The Library at ICP

Evidence of Existence. ICP One-Year Certificate Student Books This week, the library presents a selection of books made by One-Year Certificate students during the 2025–2026 academic year. From class assignments to self-directed projects, the display brings together a wide range of forms, narratives, and material explorations. List of books. * Alvear Roa, Laura. Eye the spider. New York City: Laura Alvear Roa, 2026. * Alvear Roa, Laura. If I weren't so human. New York City: Laura Alvear Roa, 2026. * Avila, Yuri. Rosa y el mundo. New York City: Yuri Avila, 2026. * Brunner, Daniela. I don’t cry. Do you?. New York City: Daniela Brunner, 2026. * Ekert, Julia. Gwen. New York City: Julia Ekert, 2026. * Fässler, Simon. After I'm Gone. New York City: Simon Fässler, 2026. * Hudson, Leo. Subtle Constructions. New York City: Leo Hudson, 2026. *Knežević, Marija. Growing Lollypops. New York City: Marija Knežević, 2026. * Kuo, Jenny Yiyun. Music in the Room of Grief. New York City: Jenny Yiyun Kuo, 2026. * Muradov, Guram. My Sweet Emilio. New York City: Guram Muradov, 2025-2026. * N, Maxwell. Folder. New York City: Maxwell N, 2026. * Rauf, Mariam. Haandi. New York City: Mariam Rauf, 2026. * Rob, Tarleton. James Martin Finds Wonder in Simple Stories. New York City: Rob Tarleton, 2026. * Rob, Tarleton. These Long Shadows. New York City: Rob Tarleton, 2026. * Roschmann, Martha. And soon we march. New York City: Martha Roschmann, 2026. * Roschmann, Martha; Kwass, Robert. Vara. New York City: Martha Roschmann, Robert Kwass, 2026. * Ruíz Cardenas, Héctor. Apt. 2F. New York City: Héctor Ruíz Cardenas, 2026. * Toro, Joana. liberty todo. New York City: Joana Toro, 2026. * Waiswol, Daniel. I’m kind of worried about the boys. New York City: Daniel Waiswol, 2026.

Visit our new display “Reframing horizons”. A selection of books by Sara Meneses Cuapio @cuapiomsara Photography has historically functioned both as a device for the document of Native communities and as a means of constructing imaginaries about them. These ideas have shaped social prejudices that even now keep shadowing us, contemporary photographers with these origins. I began the selection for this display among images made by explorers who used the camera to measure othered bodies, sharing the shelf with allied photographers whose work has accompanied collective processes or has been crucial in shaping the memory of certain communities. Ultimately, I chose to focus on Native photographers. If approximately 0.06% of the materials in the ICP collection are made by them, their limited presence does not reflect a lack of talent or production, but rather systems of management and economic conditions that have restricted their circulation and the very possibility of publishing their work. From pioneering visions to new approaches, this group of books seeks to open a horizon and bring a sense of hope: to imagine a freer practice, where Native photographers are not confined to a single thematic axis, but are able to create about anything. Through printed covers, I have also brought in the absent photographers—contemporary works and recently published materials that I believe are important to keep on our radar, and that I hope can soon be accessible within this library’s collection.

Visit the the library this week to view “My Cup Runneth Over” a selection of books from our collection by Cydnii Jones @cydchelise On view through 4/28 “Joining the ICP community three and a half years ago was the first time I encountered the idea of the Photographic Canon. Learning photo history as it is traditionally taught for the first time, I noticed an uncomfortable chasm between the widely celebrated heroes of this medium and the artists I had grown up admiring– a canon unseen. This selection is an attempt to draw back the curtain on a photographic history told by the victors, reshaping a narrative around the contributions to this ever-evolving medium. From documentary street photography to experimental self-portraiture, these are black artists. Ones that I love and whose absence I felt in the classroom this year– who may have been mentioned but no more than a footnote in reference to their most accessible and digestible works, artists who other black artists I respect chose as part of their canon, as well as those I came across while researching for this display. This selection is an expansion and celebration, not a defense. It is a balm for those who’ve felt the jarring silence of omission and an invitation to take a sip from a cup that runneth over.” For the full book list and some additional reading that didn’t make the display, visit our blog at the link in our bio.

Visit the library to check out “Units of Measurement,” a selection of books by Laura Alvear Roa @suissonoam While photography was taking its modern form in the 20th century, art and science were slowly becoming separated disciplines. By the 20th century, their historical amalgam was dismissed and forgotten, making the sciences and the arts antithetical practices. The camera, however–a technological product of scientific endeavours– optical technology and materials have remained a common anchor for scientists and artists. This selection of books is a compilation of studies of the natural world and natural phenomena through constituent elements of photography: time, movement, and focus.

--Tell Me Stories in Silence-- A selection of books by Jenny Yi-yun Kuo @jnny_kuo Living beings are meant to fade, yet objects and artifacts remain to tell. This week, we are looking at still-life and interior photographs that narrate stories without words or create portraits of people without revealing faces. Moyra Davey uncovers the meaning behind mundane objects through repetition and layering, while John Divola reconstructs ruined sites through performative intervention. Batia Suter connects us to the past through images drawn from natural science archives, and Laura Letinsky evokes a sense of absence through fragmented remnants scattered across dinner tables. Through bits and pieces, these images of objects and interior summon the ghostly presence of past lives, fueling the viewers’ fantasy. Through photography, lifeless objects become the keeper of time, memories, and meaning of human existence. @breasouders @corinnebotz @divola @lucasblalock @lauraletinsky

Did you know that one of the biggest visual inspirations behind Oscar-winning film Sinners can be found in ICP's Library? ⁠ ⁠ When cinematographer Autumn Durald Arkapaw (@addp ) was developing the look of the film, director Ryan Coogler shared the work of Eudora Welty—whose photographs of the Depression-era South capture the real people and spaces that helped shape the film's visual language. In an interview with the BigPicPod (@thebigpicpod ), Arkapaw reflects on this influence.⁠ ⁠ Watch the video to learn more, then check out the full BigPicPod episode to hear her discuss it in her own words.

Come to the library to look at our recent acquisitions! Complete list up in the blog.

Our new display! Selection for the photobook club with Miwa Susuda “Editions of Intimacy”. On view during photobook fest. @miwasusuda @icplibrary

STACK SELECTS • Follow along with @ikamsemaj as he explores the stacks of @icplibrary ’s special collections for last month’s library display. 📹: @pasinee__p

Join us for ICP library’s browsing hours and community meet-up, Photobook Club 💕, next Saturday, July 26, 11 AM-1 PM. This month, the program is hosted by Deirdre Donohue, assistant director of the Miriam and Ira D. Wallach Division of Art Prints and Photographs at @nypl , and former ICP librarian for 16 years. Browse her deep-cut picks and catch every librarian’s tea together next weekend! Click a link in bio to see the book list, read her interview, and RSVP. See you there. ✨

Last day to check out the books curated by @polagram_diary ! This selection is titled: -Examining family through photographs- She writes, “While we often envision family as a harmonious unit—loving parents and cherished children—the reality is far more fluid and complex. Individual growth constantly pushes family dynamics to evolve. Looking at family from a broader perspective, across different stages and experiences, highlights both the comforts and challenges inherent in this ever-changing institution we’re born into. Whether we view family through the eyes of a mother watching her children grow, children witnessing their parents face illness, or an outsider observing others’ familial bonds, we’re prompted to consider how family evolves over time. Rather than limiting it to bloodlines and rigid roles, could we redefine family as a union of individuals, each on their own unique journey, supporting one another through growth and change? And ultimately, could we view these family stories as both anchors and echoes to remind us with what is absent while reshaping what we understand within our current contexts?”

From our current book exhibition, come to see “Animals that saw me.” @edpanar ’s book is a compilation of photos of “unexpected encounters with ordinary animals— a brief, deadpan field study of the uncanny moment of recognition between species” (artist’s website).