1814 MAGAZINE is a limited edition, bi annual publication that focuses on photography, design, art, and culture.

1814 MAGAZINE is dedicated to providing a unique platform for established and emerging artists.

1814 MAGAZINE strives to combine the best in both words and images from some of the greatest photographers and artists of the 20th and 21st century. Recent issues have included such celebrated artists as E.O. Hoppe, Massimo Vitali, Eudora Welty, Bernard Faucon, Donna DeMari, Karlheinz Weinberger as well as Henry Horenstein, Wang Qinsong, Vivian Maier, Georges Dambier, Christer Stromholm, Edward Ruscha, Yves Marchand & Romaine Meffre, Antony Armstrong Jones, Paulina Otylie Surys, Chris Stein, Mel Roberts, and Alexander Gronsky. Known for its clean gallery type presentation and unusual juxtapositions, 1814 MAGAZINE both mirrors and encourages the evolution of photography, art and culture.

1814 MAGAZINE Issue no. 10

1814 MAGAZINE Issue no. 10 includes the work of Sophie Etchart, William Helburn, Axel Hoedt, E.O. Hoppé, Dennis Hopper, Geof Kern, Jeffrey Milstein, Daniel Robinson, Matthew Rolston, Valentine Schmidt, Malick Sidibé, Luke Smalley and Abraham Winter.

Issue no. 10 cover, Dovima With Opera Glasses, for Corday Perfume, 1961, by William Helburn


The Intersection of Seventh and Madison - Photographs by William Helburn from his book 'Seventh and Madison' - Courtesy of Peter Fetterman Gallery

1814: We've always believed that in order to take a great photograph you must love the subject caught in your lens… that you must fall in love just a bit with the photograph. You certainly found beauty in your subjects. Can you tell us about the relationship between photographer and subject?

WH: A good model will give you opportunities. You'll get different poses, different moves… until you say "Stop thats it!". The better the model the better the picture. The model I hired were exciting, unique. They all brought something to the pictures. They contributed. They made the clothes look good and they made me look good. And as I got closer to them, the easier it was directing them. Usually I found models desirable. I almost always got a little friendlier with a model than just taking pictures. But one never interfered with another.


Ballets Russes - 1909 thru 1929 -Photographs by E.O. Hoppé - Courtesy of E.O. Hoppé Estate Collection

Out of Season - Tooting Bec Lido - Photographs by Valentine Schmidt

"Shot during the autumn, the relationship between the lines on the floor of Tooting Bec Lido and the water's surface form the basis for this set. Leaves from surrounding trees decorate the surface in two of the images. The pool still opens all year around." - Valentine Schmidt


Gymnasium - Photographs by Luke Smalley from his book 'Gymnasium' - Courtesy of Clamp Art Gallery and Luke Smalley Partnership

Decorative Pages - Art for Portfolio Covers and Divider Pages - Photographs, Mixed Media, Collage and Words by Geof Kern

When I first showed my work as everyone else… in a variety of ways… tear sheets in laminate, transparencies on boards, carousel slideshows, but in 1987 I began to make portfolios in binder book form, and started numbering them with 1.

I had to make many portfolios, they were shipped all over the world, and for each book I made unique covers and 'divider pages' (announcing a particular series or body of work within the book).


Sign of the Times - 1961 thru 1966 - Photographs by Dennis Hopper - Courtesy of Hopper Art Trust

"I think of my photographs as found paintings because I don't crop them, I don't manipulate them or anything. So they're like found objects to me." - Dennis Hopper


Talking Heads - The Vent Haven Collection - Photographs by Matthew Rolston from his book 'Talking Heads'

"The Talking Heads series is an experiment in something very different… it's an experiment inn minimalism… one angle, one point of view, one background, one light source, one lens.. one camera." - Matthew Rolston


L'Oeil de Bamako - Photographs by Malick Sidibé - Courtesy of Tristan Hoare Gallery - Interview with Tristan Hoare

1814: Malick Sidibé began life in the small village of Solaba, Mali. It was thought that he would become a goat herder… how did Malick Sidibé transform himself into one of the most famous photographers in Africa?

TH: I'd say that's partly luck due to Malick's talent and his infectious personality.

Mali was a French colony when Malick was young and his talent was spotted by the administration. He was encouraged to enlist at the Institut National des Arts de Bamako and it was here that he met the French photographer Gérard Guillat-Guignard from who he learnt his craft. Soon afterwards Gérard moved back to France and Malick was able to buy some equipment and set up his own studio in 1958…"


Small Dreams - Trailer Parks in Palm Springs - Photographs by Jeffrey Milstein from his book 'Small Dreams'

"Small Dreams - 50 Palm Springs Trailer Homes is photographic project that documents the architecture and landscaping found in Palm Springs trailer parks like Sahara, Blue Sky, and Horizon. The series presents a typology of various homes that evolved in Palm Springs after WWII. Early trailers were made with surplus sheet metal using technology developed in the aircraft factories during the war. The original trailers were parked on small plots with the front end facing the street. Some were parked under shed roofs on posts to provide shade from the desert sun. Over the years people remodeled, adding rooms, sometimes putting two together to double the size, sometimes creating new facades obscuring the original trailers with grills or patterns, or in some cases mini variations of international styles usually found in more affluent neighborhoods…" - Jeffrey Milstein


Broken Tetter Totter - Photographs by Daniel Robinson - Words by Abraham Winter

"I'm starving, yet somehow, some way, I've got five things on my plate and an Apollo mission to turn an opportunity of shot glassed water into an ocean of Promised Placement here in Gotham. Within my last four years here in New York I will say I've been blessed with the promise of a few headaches and life-time awards worthy of heartbreaks just to claw my way out of a thirty foot well, enjoying every minute of it and picking up my slacks to do it all over again  tomorrow, a sliver of my fingernails still intact…" - Abraham Winter


Dusk - Carnival Culture - Photographs by Axel Hoedt from his book 'Dusk'

Feathers in a Palace - Photographs by Sophie Etchart

1814 MAGAZINE Issue no. 9

1814 MAGAZINE Issue no. 9 includes the work of Janette Beckman, Maxi Cohen, Donna DeMari, Claudine Doury, Lisa Guerriero, Melanie Pullen, Allison V. Smith, Vee Speers, Deborah Turbeville, Laura Wilson, and Kimiko Yoshida.

Cover: Stigmata, by Deborah Turbeville


Hutterites Of Montana - Photographs by Laura Wilson from her book 'Hutterites Of Montana' - Interview with Laura Wilson

1814: How did you come to choose Hutterites as a subject to photograph?

LW: Still vivid in my mind is my first glimpse of the Hutterites. I was working for Richard Avedon and we were driving in Montana at dusk. There was a lovely pink sunset. We saw in the distance across an open meadow of wheat, figures walking. The girls in long, colorful dresses, like Christian LaCroix, the boys in white shirts and black pants. We drove up next to them and realized they were teenagers out courting. They said they were Hutterites and told us we could stop by the colony. When we went and visited them I knew that there was more than just a picture of two, because when you are working as a photographer or a journalist you realize you can immediately see a story. There aren't many stories that haven't been told in photography… and in the West, as Larry McCurty said, "There's not a belt buckle or a spur that hasn't been photographed". But these Hutterites, I'd never seen a picture of them nor had I heard any mention of them; they don't allow photography, so when I finished my work with Avedon, I went back to Montana alone to spend time in various colonies.


Ladies Rooms Around The World - "A safe haven for intimate conversation about issues that are often taboo at home or in the mainstream." - Photographs and Words by Maxi Cohen

"No matter how hard I try to explain to the publicists handling the 1999 Golden Globe Awards that it was in their best interest to let me film in the ladies room, I did not succeed. A friend had insisted that the "Globes" was the quintessential Hollywood event and that people were a lot looser here than at the Academy Awards. But the more I tried to talk my way in, the further I got from the door. As it happened, when Christine Lahti's award was announced she was nowhere to be found to accept it. She was in the ladies room…" - Maxi Cohen


High Fashion Crime Scenes - Photographs by Melanie Pullen - Interview with Melanie Pullen

1814: Can you tell us about the process for selecting the crime scenes you chose to recreate in High Fashion Crime Scenes?

MP: I worked for several years with the NYPD, LAPD and the Los Angeles County Coroners Office to find crime scene photos between 1912 and 1950. I went through thousands of these crime scene photos, generally anonymous scenes and narrowed it down to about 100 photos to recreate and reenact. From there I went to fashion houses and pulled clothes that I thought would tell a story. At that time I kind of treated each shoot like a movie enlisting the help of up to 100 people to per shoot. We would light each scene with traditional hot lights that were used in film. I worked with stunt teams from CSI to help me with hanging the models, and with shark divers for the underwater scenes. Also to accurately color the skin and create proper death wounds I worked with a makeup team that was wonderful. In the end I had to work with commercial factories to print my images on photo paper at such a large size… the largest of the images are some of the largest in the world on Kodak paper. The idea is that you look at the images and they feel very cinematic.


Hall Pass - Photographs by Allison V. Smith

Bordello - "Beauty where beauty can be terribly absent." - Photographs by Vee Spears from her book 'Bordello' - Words by Karl Lagerfeld

"The twilight of Vee Spears' great photos of beautiful women causes the viewer to merge with the surroundings of the image and enter a kind of dream-like vision of an often sordid reality. Shapes loose definition and imagination overweighs perception. Real life is left behind… the boundaries between subject and photographer become more and more indistinct. She knows beauty where beauty can be terribly absent." - Karl Lagerfeld


Inside Urban America - Photographs by Lisa Guerriero

"While roaming across the United States, I discovered these little gems nestled throughout the country. 

From a neighborhood barbershop in Cincinnati clutching onto its avocado green upholstery and wood panelling, to a Chinese American restaurant in Longview still adorned with in velvet flocked wallpaper.

Each a sliver of Urban America perfectly frozen in time." - Lisa Guerriero 


Women - Photographs by Deborah Turbeville - Interview with Etheleen Statey, Staley-Wise Gallery

1814: Deborah Turbeville studied ballet and acting in her youth and seemed to be headed toward a career in the theater. How did she emerge as a photographer?

ES: One of Deborah's first jobs was as a fit model for an influential designer named Claire McCardell. Deborah was tall and statuesque and very striking… and while she was working for McCardell she was introduced to Diana Vreeland who eventually helped her get a job as an editor at Harper's Bazaar. Later she became an editor at Mademoiselle and I believe Deborah was inspired by the photographers she worked with particularly Richard Avedon who had seen her work and took an interest…


Pencil Trees - A Body Of Emotion - Photographs by Donna DeMari

"I don't consider this a specific body of work but rather a body of emotion… My deep love of my dogs and the world we traveled through together living in the Berkshire Mountains. Every single day I hiked for hours with my beloved Labrador Retrievers, Luke and Forrest.

Deep and far into the woods we would journey through all seasons. Where coyotes call to each other and the camera became an extension of the extraordinary beauty my eyes beheld.

Every day was different and distinct. Every photo a daily documentation of the mystery of nature…" - Donna DeMari


Marry Me - Bachelor Brides and Intangible Brides - Photographs and Words by Kimiko Yoshida

Unraveling The Dread Of Childhood, The Wrong Way Around

I fled Japan because I was dead. I took refuge in France to escape the mourning. One day, when I was three. my mother threw me out of the house. I left clutching a box filled with my treasures. I went to a public park. The police found me there the next day. Since then, I've always felt nomadic, errant, fleeing. When I got to France I had to learn a language like a child who'd just been born.

With a new sense of things I acquired by switching cultures, and with the freedom offered by the French language and by the structures of French thought, I'm currently involved in taking photographs of 'Bachelor Brides', in which is unravelled... but the wrong way around… the dread of the terrified little girl discovering the ancestral bondage of arranged marriages and the humiliating fate of Japanese women. How can anyone forget that secret guarded by my mother, which I discovered when I was eight, and which made me so horrified? I suddenly discovered that my parents were married, a marriage which had been arranged by their respective families.

Today in a sequence of probably exorcistic figures, I embody a bride who is paradoxical, intangible and unwed, with identities which are simultaneously dramatic, fictional, paradoxical, and contradictory. In surpassing my experience as a fashion creator in Tokyo, I am creating all kinds of almost monochrome self-portraits so as to present the virtual wedding of the unwed bride, by turns widow, astronaut, Chinese, magna, Egyptian, and so on. - Kimiko Yoshida


Revolution - Punk, Hip Hop, and Street Culture - Photographs and Words by Janette Beckman

"I took this photo of Big Daddy Kane for the cover of my first book 'Rap, Portraits and Lyrics of a Generation of Black Rockers' co-authored by Bill Adler who described him as 'one of the most striking-looking black achievers since Grace Jones'. Kane was on an anti drug speaking tour of black high schools with Ice T. Kane said, 'I try to tell the kids about the importance of education and the power of words'." - Janette Beckman


Artek - A Summer In The Crimea - Photographs by Claudine Doury - Words By Christian Cajolle

It is a fiction which has lasted three quarters of a century, grand and derisory, sublime and nightmarish, and which invents, beyond the history, its own time, its own rules, its rights and its dreams. A perfect place, thus so it expresses the intensity of adolescent feelings of the young boys and girls to which Artek is devolved… - Christian Cajolle


1814 MAGAZINE Issue no. 8

1814 MAGAZINE Issue no. 8 includes the work of Giasco Bertoli, Brian M. Cassidy, Stewart Cohen, Marcel Gautherot, Jean-Paul Goude, Oliver Hartung, Axel Hoedt, Henry Horenstein, Yves Marchand & Romain Meffre, Angus McBean, Snowdon, Aaron Stern, and Paulina Otylie Surys.

Cover: Grace Jones by Jean-Paul Goude


Three Faces - Kristen McMenamy and Hussein Chalayan - Photographs by Axel Hoedt

Innocent Bystanders - Quick Notes on the Road to Here - Photographs by Stewart Cohen from his book 'Innocent Bystanders'

Surrealized - Fabricating Reality - Photographs by Angus McBean - Words by Snowdon

'What's the definition of genius? Do look it up. I'm sure it applies to Angus.

He's an amazingly sensitive and kind man, who wanted to make people look their best, look beautiful. That is something which has now, sadly, been changing and for which I am partly responsible. But he is kind and that shows through his lens; he is incapable of taking an ugly picture. Any idiot can put a mugshot down on celluloid. Only Angus and a few other people, like Irving Penn, can do it with such dignity…' - Snowdon


Tennis Courts - Grass, Clay, and Concrete - Photographs by Giasco Bertoli

Honky Tonk - Three Chords and the Truth - Photographs and Words by Henry Horenstein from his book 'Honky Tonk'

 'A lot of people assume that country music is a Southern thing. It isn't. It's everywhere. It always has been - even in New Bedford, Massachusetts, where I grew up, about sixty miles south of Boston. By the time I was eight years old, I was spending time at New Bedford's only music store, the Melody Shop…' - Henry Horenstein


Industry - Forgotten Relics of an Enterprising Age - Photographs by Yves Marchand & Romain Meffre

So Goude - Muse, Spectacle, and the French Correction - Photographs, Collage and Illustration by Jean-Paul Goude - Interview with Jean-Paul Goude by Séverine Harzo

1814: Can you discuss the role of 'muse' in your work?

JPG: I have always liked to work with girls. When I was a teenager, I was systematically attracted by girls who had style, the ones who fixed themselves up better than the others, and I'd go as far as advising them on what they should wear or not. Much later when I arrived in New York, I went on doing the same thing, this time with Toukie Smith, with whom I lived and whose close cropped Masai inspired hair style represented to me the the only alternative to those elaborate pompadour hair styles that were so popular with women of color in the late 60's. All this to say that Toukie was the perfect incarnation of African American femininity. Same thing with the shape of black women's bodies, whose long legs and generous backsides I chose to celebrate by exaggerating them. In 1973 I made a reduced version from a cast of Toukie that I judged not dramatic enough. Cutting up the twelve inch statue into pieces, I elongated its legs, arms, neck, and considerably exaggerated its posterior: but my Toukie doll was a flop. Toukie hated it.

Grace Jones, on the other hand, was very receptive to my ideas. I think thats what she liked about me…


Constructing A Capitol - Oscar Neimeyer's Brasilia - Photographs by Marcel Gautherot

For The Love Of God's Country - The Inertia of the American dream - Photographs by Brian M. Cassidy

'Made throughout the United States over a period of several years, these pictures are an attempt to articulate a contemporary American mood. This mood contains solitude, loss and a particular kind of luminous absurdity that can only belong to a nation that still sees itself in an exalted place. The private emotional realities of individuals within shared celebratory spaces are what have interested me most in making this work. While guided largely by intuition, I see in retrospect that I have tried time and time again to locate that which is uneasy and to make visible the inertia of an American dream. - Brian M Cassidy www.1814mag.com

Welcome To Syria Al-Assad - Photographs by Oliver Hartung from his book 'Syria Al-Assad'

Investiture - Snowdon's Scrapbook: Initial Communication and Preparatory Designs for the Investiture of the Prince of Wales, 1967 - From the book 'Snowdon: A Life In View', by Snowdon

Lethe or lethe - (n) a river in the Greek underworld that made souls forget the sufferings of life; oblivion or something to make you enter oblivion and forget - Photographs by Paulina Otylie Surys - Fashion by Robert Marc

Lethe or lethe

(n) a river in the Greek underworld that made souls forget the sufferings of life; oblivion or something to make you enter oblivion and forget


I Woke Up In My Clothes - Photographs by Aaron Stern from his book 'I Woke Up In My Clothes' - Words by David Wagoner

Following A Stream

Don't do it, the guidebook says
if you're lost. Then it goes on
to talk about something else,
taking the easiest way out,
which is of course what water does
as a matter of course always
taking whatever turn
the earth has told it to
while and since it was born,
including flowing over
the edge of a waterfall
or simply disappearing
underground for a long dark time
before it appears
                                                                                                        as a spring so far away
                                                                                                        from where you thought you were
                                                                                                        and where you think you are
                                                                                                        it may never occur
                                                                                                        to you to imagine where
                                                                                                        that could be as you go downhill.

                                                                                                        - David Wagoner www.1814mag.com

1814 MAGAZINE Issue no. 7

1814 MAGAZINE Issue no. 7 includes the work of Tom Bianchi, Erwin Blumenfeld, Nathalie Daoust, Pascal Fellonnneau, Ger Ger, Fred Herzog, James Loveday, Allison V. Smith, and Bruce Talamon. Also included in Issue no. 7 are works by Helmut Newton, Rupert Smith, and Larry Bell from the Collection of Joan Quinn, and photographs made from recently discovered glass plates circa 1870's Iranian Kurdistan from the Newsha Tavakolian Collection.


Qajar - Sanandaj, Iranian Kurdistan, 1870's - Recently discovered glass plates by various photographers - Courtesy of Newsha Tavakolian Collection - Interview with Newsha Tavakolian

1814: What can you tell us about the period in Iran during which these photographs were made?

NT: These photographs were taken during the Qajar era in Iran which is around 110 - 130 years ago. It was during this period that the camera was first introduced to Iran by a Russian Ambassador who gave one as a gift to the King, Nasser al-Din Shah. It was only the very rich who were privileged enough to own a camera.

1814: What can you tell us about the photographers?

NT: Some of these photographs were taken by Ismael Kahn, my cousin's grandfather. He was probably around 16 years old at the time and had fallen in love with photography after meeting a famous Russian photographer named Antoine Sevruguin. Kahn's father had hired this photographer to come to work for them…


The Brilliance Of Blumenfeld - Photographs by Erwin Blumenfeld - Interview with Nadia Blumenfeld-Charbit

1814: Cecil Beaton was an early champion of Blumenfeld's photography and helped him secure his first contract with French Vogue in 1937. What can you tell us about this relationship?

NBC: Cecil Beaton, who was already a successful Vogue photographer at the time, happened to notice portraits of the daughters of Marie-Laure de Noailles that Blumenfeld had made, and asked to see his other works. Impressed by Blumenfeld's talent, he introduced him to Michel de Brunhoff, Editor In Chief at Vogue Paris, who gave him his first commissions. In his correspondence, Beaton finds Blumenfeld far to gifted artistically for fashion photography and atrociously ugly! They remained lifelong friends…


Impersonating Mao - Iconography and Illusion - Photographs by Nathalie Daoust

When Daoust first met her subject in 2008, posing as Mao in Tiananmen Square as an act of personal homage, she was intrigued by his construction of an alternate identity from the iconography of the country's troubled past. In 2010 and 2012 she returned to Bejing and photographed the impersonator extensively, both in a domestic setting and at sites of historic relationship to Mao's legacy, echoed in the internal negotiations of the impersonator as he transformed into Mao…


The Holloway Road - Photographs by James Loveday

"Having lived in a wide variety of neighbourhoods in both London and New York I never thought I'd be shocked by a place here on my doorstep, 10 minutes away from the hospital I was born in in north London. 

But Holloway - and Holloway Road, the main road which defines it - is a very unusual place. It is bordered by very well to do areas on nearly all sides yet retains a very working class and a very English atmosphere which is a rarity for London. 

There is more to it than that though. The story goes that there was a mental hospital which closed down in Holloway in the 1970s and most of the patients ended up being released into this community. It would go a long way to explain the density of eccentric, strange and fantastic people you see here all day, every day. 

I've been living here for two years now and all these pictures have been shot over that time. This place lends itself so well to street photography because you see so many people who have clearly got their own peculiar take on life. From the Titanic themed cafe to Holloway's dated focal point - the Nag's Head Shopping Centre - to the huge echoing pub in the old cinema which sells cheap pints from 8am - the businesses here can be pretty bizarre too. 

Holloway Road is about two miles long bookended by the Whittington hospital and 'Suicide Bridge' to the north and by Highbury Corner, an enormous roundabout to the south. 

It hasn't kept pace with most of it's London neighbours, but is all the better for it." - James Loveday


Candidates - Candidates in the French Presidential Election 2012 - Photographs by Pascal Fellonneau

From March to June 2012, I was regularly wandering the streets of Paris seeking posters of French presidential elections. This series is a selection of my work on this subject. - Pascal Fellonneau


Joan Of Art - Joan Quinn Captured - Works by Various Artists - Words by Laura Whitcomb - Courtesy of the Joan & Jack Quinn Collection

"Joan Quinn has been called a contemporary Gertrude Stein, an analogy made upon the crossroads of the legacy being captured and the legend of merging disparate creative worlds through friendships as early as the 1950's. Joan Agajanian Quinn and her husband Jack, befriended Billy Al Bengston who would see the paint applications of of car and motorcycle cultures a new dialectic of the application of art. The Quinns were surrounded by artists engaged in the new materials of the aerospace era in sculpture and painting. Many of these artists would go on to exhibit at the Ferus Gallery, shifting paradigms of what quantified art through the Light & Space movement and the Assemblage movement that harnessed an endemic poetry of the Los Angeles landscape into configurations of the industrial sublime…" - Laura Whitcomb 


R & B - Documenting the frenzy and beauty of music… - Photographs by Bruce Talamon from his forthcoming book - Words by Bruce Talamon

"Isaac Hayes during the filming of the movie Wattstax at the Los Angeles Coliseum in 1972. This photograph holds a special significance for me because it was the first R & B photograph I ever shot. No credentials… No photo pass… By the end of the concert I had worked my way onto the stage, three feet away from Isaac. It never entered my mind that someone would remove me because I did not have the proper credentials. At that moment I knew that this was what I wanted to do for the rest of my life. I was home." - Bruce Talamon


Ballroom to Boiler Room - Sifting through the layers of the Statler Hilton, Dallas - Photographs by Allison V. Smith

Main Street - Photographs by Fred Herzog - Interview with Fred Herzog by Allison V. Smith - Courtesy of Equinox Gallery, Vancouver

AVS: I love your photographs for many reasons. I love the light, the signs, the fonts in the signs, the postures and people you documented. The photograph called black man pender is super complex. My eye first looks at the man, his daughter and dog and then to the Chinese letters on the wall, and then the light on the Chinese antiques in the window. It's like three photos in one. It's like a painting, a masterpiece. What can you tell us about that moment?

FH: …Pender Street is the main artery of so-called Chinatown in Vancouver. It is one of the largest Chinatown's in North America and comprises about 15 city blocks. In my opinion, Vancouver's Chinatown was its biggest attraction and an endless source of photographic possibilities. This has not changed. While most of the city has been modernized, this area has generally been left alone.

I believe this man was an employee of one of the two railroad companies. He was fastidiously dressed; if I dressed up like that, I wouldn't look half as good. Whether the man was black or white was not one of my considerations. I simply knew that this could be a good photograph. 

I have a letter from one of the man's daughters: "This was my dad and my sister. Both are deceased." 


In Waiting - Backstage, Fall / Winter 2014 ~ 2015 - Photographs by Ger Ger