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.
Bastard Countryside - The Struggle Between Humanity & Nature - Photographs and Words by Robin Friend from the book "Bastard Countryside"
Legion of Honour - "Honneur et Patrie" - Photographs by Ralph Gibson - Interview with Ralph Gibson
RG: France started as a fascination for me in the early 1990's based upon the incredible films of Jean-Luc Godard and his cinematographer Raoul Coutard. And the literature Margurite Duras and Alain Robbe-Grillet from the same period stimulated my mind and created an urge to somehow get to France…"
Manzanar - "Born Free & Equal" - The Story of Loyal Japanese-Americans - Photographs and Words by Ansel Adams
Paddy & Liam - Photographs by Perry Ogden from the Book "Paddy & Liam" - Words by Paddy Doran & Liam Doran
In Search of the Monkey Girl - Carnival Culture & Sideshow Performers - Photographs by Randal Levenson - Courtesy of Randal Levenson and Joseph Bellows Gallery
Auf Wiedersehen - A Letter to Karl Lagerfeld from Cathleen Naundorf - Photographs by Cathleen Naundorf from the book Women of a Singular Beauty
I met you the first time in 1997, when you invited me to you home on the Rue de l'Université in Paris. I remember that daty very well. It was a sunny April day. I was passing through the vast blue wooden door which opened to the courtyard of your beautiful 18th century Hotel Particular called Pozo di Borgo…" - Cathleen Naundorf
1814 MAGAZINE Issue no. 11
Issue no. 11 cover, "Givenchy Turns to Haute-Couture Beauty", Dénise Seranet, 1964, by James Moore
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Soda POP! - Photographs and Words by Melanie Pullen
In the shadows, of large-scale cinematic photographs that I've become most known for, I'm always shooting work that's much more personal, pieces that are like entries into my journal. My series "Soda POP!" may be my most personal and autobiographical body of work of them all.
Sopa POP! is my personal story about 1983 and a moment in my strange and unconventional childhood when I was plagued with insomnia. The series is also about games, curiosity, motherhood and how all these things have changed my perception of the world.
The story of Soda POP! begins, where I grew up, in NYC's, Greenwich Village, around the time that I was eight years old, in 1983. I was dealing with a lot: insomnia, a new sister, my mom's new husband from Guatemala who fed me tacos all day and didn't speak and English, my grandmother's new husband that was my mother's previous boyfriend (a lovely African man 20 years my grandmother's junior with a three foot Afro… not easy to explain when he picked me up from school), and my bi-polar cat…" - Melanie Pullen
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How to Raise an Eyebrow (1962 - 1970) - Photographs by James Moore, Courtesy of Deborah Bell Photographs and Nicolas Moore
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New York Los Angeles - Photographs by Lloyd Ziff from his book "New York Los Angeles"
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To Paris with Love - Words and Works by Ellen Carey
Pliny the Elder, in his Natural History (ca. 77-79 CE) relates the myth of art's origin in a fable about the daughter of Butudes, a Greek potter from Corinth. She drew the outlined profile of her lover's shadow as it was projected on the wall by a lamp, just before he left for battle, and which her father made into a relief sculpture. Thus, before the real shadow departs with its owner it offers the young woman an image from which to construct a representation of her beloved, which she fixes on the wall for all time…" - Ellen Carey
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What the Eye Sees - Photographs and Words by Graciela Iturbide
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Soviet Bus Stops - Photographs and Words by Christopher Herwig, From His Books "Soviet Bus Stops" Volumes 1 & 2
In 2003 I moved to Almaty, Kazakhstan, and for three years I explored the five former Soviet republics of Central Asia. The stereotypes were all there: concrete apartment blocks, generous vodka shots, and towering statues of Lenin. But so were the eccentricities that defied Soviet conventions. In Canada, where I come from, bus stops are all the same. But in the former Soviet republics, many were unique, imaginative, and sometimes a bit mad. Each new bus stop I encountered came with its own personality…" - Christopher Herwig
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The Army of the rue Grenéta - Les Enfants et la Geuerre - Photographs by Leon Gimpel, Courtesy of the Société Francaise de Photographie
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The Evolution of Antony - Interview with Antony Cherrie, Photographs by Yanina Goldstein
AC: Well first and foremost I can safely say I'm really good these days at packing a suitcase. I've been living a gypsy life since the last time we spoke, traveling and meeting all kinds of romantic oddballs.
There has been copious amounts of red wine and acting in film and theatre, writing songs,, and exploring dark places past and present to match even the best Legend of Zelda game.
When I was younger I read lots of autobiographies from Adam Ant to Nirvana and I always used to love the chapters 3 to 5 before they became what they thought they wanted to be. I guess I wanted to concentrate on my chapters 3 to 5 so I could have a good collection of new experiences for the next batch of songs…" - Antony Cherrie
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French Girls - Painted Polaroids by Jeremy Kost, From His Book "Paint Me Like One Of Your French Girls"
The images on these pages are all from my archives… 2009 - 2012, to be precise. Perhaps they were a secondary portrait from a collage, or a single Polaroid of the moment made for posterity.
The first of this series began by chance and through frustration. I had taken a painting on canvas a few steps too far effectively 'knifing' the piece, and in a childish fit, I slapped the painting with a Polaroid that had been sitting on my desk. The result was intriguing…" - Jeremy Kost
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Salem Suite - Photographs by Will McBride, Courtesy of ClampArt Gallery and Shawn McBride
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Merchant Prince in Mexico - Photographs by Stanley Marcus, Words by Jerrie Marcus Smith
Stanley Marcus was among the first in Dallas to have the latest cameras. Polaroids, Leicas, the Minox, the Hasselblad, and the Kodak Stereo Camera were but a few of his treasures, and he usually had one of them in his pocket ready to be used…" - Jerrie Marcus Smith
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Road Trip - Photographs and Words by Jim Dow
While the logistics may be different, the actual routine of taking pictures rarely varies: a walk or drive by something, a stop to look, perhaps a peep inside, then ask permission, get into a conversation, set up the old 8 x 10, explain what it is, more conversation, take the picture (sometimes five minutes, at others a couple of hours), then move on, maybe a few yards, but often a hundred miles or more…" - Jim Dow
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1814 MAGAZINE Issue no. 10
Issue no. 10 cover, Dovima With Opera Glasses, for Corday Perfume, 1961, by William Helburn
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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.
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Out of Season - Tooting Bec Lido - Photographs by Valentine Schmidt
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Decorative Pages - Art for Portfolio Covers and Divider Pages - Photographs, Mixed Media, Collage and Words by Geof Kern
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).
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Sign of the Times - 1961 thru 1966 - Photographs by Dennis Hopper - Courtesy of Hopper Art Trust
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Talking Heads - The Vent Haven Collection - Photographs by Matthew Rolston from his book 'Talking Heads'
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L'Oeil de Bamako - Photographs by Malick Sidibé - Courtesy of Tristan Hoare Gallery - Interview with Tristan Hoare
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…"
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Small Dreams - Trailer Parks in Palm Springs - Photographs by Jeffrey Milstein from his book 'Small Dreams'
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Broken Tetter Totter - Photographs by Daniel Robinson - Words by Abraham Winter
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1814 MAGAZINE Issue no. 9
Cover: Stigmata, by Deborah Turbeville
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Hutterites Of Montana - Photographs by Laura Wilson from her book 'Hutterites Of Montana' - Interview with Laura Wilson
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.
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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
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High Fashion Crime Scenes - Photographs by Melanie Pullen - Interview with Melanie Pullen
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.
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Bordello - "Beauty where beauty can be terribly absent." - Photographs by Vee Spears from her book 'Bordello' - Words by Karl Lagerfeld
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Inside Urban America - Photographs by Lisa Guerriero
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
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Women - Photographs by Deborah Turbeville - Interview with Etheleen Statey, Staley-Wise Gallery
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…
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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
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Marry Me - Bachelor Brides and Intangible Brides - Photographs and Words by Kimiko Yoshida
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
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