1133 Avenue of the Americas (at 43rd St.)
212-860-1777
www.icp.org

The International Center of Photography is a museum, school, and center for photographers and photography. Stroll through the exhibits or get involved with one of the special programs they hold on Saturdays. Call ahead or visit their website for days, times, and fees for special Saturday programs like making family photo albums, learning how to operate a darkroom, treasure hunts, and even digital imaging workshops. General admission tickets to the museum cost $6 for students and seniors, $8 for adults, and $1 for children under 12. They are open Tuesdays through Thursdays from 10 am- 5 PM and Fridays from 10 am- 8 pm.

Current Exhibitions:

"Susan Meiselas in History,"Since the 1970s, questions of ethics raised by documentary practice have been central to debates in photography. Perhaps no other photographer has so closely and consistently represented and participated in these debates than Susan Meiselas. An American photographer best known for her work covering the political upheavals in Central America in the 1970s and '80s, Meiselas's process has evolved in radical and challenging ways as she has grappled with pivotal questions about her relationship to her subjects, the use and circulation of her images in the media, and the relationship of images to history and memory. Her insistent engagement with these concerns has positioned her as a leading voice in the debate on contemporary documentary practice. Susan Meiselas: In History will be the first U.S. overview of the work of this major American photographer, and will be structured around three key projects: Carnival Strippers (1972–76); Nicaragua (1978–present); and Kurdistan (1991–present). The exhibition is organized by Kristen Lubben, Associate Curator at ICP, and will be accompanied by a catalogue including essays by Lucy Lippard, David Levi-Strauss, Elizabeth Edwards, and others.
Susan Meiselas, Photographs of 20-year-old Kamaran Abdullah Saber are held by his family at Saiwan Hill cemetery. He was killed in July 1991 during a student demonstration against Saddam Hussein, Kurdistan, Northern Iraq, 1991 © Susan Meiselas/Magnum. Through January 4, 2009

"Cornell Capa Concerned Photographer" Cornell Capa chose the phrase "concerned photographer" to describe those photographers who demonstrated in their work a humanitarian impulse to use pictures to change the world, not just to record it. In a long and distinguished career as a photographer, Capa (1918–2008) worked at LIFE magazine from 1946 to 1967, and for Magnum photo agency beginning in 1954, covering social and political issues in the United States, as well as England, the Soviet Union, Israel, and Latin America. While creating some iconic individual images, Capa really established his own specific areas of concern with incisive and often controversial photo-essays on health-care treatment of "retarded" children (1954), a two-part LIFE story; a cultural examination of Judaism (1954); the collapse of Juan Perón's dictatorial regime in Argentina (1955), featuring his charismatic wife, Evita; the plight of "stone age" tribes in the Amazon region of Peru (1961–64); an analysis of poverty in El Salvador and Nicaragua (1972–73); and a significant reportage on conditions at Attica (1972) in the year following the bloody prison uprising. This exhibition will look at these pioneering stories through vintage photographs, magazine spreads, and contact sheets, and will serve as a tribute to Mr. Capa as photographer and Founding Director of ICP. Through January 4 2009

"America and the Tintype,"One of the most intriguing and little studied forms of nineteenth-century photography is the tintype. Introduced in 1856 as a low-cost alternative to the daguerreotype and the albumen print, the tintype was widely marketed from the 1860s through the first decades of the twentieth century as the cheapest and most popular photographic medium. Because of its ubiquity, the tintype provides a startlingly candid record of the political upheavals that occurred during the four decades following the American Civil War, and the personal anxieties they induced. The tintype studio became a kind of performance space where sitters could act out their personal identities, displaying the tools of their trade, masks and costumes, toys and dolls, stuffed animals, and props of all sorts. This uniquely American medium provides extraordinary insights into the development of national attitudes and characteristics in the formative years of the early modern era. The exhibition, organized by ICP Chief Curator Brian Wallis and guest curator Steven Kasher, includes over 150 remarkable examples of tintypes drawn from the Permanent Collection at ICP. Through January 4 2009

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