott, the photographer who championed his legacy.HARD COPY NEW YORK Exploring the contemporary use of photocopied images through works by industry-leading photographers including Stephen Shore, Daniel Arnold, Collier Schorr, Jerry Hsu, and others.Latitudes: Nuits Balnéaires and François-Xavier Gbré How does landscape photography reveal more than geographic facts? Latitudes brings together work by Nuits Balnéaires and François-Xavier Gbré that pushes beyond lanscape photography's traditional boundaries into evoking euphoric sensations, challenging colonial historical narratives, and expanding the scope of immersion. Program Format/Accessibility InformationThis is a walking tour of the gallery and is included with admission; no seating is provided. For accessibility questions or requests, please email [email protected]. Image by Pasinee Pramunwong

This event is free with museum admission. No RSVP required for ICP members.Join us for weekly guided walking tours of the exhibitions: Eugène Atget: The Making of a Reputation, HARD COPY NEW YORK and Latitudes: Nuits Balnéaires and François-Xavier Gbré. About the ExhibitionsEugène Atget: The Making of a Reputation While Atget's work has been celebrated worldwide for documenting the lost Paris, this exhibition marks the first deep dive into how his reputation was built, and the pivotal role of Berenice Abbott, the photographer who championed his legacy.HARD COPY NEW YORK Exploring the contemporary use of photocopied images through works by industry-leading photographers including Stephen Shore, Daniel Arnold, Collier Schorr, Jerry Hsu, and others.Latitudes: Nuits Balnéaires and François-Xavier Gbré How does landscape photography reveal more than geographic facts? Latitudes brings together work by Nuits Balnéaires and François-Xavier Gbré that pushes beyond lanscape photography's traditional boundaries into evoking euphoric sensations, challenging colonial historical narratives, and expanding the scope of immersion. Program Format/Accessibility InformationThis is a walking tour of the gallery and is included with admission; no seating is provided. For accessibility questions or requests, please email [email protected]. Image by Pasinee Pramunwong

Join us at ICP to celebrate the release of Larry Sultan’s Water Over Thunder: Selected Writings (MACK, $60), with a program focusing on the writing and pedagogy that informed Sultan’s landmark photographs. The afternoon will include a screening of a selection of shorts Sultan admired as well as readings by Susan Meiselas, Jason Fulford, Jonathan Lethem, Rebecca Bengal, and Tamara Jenkins, moderated by Philip Gefter. This program is offered in person at ICP on New York City’s Lower East Side. Tickets to attend the conversation in person are $5 and do not include access to ICP’s galleries. Add on admission to the museum and arrive early to see our current exhibitions Eugène Atget: The Making of a Reputation, HARD COPY NEW YORK and Latitudes: Nuits Balnéaires and François-Xavier Gbré on view until May 4, 2026. About the BookLarry Sultan was one of the most important and celebrated photographers of the twentieth century, but his lifelong commitment to writing is less well known. Water Over Thunder is the first publication devoted to Sultan’s wide-ranging use of writing as a personal, artistic, and pedagogic tool. The selected texts – many unpublished until now – come from Sultan’s numerous journals and notebooks, encompassing reflections on his teaching and art practice, drafts for short stories, vivid dream diaries, and polished essays. Interspersed throughout are extracts from Sultan’s eloquent public lectures and interviews, illuminating the questions he investigated throughout his life and emphasizing the thematic underpinnings of his best known series: Pictures from Home, Evidence (with Mike Mandel), and The Valley. Throughout these various writings, water appears as an important literal and metaphorical force. The book’s title is derived from an early draft of Pictures from Home in which Sultan writes about the process of beginning a new artistic project: ‘Everything is in motion, spinning off of surfaces and slamming against shadowy forms ... it seems impossible to find a break in the surface.’This volume is illustrated throughout with previously unseen materials from Sultan’s archive: marked contact sheets, outtakes, scouting shots, selections from his found photo collection, and layout pages from his book maquettes. As a whole, Water Over Thunder illuminates Sultan’s extraordinary way of working and forms an intimate portrait of an artist thinking through his craft and the world around him in real time.About the ArtistLarry Sultan grew up in California’s San Fernando Valley, which became a source of inspiration for a number of his projects. His work blends documentary and staged photography to create images of the psychological as well as physical landscape of suburban family life. Sultan’s pioneering book and exhibition Pictures From Home (1992) was a decade long project that features his own mother and father as its primary subjects, exploring photography’s role in creating familial mythologies. Using this same suburban setting, his book, The Valley (2004) examined the adult film industry and the area’s middle-class tract homes that serve as pornographic film sets. Katherine Avenue, (2010) the exhibition and book, explored Sultan’s three main series, Pictures From Home, The Valley, and Homeland along side each other to further examine how Sultan’s images negotiate between reality and fantasy, domesticity and desire, as the mundane qualities of the domestic surroundings become loaded cultural symbols. In 2012, the monograph, Larry Sultan and Mike Mandel was published to examine in depth the thirty plus year collaboration between these artists as they tackled numerous conceptual projects together that includes Billboards, How to Read Music In One Evening, Newsroom, and the seminal photography book Evidence, a collection of found institutional photographs, first published in 1977.Larry Sultan’s work has been exhibited and published widely and is included in the collections of the Los Angeles County Museum of Art, the Art Institute of Chicago, the National Gallery, the Museum of Modern Art, the Whitney Museum of American Art, Tate, the Centre Georges Pompidou, the Solomon Guggenheim Museum, and the San Francisco Museum of Modern Art, where he was also recognized with the Bay Area Treasure Award in 2005. Sultan served as a Distinguished Professor of Photography at California College of the Arts in San Francisco. Born in Brooklyn, New York in 1946, Larry Sultan passed away at his home in Greenbrae, California in 2009. Rebecca Bengal is the author of Strange Hours: Photography, Memory, and the Lives of Artists, published by Aperture with a foreword by Joy Williams. Her short fiction, essays, interviews, and journalism have been published in numerous magazines, journals, and newspapers, including a story in collaboration with Alec Soth about Larry Sultan’s Pictures from Home, for The New York Times. She is a contributing editor at Oxford American, a former editor at American Short Fiction and Vogue, and an alum of both The Onion and DoubleTake. Among her collaborations with photographers are short stories for Justine Kurland’s Girl Pictures, Kristine Potter’s Dark Waters, and Carolyn Drake’s Knit Club, as well as essays for Paul Graham’s But Still It Turns and reporting from the Standing Rock Sioux Reservation with Alessandra Sanguinetti and with Mitch Epstein. Originally from western North Carolina by way of Austin, Texas, she lives in New York City and teaches writing in the Bard Photography Program. She is at work on a novel and stories, and a book about film, music, photography, catastrophe, language, and time.Susan Meiselas is a documentary photographer based in New York. She is the author of Carnival Strippers (1976), Nicaragua (1981), Kurdistan: In the Shadow of History (1997), Pandora’s Box (2001), Encounters with the Dani (2003), Prince Street Girls (2016), A Room Of Their Own (2017), Tar Beach (2020), and Carnival Strippers Revisited (2022). Meiselas has been the President of the Magnum Foundation since 2007, with a mission to expand diversity and creativity in documentary photography. Philip Gefter is the author of Cocktails with George and Martha: Movies, Marriage and the Making of Who’s Afraid of Virginia Woolf? (Bloomsbury); two biographies: What Becomes a Legend Most: The Biography of Richard Avedon (Harper); Wagstaff: Before and After Mapplethorpe (Norton/Liveright), for which he received the 2014 Marfield Prize, the national award for arts writing; and a collection of essays, Photography After Frank (Aperture). He was on staff at the New York Times for over fifteen years as the page one picture editor, the picture editor for culture, and as a photography critic for the paper. He produced the 2011 documentary, Bill Cunningham New York. He lives in New York City. Jonathan Lethem is the author of Brooklyn Crime Novel, Chronic City, and eleven other novels. His art writing was collected in Cellophane Bricks (Ze Books) in 2024. Jason Fulford is a photographer and co-founder of J&L Books. He is a Guggenheim Fellow, a frequent lecturer at universities, and has led workshops across the globe. Fulford’s photographs have been described as open metaphors; as an editor and an author, a focus of his work has been how meaning is generated through association. His monographs include Sunbird (2000), Crushed (2003), Raising Frogs for $$$ (2006), The Mushroom Collector (2010), Hotel Oracle (2013), Contains: 3 Books (2016), Clayton’s Ascent(2018),The Medium is aMess(2018),Picture Summer on Kodak Film(2020), and The Heart Is a Sandwich (2023). He is co-author with Tamara Shopsin of the photobook for children This Equals That (2014),co-editor with Gregory Halpern of The Photographer’s Playbook (2014), guest editor of Der Greif Issue 11, editor of Photo No-Nos (2021), co-editor with Julie Ault and Jordan Weitzman of Ordinary Things Will Be Signs For Us: Photographs by Corita (2023), and editor of Bruno Munari 47 Fotos (2024). Tamara Jenkins is the writer and director of the films Private Life, The Savages, and Slums of Beverly Hills as well as several award-winning shorts. Her work has screened at the New York Film Festival, Telluride, Cannes, Sundance, and MoMA. She is the recipient of an Academy Award nomination, an Independent Spirit Award, a Los Angeles Film Critics prize, and a Guggenheim Fellowship. Images by Larry Sultan

As Jon Henry: Stranger Fruit comes to a close, we invite you to experience this powerful installation in ICP’s Incubator Space, which brings together photography, writing, and archival materials to confront the ongoing epidemic of police killings of Black men in the United States.For several years, Henry traveled across the country photographing Black mothers holding their sons in poses that echo Renaissance depictions of the Virgin Mary and Christ, alongside portraits of the mothers alone. These images, paired with the mothers’ own words, speak to the ever-present possibility of loss and the emotional weight carried long after public attention fades.For this presentation, Henry revisited his archives, assembling documents, maps, and ephemera that trace the development of Stranger Fruit. This act of transparency offers visitors insight into both the creative and administrative labor behind a long-term project, revealing how deeply personal work is shaped over time.Stranger Fruit is on view in ICP’s Incubator Space on the ground floor and is free and open to the public during museum and café hours.

ICP’s onsite One-Year Certificate Program priority deadline for admission and merit-based scholarships has been extended to March 15, 2026. Don’t miss this opportunity to learn what makes a strong application to ICP’s onsite One-Year Certificate Programs, including:Creative PracticesDocumentary Practice and Visual JournalismIn this session, you will receive an overview of key admission deadlines, the academic timeline, program structure, tuition, and scholarship opportunities. You’ll also gain insight into what the Admissions Committee looks for in successful applicants and have the chance to ask questions directly to the Admissions Team.Apply by March 15, 2026 for priority admission and scholarship consideration.ICP’s onsite One-Year Certificate Programs begin in mid-August 2026 at our New York City campus.About the Event Format This is an online event held via Zoom. Please register in advance for this free event. ZOOM LINK HereIf you have questions about the event, please contact [email protected] by Gabrielle Ravet