1814 MAGAZINE Issue no. 14 Cover: "Dressed for Ball. 1988" by William Wegman. Issue no. 14 includes the work of Markus Brunetti, Nathalie Daoust, Mark Graham, Greg Gorman, Thom Jackson, Michael Joseph, Servet Koçyigit, Barbara Mensch, Andy Sweet, Paul Yule, and William Wegman.

1814 MAGAZINE Issue no. 14 Cover: "Luigi Vitali. Los Angeles. 2007" by Greg Gorman. Issue no. 14 includes the work of Markus Brunetti, Nathalie Daoust, Mark Graham, Greg Gorman, Thom Jackson, Michael Joseph, Servet Koçyigit, Barbara Mensch, Andy Sweet, Paul Yule, and William Wegman.

1814 MAGAZINE Issue no. 12

Cover: Annie Lennox, London, 1983 by Peter Ashworth

Heliogabalus - Christian Lacroix, Paris, 1995 - 2000 - Photographs and Words by Alain-Charles Beau

"I first met Christian Lacroix 'virtually' when making films about his perfume. At the time I found myself surrounded with documentary material… press articles, family photographs, etc. … some of which were troublingly beautiful." - Alain-Charles Beau

Noki - Trangressive Riot & Masked Solitiude - Photographs and Words by Axel Hoedt from the book "Noki", a collaboration with artist J.J. Hudson aka Noki

"My series "Noki" is the result of an over 10 year long collaboration with J.J. Hudson aka Noki - confronting us with a transgressive riot of color and form cloaked in a sea of masked solitude…" - Axel Hoedt

Bastard Countryside - The Struggle Between Humanity & Nature - Photographs and Words by Robin Friend from the book "Bastard Countryside"

"Bastard Countryside explores the British countryside as a series of metaphors. Each photograph represents a small part of the story of how our modern living is changing the planet. Central to this story is the struggle between humanity and nature, two constraining forces fighting for control. Although the series has been made in the UK, the subjects and themes are global and invite the viewer to reflect on the actions that have shaped and shifted the spaces they interact with. And with this reflection, I hope they encourage the viewer to consider an alternative set of actions that can restrain this shape and shift…" - Robin Friend

Mavericks - Rebels, Dissenters, & Nonconformists - Photographs and Words by Peter Ashworth

Legion of Honour - "Honneur et Patrie" - Photographs by Ralph Gibson - Interview with Ralph Gibson

1814: France, the French, French culture, French cities, and the French countryside have remained a constant theme in your work throughout your career as a photographer. What is it that captivates you about France and what keeps calling to you?

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

"Moved by the human story unfolding in the encirclement of desert and mountains, and by the wish to identify my photography in some creative way with the tragic momentum of the times, I came to Manzanar with my cameras in the Fall of 1943. For many years I have photographed the Sierra Nevada, striving to reveal by the clear statement of the lens those qualities of the natural scene which claim the emotion and spiritual response of the people. In these years of strain and sorrow, the grandeur, beauty, and quietness of the mountains are more important to us than ever before. I have tried to record the influence of the tremendous landscape if Inyo on the life and spirit of thousands of people living in force of circumstance in the Relocation Center of Manzanar." - Ansel Adams

London Lights - Chalk Farm, Pall Mall, Shaftesbury, Marlyebone, Clerkenwell, & Gloucester Place - Photographs by Fredrik Brodén

Paddy & Liam - Photographs by Perry Ogden from the Book "Paddy & Liam" - Words by Paddy Doran & Liam Doran

"We used to live in a caravan. It was better than living in a house 'cos you got to go out hunting with dogs and everything. We used to catch rabbits. And you get to make a fire in the middle of a field. We have a toilet now instead of going out in the bushes but we're not allowed to keep horses in our back garden. A woman my dad met before, Marina, she gave us a pony. When we got her she was wild then we started walking her around and started training her and everything. Her name is Gypsy Girl." - Paddy & Liam

In Search of the Monkey Girl - Carnival Culture & Sideshow Performers - Photographs by Randal Levenson - Courtesy of Randal Levenson and Joseph Bellows Gallery

In 1971 photographer Randal Levenson began a decade long odyssey, crisscrossing the United States, photographing carnival culture and sideshow performers. From Freyburg, Maine to Flaxton, North Dakota to Columbia, Ohio, Levenson moved from fair to fair, faithfully documenting the people and places he encountered...

Auf Wiedersehen - A Letter to Karl Lagerfeld from Cathleen Naundorf - Photographs by Cathleen Naundorf from the book Women of a Singular Beauty

"Dear Karl,

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

Cowboys- Man, Woman, Horse - Photographs and Words by Laurie Simmons

"Parenthetically, I have to say, I don't really like dolls, nor have I ever liked them." - Laurie Simmons

1814 MAGAZINE Issue no. 11

1814 MAGAZINE Issue no. 11 includes the work of Ellen Carey, Jim Dow, Leon Gimpel, Yanina Goldstein, Christopher Herwig, Graciela Iturbide, Jeremy Kost, Stanley Marcus, Will McBride, James Moore, Melanie Pullen, and Lloyd Ziff.

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

"Soda POP!

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

This selection of images focuses on the early work of photographer James Moore from 1963 through 1970. The series includes inspired collage work that is strikingly modern and photographs reminiscent of European court portraits of the Renaissance.

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New York Los Angeles - Photographs by Lloyd Ziff from his book "New York Los Angeles"

Lloyd Ziff offers a look thru his archive of photographs of New York and Los Angeles taken over a period of 40 years. Ziff's photographs seem to bend perception and at times obscure reality.

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To Paris with Love - Words and Works by Ellen Carey

" To Paris with Love is a site specific installation of 130 Polaroid negatives representing the total number of deaths in the recent Paris attacks, as well as the 12 killed in the Charlie Hebdo massacre, plus 4 Jewish hostages that were murdered during the siege at a Hyper Cacher supermarket in s suburb of Paris. The large scale, grey negative is evocative of a headstone, while Polaroid's matte patina echoes the lichen of the stone's physical surface. The empty rectangle stands for the absence of the individual. In photography, a traditional portrait includes the person's head and shoulder, a visual presence. Here it is absent.

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

"What the eye sees is a synthesis of who you are and all you've learned. This is what I would call the language of photography." - 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 2002 I decided to ride my bike from London to St. Petersburg, with the challenge of taking a good photo every hour. The subject didn't matter as long as it was interesting. Those 3,000 kilometers across Latvia, Lithuania, Estonia, and Russia forced me to notice details: graffiti, smokestacks, gardens, clothes on clotheslines, people waiting for the local bus. Those long roads were the start of my obsession.

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

In the summer of 1915, as World War I raged into its second year, celebrated photojournalist Leon Gimpel was commissioned by the weekly French newspaper L'Illustration to create rare color photographs of intriguing people around Paris. While searching for just the right subject Gimpel discovered a group of small children from the rue Grenéta who regularly played 'war' and reenacted the battles that were in the news of the day…

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The Evolution of Antony - Interview with Antony Cherrie, Photographs by Yanina Goldstein

1814: Well its been a few years since we interviewed you for Issue no. 3 and so much has changed in your life and career. Can you bring us up to date?

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"

"A Junior Vasquez live recording  from Twilo goes on. A stack of Polaroids is sifted through. The memories rush back from both the music and the images. Inspiration strikes. With a relatively quick gesture, a Polaroid is painted.

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

"Salem Suite" is perhaps the most important body of work by photographer Will McBride. This series was originally commissioned by the German magazine Twen in 1963. McBride's images taken at the elite boarding school, Salem Castle School, in Beden-Württemberg document various aspects of student life including meals, lessons, athletics and communal showers.

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Merchant Prince in Mexico - Photographs by Stanley Marcus, Words by Jerrie Marcus Smith

"I always knew my father loved photography. When he built his house, in 1937, he included a small darkroom adjacent to his library to develop his black and white photographs. It was a fascinating little room, dark, with funny smells, odd-shaped pots and pans on the shelf, and a clothesline hung high above. On the door he mounted an old life-size paper-maiché Mexican mask of a skull with a movable jaw - just ugly and frightening enough to keep small children far away.

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

My first photographic road trip was in 1965 and I have continued to make them ever since. Back in the day I had a van, stopping to cook and sleep in campgrounds. Now it generally involves an airplane flight, a rental car, places with good beer, and chain motels with a gym.

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

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

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

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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

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

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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).

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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

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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

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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…"

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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

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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

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

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Feathers in a Palace - Photographs by Sophie Etchart

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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

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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.

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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

"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

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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.

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Hall Pass - Photographs by Allison V. Smith

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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

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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 

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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…

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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

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

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