Fred Ritchin is Dean of the School at ICP (International Center of Photography) which serves more than 5,000 students each year in graduate, certificate, continuing education, and youth photography programs. Ritchin was also the founding director of the Documentary Photography and Photojournalism Program at the School of ICP and was appointed Dean in 2014.
Prior to joining ICP, Fred Ritchin was professor of Photography and Imaging at New York University’s Tisch School of the Arts, and co-director of the NYU/Magnum Foundation Photography and Human Rights educational program. Previously the picture editor of The New York Times Magazine (1978–82), executive editor of Camera Arts magazine (1982–83), and founding director of the Photojournalism and Documentary Photography Program at the International Center of Photography (1983–86), Ritchin has written and lectured internationally about the challenges and possibilities implicit in the digital revolution.
“N.O.K.: Next of Kin” documents how Gold Star Families cope with loss and memory through their handling of their loved ones killed in action in wars spanning from World War II to The Vietnam War and the ongoing conflicts in Afghanistan and Iraq.
Learn MorePanelists will discuss the role of higher education in contemporary photography. How does the photographic practice relate to visual arts, literature, film, and journalism? How do educators keep up with technological developments? How does social media activism interact with photography education? What are some of the approaches to different techniques and materials? What role does photographic history and tradition play in today’s classroom? Special thanks to Rick Schatzberg for conceiving this panel.
Learn MoreContemporary artists reflect on the medium of photography itself and how technology impacts communication in the digital age.
Learn MorePaolo Woods, in conversation with Fred Ritchin, discusses his recent project State in which he explores the forging of a national identity in Haiti.
Learn MoreThis talk discusses the issues in the recently published book, Bending the Frame: Photojournalism, Documentary, and the Citizen, which addresses the emerging potentials for visual media to impact society, and the necessity of reframing this conversation: What kinds of photographic projects succeed now? Can there be a photography of peace, not just of war? What is the role for a new metaphotography? How does the digital complicate things, and make them easier?
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