Director of Exhibitions and Collections
International Center of Photography, New York, NY, USA
Erin Barnett became the Director of Exhibitions and Collections at the International Center of Photography in 2016, having started as a curatorial assistant in 2002. Her exhibitions include Edmund Clark: The Day the Music Died (2018); The Loving Story: Photographs by Grey Villet (2012); President in Petticoats! Civil War Propaganda in Photographs (2012); Hiroshima: Ground Zero 1945 (2011; co-editor of catalogue); Take Me to the Water: Photographs of River Baptisms (2011); Munkacsi’s Lost Archive (2009); and Amelia Earhart: Image and Icon (2007; co-curator and co-editor of catalogue).
Her recent publications include “Expending the Boundaries of Documentary Photography,” in Inter Art Center New Documentaries Prize 2017 (Inter Art Center, 2017); short essays on Ai Weiwei, Liu Bolin, Calude Cahun and Marcel Moore, Gregory Credson, Lyle Ashton Harris, Peter Hujar, Ryan McGinley, Arno Rafael Minkkinen, Yasumasa Morimura, Mark Morrisroe, Qiu Zhijie, L.A. Raeven, and Sheng Qi in Body of Art (Phaidon, 2015); and “Lesbian, Pervert, Mother: Catherine Opie’s Photographic Transgressions,” in Reconciling Art and Mothering (Ashgate, 2012). She has worked in the curatorial departments of the New Museum and the Solomon R. Guggenheim Museum in New York. An alumnae of the Whitney Museum Independent Study Program’s curatorial program, Barnett holds an MA in the History of Art from the University of Kansas and a BA in Art History and East Asian Studies (China) from Oberlin College.
Given her tenure at ICP, an institution founded to support “concerned photography,” Barnett is most interested in reviewing work that is broadly documentary, particularly work that illuminates the complexities of histories, cultures, and events. She is also interested in cohesive bodies of work by photographers who have a unique and critical perspective. She is not interested in seeing commercial, fashion, or travel photography. As a curator, Barnett can be helpful in editing and sequencing and discussing the ways that a photographer’s work relates to historic work.