International Center of Photography
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Who we are
Our LegacyICP was founded by Cornell Capa in 1974 in honor of his photojournalist brother Robert Capa. After the untimely deaths of Robert and colleagues Werner Bischof, Chim (David Seymour), and Dan Weiner in the 1950s, Cornell sought to champion “concerned photography”—the creation of socially and politically minded images that have the potential to educate and change the world. He initially created the International Fund for Concerned Photography in 1966 and later founded the International Center of Photography (ICP) to broaden its scope. Since its inception, ICP has presented more 700 exhibitions, provided thousands of classes, and hosted a wide variety of public programs.
Financial InformationFY2018 Audited Financials (PDF)
FY2018 Form 990 (PDF)
Apropos USSR (1954 and 1973): Henri Cartier-Bresson, Classics of Contemporary Photography, and Eye of the Beholder inaugurate the exhibition program in November 1974.
New York City Mayor Abraham D. Beame proclaims November 16, 1974 to be “International Center of Photography Day”.
Jacqueline Kennedy Onassis writes an anonymous column for The New Yorker on the opening of ICP.
The “Photography in the Fine Arts” organization donates over 700 original prints to the ICP Permanent Collection.
Allure: A Selection of Photographs from the New Publication by Diana Vreeland opens.
Cornell Capa is part of a delegation of American artists invited to travel in China by the Center for U.S.–China Arts Exchange.
The ICP Purchase Fund is established. Three major bodies of work are acquired in the initial year: 79 original photographs from Weegee the Famous, 95 photographs from Jacob A. Riss: Photographs 1888–1898, and 75 photographs from Lucien Aigner: Glimpses of History, all ICP exhibitions.
ICP’s full time General Studies in Photography Program is established.
The first annual ICP Infinity Awards program, recognizing excellence in photography, is held at the Waldorf–Astoria Hotel.
A complete first edition set of Camera Work, edited by Alfred Stieglitz, is acquired by the Permanent Collection.
The Permanent Collection acquires 200 photographs by members of the “Photography Art Society of Lithuania”.
ICP Archives and Collections are relocated to a newly renovated and expanded facility at ICP Midtown.
The Permanent Collection receives The Daniel Cowin Collection of African-American History, approximately 3,000 images dating from the 1850s through the 1950s. 1992: The Robert Capa Archive is donated to ICP—over 3,000 original gelatin silver prints, negatives, correspondence, publications, and a set of 937 contemporary gelatin silver prints selected as this photojournalist’s most important images.
The Weegee (Arthur Fellig) Archive and Collection—13,000 prints, 7,000 original negatives , and assorted motion picture film, exhibition announcements/posters, and personal correspondence—is donated to ICP.
James Nachtwey: Testimony, curated by Ann Sass, opens.
Deirdre Donohue is hired as the first full-time professional librarian for ICP’s 22,000+ volume library.
New Histories of Photography 1: Daguerreotypomania! opens, the first of a series of collaborations between ICP and the George Eastman House, Rochester, under the general title New Histories of Photography.
Strangers: The First ICP Triennial of Photography and Video opens.
Snap Judgements: New Positions in Contemporary African Photography, organized by Okwui Enwezor, opens, with a catalog published by Steidl.
The legendary three cardboard boxes known as the “Mexican Suitcase” containing lost film negatives of the Spanish Civil War by Robert Capa, Gerda Taro, and David Seymour arrive at ICP.
A Different Kind of Order: The ICP Triennial opens.
New Media Narratives full-time, certificate program begins at ICP’s school.
The new ICP Museum opens at 250 Bowery on June 23.
ICP establishes the Center for Visual Culture with a grant from The Andrew W. Mellon Foundation to strengthen its public programming