Register for our first ever photo hackathon at the International Center of Photography. ICP has a long tradition of engaged photography in telling the most important stories since it was founded in 1974 by Cornell Capa. The New Media Narratives Program continues this tradition in welcoming creative visual storytellers from many disciplines and artistic practices.
#hackthephoto is a weekend interdisciplinary opportunity for photographers, filmmakers, developers, designers, makers, journalists and visual artists to come together and collaborate on the future of storytelling.
Explore multimedia to mobile to video to VR to create engaging content and tell your stories. Bring your best ideas, lots of energy and prepare to have fun.
Amazing speakers, mentors and judges to be announced soon.
Plus awesome prizes!
Food, coffee and beverages and lots of fun guaranteed!
Registration still open for the Verse challenge with a prize worth $1200!
Take the Eyeem challenge
How do you tell a story in a photograph? And how do you add a new angle or perspective to it? Telling Stories Differently is the name of The EyeEM new photo Mission with the International Center of Photography (ICP). You could win ICP membership and get your photo exhibited in New York – so what are you waiting for? Grab your camera, get creative and tell us a story!
We have a winner! The winning entry will be announced at the hackathon. The winning photo will be displayed on a slideshow at ICP with the eleven best images chosen by our great judges Anja Hitzenberger, Josh Raab and Dustin Drankoski. Thanks judges and thanks to the 21k people who submitted photos for the challenge.
ICP 1114 Ave of the Americas New York, NY 10036
April 30th through May 1st 2016
9.30 am – 9pm
To learn all the details, click here. Hope to see you there!
Thank you to Room, a magazine about literature art and feminism since 1975 for interviewing me and highlighting the current multimedia project Transparency: The Gender Identity Project. I’m thankful the magazine is a diverse community of writers, editors, and artists who make space for all women’s voices.
“In Daphne Chan’s portraits of Sasha Velour, the artist and drag queen is dressed in stylishly demure clothes that seem at odds with her shaved head and boldly painted-on eyebrows. There is a dissonance as well between the unremarkable public spaces where the images are set—a park bench, a brownstone stoop, a glass-fronted cafe—and the candid enactment of pain, isolation and strength that Velour performs. The series, “What I’ve Learned about Death as a Drag Queen,” was published this spring in VYM: The Drag Magazine, where Velour is creative director. Working through grief after her mother’s death was one of the inspirations for the series—many of Velour’s outfits contain items that belonged to her mother. “Miss Velour’s mother passed from cancer last summer and she honors her mother’s memory by incorporating her clothes in her performance,” Chan tells PDN by email—the teal suit was hers, along with some of the accessories and jewelry. Writes Velour in the piece, “I learned that it can be empowering to wear your mother’s dress. Or power suit. At first I was worried that it was a little Norman Bates Psycho, but then I just embraced it and now I’m a murderer.”
Chan met Velour at a performance at The LGBT Community Center in New York, and photographed her for “Transparency: The Gender Identity Project,” an ongoing series. In a recent interview Chan described the teenage experience that shaped her interest in the performance of gender. “When I was 13 years old, my mother took me to see a lip-synching transexual in a seedy bar in downtown Bangkok,” she told No More Potlucks. “After the performance, members of the audience were invited backstage to squeeze her breasts as they posed for photos.” Chan was fascinated by the encounter, which she describes as her first brush with the “outright subversion of social conventions.” The experience led her to a college thesis on gender dysphoria, and later a law degree, which she hoped to use to help fight violence and discrimination in the LGBT and genderqueer community. In 2001, she turned to photography and art full time.
Chan’s other projects have explored the struggle to fit physical or social expectations, but the images here look more like a kind of catharsis for the grief of loss. In the process of loosing her mother, Velour writes, “I have learned that you must be honest about your pain – because you can, and must – think of it as something beautiful and yours.” She continues, “I learned that I have not lost the relationship, it’s just moved inside. It exists inside my mind, among memories and fantasies – and that space in there is just as important as the one out here.”
View all the photos here.
This week I found out that I didn’t receive a fellowship and was turned down by the Magnum Foundation. On a brighter note, a major magazine wants to publish my work, a curator highlighted my project and today I’m off to a really important interview. Ah, you win some you lose some but the important part is to keep trying!
I wrote to the Magnum Foundation and asked them how ti could improve my application for next time and this was a prompt and kind response from them,