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.

Catcher In The Eye - An ongoing performance from 1995 to 1998 - Photographs by Jacob Fugslang Mikkelsen

The Catcher in the Eye was essentially an ongoing performance from 1995 to 1998. The inspiration for the performance character I worked with came from Holden Caulfield in the all time American classic Catcher in the Rye by JD Salinger. The act of shooting phonies, that Holden feels is a righteous one, is in this performance done with a camera and a flash instead of a gun as he suggests. It was also this suggestion that mark David Chapman took literally and with a handgun shot and killed John Lennon. At the time when most of these photos were taken, I was more or less living at the Gershwin Hotel, with my girlfriend Lynne Packwood who was  from Liverpool and in the in-house interior designer for the former halfway house. In the mid-nineties, there was an Andy Warhol revival with the exhibitions of his influence on Popular Culture along with several films about and related to him. The Gershwin Hotel was the center of most of the Warhol related events in New York City and, Billy Name was the Artist in Residence, Richard Bernstein had his huge pop art portraits of Picasso in almost every room , there was a real Campbell Soup Can  with Warhol's signature in a plexi glass box by the elevators, and Andy was at one of the many parties held in the hotel(contacted by a Gypsy psychic lady with a crystal ball. The only way for me to feel that I could take an active part in what was going on around me was to become part of my surroundings, taking shield behind my camera and with the flash exposing the truth, to interact and communicate while catching eyes in the dark....  Jacob Fugslang Mikkelsen