International Center of Photography

"This story takes place at a house unlike any other in the United States. There are no permanent residents. Each visit is facilitated by a death doula. Terminally ill people visit this house to drink a life-ending medication and spend their final hours. "This project explores how some people choose to encounter their own death: from community and access, care-giving and medical aid, to the intimate process of dying and the tenderness of grieving. "While death often happens behind closed doors and in clinical settings, these photographs are an invitation to look at an inevitable aspect of life in a new way." ICP alum Oliver Farshi's project A Place To Die is the winner of the World Press Photo Award, in the Stories category. Olly began this project while a student in ICP’s Documentary Practice & Visual Journalism program: "With the guidance of ICP’s faculty and access to its lab and library, I was able to immerse myself in a subject many of us spend our lives avoiding. What started as a personal exploration of my own fear of death and dying evolved into a story about intimacy with death—and the agency some people find in the process of dying." Learn more about ICP's programs at oyc.icp.org, and see more of this project at https://lnkd.in/eJ42-dYD. Images: 1: View from the death bed. There are no permanent residents here. Washington, United States. 2: A death doula, an end-of-life companion, prepares for a guest’s death with flowers. The service is free of charge because the experience is grounded in community care, not profit. 3: Ice packs are prepared for placing under the guest’s body after death. 4: A bottle of DDMP2, a medical compound used by Medical Aid in Dying (MAID) programs to assist in death. 5: A guest’s body, wrapped in a death shroud. This guest caught a bad cold and discovered she had stage four lung cancer during a hospital visit. 6: Early morning fog enfolds the neighborhood. All © Oliver Farshi

After making historic images as a photographer for the civil rights group the Student Nonviolent Coordinating Committee, Danny Lyon pivoted to documenting the reshaping of Lower Manhattan by the aggressive urban renewal policies of the 1960s and ’70s. A selection of his images, on view in American Job, show the changes to the neighborhood that unfolded over a not-so-short span of time. A resident of the neighborhood when this transformation began, Lyon reflected: “Whole blocks would disappear. An entire neighborhood.” Lyon portrayed the people who worked on the project and those who were impacted by it. Here, two foremen who worked around the Brooklyn Bridge, taking down buildings throughout the area. Image: Danny Lyon, Huey and Dominick, foreman. Both men have brought down many of the buildings on the Brooklyn Bridge site. Dominick directed the demolition of 100 Gold Street., 1967 (printed 2007). Gift of Dr. Stephen Nicholas, 2010 (2010.116.30)

Happy birthday to Cornell Capa, ICP's founder and influential photojournalist—seen here directing an installation at ICP's first gallery space on the Upper East Side. Cornell founded ICP in 1974 in honor of his photojournalist brother Robert Capa, who was killed while covering the First Indochina War. ICP was founded to champion concerned photography—socially and politically minded images that could educate and create change—to support photography as a means of creative expression, and preserve photographic archives that Cornell saw as essential to our understanding of history. In addition to the lofty mission that Cornell sought to uphold—and that is still ICP's core today—Cornell was also an important presence in the day-to-day life of ICP, working directly with staff, students, and other members of the photo community, touching lives and bolstering careers. We are proud that ICP still remains a vibrant community today, a place where people are inspired by visual culture and photographers from around the world form lifelong friendships. Have a favorite memory of Cornell? Share it below 👇 They never fail to disappoint.

Tarrah Krajnak’s 1979: Contact Negatives transforms the fact of her birth in Lima, Peru in 1979, and her subsequent adoption from an orphanage there, into a site for continued revisiting and examination. For her installation on view in To Conjure, Krajnak worked within the exhibition space to create images featuring her body to add to the walls among projections of archival imagery, effectively ‘returning’ herself to Lima and reminding viewers that, should no archive of record or memory exist, one can be created for the future. To Conjure features Krajnak and six other artists who explore how we understand the archive and create new records for our future. Learn more at icp.org/toconjure. Images © Will Ragozzino

What can a photographer do on a movie set? On April 21, ICP's Creative Director David Campany discusses the rich and overlooked history of independently-minded photographers gaining access to film studios and movie productions. Starting with Weegee's invitation from director Stanley Kubrick to shoot the making of the film Dr. Strangelove, to Margaret Bourke-White, Edward Weston, and Diane Arbus, William Eggleston, Saul Leiter, and Garry Winogrand—when photographers are free to respond as they wish, what they often make are documents that question or contemplate the nature of cinematic artifice. Get tickets at https://lnkd.in/es3HkNe6 Image: Image: Weegee, [Stanley Kubrick directing his film "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb"], 1963. Bequest of Wilma Wilcox, 1993 (7489.1993)

Join us at ICP for the New York launch of photographer Cansu Korkmaz 's latest release, Quite a While. Before the event, Korkmaz and Allen Frame, photographer and contributing writer to Quite a While, will discuss the new publication at ICP’s Photobook Club. This event is free to attend with RSVP: https://lnkd.in/evUdMbtc Quite a While explores the idea of forming a new whole from the remnants of destruction by reinterpreting the emotional gesture of ripping a stack of photographs. Torn into a handful of piles by Korkmaz's partner after an exasperated exchange, the photographs are ripped from the center, allowing Korkmaz to repair the images by conjoining the halves together to create new images. Image © Cansu Korkmaz

In a full-circle moment, artist Minerva Diaz rediscovered an image of herself, on view at ICP! Diaz is the engineer in this image by Freda Leinwand, on view in ICP's American Job: 1940–2011. A friend of Diaz's, whom she hadn't seen in over three decades, contacted her after seeing the image in the New Yorker and recognizing her. Of course, she had to stop by and see for herself. Freda Leinwand is best known for documenting the Women's Liberation Movement; this image of Diaz was taken as part of a series of women in the workplace that the photographer was working on. American Job, curated by Makeda Best, is on view at ICP through May 5. Plan a visit at https://lnkd.in/eg9CVhGc Image: Freda Leinwand, Stationary Engineer checking air conditioning gauges. Part of the Freda Leinwand Papers, Schlesinger Library, Harvard Radcliffe Institute

Moments from last weekend's ICP Photobook Club, where we launched the #ICPShareTheStreet zine, and chatted all things photobooks and zines! It was so amazing to see a project move from social media into a moment where people could meet in real life, connect, and discuss street photo. Thank you to all who attended and grabbed a copy of this zine. There are still a few more copies available, which we will be placing out on ICP's ground floor. The next Photobook Club is on April 26, with Cansu Korkmaz & Allen Frame in celebration of Korkmaz's latest release, Quite a While. Find tickets for that at https://lnkd.in/epur7pME. Images © Asher Selle

Photographers, artists, supporters and friends of the arts, and dedicated members of ICP's community came together last night at The Shed for this year's ICP Infinity Awards, to honor the incredible work of Susan Meiselas, Lebohang Kganye, Jack Davison, Samar Abu Elouf, Nanna Heitmann, Ziv Koren, and Aldo Fallai, and reconfirm the importance of the image in changing minds and the world. ⁠ We are delighted to share that the evening resulted in over a million dollars raised for ICP, providing critical support for our exhibition programming and growing education offerings that reach thousands of students across the world annually.⁠ ⁠ If you would like to continue our push to support our programs, there is still time to contribute, at any amount, at https://lnkd.in/ehgURzTN. Thank you again to our amazing honorees, who continue to push the medium forward and envision how photography can change the world. Images: Yvonne Tnt / BFA.com © BFA

New merch just dropped 🔥 Check out the new ICP x Insane Clown Posse limited-edition buttons coming to the shop today 🔥 ...Ok, April Fools! But for real, would you buy one of these pins? Let us know in the comments...