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Founded in 1974, the International Center of Photography (ICP) continues to be New York City’s only museum dedicated exclusively to photography.
Throughout its thirty-year history, ICP has presented more than 500 exhibitions, showcasing the work of some 2,500 photographers and other artists. These diverse exhibitions have covered the entire spectrum of photography, including the first daguerreotypes, documentary and photojournalism, contemporary fashion portraits, multimedia installations that employ both traditional and digital techniques, and much more.
The ICP Museum, located at 1133 Avenue of the Americas, welcomes more than 150,000 visitors each year. Through a traveling program, ICP exhibitions are seen around the world, reaching an audience of nearly one million viewers annually. Housed in a state-of-the-art facility, the permanent collection includes 150,000 original prints spanning the history of photography. Access to the Print Study Room is available to students, Museum members, scholars, and others by appointment. The Library contains approximately 18,000 books, more than 2,000 biographical files on photographers, and 150 periodical titles.
The School at ICP is one of the world’s most extensive and best-equipped schools of photography and, at 1114 Avenue of the Americas, is located directly across the street from the Museum. ICP serves about 6,000 students each year, offering 400 courses in a curriculum that ranges from digital media and darkroom classes to certificate and master’s degree programs. Other educational programming includes a lecture series, seminars, symposia, and complementary activities that make ICP dynamic and unique among photographic institutions.
ONE-YEAR CERTIFICATE
DOCUMENTARY PHOTOGRAPHY AND PHOTOJOURNALISM
The Documentary Photography and Photojournalism Program focuses specifically on the investigative skills and technical knowledge necessary to succeed in the complex and constantly changing world of visual journalism. In the fall term, students hone their digital photojournalistic skills, including caption and workflow process. By the winter term, they are working on a primary project of their own conceit. With ICP's long-standing commitment to documentary practice, this program engages faculty whoare some of the foremost practitioners in the field today. Visiting photographers discuss new media, business, and methodologies, as well as political, ethical, and social concerns. Students engage in class discussions and critiques in a supportive, student-centered learning environment.
Overview
Each year the Documentary Photography and Photojournalism Program provides professional training for 35 to 40 advanced photographers. The curriculum covers topics such as workflow, editing and sequencing, process, practice, and building a photo essay into a book, a multimedia story, or an exhibition. Students also learn to look critically at world events coverage.
Over the course of the year, students develop self-defined projects and create a resonant body of work. Through lectures, practice, and critiques, students acquire the tools necessary to research, propose, create, edit, write, and present their work in a professional manner. The core of this program, the Seminar, focuses on developing strong points of view and strategies that enhance individual projects.
Critical reviews of work at the end of every class and term guide each student’s progress. Final work is presented as a portfolio for Career Day, viewed by professionals, and as framed work, video, and multimedia display in a year-end exhibition and book.
Application Deadline
We are still accepting applications.
The Curriculum
The academic year is divided into three terms, with an intersession in January. Each term, students register for four to five 10-week courses and three to four weekend workshops. Course selection is determined in consultation with the Chair. Students should expect to spend 16 to 20 hours in the classroom weekly. Workshops are scheduled from 10:00 am to 5:00 pm on weekends.
Course requirements for the academic year include three terms of the Documentary Photography and Photojournalism Seminar, three terms of technical instruction in digital workflow, and one term of photographic history. Lighting and some history of analog printing are required and highly recommended to complete before entrance in the fall. Students select additional 10-week courses and weekend workshops each term. These creative and technical offerings allow students to shape a sequence of instruction that will strengthen their practice. Students are encouraged to participate in an internship with a photographer, agency, magazine, or newspaper during the year. External employment is not advised due to the student’s intense schedule.
First Term
Classes for the first term are all required unless a skill-level
assessment by the Chair during orientation allows the
student to opt out.
Documentary Photography and Photojournalism Seminar
This is a foundation seminar for all students enrolled in the program. Students explore critical issues in documentary photography through class discussions, slide and DVD presentations, and guest visits with photographers and editors.
The seminar encourages an open and supportive atmosphere as participants share their work in weekly critiques.
Individual guidance helps students strengthen their points of view and find ways to fulfill their project goals.
Picture Making: On the Street
To conceive, develop, and execute a photographic project requires an intimate understanding of subject matter, the ability to interpret this knowledge into exciting visual material, and strong editorial skills to refine the work into a creative form. Using the cultural and economic diversity of New York as our subject, and drawing upon inspiration from the Photo League and the New York School, students in this course undertake two to three clearly defined group projects that challenge them to become more disciplined in their approach and more determined in their resolve. Projects may take the form of an essay, a web page, a documentary project, an AV presentation, or a book.
Pro-Style Lighting with an Affordable Twist: Using Portable Lights
Photographers no longer need to break the bank to achieve the look of pro-style lighting.
This course helps students obtain the polished results of professional lighting while on a budget. Through hands-on demonstrations, students learn the technical and aesthetic considerations of on-location-style lighting using portable lights. The course reviews a range of lighting systems, including Vivitar 283-5, Quantum QFlash, Nikon SB System,
Alienbees, and ECT, as well as low-tech clamp lights.
Digital Photography for Documentary Photography and Photojournalism Students
This course prepares students to work as both photojournalists and digital photographers and addresses the implications of professional photojournalists working in digital media. Topics include camera operation, file transfers, editing techniques, basic image enhancements, and printing. Students learn to develop practical digital workflows to achieve high efficiency and compete in the professional world. Weekly assignments build digital
competency.
Technical Seminar in Black-and-White Photography
These courses emphasize the relationship between concept, technique, and image making. Students explore the range of techniques available for subtly controlling and expanding the expressive capacity of the photographic print. The courses cover camera handling, masking techniques, contrast control, chemistry for modifying the basic structure of silver emulsions, and print finishing.
Technical Seminar in Color Photography
The classes in color photography cover theory, printing, and the techniques necessary to enhance the expressiveness of the image. In addition to learning the printing process, students broaden their understanding of aesthetics through participation in discussions of visual presentations and critiques of their work. The emphasis is on creating a meaningful body of work that merges technique, aesthetics, and personal statement.
The History of Photojournalism
This course examines the development of photographic reportage from the 1840s to the present. Visual presentations trace photography’s gradual replacement of older media and the rise of the modern illustrated magazine. Class discussions examine the changing relationship of word and image on the printed page, the role of the photo editor, the development of the photo essay, and the influence of social documentarians such as Lewis Hine and the FSA photographers, as well as recent European and American documentary photographers.
Second and Third Terms
Playing with the Portrait
This class emphasizes the importance of experimentation in portrait making. Students
learn to think as directors by creating situations, commonplace or outrageous, in which their subjects are free to reveal themselves—or not. Slide presentations on portraiture provide an art-historical context. Discussions address the psychology of light and composition, and the impact of situation and gesture. We explore how to use photographic processes and modes of presentation to best express ideas. Participants are encouraged to work on individual portrait projects, and work together to help each other refine their focus. Coursework includes group and individual assignments.
Visual Thinking for Magazines
In this course, students develop a thoughtful, informed approach to magazine work.
Each week, students tackle a typical magazine assignment: read a manuscript, conduct research, “concept out,” photograph, print, edit, and present work as an opening spread to a story. The class critiques work in an open forum. Discussions also cover the practicalities of model releases, fees, portfolio presentation, and job delivery. Slide presentations and lectures offer an overview of the history of magazines, from their original goals to how they operate in today’s market. Guest photographers, photo editors, and art directors share their perspectives on the field.
Visualizing Your Story
This class focuses on both the intention of the photographer and his/her connection with the subject, the goal being to complete a strong and comprehensive photo essay. Students are expected to produce a significant amount of work each week for review. We work simultaneously on camera, writing, and communication skills, and reference and discuss other photographers (of all genres). Discussion topics include writer/photographer collaborations. The unique vision of each student is encouraged and supported. Emphasis is placed on determining students’ story choices and developing their personal styles of photographing.
Large Format: Portraiture and Street Photography
This workshop stretches the boundaries of what you think you can photograph in large format. We learn to negotiate the technical aspects of large-format photography for environmental portraiture and street photography, although students may pursue any subject matter that takes them out of a controlled environment. Some portion of every class is devoted to technical demonstrations, guest speakers, and slide shows of works by relevant photographers, but the majority of class time is dedicated to viewing and discussing student work.
Inside Photo Editing
Ever wonder what goes through a photo editor’s mind when he or she looks at your portfolio, assigns you to a story, and edits your pictures? This course sheds light on this often misunderstood part of the editorial profession. Through class discussion, editing sessions, conversations with guest speakers, and more, this course demystifies the editing process. Students learn to view their work from the perspective of a photo editor.
Multimedia Storytelling: Combining Vision, Sound, and Voice to Connect and Communicate
This course integrates the visual communication skills that students have
developed in the fall and winter terms with sound, voice, and narrative storytelling and presentation. Students expand their visual vocabulary, learn the core principles of audio storytelling, integrate their vision and style with multimedia tools, and combine their photography with sound to create a compelling multimedia experience. Topics include shooting for the multimedia experience, sound essentials, audio recording techniques, the interview process, the narrative arc, the voice of the story, and the integration of the photographer’s style within the multimedia process.
Students are exposed to current multimedia in the journalism industry.
The Fine-Art Digital Portfolio
Digital techniques can produce high-quality exhibition and portfolio prints. This course has two primary goals: first, to complete a portfolio of at least 10 images and one large exhibition print; and second, to develop an efficient work process, from color management to digital workflow. Topics include scanning, editing, printing, and using different types of paper and presentation methods. Students explore the strengths and limitations of their equipment, including how to match the color in their prints to that on their monitor. At the end of this class, students have the beginnings of a fine-art portfolio and a working method for their ongoing projects
WORKSHOPS
Audio Capture
The Big Idea
Creativity and Survival: Today’s Photojournalist
The Digital Photojournalist
The Document: The Photography Book as Historical Context
The Documentary Project
Documentary Work: Toward a Union of Style and Meaning
Effective Editing
Focus on Your Own Photographic Vision to Become an Author
Funding & Distributing Your Documentary Photographic Project
Getting Close: Access, Observation, and the Documentary Image
Grants and Projects
The In-Depth Photographic Essay
Invisibility and Being There
Language, Tone, and Writing for the Photojournalist
Learning Multimedia: Part I—Audio for Photojournalists
Multimedia Storytelling: From Stills to Multimedia in the Digital Age
The Nature of Documentary Work
Partnering with NGOs to Produce Meaningful Work
Portraiture and the Photojournalist
Principles of Color for Photojournalists
Researching a Photographic Project
Selling and Editing a Story
Social Grace and Responsibility
Strategies and Plans: Photography After Graduation
The Thinking Photographer as Strategist
Writing for the Photojournalist
Videography Basics
The Faculty
A legacy of ICP's founding mission dedicated to collecting and preserving notable photographic images in the documentary tradition, the program attracts prestigious faculty and visiting artists such as Shelby Lee Adams, Bill Armstrong, Jane Evelyn Atwood, Nelson Bakerman, Christoph Bangert, Nina Berman, Robert Blake, Amadou Diallo, Deirdre Donohue, Stephen Ferry, Larry Fink, Giorgia Fiorio, Frank Fournier, Ed Grazda, Gabe Greenberg, Lori Grinker, Per Gylfe, Patrick Harbron, Ron Haviv, Todd Heisler, Jeff Jacobson, Ed Kashi, Yong Hee Kim, Gary Knight, Antonin Kratochvil, Gillian Laub, Judith Levitt, Serge J.-F. Levy, Robert Lewis, Joan Liftin, Santiago Lyon, Jay Manis, Karen Marshall, Nadja Masri, Sabine Meyer, Greg Miller, Suzanne Opton, Sylvia Plachy, Barron Rachman, Joseph Rodriguez, Marcel Saba, Bob Sacha, Ken Schles, Shaul Schwarz, Steve Simon, Maggie Steber, Robert Stevens, Scott Thode, Jonathan Torgovnik, Alex Webb, Rebecca Norris Webb, Tom White, Julie Winokur, Yukiko Yamagata, Brian Young, Quito Ziegler.
Alison Morley has been Chair of the Documentary Photography and Photojournalism Program since 2000. As a photo editor, she has been the photography director of the New York Times Sophisticated Traveler, Audubon, Civilization, Esquire, Mirabella, Elle, and the Los Angeles Times Magazine. She has received awards for photo editing from American Photography, the Society of Publication Design, and Communication Arts. She is the editor of several major photography publications, including The Ninth Floor by Jessica Dimmock; Blood and Honey: A Yugoslavian War Journal and The Road to Kabul by Ron Haviv; I Am Rich Potosí: The Mountain That Eats Men by Stephen Ferry; and Soviets: Pictures from the End of the USSR by Shepard Sherbell. She serves on numerous committees, including the nominating committee for World Press Photos in the Netherlands, the Fulbright Fellowship Committee, and the advisory board for Daylight magazine, Fovea editions, and the Look 3 Photo Festival.
GENERAL STUDIES
The General Studies Program embraces the study of photographic practices, including fine art, editorial, fashion, documentary, and experimental image production. With the goals of broadening each student’s vision and building a foundation for individual practice, the program explores the history of photography, contemporary theory, craft and technique, and personal image making. The foundation seminar considers the questions that arise from the cultural, political, economic, and psychological uses of images. Visiting artists, critiques of student work, and discussions of contemporary ideas and artwork help students extend the possibilities of self-expression, while defining professional and artistic working methods.
Overview
The General Studies Program offers an advanced visual studies curriculum to approximately 50 international students each year. Our goal is to accelerate the development of each individual’s photography practice in an atmosphere of cooperative learning. The General Studies Program encourages students to explore and define their own goals, while challenging them to situate their work in a broader context.
The social, formal, emotional, political, and ethical dimensions of photography are investigated through the General Studies Seminar, the core meeting in which critiques, discussions, presentations, and readings are conducted. Students are also required to take a history of photography class; technical seminars whose goal is to ensure that each student leaves ICP with a firm understanding of both analog and digital processes and workflows; and a large selection of electives, in which students can let their curiosity and passions lead them in many
new directions, including video.
During the first term, many assignments are given, to help students move out of their comfort zones and quickly acquire new skills and perspectives; in the winter term, our approach shifts to encouraging more self-directed, independent work; and in the spring term, as students’ main projects are solidified and completed, internships and assistance with presentation lead up to the year-end exhibition, a day of portfolio reviews with leading professionals, and graduation.
The Curriculum
The academic year is divided into three terms, with an intersession in January. Each term, students register for a series of 10-week courses and weekend workshops. Course selection is determined in consultation with the Chair. Students should expect to spend 16 to 20 hours in the class-room weekly. Course requirements for the academic year include three terms of the General Studies Seminar, two terms of photographic history, two terms of black-and-white or color printing, and two terms of digital imaging techniques, as well as instruction in lighting and large-format photography. Students select additional 10-week courses and weekend workshops each term. These creative and technical offerings allow students to shape a sequence of instruction that will strengthen their skills and vision. The program also offers students the opportunity to participate in an internship with a photographer, agency, or magazine.
Required Classes
General Studies Seminar
This foundation seminar spans all three terms for students in the General Studies Program,
and explores the sociopolitical, artistic, and psychological uses of photography. Weekly critiques help students define their individual practice. Students engage in lively discussions of presentations by visiting artists, video screenings, and readings.
Photography, Art, and Media: A History
This 2-semester course provides an overview of the history of photography, from its invention in the early 19th century to its current incarnation in the digital age. Rather than a traditional chronological approach, we explore photography through its major developments while examining the historic context and chronology within various themes. We aim to examine the connections between past and contemporary use with the intention of understanding the impact that this medium has had on visual culture and on the world. Through slide lectures, film screenings, readings, and discussion, students begin to consider the many (dis)guises of photography and the way in which it functions as a document, as a scientific tool, as a constructed reality, and as an art form.
Technical Seminars in Digital Photography
This curriculum is an in-depth exploration of all aspects of the digital image workflow, from image capture and scanning, to browsing and editing, to image file correction and manipulation, to preparation of files for printing and other uses. Through demonstrations and exercises, students learn about RAW file conversion, image retouching, selection methods for collage, layering and masking principles, color management, and long-term storage practices.
Technical Seminars in Analog Photography
Courses in black-and-white, color, and alternative processes emphasize the relationship between concept, exposure, printing technique, and expression. The courses cover camera handling, color theory, masking, contrast control, filtration, and print finishing. Students broaden their understanding of the aesthetics of black-and-white or color through discussions, visual presentations, and critiques. The alternative processes class covers digital negatives and a range of different emulsions.
OTHER TECHNICAL COURSES
An Emphasis on Light and Style
The Fine-Art Digital Print
Introduction to Digital Video
Inventing New Truths: An Introduction to Lighting for the
Contemporary Artist
Large-Format Photography
Light and Shadow
Location Lighting
Electives
Course offerings change each term.
SELECTED 5- AND 10-WEE K COURSES
The Experience of Place
How can the experience of place translate to photography? Each student chooses a place to
investigate, ranging from the confines of a singular tenement building to the vastness of what it means to depict an entire city. This class investigates ideas of documentary photography and the many problems associated with representation, as well as how place can serve as a metaphor unrelated to the document.
Issues in Contemporary Video
A novelty in the 1960s, video as an artistic medium today easily coexists with painting, sculpture, film, and photography in most art galleries and museums. In this intensive 10-week seminar, we discuss how artists have used this powerful technology to address issues that are personal, aesthetic, and political, and trace its impact on emerging practices in contemporary art. Class sessions address video’s multiple histories and its relationship with other new media art forms, open-source networks, and the Internet. Through examination of video’s history, theory, and activism, students engage in a critical dialogue about this evolving medium.
Postcards from Real Worlds
This course explores the contemporary parameters of the documentary-based photo project. Students are encouraged to push their work beyond traditional documentary structures and look for new ways to interpret reality-based subjects. Historical rediscovery, surface typologies, diarist interpretation, and metaphorical narrative are among the many methods of practice examined.
Questions regarding technique, content, and access are addressed through individual and group critiques.
Self as Subject and Object
Nikki Lee, Lucas Samaras, Tseng Kwong Chi, Duane Michals, Arno Minkkinen, and many
others have depicted themselves in various ways to create compelling images. But are their works autobiographical or are they performances for the camera? Do these artists take
their inspiration from the history of photography, painting, sculpture, theater, or storytelling? Through weekly lectures, we examine how different artists use the self as subject or object, or both. Discussions explore useful techniques as well as the symbolic, psychological, and narrative possibilities of the genre. Students create a body of work for class critique.
Toward a Philosophy of Photography: Critical Thinking and Contemporary Practice
Critical thinking is an essential part of creative work. A fluent understanding of the contemporary philosophical issues around photography and representation is essential in order to participate in the conversation. This 5-week class integrates creative practice with the study of theory and criticism. Through readings, class discussion, and assignments, students survey the contemporary philosophical landscape as it relates to the practices of representation.
By the end of the course, students will have a deepened understanding of these threads, and the ability to lucidly address them, both in their own work and in the world of contemporary art.
OTHER 5- AND 10-WEEK COURSES
Introduction to Experimental Film and Video
The Logistics of Dreams: Artists in Community
Performance for the Camera: Private, Public, and Collective
The Political Landscape
Principles of Color
Production Seminar
Stories and Style: A Narrative Approach to Fashion
Understanding Portraiture
Visual Thinking for Magazines
Web Projects for Artists
SELE CTED WORKSHOPS
Alternative Art
The Art of Photographic Bookmaking
Artists’ Studios and Writings
Crossing Boundaries: The Art of Eavesdropping,
Surveillance, and Appropriation
Evidence of Things Partially True
From Voyeurism to Witnessing
General Studies Boot Camp
Getting Close: Access, Observation, and the
Documentary Image
The Hand and the Machine
Intimacy and Distance
Introduction to Digital Sound Design, Sound Editing,
and Sound Art
Logistics of Site
The Photographer on Mars
Photography in the Expanded Field
Photography Matters
Photographer-Subject Relationships
Picturing Stories
Playing with the Portrait
Researching a Photography Project
Sight, Site, Cite
The Way of Things
Words and Pictures
The Faculty
The General Studies Program's faculty includes distinguished artists, photographers, filmmakers, writers, and curators who are recognized both nationally and internationally. Recent GS faculty include Bill Armstrong, Nelson Bakerman, Michele Beck, Robert Blake, Corinne May Botz, Jean-Christian Bourcart, E. J. Camp, Clinton Cargill, Elinor Carucci, Jean Marie Casbarian, Shauna Church, Pradeep Dalal, Deirdre Donohue, Mark Alice Durant, Jill Enfield, Stephen Ferry, Allen Frame, Frank Franca, Susan kae Grant, Lori Grinker, Per Gylfe, Susan Jahoda, Sean Justice, Jesal Kapadia, Stephen Korns, Bobbi Lane, Joshua Lutz, Jay Manis, Robert Marshall, Abraham McNally, Darin Mickey, Carlos Motta, Suzanne Opton, Barron Rachman, Andreas Rentsch, Tricia Rosenkilde, Mark Roussel, Abigail Simon, Claudia Sohrens, Bradley Dever Treadaway, Gerard Vezzuso, Martín Weber, Bernard Yenelouis, Brian Young.
Marina Berio, Chair of ICP's General Studies in Photography Program, is a photographer/artist. Her work has been exhibited at art spaces internationally, including Michael Steinberg Fine Art, Yancey Richardson Gallery, Smack Mellon, Von Lintel Gallery, and Artists Space, New York; Judy Ann Goldman Fine Art in Boston; Les Rencontres d'Arles and the Centre Photographique de Pontault-Combault in France; and Acta International in Rome. Berio has received an Aaron Siskind Foundation Award, a Pollock/Krasner Grant, and a New York Foundation for the Arts fellowship, and she has been invited to various residencies, including the MacDowell Colony, Yaddo, and Schloss Plüschow in Germany. Alongside her art and teaching activities, Berio has also pursued commercial photography work, shooting interiors and still life.
ADMISSION & TUITION
Application Procedure
Application submissions must be postmarked by the deadline. Applications received thereafter will be considered based on a rolling decision. The Admissions Committee will only review application packages that are completed in their entirety. Prospective students must be at an advanced level in photography or have demonstrated a strong background in the visual arts and media to apply to a One-Year Certificate Program.
APPLICATION INSTRUCTIONS AND CHECKLIST
Please type or print your application and submit it with the following items:
- One-Year Certificate Program Application Form
- Résumé
- A one-page Statement of Purpose of no more than 500 words in length, describing your reasons for applying and elaborating on the influences on your work and its current direction, as well as your interests and research.
- A portfolio of 15-20 photographic prints (no larger than 11"x14") and/or 15-20 images as jpegs, 300 dpi and no larger than 5"x8" on disk. Videos can be submitted on VHS or DVD. Include a detailed list of works/images such as title, medium, date, and dimensions. (Please test all digital materials on several machines before submitting.)
- Two letters of recommendation attesting to the applicant's personal and artistic strengths. These individuals should be conversant with the applicant's work and may include professionals who are practicing or teaching in the field of photography, as well as arts professionals in general.
- TOEFL Scores (if English is not your first language)
- $100 Application Fee (payable to International Center of Photography in the form of cash, credit card, bank wire transfer, U.S. money order, or U.S. cashier’s check, issued from or authorized by a U.S. branch bank)
UNDERGRADUATE CREDIT OPTION
The ICP-Bard undergraduate Photography Program is an option track within the General Studies in Photography Program. Students who successfully complete the program can apply for 32 academic credits from Bard College toward their undergraduate degree. The cost of this credit option is a $2,000.00 fee paid to Bard College after graduation.
International Requirements
ICP welcomes applications from international students and is authorized by the Student and Exchange Visitor Program (SEVP) run by U.S. Immigration and Customs Enforcement (ICE) to enroll non-immigrants as full-time students with F-1 status. International students must complete the ICP Application for a Form I-20 and fulfill the financial requirements stated by the united States government. In order to receive a student visa, foreign students must submit a variety of financial documents, including but not limited to: Personal or Sponsors Affidavit of Annual Cash Support; Proof of Income; Bank Statements; photocopy of lease deed, rent receipts, phone bill, and any additional financial credentials that establish income from sources that will be sufficient to meet tuition and expenses for a one-year full course of study. That amount for tuition and living costs must be over $60,000 USD. After these items are submitted and approved by ICP's Designated School Official, the School will issue a Form I-20. International students will use this form to apply for an F-1 student visa at the United States embassy in their home country prior to their arrival in New York. Please download the instructions and application (above, right) for the Form I-20 certificate of non-immigrant status. All international applicants must possess oral and written proficiency of the English language and are required to take the Test of English as a Foreign Language (TOEFL), meet the score requirements listed below, and speak directly to an ICP representative, prior to notification of acceptance into a One-Year Certificate Program.
International Applicants should call 212.857.0068 with any questions.
OPTIONAL PRACTICAL TRAINING
All F-1 students are eligible for Optical Practical Training (OPT) upon successful completion of their studies. OPT provides students a maximum of 12 months of full-time or part-time employment authorization in their major field of study upon graduation.
TOEFL Test Information
ICP Code for test: 8475
Score Requirements
Paper-based test: 550
Computer-based test: 213
Internet-based test: 79/80
PLEASE NOTE: All TOEFL scores must arrive by January 14, 2011. Program coordinators reserve the right to recommend or require additional English-language instruction, which students must pay for in addition to the program tuition and fees.
TOEFL Services by ETS
http://www.ets.org
Phone: 1.609.771.7100 or 1.877.863.3546
Current Tuition & Costs
Tuition for the 2012–2013 academic year is $31,860, with an annual lab fee of $1,500.
Application fee is $100.
Acceptance of admission to the One-Year Certificate Program must be received in writing by the date specified on the Letter of Acceptance sent to the applicant by the Admissions Committee and must be accompanied by a nonrefundable tuition deposit of $500. Make deposit payable to International Center of Photography, in the form of cash, credit card, bank wire transfer, U.S. money order, or U.S. cashier’s check, issued from or authorized by a U.S. branch bank. The deposit reserves the student's place in his or her program of acceptance and will be applied to the fall term Tuition Invoice. Tuition and fees are the same for domestic and international students. Students have the option of paying tuition and fees for the academic year either in full by August 1, 2012, or in three installments: August 1, 2012 (fall term), November 1, 2012 (winter term), and February 1, 2013 (spring term).
PLEASE NOTE: Tuition and fees are subject to change. Students may not attend classes if their tuition has not been paid in full unless authorized in writing by the Associate Director of Education.
Tuition Assistance
WORK-STUDY
Work-study opportunities are available for full-time students only. Upon completing a Work-Study application and with Program Chair approval, students can receive a tuition reduction in exchange for assisting in one of the following ICP Departments: Exhibitions, Digital Media Lab, Photo Lab, Community Programs, Library, Education Office. Students are able to work up to 40 hours per term for up to $400 reduction from their tuition invoice, for a maximum of $1200 per year in tuition reduction.
SCHOLARSHIP
ICP scholarships are made possible with generous support from many private donors. A limited number of named scholarships are available to full-time students who have successfully completed the fall term at ICP. Scholarships are awarded based on academic performance and merit. The amount awarded varies from year to year. Students who wish to apply are subject to the scholarship application process created by the Scholarship Committee. This process includes verification of the student’s grades, instructor evaluations, and portfolio review. Applications are made available at the end of the fall term and scholarships are awarded in the spring term as tuition reduction. PLEASE NOTE: No scholarships are awarded for a student's first term at ICP.
FINANCIAL AID
Students in need of financial aid are encouraged to seek assistance from nonfederal sources. While ICP has a Charter from the Board of Regents of the university of the State of New York, it does not qualify as an eligible educational institution under federal law, making ICP One-Year Certificate students ineligible for U.S. Federal Financial Aid (FAFSA) opportunities and other student loans. U.S. citizens should seek information from state and private-sector sources, including artist grants and fellowships. International students are encouraged to inquire within their country of citizenship for financial assistance. The following websites are for informational purposes only. ICP does not endorse any of these sites as potential sources of grants or other funds.
ICP-BARD MFA
Program of Study
Operating from the ICP’s facilities in Midtown Manhattan and the MFA studios in Long Island City, the ICP-Bard Program in Advanced Photographic Studies offers a rigorous exploration of all aspects of photography through an integrated curriculum of studio and professional practice, critical study, and Resident Artist Projects. The 60 credits required for the master of fine arts degree cover the production of a final solo exhibition of original artwork, participation in a final group exhibition, and a cumulative publication, as well as the completion of class assignments and internships.
At the center of the program is an exploration of the ways in which the photograph operates in society and the ways in which students’ own practices work for them.
The ICP-Bard approach emphasizes creative vision and openness to examining the many iterations of the image, from photography to digital imaging, installation, and video. By considering how photographs are created, presented, discussed, used, and documented, students gain an intimate knowledge of the ways in which images increasingly structure modern society and consciousness.
The graduate seminars, led by ICP-Bard core faculty members, blend in-depth study, intensive discussions, and individual work. Students also gain an understanding of the role of art historians through working with ICP’s curatorial team and the Museum’s extensive archives learning how exhibitions are curated, archives maintained, and research conducted. In Resident Artist projects and internships, students learn firsthand from contemporary artists about the practical conditions of making art and innovative approaches to photographic practice. With its strong emphasis on writing and publication, the program encourages students to articulate the relationship between their practice and that of other artists. Through ongoing studio work, critiques, and internships, students challenge their ideas and test new approaches to
image making, synthesizing the program’s varied experiences and defining their own ways of working.
Throughout the program, students receive individualized attention and support from a distinguished and dedicated core faculty, as well as noted visiting artists, and mentors with whom students intern. Because the visiting faculty consists of practicing artists, scholars, critics, and historians who have other professional commitments, participants vary from year to year.
The ICP-Bard approach emphasizes openness to examining the many iterations of the image, from photography to digital imaging, installation, and video. By considering how photographs are created, presented, discussed, used, and documented, students gain an intimate knowledge of the ways in which images increasingly structure modern society and consciousness.
The graduate seminars, led by ICP-Bard core faculty members, blend in-depth study, intensive discussions, and individual work. Students also gain an understanding of the role of art historians through working with ICP's curatorial team and the Museum's extensive archives—learning how exhibitions are curated, archives are maintained, and research is conducted. In Resident Artist projects and internships, students learn firsthand from contemporary artists about the practical conditions of making art and innovative approaches to photographic practice. With its strong emphasis on writing, the program encourages students to articulate the relationship between their practice and that of other artists. Through ongoing studio work, critiques, and internships, students challenge their ideas and test new approaches to image making, synthesizing the program's varied experiences and defining their own way of working.
Throughout the program, students receive individualized attention and support from a distinguished and dedicated core faculty, as well as noted visiting artists, and mentors with whom students intern. Because the visiting faculty consists of practicing artists, scholars, critics, and historians who have other professional commitments, participants vary from year to year.
The Curriculum
STUDIO PRACTICE
The foundation of the program, studio practice is a seminar in which students integrate what they are experiencing and learning into their own creative work. Through ongoing studio assignments, group critiques, and one-on-one meetings with faculty, students develop their photographic work and define a personal approach to their practice. A final exhibition of original work, presented at the end of the second year, is required for graduation.
CRITICAL STUDY
In these topical seminars, students focus on theoretical and critical issues in the history of photography. Working with historians, editors, photographers, and ICP curatorial staff, students engage in research, writing, and curatorial activities. Students' own writing charts the development of their ideas about photography in relation to the work of other photographers. A written thesis, which serves as an anthology of two years of critical course work and professional practice, is required for graduation.
PROFESSIONAL PRACTICE
Internships are an integral part of the program, enabling students to gain practical exposure to various aspects of the field. First-year students are required to intern for individual photographers/artists. Second-year students are required to intern with photographic and media-based organizations, such as museums, photo agencies, and magazines. All students are expected to report on their internship in classroom discussions and to record these experiences as part of their final written thesis.
RESIDENT ARTIST PROJECTS
Each semester, prominent photographers and critics work with MFA students in focused, project-oriented seminars, exposing the students to a wide range of styles and career paths. Each class provides in-depth examination of photographic techniques and emerging issues in photography, as well as group and one-on-one critiques of student work. By engaging in projects that reflect the visiting instructors' aesthetic, students come to understand the implications of art making in different contexts.
Degree Requirements
Artists who seek the stimulation and challenges of an interdisciplinary environment in their pursuit of the master of fine arts degree are invited to apply for admission to the ICP-Bard Program. Successful candidates should demonstrate a strong grasp of the technical craft, historical background, and current practice of photography, with an interest in the practices of other disciplines. Applications and portfolios are evaluated by the ICP-Bard faculty committee; candidates selected from this pool are invited to be interviewed by the Chair and core faculty.
Once admitted, ICP-Bard students must earn a total of 60 graduate credits in two years, 30 credits per year, in order to receive the master of fine arts degree. At the end of every year, a board of ICP-Bard faculty members reviews each student's achievements. Credits are awarded or withheld at the board's discretion.
Students earn credits by completing the following activities:
Create original artwork: 10 credits, first year
Participate in class discussion and complete assignments: 10 credits per year
Fulfill internships: 5 credits per year/240 hours
outline written thesis: 5 credits, first year
Present final thesis: 5 credits, second year
Produce final exhibition: 10 credits, second year
Course offerings vary from year to year.
Chair
Nayland Blake is an internationally acclaimed interdisciplinary artist and educator whose work is included in the collections of the Brooklyn Museum of Art, the Des Moines Art Museum, the Museum of Fine Arts, Boston, the San Francisco Museum of Modern Art, the Whitney Museum of American Art, and the University Art Museum, Berkeley. His writing has been published in Artforum, Interview, Out, Outlook, and numerous exhibition catalogues. He has been on the faculty of the Milton Avery Graduate School of the Arts and has taught at the San Francisco Art Institute, the California Institute of the Arts, the University of California, Berkeley, Parsons School of Design, New York University, the School of Visual Arts, and Harvard University School of Visual and Environmental Studies. He is represented by Matthew Marks Gallery in New York.
CORE FACULTY
Elizabeth Brown, Nancy Davenport, Moyra Davey, David Deitcher, Edward Earle, Marvin Heiferman, Joshua Lutz, Christopher Phillips, Carol Squiers, Brian Wallis.
RESIDENT ARTIST PROJECTS AND CRITIQUE FACULTY
2009–2010: Gregg Bordowitz, Roe Ethridge, Jacqueline Hassink, Bill Jacobson, Justine Kurland, Hank Willis Thomas.
2008–2009: Cecilia Dougherty, Roe Ethridge, Adam Fuss, Bill Jacobson, Justine Kurland, Alison Morley, Barbara Nitke, Taryn Simon, Kunie Sugiura.
2007–2008: Marco Breuer, Joy Episalla, Peter Hutton, Lamia Joreige, Mary Mattingly, Alessandra Sanguinetti, Robert Stevens, Francesc Torres.
2006–2007: Deborah Bright, Adam Broomberg and Oliver Chanarin, Mark Alice Durant, Joan Fontcuberta, Bill Jacobson, Natasha Lunn, Steve Pyke.
2005–2006: Vince Aletti, Barbara Bloom, Larry Fink, Jacqueline Hassink, Craig Kalpakjian, Guy Tillim, James Welling.
Facilities
Museum
A leader among arts organizations throughout the world, the International Center of Photography strives to produce exhibitions that reflect the depth and scope of the photographic medium. In a multilevel gallery space and in traveling exhibitions, ICP presents a wide range of critically acclaimed shows that are relevant to our times. Exhibitions are accompanied by a variety of educational components, including public panel discussions, lectures, weekly gallery talks, brochures, catalogues, and free gallery tours for school groups.
ICP’s archive of photographic images includes more than 150,000 photographs dating from 1839 to the present by some 1,000 internationally recognized photographers. From the definitive Weegee Collection to the Daniel Cowin Collection of African American History, ICP’s holdings are a vital resource for students, scholars, educators, and the general public.
School
Designed by Gensler, a distinguished New York—based firm, he ICP School is a spacious, 27,000-square-foot facility located beneath an expansive plaza in Midtown Manhattan.
Among the building’s architectural highlights is a striking glass pavilion entrance on its plaza. The facility features state-of-the-art classrooms and black-and-white and color lab spaces; digital labs with resources for multimedia, digital photography, and video editing and production; and a professional shooting studio. The space also accommodates administrative offices, the Library, a student lounge, and the Education Gallery.
ICP’s educational initiatives are divided into three areas: the School, Public Programs, and Community Programs.
The School presents a year-round selection of continuing education classes that are described in the ICP Programs Guide. In addition to the ICP-Bard Program in Advanced
Photographic Studies, ICP offers One-Year Certificate Programs
Public Programs address issues in photography and the medium’s relationship to art and culture. They also promote the interpretation of ICP’s exhibitions and collections.
The Photographers Lecture Series invites prominent and emerging photographers to present their work and to share ideas and concerns about the medium. Other seminars, symposia, and panel discussions feature the foremost artists, critics, scholars, and historians working today.
Community Programs provide an enhanced experience of ICP’s exhibitions and offer an explanation of the possibilities of photography to individuals who otherwise might not have access to ICP’s cultural resources. Programs include docent-led interactive tours, Family Day events, teachers’ workshops, workshops for students of all ages, long-term photography programs in New York City public schools, summer photography programs in community centers, and a high school internship program designed to promote youth leadership.
Library
The Library provides research and informational resources for the Museum and the School, including published works in more than a dozen languages and ephemera files. Holdings include the gifts of ICP founder Cornell Capa, documentary photographers David Douglas Duncan and Andreas Feininger, and resources related to ICP’s exhibitions and education programs. The Library’s collection is made up of more than 18,000 volumes and 150 periodical titles, including monographs, monographic series, serials, museum and collection catalogues, biographies of photographers, critical editions of the writings of photographers and photography historians, anthologies of documents, facsimiles, technical and instructional manuals, and published and unpublished items, including clippings, visual resources, and exhibition and promotional material on more than 2,500 photographers and institutions.
Photo Lab
ICP’s Photo Lab is designed for efficient printing and processing, with 64 individual enlarger stations and a wide selection of film and paper chemistry. Our black-and-white labs can produce prints up to 20x24 inches and mural size. An extensive inventory of lighting, grip, and camera equipment is available for classroom and on-location work. All classrooms are furnished with light tables; slide projectors; iMac computers; and a digital projection system that can accommodate VHS, DVD, CD, notebook computers, portable drives, and video and audio equipment.
Students have access to a professional-quality studio with a full line of equipment and accessories, including Profoto, Matthews, Arri, Manfrotto, Lowel, and Chimera lighting. Our
classrooms, some of which have seamless racks, may be reserved for photo shoots or other student activities.
The color facilities feature state-of-the-art equipment for color negative printing and viewing. The color lab includes a Kreonite KM-4 automated processor and LPL 4x5 dichroic enlargers with all necessary accessories. The printing area, incorporating color-corrected lighting and a large GTI viewing box, allows for maximum output, enabling students to
produce prints up to 30 inches wide.
Photo Lab facilities include the following for student use:
* Two large teaching laboratories for black-and-white printing
* One teaching laboratory for color printing
* An automated color print processor
* Facilities for the production of alternative process images
* A spacious film development lab with a separate sheet film lab and two loading rooms
* Print washing, toning, and drying areas meeting archival standards
* A professional shooting studio with multiple seamless racks and digital projection
* Four semiprivate black-and-white labs, available for exclusive use by full-time students
* A post-production area for print finishing, matting, heat mounting, cutting, and other activities
A copy stand and lights with a dedicated copy camera kit
Digital Media Lab
ICP’s Digital Media Lab features state-of-the-art computer equipment designed for high-end digital image production.
The lab is a network of 65 Intel Mac Pro workstations, providing each student with no fewer than 3GB of RAM,
Samsung XL20, XL24, and XL30 LCD/LED monitors or Eizo 21-inch LCD monitor, a CD/RW/DVD-R/RW disk drive, and high-speed Internet access. Film scanners include: Nikon
Super CoolScan LS4000, LS5000, LS8000, LS9000, and Hasselblad 646, X1, or X5 film scanners. Flatbed/transparency scanners include the Epson Perfection 1600, 2450,
3200, 4990, and a Microtek 1800f for 8.5x11. The Epson 10000 XL and Creo Scitex EverSmart Supreme are available for 11x17 flatbed scanning. Each workstation is equipped with an Epson R1900 and R2880, Pro 3800 or Pro 3880 inkjet printer. There is also a Hewlett-Packard 4200N laser printer as well as a Xerox Phaser 8560 color laser printer for letter size and a Xerox Phaser 7760 12x18 color laser printer.
The facility houses a variety of archival large-scale inkjet printers, including the Epson 4800, 4880, 7800, 7880, 9800, and 9880. Canon Vixia HF-10 and Canon XH-A1 highdefinition video cameras, Zoom H2 Audio recorders, Sony DV cassette recorders, Olympus digital audio recorders, Sony VX2000 Digital Handycams, Panasonic PV-GS120 Camcorders, and Panasonic PV-GS180 Camcorders are available for students enrolled in a video editing class.
Microphones, headphones, Lexar card readers, Wacom tablets, Eye One Pro Spectrophotometers, and Eye One Display Colorimeters are also available for students to
customize their workstations.
Software includes: Adobe Photoshop CS4, Illustrator CS4, InDesign CS4, GoLive CS4, Adobe Lightroom 2, Adobe Dreamweaver CS4, Fireworks CS4, Flash CS4, Director MX, Apple Final Cut Studio 5, Apple Soundtrack, iMovie HD, DVD Studio Pro 2, Sound Slides, Microsoft Office 2008, iWork3, iLife5, Peak DV, cleaner 5EZ, Vue Scan, SilverFast, EyeOne Match 3, and GretagMacbeth ProfileMaker Pro 5. the rita k. hillma n exhibition gallery The Rita K. Hillman Exhibition Gallery exhibits the work of full-time students, alumni, and faculty. The gallery also provides iMac computers and a comfortable work space for students to review works-in-progress and to relax.
ADMISSION AND TUITION
Application Procedure
Application submissions must be postmarked by the deadline. Applications received thereafter will be considered on a rolling basis. The Admissions Committee will only review application packages that are completed in their entirety.
APPLICATION CHECKLIST
Please type or print your application and submit it with the following items:
- A portfolio consisting of 20 images as jpegs, 300 dpi and no larger than 5x8 on disk. Videos can be submitted on VHS or DVD. Include a detailed list of works/images such as title, medium, date, and dimensions. (Please test all digital materials on several machines before submitting.)
- Three letters of recommendation attesting to the applicant’s personal and artistic strengths. These individuals should be conversant with the applicant’s work and may include professionals who are practicing or teaching in the field of photography, as well as arts professionals in general.
- Transcripts of all undergraduate and graduate work, sent directly from all institutions attended to ICP's Education Department.
- A one-page statement of purpose of no more than 500 words in length, describing your reasons for applying to the program, and elaborating on the influences on your work and its current direction, as well as your interests and research.
- $100 Application Fee (payable to: International Center of Photography in the form of cash, credit card, bank wire transfer, U.S. money order, or U.S. cashier's check, issued from or authorized by a U.S. branch bank).
Applicants approved by the Preliminary Selection Jury are required to attend an in-person interview at ICP with the Admissions Committee with an original work portfolio of 20 to 30 photographic prints, no larger than 11x14. A telephone interview will suffice for applicants who reside outside the United States or at a great distance from New York. These phone interviews must be accompanied by an original portfolio of work that must arrive at ICP prior to the scheduled phone appointment with a complete inventory of images; applicant's name; return address; and credit card number for the return of the portfolio. All telephone calls are Eastern Standard Time.
Offers of admission are sent by letter via email and the United States Postal Service and are valid only for the year in which they are made. Decisions regarding admission will not be given in person. Applicants for admission must hold an AB, BA, BS, or BFA degree from an accredited college or university in the United States or a baccalaureate or equivalent degree from an international college or university. An applicant's undergraduate major need not be in photography; however, applicants must demonstrate that they have a broad knowledge of the practice and history of photography as well as an understanding of contemporary visual arts.
Send All Application Materials To:
International Center of Photography
ICP-Bard MFA Program
1114 Avenue of the Americas
New York, NY 10036
International Requirements
ICP welcomes applications from international students and is authorized by the Student and Exchange Visitor Program (SEVP) run by U.S. Immigration and Customs Enforcement (ICE) to enroll non-immigrants as full-time students with F-1 status. International students must complete the ICP Application for a Form I-20 and fulfill the financial requirements stated by the United States government. In order to receive a student visa, foreign students must submit a variety of financial documents, including but not limited to: Personal or Sponsors Affidavit of Annual Cash Support; Proof of Income; Bank Statements; photocopy of lease deed, rent receipts, phone bill, and any additional financial credentials that establish income from sources that will be sufficient to meet tuition and expenses for a one-year full course of study. That amount for tuition and living costs must be over $63,000. After these items are submitted and approved by ICP's Designated School Official, the School will issue a Form I-20. International students will use this form to apply for an F-1 student visa at the United States embassy in their home country prior to their arrival in New York.
Please call 212.857.0063 for a Form I-20 application, or download the instructions and application for a certificate of non-immigrant status and print the "How to Get your Student Visa" document.
All International applicants must possess oral and written proficiency of the English language and are required to take the Test of English as a Foreign Language (TOEFL), meet the score requirements listed below, and speak directly to an ICP representative, prior to notification of their acceptance into the ICP-Bard Program.
TOEFL TEST INFORMATION
ICP Code for test: 8475
Score requirements
Paper-based test: 550
Computer-based test: 213
Internet-based test: 79/80
TOEFL SERVICES BY ETS
http://www.ets.org
Phone: 609.771.7100 or 877.863.3546
PLEASE NOTE: All TOEFL scores must arrive by January 7, 2011. Program coordinators reserve the right to recommend or require additional English-language instruction, which students must pay for in addition to the program tuition and fees.
Current Tuition & Costs
Annual 2010–2011 Tuition $32,753
ICP Center Fee: Includes Lab/Graduation $2,700
Semester Registration Fee: two times per year $100
Application Fee $100
Bard Health Insurance (request packages available) TBD
Accepting admission to the ICP-Bard MFA Program must be received in writing by the date specified on the Letter of Acceptance sent to the applicant by the Admissions Committee and must be accompanied by a nonrefundable tuition deposit of $500. Make deposit payable to International Center of Photography, in the form of cash, credit card, bank wire transfer, U.S. money order, or U.S. cashier’s check, issued from or authorized by a U.S. branch bank.
The deposit reserves the student’s place in the ICP-Bard MFA program and will be applied to the fall semester Tuition Invoice. Tuition and fees are the same for domestic and international students. Students have the option of paying tuition and fees for the academic year either in-full by August 2, 2010, or in two installments: August 2, 2010 (fall term), November 1, 2010 (spring term).
PLEASE NOTE: Tuition and fees are subject to change and may increase from year to year. Students may not attend classes if their tuition has not been paid in full unless authorized in writing by the Associate Director of Education.
ICP-Bard MFA students are eligible to enroll in the Bard Health Insurance Program. Application and cost of health insurance are submitted directly to Bard College Student Health Services. Cost of Health Insurance Packages are available to MFA students upon acceptance into the MFA Program.
Refund Policy
100% refund: withdrawal 14 days prior to the first day of the fall semester.
80% refund: withdrawal 7 days prior to the first day of the fall semester.
70% refund: withdrawal 7 days after the first day of the fall semester.
No refunds are granted after the first seven days of the fall semester. All other fees, including the application fee, registration fee, center fee, and tuition deposit, are non-refundable. No refund is issued for cases of suspension or expulsion. All requests for refunds must be submitted in writing to Coco Lee Thuman in the Education Department.
Students who take an official leave of absence from the program or take longer than two years to complete the program are charged a $500 maintenance-of-status fee per year.
Living Expenses
New York is a very expensive city. ICP recommends that students budget their finances wisely. Students need to account not only for their tuition and lab fees, but also their living expenses. Monthly expenses include rent, utilities, gas, electricity, telephone, food, transportation, photographic materials, equipment, books, entertainment, and miscellaneous expenses. Average living costs are estimated below. This is a modest, "no extras" budget. It does not include items such as health insurance or unforeseen emergencies, for example. It is highly recommended that students budget at least 10 to 20 percent more than the listed costs.
AVERAGE LIVING COSTS (FOR 10-MONTH ACADEMIC YEAR)
Housing and utilities $12,650
Food $4,950
Personal items and clothing $2,970
Local transportation $1,320
Books and photographic materials $5,500
Total living costs $27,390
Tuition Assistance
FEDERAL STAFFORD LOAN
A student who files a Free Application for Federal Student Aid (FAFSA) is eligible to borrow through the Federal Stafford Loan program, which makes available subsidized or unsubsidized loans. The loan is subsidized when the student demonstrates financial need according to a federal formula that ascertains the difference between the budgeted educational expenses and the student’s financial strength. In those cases, the federal government pays the interest on the loan while the student is enrolled in school; repayment of the loan principal and remaining interest begins six months after the student ceases to be enrolled on at least a half-time basis. An unsubsidized Federal Stafford Loan does not require demonstration of financial need. The student begins paying interest charges on the loan while enrolled in school; repayment on the loan principal begins six months after the student ceases to be enrolled at least half-time. The procedures for filing for a loan will be explained when the student is notified of eligibility. Additional literature on Federal Stafford Loans is available online and from local banks and other lenders.
The FAFSA code number for Bard College is 002671.
SCHOLARSHIPS
ICP scholarships are made possible with generous support from many private donors. A limited number of named scholarships are available to full-time students only. The amount of scholarship funds awarded varies from year to year. If you would like to be considered for an MFA Scholarship, please mark the Merit Scholarship box on your 2010–2011 ICP-Bard MFA Application (see page 47). Your admissions application and work will then be considered by the Scholarship Committee for scholarship support based on merit. The next opportunity for MFA students to apply for an ICP Scholarship will be in May 2010 as part of your year-end boards, held at the conclusion of the 2010–2011 academic year. MFA students will be given the option to apply for scholarship support for the 2011–2012 academic year provided they complete an application, pass the year-end boards, and are in good academic standing.
WORK-STUDY
Work-study opportunities are available for full-time students only. Upon completing a Work-Study application, and with Program Chair approval, students can receive a tuition reduction in exchange for assisting in one of the following ICP Departments: Exhibitions, Digital Media Lab, Photo Lab, Community Programs, Library, Education Office. Permitted students are able to work up to 40 hours per term for up to $400 reduction from their tuition invoice, for a maximum of $1,200 per year in tuition reduction.
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