Join the International Center of Photography (New York, NY) online from March 29 to April 2 as photographers and industry leaders examine how the events of 2020 are shaping the future of imagemaking. ICP’s weeklong event series The Rules are Broken: A Year in Imagemaking, focuses on the COVID-19 pandemic, photography and social movements, the reckoning of a year lived through screens, the role of photobooks and place-making, and how the last year has transformed our lives and the industry.
The Rules are Broken features a keynote lecture by artist and curator Deborah Willis (MacArthur and Guggenheim Fellow; New York University) on her new book, The Black Civil War Soldier: Visual History of Conflict and Citizenship, on Friday, April 2 at 1pm (EDT). Willis will speak to the importance of images in (re)telling stories of resilience and collective struggle and how remembrance can inform our present positions, encouraging us to write new ways to envision fresh utopias for the future of photography.
On Monday, March 29, at 6pm (EDT), photographers Rania Matar, Philip Montgomery, Haruka Sakaguchi, and Black Shutter Podcast founder and photographer Idris Talib Solomon will share recent projects made during and in response to the global pandemic in “Imagemaking and a Global Pandemic,” moderated by Open Society Foundation’s Yukiko Yamagata.
Additional panels include “2020 in the Mirror of Fashion” with fashion icon Tory Burch, photographer Tina Barney, and photographer and Blanc Magazine Editor in Chief Teneshia Carr, as well as “Show the Way: Imagemaking and Social Media” and “ICP Teen Talk — Next Generation Storytellers Impacting Change.” Photographers speaking throughout the week include Esther Horvath, Tasneem Alsultan, Gregory Halpern, and Ying Ang, among others.
Weeklong access is free for ICP members, $12 for ICP alumni, and $16 for the public. See the full schedule and get tickets at icp.org/rulesarebroken.
The committee’s main responsibilities will be to shape policy goals, stimulate arts philanthropy, and advocate for the expansion of federal backing of the cultural sector.
Some museumgoers pointed out that the museum’s label omitted discussions of HIV/AIDS, which are at the heart of the work.
Featuring over 70 installations and performances at the George Washington University’s historic Flagg Building, the Corcoran’s end-of-year showcase is now available for virtual viewing.
But a museum in Harvard is still named after a member of the disgraced family, notorious for its role in the opioid crisis.
Parker’s stories bring so many of her works alive, give them meaning, and make us warm to her and to them. Is that a problem?
Artists reflect on histories of oppressive power structures in Brazil in this exhibition at the Visual Arts Center at the University of Texas at Austin.
The works, and worlds, on display in Hancock’s exhibition seem saturated with a desire for narrative redemption through self-observation and aspects of his Christian upbringing.
The problem with Andrew Dominik’s biopic Blonde is its assumption that Monroe’s victimization was the most fascinating thing about her.
When I recently came across Sandra Cattaneo Adorno’s photo book Águas de Ouro, I could hear the waves and boomboxes, and even taste the salt on my lips.
Works by over 70 artists of the pan-South Asian diaspora were up for auction to help Pakistan’s most vulnerable communities in a women- and queer-led initiative.
The board of 70 Washington Street in Brooklyn, which previously housed an artist residency, is weighing the replacement of Helen Brough’s “Emulated Flora” with generic photographs of Brooklyn landmarks.