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The International Center of Photography is pleased to announce the Naomi Rosenblum ICP Talks Photographer Lecture Series speakers for the fall 2023 season. This season's series expands to welcome photographers in a globally expansive dialogue with historians, critics, and artists at ICP’s home on the Lower East Side. This fall’s ICP Talks speakers use the photographic form to explore and reclaim archives and personal narrative, document their communities, and champion new approaches to visual storytelling.
ICP Talks Schedule
Tuesday, September 12, 6:30 PM
Wednesday, October 11, 6:30 PM
Tuesday, October 17, 7 PM
Tuesday, November 28, 6:30 PM
The 2023-2024 Naomi Rosenblum ICP Talks Photographer Lecture Series is made possible through generous support from the Rosenblum Family.
This program is being offered both in person at ICP and streaming online. Tickets to attend the conversation in person are $5 and do not include admission to ICP’s galleries. Free for ICP members, current ICP One-Year Certificate Program students and current faculty of ICP’s One-Year Certificate programs. Free online access tickets are available. Register at
icp.org/events.
About the Series
The Naomi Rosenblum ICP Talks Photographer Lecture Series presents one-hour live events featuring scholars and curators in conversation with renowned photographers who champion social change through photography, employ exciting alternative and emerging practices, or ask critical questions about the form. This year’s Fall Season includes Shala Miller with Ebony L. Haynes (9/12/23), Cara Romero with Jami Powell (10/11/2023), Sunil Gupta with Gayatri Gopinath (10/17/2023) and Muriel Hasbun with Susan Meiselas (11/28/2023).
Recent participants in ICP Talks include Laylah Amatullah Barrayn, Elliott Jerome Brown Jr., Clifford Prince King, Marvin Heiferman, Joshua Rashaad McFadden, Catherine Opie, Farah Al Qasimi, Guadalupe Rosales, Pacifico Silano, Dayanita Singh, and Jeff Wall.
The 2023-2024 Naomi Rosenblum ICP Talks Photographer Lecture Series is made possible through generous support from the Rosenblum Family.
About the Participants
Shala Miller, (b. 1993, Cleveland, OH) also known as Freddie June when she sings, was born and raised in Cleveland, Ohio by two southerners named Al and Ruby. At around the age of 10 or 11, Miller discovered quietude, the kind you’re sort of pushed into, and then was fooled into thinking that this is where she should stay put. Since then, Miller has been trying to find her way out, and find her way into an understanding of herself and her history, using photography, video, writing and singing as an aid in this process. Miller's work in photography and film meditates on the intersection of desire, mourning, pain, and pleasure. Taking up skin as a site of history and intimacy with the self and across generations, they hold space for the body’s vulnerabilities and maladies.
Ebony L. Haynes is a writer and curator from Toronto, Canada. She is presently based in New York where she is Senior Director at David Zwirner and leads the gallery’s 52 Walker space in Tribeca. Haynes is responsible for many critically acclaimed exhibitions such as Kandis Williams: A Line, epigenetic, Tiona Nekkia McClodden: MASK / CONCEAL / CARRY, Invisible Man, EBSPLOITATION, and The Worst Witch. Haynes was the 2022 curator for the inaugural Fine Arts MFA exhibition for first-year students at The Rhode Island School of Design, Providence. She has previously held positions as visiting curator and critic at the Yale School of Art in the Painting and Printmaking program, as well as director at Martos Gallery, New York, and Shoot The Lobster, New York and Los Angeles. Haynes sits on the boards of Artists Space, New York, the New Art Dealers Alliance, and Cassandra Press. She has participated in numerous public talks and symposiums at various institutions, including the Brooklyn Museum, New York, and the Hammer Museum, Los Angeles, and has contributed her writing to multiple catalogues and publications. She also runs Black Art Sessions, an online “school” that offers free professional practice classes to Black students worldwide.
Cara Romero (b. 1977, Inglewood, CA) is a contemporary fine art photographer. An enrolled citizen of the Chemehuevi Indian Tribe, Romero was raised between contrasting settings: the rural Chemehuevi reservation in Mojave Desert, CA and the urban sprawl of Houston, TX. Romero’s identity informs her photography, a blend of fine art and editorial photography, shaped by years of study and a visceral approach to representing Indigenous and non-Indigenous cultural memory, collective history, and lived experiences from a Native American female perspective.
As an undergraduate at the University of Houston, Romero pursued a degree in cultural anthropology. Disillusioned, however, by academic and media portrayals of Native Americans as bygone, Romero realized that making photographs could do more than anthropology did in words, a realization that led to a shift in medium. Since 1998, Romero’s expansive oeuvre has been informed by formal training in film, digital, fine art and commercial photography. By staging theatrical compositions infused with dramatic color, Romero takes on the role of storyteller, using contemporary photography techniques to depict the modernity of Native peoples, illuminating Indigenous worldviews and aspects supernaturalism in everyday life.
Maintaining a studio in Santa Fe, NM, Romero regularly participates in Native American art fairs and panel discussions, and was featured in PBS’ Craft in America (2019). Her award-winning work is included in many public and private collections internationally. Married with three children, she travels between Santa Fe and the Chemehuevi Valley Indian Reservation, where she maintains close ties to her tribal community and ancestral homelands.
Jami Powell is the Associate Director for Curatorial Affairs and Curator of Indigenous Art at the Hood Museum of Art at Dartmouth College where she also serves as a senior lecturer in the Native American and Indigenous Studies Department. Powell is a citizen of the Osage Nation and has a PhD in anthropology from the University of North Carolina at Chapel Hill. During her tenure at the Hood Museum, Powell has curated exhibitions including Form and Relation: Contemporary Native American Ceramics, CIPX Dartmouth with Kali Spitzer and Will Wilson, Madayin: Eight Decades of Aboriginal Bark Painting from Yirrkala, and This Land: American Engagement with the Natural World. Powell’s co-edited volume titled Reimagining American Art is scheduled to be released in 2024. She has also published articles in Museum Anthropology, Museum Management and Curatorship, and serves on the editorial advisory boards for First American Art Magazine and Panorama. She is a recipient of the 2020 New Leadership Award from ArtTable, the foremost professional organization dedicated to advancing the leadership of women in the visual arts. Powell’s upcoming projects include the first solo exhibition and catalogue for Chemehuevi photographer and artist Cara Romero.
Sunil Gupta is a British/Canadian citizen, (b. New Delhi 1953) MA (RCA) PhD (Westminster) who lives in London and has been involved with independent photography as a critical practice for many years focusing on race, migration and queer issues. A retrospective was shown at The Photographers’ Gallery, London (2020/21) and The Image Center, Toronto. He is a Professorial Fellow at UCA, Farnham. His latest book is “We Were Here: Sexuality, Photography, and Cultural Difference, Selected Writings by Sunil Gupta”, Aperture New York 2022. His work is in many private and public collections including; the Tokyo Museum of Photography, Philadelphia Museum of Art, Royal Ontario Museum, Tate, Metropolitan Museum of Art and the Museum of Modern Art. His work is represented by Hales Gallery (New York, London), Materià Gallery (Rome), Stephen Bulger Gallery (Toronto) and Vadehra Art Gallery (New Delhi).
Gayatri Gopinath is Professor in the Department of Social and Cultural Analysis, and the Director of the Center for the Study of Gender and Sexuality at New York University. She works at the intersection of transnational feminist and queer studies, postcolonial studies, and diaspora studies, and is the author of two monographs: Impossible Desires: Queer Diasporas and South Asian Public Cultures (Duke University Press, 2005), and Unruly Visions: The Aesthetic Practices of Queer Diaspora (Duke University Press, 2018). She has published numerous essays on gender, sexuality, and queer diasporic visual art and culture in anthologies and journals such as Journal of Middle East Women’s Studies, GLQ, and Social Text, as well as in art publications such as PIX: A Journal of Contemporary Indian Photography, Tribe: Photography and New Media from the Arab World, and ArtReview Asia. She is also the Principal Investigator of the Intersectional Feminist/Queer Studies Collective at NYU, an initiative funded by the Mellon Foundation, and the recipient of the 2023 NYU Dorothy Irene Height Faculty Award.
Muriel Hasbun (b. 1961, El Salvador) is an artist and educator who focuses on issues of cultural identity, migration, and memory. Through an intergenerational, transnational, and transcultural lens, Hasbun constructs contemporary narratives and establishes a space for dialogue where individual and collective memory spark new questions about identity and place. Her work has been internationally exhibited and is in private and public collections, including American University Museum, Smithsonian American Art Museum, Corcoran Gallery of Art, and Art Museum of the Americas, Washington, DC; Whitney Museum of American Art and El Museo del Barrio, New York; FotoFest, Houston; Lehigh University, Bethlehem, PA; Museum of Photographic Art, San Diego, CA; Rencontres de la photographie, Arles; Bibliothèque nationale de France, Paris; Centro de la Imagen, Mexico City; and the 50th Venice Biennale. Her awards and distinctions include CENTER Santa Fe’s Producer’s and Curator’s Choice; Smithsonian Artist Research Fellowship; Howard Chapnick Grant; Maryland State Arts Council Individual Artist Awards in Photography and Media; U.S. Department of State and the American Alliance of Museums’ Museums Connect grant; Artist in Residences at Rutgers University as the Estelle Lebowitz Endowed Visiting Artist; Chautauqua/University of Colorado, Boulder; Centro Cultural de España, El Salvador; Escuela de Bellas Artes, Mexico; and the Corcoran’s Outstanding Creative Research Faculty Award. She was a finalist for The Trawick Prize and Sondheim Art Prize, and is the recipient of a Fulbright Scholar fellowship. Hasbun is the founder and director of laberinto projects, a transnational cultural memory and education initiative that fosters contemporary art practices, social inclusion, and dialogue in El Salvador and its U.S. diaspora. She is professor emerita at the Corcoran School of the Arts & Design at the George Washington University, and previously, professor and chair of photography at the Corcoran College of Art + Design. Hasbun received an MFA in Photography (1989) from George Washington University where she studied with Ray K. Metzker (1987–88) and earned a BA in French Literature (1983), cum laude, from Georgetown University.
Susan Meiselas is a documentary photographer based in New York. She is the author of Carnival Strippers (1976), Nicaragua (1981), Kurdistan: In the Shadow of History (1997), Pandora’s Box (2001), Encounters with the Dani (2003), Prince Street Girls (2016), A Room of Their Own (2017), Tar Beach (2020) and Carnival Strippers Revisited (2022). Meiselas is well known for her documentation of human rights issues in Latin America. Her photographs are included in North American and international collections. In 1992 she was made a MacArthur Fellow, received a Guggenheim Fellowship (2015), and most recently the Deutsche Börse Photography Foundation Prize (2019), the first Women in Motion Award from Kering and the Rencontres d’Arles (2019) and the Erich Salomon Award of the German Society for Photography (2022). Mediations, a survey exhibition of her work from the 1970s to present was initiated by Jeu de Paume and traveled to Barcelona, San Francisco, Brazil, Vienna, Belgium, and Germany. Mediations was most recently on view at Jakopič Galerija in Ljubljiana, Slovenia. She has been the President of the Magnum Foundation since 2007, with a mission to expand diversity and creativity in documentary photography.
About the International Center of Photography
The International Center of Photography (ICP) is the world’s leading institution dedicated to photography and visual culture. Cornell Capa founded ICP in 1974 to champion “concerned photography”—socially and politically minded images that can educate and change the world. Through our exhibitions, education programs, community outreach, and public programs, ICP offers an open forum for dialogue about the power of the image. Since its inception, ICP has presented more than 700 exhibitions, provided thousands of classes, and hosted a wide variety of public programs. ICP launched its new integrated center on Manhattan’s Lower East Side in January 2020. Located at 79 Essex Street, ICP is the cultural anchor of Essex Crossing, one of the most highly anticipated and expansive mixed-use developments in New York City.
ICP Statement of Accessibility and Inclusion
ICP is committed to offering space and programs that are accessible to all audiences. We believe that diversity, equity, and inclusion are values that are integral to offering an open forum for dialogue around photography and visual culture that is open to all. Through this lens, we hope to engage, educate, and inspire our visitors, students, and community at large.
ICP Land Acknowledgement
The International Center of Photography is on the island known as Mannahatta (Manhattan) in Lenapehoking, the homeland of the Lenape people. ICP pays respect to the original stewards of this land, the Lenape and other indigenous peoples, and is committed to supporting the inter-tribal Native American, First Nations, and Indigenous communities that continue to thrive in New York City. This acknowledgement demonstrates a commitment to beginning the process of dismantling the ongoing legacies of settler colonialism through our exhibitions, classes, and programming.
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Image: Sunil Gupta, Untitled, from The New Pre-Raphaelites, 2008.
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