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  • The New Yorker: Q & A with Philip Gefter

    GEFTER: How do you think I.C.P. has been responsive to the changes in photography—or the photography world—over the years?

    HARTSHORN: The largest thing for me is that after so many decades in which people tried to substantiate the importance of photography as some kind of a non-mechanical, if you will, controllable esthetic medium to be collected and commodified within the art world—all of which has happened to wonderful effect, now with the digital transition there are greater notions of democracy and availability and communication through pictures in an environment where we are not just communicating but learning and teaching through imagery. (read full article here)