Triennial Artist Spotlight: Shimpei Takeda 

Shimpei Takeda was born 40 miles from the site of the nuclear disaster that took place in Fukushima, Japan, in the wake of a violent earthquake and tsunami that devastated the country in March 2011. Takeda responded to the catastrophe with his series Trace—cameraless records of radioactive contamination, in which he placed radioactive soil from the Fukushima area in contact with photosensitive sheets of film. The resulting “autoradiographs” appear to document solar systems, galaxies, or segments of star-strewn sky, but they are in fact impressions of the radiation emitted by contaminated particles of earth. 

View more of this photographers work in A Different Kind of Order: The ICP Triennial, on view through September 8, 2013.



Ten of the 1,000 printed copies of Proof come with a “golden ticket” that is redeemable for an original polaroid taken by Jim Goldberg.

Limit 10 copies per customer; limit one prize per individual.

For Triennial artist Jim Goldberg, what started as a 77-image collage titled “Contact” has grown into an archive of over 600 images (and growing). Proof is his attempt at assembling a “family album”; a catalog-raisonné of all his photographic encounters during the past 9 years of this project.

On one level, this piece illuminates Goldberg’s working and editing process, and shows us how he uses markings and notes to make sense of the shot. On a completely different level, this work describes the way he conceptually addresses his subject. While both the words ‘Contacts’ and ‘Proof’ are photographic terms used to describe a set amount of images or quickly made prints, Goldberg uses these technical terms to illustrate that these are people who he has had contact with, certifying the existence of people who would otherwise be invisible.  

Jim Goldberg’s installation in A Different Kind of Order: The ICP Triennial is on view at the ICP museum through September 22, 2013. 

Visit www.opensee.org for more information on the ‘zine. 


Triennial Artist Spotlight: Lisa Oppenheim 

Oppenheim’s work, analog equipment such as projectors and gelatin silver paper, is repurposed for use in the digital era. Her photographs and films often begin with Internet research, which she considers central to her practice. The results are hybrids of generations and technologies that are neither wholly dependent on their forerunners nor untethered.

For her series Smoke, which will be showcased in the ICP Triennial, Oppenheim sourced photographs of fire from web databases such as Flickr and the Library of Congress and cropped the images to isolate their clouds of smoke. She made transparencies of the altered image in Photoshop and exposed them onto new photographic paper using the light of a small butane torch or matches. Variations in timing, the transparency used, and studio debris such as dust register in her photographs as subtle gradations that morph in successive frames. Without horizons or people in the frame, the reexposed smoke billows become abstractions. 

A Different Kind of Order: The ICP Triennial is on view May 17 to September 8, 2013. 

View more of the artists work on her website

Nica Ross, WOAHMONE, a monthly party thrown by Nica Ross and musical partners Nath Ann Carrera and Savannah Knoop, New York, 2011. Courtesy the artist.

Join us this Friday at 8:30 pm in Grace Plaza outside the School at ICP for a special presentation by Triennial artist Nica Ross! 

Using the glass-box pavilion, Nica and collaborators from Joshua Light Show will stage a spectacular live-mix video performance after the opening of A Different Kind of Order: The ICP Triennial.



Instagram Takeover: Gideon Mendel

“Good morning ICP followers. This is @gideonmendel (one of the photographers in the Triennial show) that has just opened. I have been asked by the ICP to take over their feed for a day. So for the next 24 hours you will see some if my response to New York street life, with apologies to those who understandably feel that there are sufficient images of this subject already taken. Hope you enjoy the ride.”

Follow ICP now on Instagram @ICPhotog for original pictures by world-renowned photographer Gideon Mendel. 

Recent Collections Acquisition: Shimpei Takeda

Shimpei Takeda, Trace #7, Nihonmatsu Castle, 2012. Courtesy the artist.

Thanks to the generosity of the ICP Acquisitions Committee, ICP recently purchased six prints by photographer Shimpei Takeda, whose work is currently being exhibited in the ICP Triennial. Takeda was born 40 miles from the site of the Fukushima Daiichi nuclear disaster of March 2011. An earthquake off the Pacific Coast of Tohoku, Japan, caused a tsunami that resulted in the deaths of 20,000 people and disabled the power supply and cooling systems of three nuclear reactors. More than 100,000 people were evacuated from their homes because of concerns about radiation poisoning.

Takeda responded to the catastrophe with Trace—cameraless records of radioactive contamination, in which he exposed contaminated soil from 12 locations in five different prefectures of northern Japan to photo-sensitive materials. The resulting autoradiographs, which appear to document solar systems, galaxies, or segments of star-strewn sky, are in fact impressions of the radiation emitted by contaminated particles of dirt.

In a note on his website discussing his fond memories of Fukushima, Takeda admits: “I wish I didn’t have to face these prints.” We might have the same wish, but these small, oddly beautiful images force us to consider the consequences of nuclear power on an intimate scale and in a tangible way.

Triennial Artist Spotlight: Thomas Hirschhorn

Thomas Hirschhorn, Touching Reality, 2012. Courtesy the artist; Galerie Chantal Crousel, Paris; and Barbara Gladstone Gallery, New York.

“Terms such as obscene are used swiftly in order to protect people from exposure to the truth.”

Thomas Hirschhorn (via Bomb magazine)

A hand scrolls through images with its fingertips on a touchscreen; they go by quickly, stopping to zoom in and out for details on a selected portion. The images are those of corpses, photographs of destroyed human bodies, war victims. The title of the film, Touching Reality, is meant to be understood literally: borrowing from this modern method of gazing—associating viewing with touching, with the screen as an intermediary—this video piece provides a way of looking at physical contact with images of violent death. It points to the contradiction between the possibility of touching everything and the repulsion that these blazing images bring about. Directly taken from the online loop between tragic events, their vantage point, and their circulation on the internet, the images are an immediate connection to ongoing violence.

Pushing off from all modern representations of the war that pass through the mainstream media filter, the video gives a sense of its mortal impact on all human beings, without differentiating by identity in any context—in their universal condition. Juxtaposing the feeling of empathy in two senses: that of the hand’s soft touch and that of the vision of bodies scrolling across the screen, the film deals with the responsibility of looking at this violence head-on. The film bills itself as a way of battling the confusion and indifference to the truth which these photographs bear witness to. (Source: La Triennial)

Hirschhorn’s video installation will be on view in A Different Kind of Order: The ICP Triennialfrom May 17–September 8.

The ICP Lecture Series: Thomas Hirschhorn

HBO Auditorium, 1100 Avenue of the Americas
Wednesday, May 29, 7 pm

Admission is free. Reserve tickets online.  Thomas Hirschhorn was born in 1957 in Bern, Switzerland. In the 1980s, Hirschhorn worked in Paris as a graphic artist. He was part of the group of Communist graphic designers called Grapus. These artists were concerned with politics and culture, displaying impromptu creations and posters on the street mostly using the language of advertisement. He left Grapus to create the hypersaturated installations he is known for today, using common materials such as cardboard, foil, duct tape, and plastic wrap. 
Triennial Artist Spotlight: Gideon Mendel

Gideon Mendel, Chinta and Samundri Davi, Salempur village near Muzaffarpur, Bihar, India, August 2007. Courtesy the artist. 

Part of the 2013 ICP Triennial, A Different Kind of Order, includes a window installation of Gideon Mendel’s exhibition “Drowning World” in our 43rd Street windows. 

It presents my ongoing global project about flooding. Since 2007 I have visited six countries (The UK, India, Haiti, Pakistan, Australia, and Thailand) that have been devastated by massive flooding. I have done this as an attempt to visually address the issue of climate change.

I chose to shoot on film, using old Rolleiflex cameras. The heart of the project is a series of portraits of flood victims at their homes within the landscape of their own personal calamity. Making these images often involved returning with them through waist high floodwaters so they could show their circumstances to the world.

My intention is to depict them as individuals, not as nameless statistics. Coming from disparate parts of the world, their faces show us their linked vulnerability despite the vast differences in their lives and circumstances.

Gideon Mendel (Source: gideonmendel.com)


The ICP Lecture Series: Gideon Mendel
HBO Auditorium, 1100 Avenue of the Americas
Tuesday, May 21, 7 pm

Admission is free. Reserve tickets online.

Gideon Mendel is widely regarded as one of the world’s leading contemporary photographers.  Born in Johannesburg in 1959, he studied psychology and African history at the University of Cape Town. Following his studies he became a freelance photographer and was one of the young generation of ‘struggle photographers’ documenting change and conflict in South Africa in the lead-up to Nelson Mandela’s release from prison.

In 1990 he moved to London, from where he has focussed on social issues globally. He first began photographing the topic of AIDS in Africa in 1993 and in the past sixteen years his ground-breaking work on this issue has been widely recognized. His intimate style of committed photojournalism, whether in black and white or in colour, has earned him international acclaim. He has won six World Press Photo Awards, first prize in the American Pictures of the Year competition, a POY Canon Photo Essayist Award, the Eugene Smith Award for Humanistic Photography and the Amnesty International Media Award for Photojournalism.

In his current practice he has been working on a variety of new advocacy projects often involving a mix of photography and video. 

A Different Kind of Order: The ICP Triennial is on view May 17–September 8.


Shot on a commanding hilltop in northeast Jerusalem, Nir Evron’s A Free Moment unfolds within the open concrete skeleton of the summer palace begun in the mid-1960s by King Hussein of Jordan. 

Employing a robotic camera installed on a dolly track that he laid out on the second floor of the palace, Evron made a film that consists of a single complex, pre-programmed shot. Opening with a breathtaking view looking down on the city of Jerusalem, A Free Moment moves quickly into unexpected visual territory as the camera tilts and pans in a 360-degree circle, while slowly traveling from one end of the dolly track to the other. Evron’s experimental exercise is firmly anchored in the present moment, especially in its emphasis on the need to see and think in new ways about a very specific contested terrain.

Artis is an independent nonprofit organization that broadens international awareness and understanding of contemporary art from Israel, and provides important resources, programs and platforms for artists and art professionals to develop lasting partnerships with the global art community. Their video on Nir Evron provides an overview of his work and practice. It was filmed in his studio in South Tel Aviv.

Check out all of A Free Moment, on view now in A Different Kind of Order: The ICP Triennial

"€˜A Different Kind of Order: The ICP Triennial"€™ at the International Center of Photography

If you have even a passing interest in photography or just contemporary visual culture generally, you must see the International Center of Photography'€™s fourth triennial. In the course of just 40 years, photography has gone from being a virtual nonentity in the art world to its richest medium, the subject of thrilling technological shifts and experimentation.

(via What Is the Global Image? | International Center of Photography)

What Is the Global Image? Jurow Lecture Hall, Silver Center, New York University, 31 Washington Place Thursday, July 11, 1:00pm–5:00pm

Organized by ICP Curator Christopher Phillips and ICP Curator and Associate Director of Exhibitions Kristen Lubben to coincide with A Different Kind of Order: The ICP Triennial, on view through September 22, 2013, this public session explores photography’s place in a rapidly shifting media terrain: Is photography a viable international language in a globalized and digitally networked world? Participants include Catherine David (independent curator, Paris), Thomas Keenan (director, Human Rights Project, Bard College), Chus Martinez (chief curator, El Museo del Barrio, New York City), and artist Martha Rosler.

This event is free. RSVP online.

This event is made possible with support from The Andrew W. Mellon Foundation. Presented in collaboration with the Department of Photography and Imaging, New York University/Tisch.


Check out the work-in-progress trailer for the upcoming documentary featuring Kenyan artist Wangechi Mutu, A Necessary Madness · The Art of Wangechi Mutu

Mutu’s work is currently on view at the ICP Triennial through September 22!

The ICP Lecture Series: Thomas Hirschhorn

Our presentation of “Touching Reality” is the US debut of an important work by a globally renown artist. ICP Triennial artist Thomas Hirschhorn will be discussing his article  "Why is it Important Today to Show and Look at Images of Destroyed Human Bodies,“ which provides the arguments for presenting such a difficult work.

Join us on Wednesday, May 29 at 7 pm in the HBO auditorium (1100 Avenue of the Americas–next door to the ICP school) for this special presentation

Presented by the International Center of Photography and HBO

Admission is free. Reserve tickets online.

Watch this lecture live online at lectures.icp.edu.