Reading Group

The “Singular They”

Hosted by Joseph Maida

Tracing the histories of both photography and nonbinary pronouns, our conversation will be driven by a reconsideration of historically celebrated photographs in which the genders of the subjects, photographers, and viewers determine how we see and read meaning. We will apply a revised approach to word usage to evaluating photographs to consider the promises, paradoxes, and shortcomings in seeing, naming, and understanding gender today. Bring smartphones for a game of sharing before-and-after selfies! Maida has co-organized “Untitled,” a dynamic daylong symposium on gender and representation at the SVA Theater on October 1, 2016:

Free event.

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Becoming Anonymous

Hosted by Dan Bustillo, Tim Schwartz, and Lucas Wrench of LA Cryptoparty, in collaboration with Machine Project

Becoming Anonymous is a workshop aimed at sorting through the murky world of online privacy. With a focus on secure Internet browsing, participants will learn to use a set of online tools designed to limit and block surveillance of their online browsing. More importantly, they will delve into the processes through which information is gathered on them as Internet users, and learn how simple shifts in online behavior can dramatically affect the online data they make available about themselves. No experience necessary.

Laptop required (Mac preferred).

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Book Launch

Book Launch: Printed Web 4: Public, Private, Secret and Mossless 4: Public/Private/Portrait

Join us on Thursday, June 30 to celebrate ICP’s co-publications for Public, Private, Secret, Printed Web 4: Public, Private, Secret and Mossless 4: Public/Private/Secret. Hosted by Spaces Corners at ICP Museum. Copies of each publication will be available on a first come, first served basis.

While this is a free event, RSVPs are encouraged.

You may pre-order copies of Printed Web 4 and Mossless 4 online.


Contemporary German Photography

Hosted by Renee Barasch

In celebration of Renee Barasch’s exhibition of emerging photographers in Germany at On Stellar Rays, we are hosting a discussion with curators, artists, and critics about contemporary German photographic practice. The participating artists came of age after the fall of the Berlin Wall in 1989, and they continue to grapple with issues inherited from the past: the representation of politics and the physical manifestation of identity and community, which have evolved in an age of image and media saturation. 



With John Edmonds, in collaboration with 14x48

Photographer and writer John Edmonds discusses his photographic portrait series “Hoods,” which evolved from a personal exploration of reclusiveness and a broader investigation of the intersection of art, politics, and black identity. The talk coincides with the posting of one of Edmonds’ “Hoods” photographs on a billboard in New York City by the public arts organization 14x48, which repurposes vacant billboards in NYC as public art space in order to create more opportunities for emerging artists and enliven our urban environment.

Free event. RSVP required

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Trans Culture Through Media 

Hosted by Daphne Chan, with Ceyenne Doroshow

Based on Daphne Chan’s research surrounding her Transparency: The Gender Identity Project, Daphne will be in conversation with Ceyenne Doroshow, an African-American trans woman from New York. As an LGBTQIA activist, feminist, and former sex worker, Doroshow will share her struggles with employment, housing, education, and family, and talk about her memoir Cooking in Heels, written while serving prison time.

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Special Event

An Evening with Ron Galella at Anthology Film Archives

The International Center of Photography and Anthology Film Archives are delighted to present an evening with legendary American paparazzo Ron Galella. The evening will include a screening of “Smash His Camera” (2010), the award-winning HBO film directed by acclaimed documentarian Leon Gast (“When We Were Kings”). The screening will be followed by a Q&A and book signing with Ron Galella.

General Admission $11
Seniors and Students $9
AFA Members, ICP Members, and children (12 and under) $7

For information on purchasing tickets, please contact Anthology Film Archives.

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Natalie Bookchin
My Meds, 1:10 min
From Testament, 2009–16
Courtesy of the artist

Testament presents a series of collective self-portraits made from a montage of hundreds of found online video diaries. Each offers a collectively narrated meditation or proclamation on a topic, such as unemployment, sexual identity, or psychopharmacology. Clips are edited and sequenced as streams and patterns of self-revelation that flow and dissipate over space and time. As in a Greek chorus, choir, or musical symphony, individuals speak in unison, echo, add refrains, join in, and complete solo narrations. The series reflects on a peculiar blend of intimacy and anonymity, of simultaneous connectivity and isolation in contemporary, networked social relations.


How to Disappear

Hosted by Eteam, in collaboration with Machine Project

How do you make something disappear? Half philosophical exercise, and half skill-based experience, participants in this drop-in event will explore ideas of disappearance, including how to make digital and physical objects disappear, and even attempt to vanish themselves.

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The ICP Museum’s public space includes a poster wall featuring a rotating installation of artists’ works.

Paolo Cirio

Artist Paolo Cirio's work investigates how issues related to privacy, copyright, finance, and law are affected by communication networks.

His series Overexposed consists of nine unsanctioned photos of NSA, CIA and FBI officials, rendered in the HD Stencils graffiti technique. Cirio monitored social media for months to find photos of the officials taken in informal and private contexts—from selfies to family gatherings. During the spring of 2015, he disseminated the images on public walls in major global cities, thus satirizing the ubiquitous surveillance and overly mediated political personas by exposing the private lives of those responsible for classified intelligence programs. In doing so, Cirio proposes new modes of circulation, appropriation, contextualization, and technical reproduction for these images, honing in on the common territory between information systems and the social realm.

The ICP Museum’s public space includes a poster wall featuring a rotating installation of artists’ works.

Joy Episalla

Joy Episalla’s 144 years is a series of thirty-one multi-layered portraits. Each photograph is an amalgam of thirty-one images of thirty-one women who have campaigned and won their party’s nomination for the US presidency from 1872 to 2016. Echoing earlier work, such as Helen & Miss Smith from 1996, Episalla again photographs and re-photographs found images. The layering of each portrait, in chronological order, one a top the next, at percentages of black, result in fluid images where facial recognition, gender, race and individuality morph, in a manifestation of the layers and legacies of herstory.

Thirty-one women who have campaigned and won their party’s nomination for the US presidency from 1872 to 2016:

1872: Victoria Woodhull, Equal Rights Party • 1884: Belva Ann Lockwood, National Equal Rights Party • 1888: Belva Ann Lockwood, National Equal Rights Party • 1940: Gracie Allen, Surprise Party • 1952: Mary Kennery, American Party • Ellen Linea W. Jensen, Washington Peace Party • Agnes Waters, American Woman’s Party • 1968: Charlene Mitchell, Communist Party • 1972: Linda Jenness, Socialist Workers Party • Evelyn Reed, Socialist Workers Party • 1976: Margaret Wright, People’s Party • 1980: Deirdre Griswold, Workers World Party • Ellen McCormack, Right to Life Party • Maureen Smith, Peace and Freedom Party • 1984: Gavrielle Holmes, Workers World Party • Sonia Johnson, Citizens Party • 1988: Lenora Fulani, New Alliance Party • Willa Kenoyer, Socialist and Liberty Union Parties • 1992: Lenora Fulani, New Alliance Party • Helen Halyard, Socialist Equality Party • Isabell Masters, Looking Back Party • Eileen Myles, Openly-female Write-in Candidate • Gloria La Riva, Workers World Party • 1996: Marsha Feinland, Peace and Freedom Party • Mary Cal Hollis, Socialist Party, Liberty Union Party • Isabell Masters, Looking Back Party • Monica Moorehead, Workers World Party • Diane Beall Templin, The American Party • 2000: Cathy Gordon Brown, Independent • Monica Moorehead, Workers World Party • 2004: Diane Beall Templin, The American Party • 2008: Cynthia McKinney, Green Party • Gloria La Riva, Party for Socialism and Liberation • Diane Beall Templin, The American Party • 2012: Roseanne Barr, Peace and Freedom Party • Peta Lindsay, Party for Socialism and Liberation • Jill Stein, Green Party • 2016: Hillary Clinton, Democratic Party • Jill Stein, Green Party

Joy Episalla is a New York-based artist working in photography, video and sculpture. Her work has been exhibited widely in the United States and in Europe since the 1980s. Episalla is a founding member of the queer art collective fierce pussy.

“It’s an ambitious exhibition, given the wide assortment of media represented, and the complex issues the show raises. But instead of feeling fractured and convoluted, a natural side-effect of algorithms gone awry and image oversaturation, the show is witty, focused and sophisticated, while pushing back against assumptions about what a photography show ‘should’ look like in 2016.”

– American Photo


Tools and Tactics: New Media and the Presidential Campaign

Hosted by David A. Banks and Melissa Gira Grant

Selfies are often dismissed as vain attempts at self-promotion, yet nearly every candidate in the 2016 presidential election has stopped to take them with their supporters. This discussion—featuring interdisciplinary researcher David A. Banks and journalist and author Melissa Gira Grant—centers on how the selfie took on a new identity through dissemination over social networks and moved into the political mainstream.

Free event. Reserve Space

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Learning to Teach

Hosted by Tega Brain, in collaboration with the Processing Foundation and the School for Poetic Computation

Tega Brain has been creating and editing online educational materials for teaching computer programming in creative and artistic contexts in collaboration with Luisa Pereira for a Processing Foundation Fellowship. She will host a panel discussion with invited educators to discuss pedagogy and the creation of environments and tools for learning interdisciplinary computational arts practices.

Free event. Reserve Space 

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The ICP Museum’s public space includes a poster wall featuring a rotating installation of artists’ works.

Natasha Caruana: Married Man

November 22–December 4, 2016

Natasha Caruana’s series Married Man (2008–09) documents the dates Caruana went on with married men over the course of one year. She arranged the encounters exclusively through websites designed for men seeking extramarital relationships, sometimes seeing several men in a day and eventually going on over 80 dates. Caruana documented the meetings with a disposable camera and a voice recorder (the latter hidden in a small, red purse that can be seen in some of the photographs) but never reveals the face or identity of any of the men. The clandestine nature of both the meetings and Caruana’s documentation of them puts the viewers in the position of voyeur and detective, implicated in the various breaches of trust unfolding in the pictures and seduced into searching for visual clues that might reveal something about the men and their motivations.

Caruana began the project looking for closure and catharsis; she wanted to understand why people are unfaithful to their partners and gain insight into the dynamics of a frustrated marriage. She was inspired too by the ways in which technology is reshaping our personal relationships. Over time Married Man became an extended, iterative performance, as Caruana became more accustomed to her assumed role as the “other woman” and more assured in her position as artist. In the end she found that the behavior of the men was overwhelmingly predictable: they wanted to talk to somebody about their lives, almost always focusing on
their wives and children. The notion of the illicit, thrilling affair quickly revealed itself to be a fantasy. The reality Caruana encountered was a much more mundane and universal struggle with feelings of loneliness, frustration, and longing.

Natasha Caruana (b. 1983) earned her MA in Photography from the Royal College of Art, London and is a Senior Lecturer of Photography at the University for the Creative Arts in Farnham, in the United Kingdom. In 2014 she was awarded the BMW Residency at the Musée Nicéphore Niépce, which culminated in solo presentations at Les Rencontres d’Arles and Paris Photo and the monograph Coup de Foudre (Love at First Sight). Caruana’s work is held in the collections of the Musée Nicéphore Niépce, the British Library, the Laguna Art Museum, and the Kinsey Institute. She lives and works in London.



Stranger Visions

Hosted by Heather Dewey-Hagborg, in collaboration with Machine Project

The participants in this workshop will be taken through the creative stages behind the artist’s Stranger Visions project, which consists of a series of sculpture-portraits made following the analysis of genetic material collected in public spaces. The work, which draws on methods used in science and the field of information gathering, seeks to highlight current social issues such as DNA data banking. Participants will generate miniature portraits based on their own interpretation and analyses of genetic data we find together online.

No prior technical experience is necessary. A laptop is required.

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Film Series: Voyeurism, Surveillance, and Identity in the Cinema

ICP and Anthology Film Archives continue their ongoing collaboration with a second film series inspired by the new ICP Museum’s inaugural exhibition, Public, Private, Secret (on view through January 8, 2017). Combining narrative films like “Body Double” and “A Short Film About Love” with experimental films, documentaries, and video art, the series demonstrates how the ideas of voyeurism, surveillance, and identity have been central throughout the history of cinema. 

ICP Members receive a special rate of $7 per ticket. Please present your membership card at the AFA box office when purchasing.

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