This program is being offered both in person at ICP, located on NYC's Lower East Side, and online. In person tickets include entry to ICP’s galleries during Late Night ICP.
ICP alumni (DOC '18) and faculty member Alexey Yurenev leads a conversation in the ICP Library exploring the intersection of photography and AI imaging alongside Fred Ritchin, Dean Emeritus of the International Center of Photography (ICP) School and current ICP faculty member, and Danielle Ezzo, photographer.
Every Thursday night at ICP is Late Night ICP—we are open with special late hours and $5 admission from 6–9 PM.
About the Speakers
Alexey Yurenev is a photographer and visual researcher interested in how technology shapes the production of knowledge and collective memory. Yurenev’s documentary projects have been published in The New York Times, National Geographic, Topic and Literary Hub. His work has been acknowledged by organizations such as Photographer of the Year International and Silurian Society of New York and nominated for an EMMY and Shorty awards. In 2020, Yurenev co-founded a platform dedicated to innovative visual strategies FOTODEMIC.org and became a faculty member at The International Center of Photography in New York.
Yurenev holds an MA in Photography & Society from the Royal Academy of Art, The Hague and is currently based between New York and Amsterdam.
Danielle Ezzo is an interdisciplinary artist and writer based in Brooklyn, NY. Her practice often begins with photography as an entry point and leans into new approaches to image-making, the shortcomings of the medium, and the slippages between innovation and understanding. She blends contemporary technological artifacts with the handmade, historical, and the personal. Ezzo possesses a particular affinity for exploring archives and data sets, using them as a vehicle to reflect on emergent cultural themes. Her work has been published in the Boston Globe, The New York Times, The Tate, Lenscratch, Fisheye Magazine, and Feature Shoot and exhibited in numerous exhibitions and festivals including the A.C. Institute, The Santa Barbara Museum of Art, The Far Eastern Museum of Art, and Currents New Media Festival. Her work is in the collections of The Watson Library at The Metropolitan Museum of Art, Decker Library at Maryland Institute College of Art, Olin Library at Cornell University among others. She’s lectured at conferences, companies, and schools about the future of photography. Bylines include The New Inquiry, Magnum Photos, Art Observed, Right Click Save, Fellowship Trust, and Obscura Journal. She is the author of If Not Here, Then Where? published by Silent Face Projects in 2023. Danielle graduated from Lesley University College of Art & Design in Boston in 2015 with an MFA in Photography and Integrated Media.
Fred Ritchin is Dean Emeritus of the International Center of Photography where he had founded the Photojournalism and Documentary Photography educational program in 1983. He was professor of Photography and Imaging at New York University for over two decades where he co-founded the Photography and Human Rights Program, teaching as well in the Interactive Telecommunications Program. Ritchin served as picture editor of the New York Times Magazine (1978-82) and executive editor of Camera Arts magazine (1982-83). He created the first multimedia version of the New York Times newspaper in 1994-95, and conceived and edited the Times’s first non-linear online documentary project, “Bosnia: Uncertain Paths to Peace,” nominated in 1997 for a Pulitzer Prize in public service.
Ritchin began writing on the digital revolution and its potential impacts on photographic credibility in 1984 for the New York Times Magazine. His books on the future of imaging include In Our Own Image: The Coming Revolution in Photography (Aperture, 1990), After Photography (W.W. Norton, 2008), and Bending the Frame: Photojournalism, Documentary, and the Citizen (Aperture, 2013). His next book will be The Synthetic Eye: Photography Transformed in the Age of AI, to be published by Thames & Hudson later this year.
