A FORM OF LOVE: An Exhibition of Contemporary Conflict Photography October 18, 2014 4PM – 8PM 205 Avenue A New York

An Exhibition of Co
Contemporary Conflict Photography
October 18, 2014
4PM – 8PM
205 Avenue A New York

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A Form Of Love is a group exhibition curated by photographers Jordan Sullivan, Aaron Stern and Sebastiano Tomada Piccolomini of contemporary conflict photography. In the wake of American journalists James Foley and Steven Sotloff’s deaths, the three curators have brought together photojournalists past and present to raise awareness and funds to benefit the Tim Hetherington Trust and James W. Foley Legacy Fund.

The exhibition will feature Larry Burrows, Marcus Bleasdale, Peter van Agtmael, Sebastiano, Tomada Piccolomini, Paolo Pellegrin, Yuri Kozyrev, Franco Pagetti, Thomas Dworzak, Jean- Pierre Laffont and Tim Hetherington.

A Form of Love will be published as a limited edition book by 205-A, featuring work by each of the exhibiting photographers and poetry by Tom Sleigh and text by Sebastiano Tomada Piccolomini. The book will be launched at the opening reception of the exhibition. It also available at the ICP Library and in the ICP Museum Store.

205A is a gallery, curatorial and publishing projected founded by photographer Aaron Stern and author and photographer Jordan Sullivan in 2014. 205A organizes fine art and documentary photography exhibitions and publishes limited edition books and zines.

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ICP Guide to The NY Art Book Fair (2014)

Printed Matter presents their ninth annual New York Art Book Fair from Friday, September 26 to Sunday September 28, 2014 at MOMA PS1 in Long Island City, Queens.



Free and open to the public, the NY Art Book Fair is the world’s premier event for artists’ books, catalogs, monographs, periodicals, and zines. This year, the fair features over 350 booksellers, antiquarians, artists, institutions and independent publishers from twenty-eight countries.

ICP is proud to have many students, current and former staff and faculty, affiliated groups and alumni exhibiting at the fair and participating in events during the weekend. Here’s a guide to our folks at the fair and if you can’t make it in person be sure to follow ICP on Instagram @icp for pics.

ICP at NY Art Book Fair Events

  • 9/27 at 12pm: Here and Now, MFA faculty member and ICP curator Christopher Phillips speaks with Ishiuchi Miyako and Linda Hoaglund in The Classroom
  • 9/27 at 2pm: Photo Meets Text panel organized by ICP Librarian and Archivist Matthew Carson at the Contemporary Artists’ Books Conference
  • 9/28 at 1pm: Printed Web #2 discussion with contributing artists including Daniel Temkin (MFA ’12) in The Classroom
  • 9/28 at 2pm: Faculty member Jem Cohen in conversation with Sadie Benning moderated by Andrew Lampert in the PS1 MOMA Basement Theater

ICP at NY Art Book Fair Book Signings

  • 9/26 at 4pm, G03: Signing of Jesus Days with Greg Reynolds. Presented by Bywater Bros.
  • 9/26 at 5pm, D: – Norway Focus Signing with Morten Andersen. Presented by Morten Andersen / Shadowlab.
  • 9/27 at 2pm, A39: Signing of Internet Directory by Daniel Temkin (MFA ’12) published by AND.
  • 9/27 at 3pm, W06: Signing of Half Wild by Peter Happel Christian published by Conveyor Editions an essay by Liz Sales (MFA ’10)

See all The NY Art Book Fair book signings and launches.




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Friends of ICP Library Toast Ishiuchi Miyako

On Tuesday afternoon, 16 September, a small gathering of Friends of ICP Library, artists, curators and ICP supporters celebrated Ishiuchi Miyako, this year’s Hasselblad winner at a reception in Bacaro on Division Street as guests of ICP Trustee and Friends of the Library Co-Chair Stephanie Shuman and esteemed gallerist and publisher Andrew Roth.

001 Toast to the Hasselblad Award 2014

A toast to artist Ishiuchi Miyako

kevin downs_ishiushi1087

Filmmaker Linda Hoaglund, Ishiuchi Miyako and Mitch Epstein.

kevin downs_ishiushi730Zoe Leonard meets Ishiuchi Miyako.

kevin downs_ishiushi733ICP Curator Christopher Phillips presents Asia Art Archive’s Jane Debevoise to Ishiuchi Miyako.

002 Ishiushi and ICP director Mark Lubell

ICP Director Mark Lubell with Ishiuchi Miyako.

kevin downs_ishiushi1022Miyuki Hinton, Christopher Phillips, Aya Tomoka and Ishiuchi Miyako.

005 Ishiuchi and Andrew Roth

Andrew Roth and Ishiuchi Miyako at Bacaro

From the Hasselblad nomination:

During a period of 35 years Miyako Ishiuchi has established an international career, which is both impressive and highly significant. Her strength of character and uncompromising vision has resulted in some of the most powerful as well as personal representations of postwar Japan.”

 “Here and Now: Atomic Bomb Artifacts, ひろしま/Hiroshima 1945/2007-” at Andrew Roth Gallery 160a East 70th Street http://www.andrewroth.com/

Saturday, 27 September 12:00-1:00 pm in The Classroom at the Printed Matter New York Art Book Fair at PS1

Here and Now by Ishiuchi Miyako
The 2014 recipient of the Hasselblad Award for excellence in photography, Ishiuchi Miyako has been photographing artifacts from the Hiroshima Peace Memorial Museum archive since 2007. PPP Editions has published Here and Now, a limited edition artist’s book, presenting the most comprehensive survey of this on going project to date. To discuss this book and Ishiuchi’s Hiroshima project, the artist will be interviewed by Christopher Philips, Curator of Photography at ICP in New York. They will be joined by translator Linda Hoaglund, who produced Things Left Behind in 2013, a documentary film about the photographs Ishiuchi has made at the Hiroshima archive. Presented by Andrew Roth and PPP Editions.

If you would like to visit the ICP Library and learn more about Ishiuchi Miyako and her photo books, please contact us at library@icp.org or (212) 857-0004.





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Buon Compleanno Sophia!

This gallery contains 52 photos.

On September 20, 2014, the legendary actor Sophia Loren will turn 80 years old. To celebrate her birthday, we present here a selection of publications that feature her photograph. As early as 1955, LIFE magazine called Sophia Loren “Europe’s number … Continue reading

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beach life

Yogananthan_Vasantha001Piémanson by Vasantha Yoganantha
Chose Commune, 2014.
R TR655 Y642 2014

Summertime is here and families flock to the beach. In southern France there is a beach in Piémanson in the heart of Carmargue Nature Reserve that every year from May 1st until September becomes an alternative resort for people from all over Europe. Vasantha Yogananthan has been documenting the beach-niks of Piémanson since 2009.

The official line is that the campers can stay for one night without charge but many stay for the entire summer and in that time they construct some amazing structures using wood, plastic sheeting, etc., and whatever they can find to compliment the tents and caravans that they take there. There is a lot of pride in the community for making the best possible ‘homes’ for their stay. There is also a lot of ingenuity and creativity. It has to be mentioned that the community at Piémanson who have been coming to live here for free on the beach since the 1970s are not hippies nor are they gypsies – they are regular families who cannot afford vacation’s elsewhere and see a great opportunity to live on a beach for the summer and decide to act upon it.

Vasanatha has been working in Piémanson for two weeks every summer (2009-2013) and has been totally immersed and imbedded with the community there. He has very strong and authentic ties to its transitory population. In 2014 Vasantha Yoganantha self-published a book that was simply titled Piémanson in an edition of 650 (50 as a special limited edition) with a short essay from Remi Coignet and also some explanatory notes and stories. The book is subtle, containing a concise selection of only 36 thoughtful images chosen from a large collection of over 3,000 images that were taken during a five year period. The photographs are substantial and give you a true visual depth and experience of this beach and its extraordinary community. As a photobook it is very well designed, tightly edited and printed and bound with both quality and sensitivity. It is really no wonder that this book sold out in three weeks [some limited edition books still available].  http://www.chosecommune.com/livres/piemanson/

It is the self-published hit of the summer.


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I caught up with Vasantha and asked him a few questions. . .

Q. What initially attracted you to Piémanson? Why did you decide to go there in 2009?
VY: I discovered the beach by chance while I was having a day off in the countryside.
The french coastline has been hard-surfaced by realty developer over the last 40 years. Everywhere nature has been converted into suitable touristic resorts.
But one could see that Piémanson was the exception to the rule. I began walking looking at all the shelters but I did not stay alone for long: after 10 minutes, a family invited me to share their lunch.

Q. When you first went there in 2009 what was that like? Did you ever think at that time that you would spend another four summers going there?
VY: I stayed only 5 days in Piémanson in 2009 knowing that I will come back at least 2 more years.

The human relationships were far too complex to be understood without living with the Piémanson’s inhabitants (meaning I had to come with a tent – eat and sleep there – for more than a few days). At the time I had no idea it would take me that long. But each year I was coming back I discovered something else. I was drowned more and more in their way of life. Going back was actually very important to feel what Piémanson’s inhabitants feel : a summer’s cycle that has never stopped since the 1970’s.

Each year they were leaving Piémanson not knowing if they will be allowed to come back… I think this is what is giving the beach such a mythical status.

Something broke open on the third year. Piémanson’s inhabitants were now considering me part of the “family”. I was able to shoot whenever I wanted, without anyone paying attention. It is quite interesting to note that in the end there is only one picture from 2009 and a few pictures of 2010 included in the book. Most of the interesting pictures came about between the third and the fifth summer I was living there.

Yogananthan_Vasantha013aQ. The collection of images presented to us here have a beautiful light Mediterranean air, but they also seem grounded in the documentary work of a Martin Parr, Paul Graham or Chris Killip. There is an English feel to the work. Do you feel that? Is there an influence from those photographers in your work?
VY: Chris Killip is one of my greatest influence of all time. His work “Seacoal” in particular has been critical to my thinking on how to photograph a community with empathy but with the good distance.  I have also been greatly influenced by American photography. Lately I have to say that one of the greatest work I’ve seen is Bryan Schutmaat’s Grays the Mountains Sends.

Q. What do you think is the future for the beach community in Piémanson? Will you go there this summer?
VY: I was there 2 weeks ago to offer the book to the families I was living with. It has been a very emotional moment.
If the place doesn’t close in the coming years, I plan to come back in 5 years or so to see how the kids I’ve been photographing have grown up.

Yogananthan_Vasantha023aQ. What are you currently working on? Is this project also a book project?
VY: I’m currently working on a project in India and Sri-Lanka about the Ramayana. I already did two one-month trip last year.
The Ramayana, a masterpiece of world literature written in Sanskrit over two thousand years ago, is to the Asian civilisation what Homer’s Odyssey is to the European civilisation. The Ramayana’s strength is in its apparent simplicity : it can be read as an epic tale in which humans, gods and demons encounter, covering a geographical area from the North of India to the heart of Sri Lanka. However, more than a journey, Indians draw from this text, which conveys moral and philosophical values, an ideal to which they measure their own existence. My project aims to photograph the « Indian soul » and capture the distinctive nature of this continent country, guided by the Odyssey of the Ramayana as a common thread.
As this project starts from a book it will be obviously turned into a book. I will mix my photographs with extracts of texts from different versions of the Ramayana, old press clippings and pictures related to the political use of the epic. This way, my photographs will act as an allegory of the epic, the extracts of the myth as the common thread of the story, the press clippings as documents giving historical context regarding the impact of the Ramayana on the Indian society… This is going to be a multi-layered photobook very different than Piémanson.

Q. Will you be looking for a publisher or will you self-publish again?
VY: I will self-publish it again – I’m already working on the concept of the book (even if it will be probably published in 3 years, I like working slowly on concepts).
I have 5 more one-month trips to do and I’m actually thinking the whole project knowing that the medium of predilection to show it will be the book.
It think it is very important to know from the very start of your project if you intend to do a book with it.
It allows you to pay attention to a lot of details you will not necessarily think about if wanting to do only an exhibition for example (because the viewer will not have as much time as they will while reading the book at home). It helps you working on your narrative while you’re out there shooting.
Yogananthan_Vasantha006aQ. How was the self-publishing experience for you?
VY: It was a lot of work, a lot of stress, a lot of doubts, but I’m really glad that I produced the book this way. I’m not sure a traditional publisher would have realised my vision. I made no concessions – either on the editing or on the materials used. For example, we were worried about where in the sequence we should put the one picture I took at night. It has an important meaning in the story so we couldn’t take it out. Finally we decided to produce 650 small prints and to hand-glue them in each copy – just like a real family photo album. It works very well in the end, and I guess the readers are seeing all these kind of details in the book which are part of its originality.

Q. Would you recommend self-publishing your photobook to others?
VY: I would recommend self-publishing if you are well supported. Self-publishing doesn’t mean you should do everything by yourself. I’ve worked with a graphic designer, a photo-engraver, a professional printer, a translator, a proofreader (etc). You need to put a lot of energy to guide all these people to make the book you want to make. Last but not least, you need to be ready to spend a considerable amount of time promoting the book. You’re not special and if you don’t get out there to show it to people from the industry, no one will buy it. Engaging directly with your audience is also something you need to do. People will be more likely to support you and buy the book if they feel you’re interacting with them. There are many ways to do that, either by giving talks about your work or simply answer to emails from people you don’t know. At the end, I find all this work particularly rewarding. Being in control of everything from the definition of the book’s concept to its promotion allows you as a photographer to show your work exactly how you want it to be seen.


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Elviswho by Peter Badge and Johann Zambryski.
TR179.5.B33 E48 2002

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On the 16th August 1977 the King died. Long live the King. In 2003 photographer Peter Badge and artist Johann Zambryski made an Elvis artists’ publication. I discovered this delightful photobook on the shelf. It was new to me. It has a great long shape. The cover is a great shocking pink colour – a colour that in the 1970s might have looked great on a Cadillac. It is 36 pages long and it is simply and lovingly stapled in the middle. Half the book consists of distorted images of Elvis Aaron Presley and the other half is imagery of Elvis impersonators. It is an intriguing and well executed little book.

Elvis may be dead, but his stardom does indeed live on.


Bob Dylan almost met Elvis and he wrote a song about it called ‘Went to see the Gypsy’. Elvis the gypsy. Elvis the poor boy of humble origins. Elvis the King. Elvis the Hollywood actor. The Singer. The young rocker. The rebel. The outsider. The performer. The sex symbol. I would like to have met all the Elvis’s. My personal favourite Elvis would have been the young early Elvis at the time of those immaculate Sun Recordings (1953-1955). Simply Magnificent. But then the Kung-Fu Elvis of his Las Vegas days, when he was surrounded by his Memphis mafia, that would have been a great experience too. Elvis is always an enigma. Elvis easily crosses all segments of American society. He is such an attractive idea to so many people and he is so beloved by so many different types of people. Strange how so many people want to be Elvis. To really Be (become) Elvis – Elvis the King of America. Elvis the Gypsy troubadour messiah.

Kelly_Joe_AlltheKingsMen001All the King’s Men by Joe Kelly
Ariel Books, 1979.
R TR680 K45 1979

All good things come to an end and Elvis – the original Elvis – died in 1977. But then they multiplied and Elvis became many.  Shortly after his death the Elvis impersonator became King. Joe Kelly captures the multiple Elvis worlds from the perspective of many different Elvis’s (Elvii). Professional Elvis impersonators, commonly known as Elvis tribute artists (ETAs) can arrive unexpectedly like divine messengers from the great Elvis in the sky. They can be sound-alikes or look-alikes or both. They can be male and they can be female. They can be old and they can be children. Sometimes they are homage and sometimes a parody, but always slightly grotesque. The fetishisation of the omnipresent King is without boundaries – Elvis without borders – and he may one day save the world (until then he is working at gas station, nights and weekends). Elvis the savior. Many global religions have stranger origins after all. The message to the people of the world is clear: We need not worry as Elvis will be ‘taking care of business’. TCB.

Old Jokes home: Elvis himself entered an Elvis lookalike contest at a local restaurant shortly before his death, and came in third place.


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“Go on back to see the gypsy
He can move you from the rear
Drive you from your fear
Bring you through the mirror
He did it in Las Vegas
And he can do it here”

- Went to see the Gypsy (1970), Bob Dylan.


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I want to publish my photobook in Iran

“Iran”, “Our Iran”, “Modern Iran”, “recording the truth in Iran”, “Iran, untitled”, “Desserts of Iran”, “Iranian Doors”, “Iranian Photography Now”, “A woman photographer from Iran”, “Contemporary Iranian Photography”, These are titles of the publications I find by a quick search on internet, if they are available in libraries then I can reach out to view a whole body of work of photography that has been classified in that geography. In a search like that I would definitely find a lot of travelers who published their travel work in a book or on digital media. However I was looking for a sense of photographers based in Iran who accomplished the project of book making, as Id like to have my own publication that I can easily exchange like a currency with my fellows.

Once upon a time Iran, Nazar Publication, 2006

Once upon a time Iran, Nazar Publication, 2006

I think that the medium of the photobook is the new way of representation for photography and as opposed to a gallery wall or magazine, the photobook should make the work function as a concise world within the book itself. —As quoted in The Photobook: A History, Volume 1 […].   

I myself experienced self-publishing in New York City for the first time. I wanted to challenge my work and submit it to an international photobook award. It took me six months to finish my research and choose the best design of my book, and seeing new books with different stories could make this process even longer. However it increased my interest to learn more about the role of the author, and motivation to have a better understanding on collecting ideas that were implemented into a physical object, simply like a photobook.

In the last decade there has been a trend of books on “Iranian Photography” published outside of Iran. Books with a precise title of their origin, making identity the specific character for the book and the photographers who associate their names with a great collection like this.

I’m pretty sure these souvenirs are very expensive for sale in the market inside of Iran, should it be more helpful to communicate geographical implications under the general term of Iranian Art, that aims to change contradictory realities with exotic images and emblematic of social documentary lives to be shown to the hegemonic western taste and media.

Once upon a time Iran, Nazar publication, 2006

Once upon a time Iran, Nazar publication, 2006

ILFORD films Ad, Sokhan Magazine, 1959. photo courtesy of the author

ILFORD films Ad, Sokhan Magazine, 1959. photo courtesy of the author

The history of photography in Iran began more than 150 years ago, however it doesn’t have a great influence in the global photography world since the sequence of this history hasn’t gone hand in hand with printing, therefore there is less available to be researched in books. Also, there is always lack of critical discussion on discourse of photography in Iran, which would dismiss the knowledge of global achievements in photography.

Actually, teaching photography at universities started just a few years before revolution in Iran. In the following years of war “holly defense”, an epic period for Iranian photographers emerged on documenting social and political events of their country.

Observer tales, 2012

Observer tales, 2012

In this case, the general idea of a photobook is still attributed to a selected work of photographer(s) that is documented and being seen, from a valid publication in the market.

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  • Old Tehran, Mahmoud Pakzad, Did Publication, 2003

So I decided to go to Iran and visit photographers, writers, designers and publishers and talk about the constraints and opportunities of publishing and printing. Obviously with the high price of paper and processes of printing, I couldn’t see a variety of papers or bindings and print designs used in books.

Moreover, surveillance on publishers and censorship on the text and images of every single book in the market, abide by the ministry of culture of the Islamic Republic of Iran, makes it even harder to narrow down the audience of the aspiring photobook project. Although, only by glimpsing through the work of authors who made their books available to purchase by public, you would discern the sentiments and amazing potential for ideas of visual experiments by researchers who study images from past, or young artists flourishing in the near future.


A selection of these photobooks purchased on my trip now form a collection of photobooks that are accessible on the shelves of the library of International Center for Photography. The photobooks from Iran now sit amongst existing photobooks published in different areas, times and consciousness of the world of photobooks. Hopefully these photobooks could act as a conduit for exchange between Iranian photobook clubs and photobook makers and the international community. As a vehicle for those seeking to share their thoughts and experiences and keep in touch with what is happening in the region and around the world.

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  • Book of Amnesia, Farshid Azarang, Nazar Publication, 2005

  • If you don’t see me, Shahryar Tavakoli, Nazar Publication, 2005

Considering the different forms of creative photobook production in light of the restrictions on art and limits of expression and also the funding processes in Iran, there needs to be a real attempt to create and collect culture of photobook making in that nation.

In the series- I WANT TO PUBLISH MY PHOTOBOOK IN IRAN- I will continue to review my plan to promote photobook and book publishing as mass medium in Iran, and write on the very constraints and possible opportunities on self-publishing and ongoing publications.

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