This Week In Photography Books – Jonathan Hollingsworth

by Jonathan Blaustein

Here in the United States, we are a nation of immigrants. And yet, we have always demonized them. Does that make us self-hating Americans? Simply ridiculous. Do you know anyone who traces his lineage back to the Mayflower? I don’t.

Of course, those blasted Pilgrims were immigrants themselves. As were the brave, thoroughly crazy men and women who trekked across the Bering Strait land bridge 15,000 years ago. Can you imagine? How hard must life have been in pre-historic Siberia, (or Mongolia,) that it seemed prudent to walk across the frozen ice, into the great unknown? (And then to walk all the way to Argentina? I know people here who drive to the next door neighbor’s house.)

As you probably know by now, I live in the mountains of Northern New Mexico. In my town, the Taos Pueblo claims to be the oldest continually inhabited settlement in the United States. The Spanish conquistadors, who arrived to cut off feet and f-ck shit up, came sometime around 1600. The invading hordes of white hippies and bohemians dropped in (or out) much later, in the 1970’s.

Ironically, all three groups of people have some delicious irony in common. (If I may be so bold as to stereotype.) Each wishes things would go back to the way they used to be. Before new people came to change things for the worse. The Spanish descendants, even today, decry the growth and change, but never seem to mention how their ancestors just took whatever the hell they wanted, at musket-point.

When you stack it up like that, it’s hard not to think hypocrisy hardwired into the human condition. (I do, at least.) A nation of immigrants that has never stopped persecuting itself. How strange.

In 2012, the derogated population du jour is the invading hordes of Mexican and Central Americans who face unthinkable danger when they walk across a forbidding and death-filled desert. Their purpose? To take the fruit-picking, hedge-trimming, and dish-washing jobs deemed too low-paying and thankless for America’s resident citizens.

I still remember the time I met a few Mexican immigrants at a party in Durham, NC in 1995. The idea of Mexicans moving to such a random spot made me laugh out loud. Now, of course, immigrants from points South have gravitated to almost every part of the United States, and have become a political wedge of immense proportions. (I say almost every part, because who would be surprised to find white dishwashers in Utah?)

How and when we deal with our internal conflict is beyond my capacity to speculate. But if we focus on the arduous journey, it certainly helps to contextualize the situation. Some people are actually willing, on a daily basis, to walk across a 130 degree patch of hell, for days, just to make a better life for themselves and their families. Noble, yet tragic, because someone dies almost every other day. (At least.)

They succumb to the elements. Their bones are left to slowly desiccate, in silence. No tombstone. No funeral. No way home.

Is this news to you? Probably not. But when was the last time you saw visual evidence that made your stomach tighten and your tear ducts fire up? (I know, that doesn’t sound fun. But who said art was always fun?)

Jonathan Hollingsworth recently put out a book, “Left Behind: Life and Death Along the U.S. Border,” published by Dewi Lewis, that does just that. It is among the more poignant and thoughtful objects I’ve seen in some time. If every American citizen had a copy, you can bet Mitt Romney would pretend he could speak Spanish. (Hola. Me llamo Mitt. Me gusta los niños, y caminando a la playa con mi esposa.) Demonizing such people should be a crime.

The book, though, lays out its case in a very straightforward and intelligent manner. The opening, short essay was written by the chief medical examiner of Pima County Arizona, in Tucson, where so many bones turn up at the end of the line. Credibility established.

There are three major sections to the project. The first set of photographs documents the sterile, fluorescent-lit confines of the autopsy locale. Sinks, tables, files, skulls, and a spine for good measure. It’s sad, of course, but also speaks to the power of our democracy. While tax rates are on everyone’s mind, it’s good to be reminded of the civil servants who toil in obscurity, day after day, to try to find the answers in these lonely deaths.

Then, we have a slightly-too-long section of images of the contents found on the possession of each corpse or skeleton. ID cards, cell numbers in Brooklyn, coyote contact info, girlfriend photos, belt buckles. Wow. The exact opposite of a dignified stone in a tony cemetery.

Finally, we have the establishment shots. Some landscape images, of course, but also a series of pictures made in a pick-up zone. Left behind shoes, water bottles, clothing. Were they to have come first, their impact would have been muted. At the end of the book, they tug the heart strings rather well.

The book closes with a very-well-written, but not-too-long piece by the artist. Once again, he does what he can to humanize a situation that normally just fumes as a set of statistics. Nicely done, Mr. Hollingsworth. Nicely done.

Bottom line: A sad, poignant, & important book

To purchase “Left Behind: Life and Death Along the U.S. Border” visit Photo-Eye

Full Disclosure: Books are provided by Photo-Eye in exchange for links back for purchase.

Books are found in the bookstore and submissions are not accepted.

 

This could spell the end of many galleries small and large

Many ridicule Chelsea galleries as flesh-eating pariahs. I think they’re part of our life blood; the collective organism that in many ways makes New York one of the most thriving centers for art on earth. These ridiculed and reviled galleries are places you can go for free, run by strange people with visions who want to help artists by showing and selling their work. It’s become an international pastime to attack these galleries simply for being what they are: large and commercial. I love them. All. More than ever.

via Saltz’s Devastating Visit to Chelsea Galleries — Vulture.

The Daily Edit – Friday
11.2.12

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Harper’s Bazaar

Creative Director: Stephen Gan
Design Director: Elizabeth Hummer
Photography + Bookings Director: Stephanie Hughes
Associate Art Director: Gary Ponzo
Senior Photo + Bookings Editor: Barbara Tomassi

Photographer: Jeffrey Westbrook/Studio D

Note: Content for The Daily Edit is found on the newsstands. Submissions are not accepted

The Daily Edit – Thursday
11.1.12

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Dwell

Creative Director: Alejandro Chavetta
Photo Director: Anna Goldwater Alexander
Assistant Photo Editor: Julia Sabot
Senior Designer: Holly Gressley
Designer: Cortney Cassidy

Photographer: Joe Pugliese

Note: Content for The Daily Edit is found on the newsstands. Submissions are not accepted

The San Francisco Fall Season: A Series

by Jonathan Blaustein

I used to have a friend named Adam. He’s kind of a dick, so we no longer speak. Such a shame. Despite, or perhaps because of his cranky narcissism, he had a huge impact upon the course of my life.

We met when I was 20, and were roommates in Albuquerque for a year. I followed him to UNM, where I studied photography, and to Pratt, where I got my MFA. (No, I’m not a stalker. Yes, I know what you’re thinking.)

Adam’s last great contribution to my education came during a visit to Brooklyn, back in 2000. Along with some friends, we were smoking cigarettes outside a historic pizza joint in Dumbo, and the guys were busting my balls. (That all-time NYC über-skill.) Jessie and I were living in San Francisco at the time, and very happy.

“San Francisco?” Adam yelled. “San Francisco’s not a city. New York is a city. It’s like living in Rome at the height of the Empire. San Francisco? It’s not a city, JB. It’s a country club. A f-cking country club.”

“Screw you, dude,” I drawled. (Proud of my Now-West-Coast-Style chillness.) “It is too a city. I live there. I should know.”

“No. You’re wrong,” he said. “It’s a country club. You’ll see.”

Prophetic words. Jessie and I moved to Brooklyn soon after. New York bitch-slapped us upside the head so swiftly, ferociously, and consistently that I wince even now. They were, fortunately, the most helpful, life-affirming, educational bitch-slaps I’ve received before or since. (Belatedly, I thank you, New York. It’s easy to see why you inspire genius on a daily basis.)

San Francisco, while clearly a city, elicits derogatory daggers from NYC-based writers all the time. Seriously, could they use the word “earnest” more often, while describing the famous San Francisco niceness? (Or chillness. Groundedness. Down-to-Earthness. Take your pick.)

What’s the secret? San Franciscans know they’re living in the prettiest city in the world. Yes, Amsterdam, Rome, London, Paris; are all exquisite. (And no, I haven’t been to Istanbul.) But SF has the architecture to match; thousands and thousands of Victorian and Edwardian gems.

No, the difference is the Nature. The peninsula boasts miles of extraordinary beaches along the Pacific Ocean, with rocky cliffs that overlook the Golden Gate Bridge. There are the views of Alcatraz in the middle of the bay, with sailboats glinting, and the golden/green landscape of Marin County and Oakland looming behind the shining Bay Bridge. (Gold in summer, green in winter.) Plus, the absurdist giant hills, crawling with cable cars, and the Eucalyptus-laden mini-mountains in the city’s heart. It might as well be a fantasy camp for Outward-bound junkies.

Always somewhere on the boom and bust continuum, boom-times are back in 2012. Twitter, LinkedIn, Salesforce.com, all have major presences downtown now. Oracle was hosting a 50,000 person geek-fest-convention while I was there too. (Why didn’t Larry Ellison just rent the city, like he bought that Hawaiian Island?)

The Mission still has a Latino population, and Chinatown and the Outer neighborhoods contain a sizable Chinese contingent, but I was shocked at how white and wealthy the downtown section of the city had become. Safe and clean are attributes that draw a certain demographic.

The Bay Area also has access to a bottomless vat of cash-money that practically rivals the Chinese government for liquidity. (Apple and Google are just up the road.) The lifestyle is the big draw. Living in such a beautiful place, where it never snows, is good for your brain chemistry. As is the obvious access to healthy, locally-grown produce, the amazing restaurants and cafes, wine country across the red bridge, and all those nice, chilled out, progressive people as your neighbors.

Open-mindedness blossoms. So much tolerance is addictive. And many folks stay forever, given rent controls, another side-affect of progressive politics. Not surprisingly, co-operative spirit prevails in a place like this.

When I got to town in early October, I found an excited, successful, productive, collaborative, energized photography community. (Whether people were based in the City, or elsewhere around the Bay.) Everyone I spoke to seemed to be connected to one another and supportive of each other’s success. Artists, gallerists, curators, and publishers were working together in different combinations and permutations. (At Gallery Carte Blanche, in the Mission, there was even a mashup exhibition of books from the Indie Photobook Library and framed prints shown together.)

My local contacts, whom I’d met at Review Santa Fe, were so generous with their time. Pointing me in the direction of places to see photos. Sharing the principles that have engendered their success. Inspiring me to break my karaoke cherry. (Yes, I serenaded someone, by request, with Springsteen’s “Thunder Road.” Does video evidence exist? I don’t know. Would I be ashamed? I suppose we’ll find out.)

The photographers I spoke with, Kevin, Pacarrik, McNair and Sarah were all involved in different critiquing groups. Each was also shooting multiple personal projects at once. They were affiliated with similar publishers, (Owl and Tiger, Daylight) and either worked, printed or hung around Rayko, the gallery/everything space just up the street from SFMOMA, under a highway overpass. When I visited Rayko, Lydia Panas’ “The Mark of Abel” was on view, looking gorgeous, and Kevin’s show, “Los Restos de la Revolucion,” was due to open the following week.

Ann Jastrab, the gallery director, gave me the guided tour. Rayko offers full, wraparound services for every possible photographer’s need. (No, I’m not exaggerating.) I saw a shooting studio with lights, gang and private black & white darkrooms, a color processor and darkroom facility, plus a full digital setup with computers, a rental Imacon, a drum scanner, and large format printers.

In addition, they have the aforementioned gallery, a full slate of classes, a glass case selling used cameras, a working vintage 1940’s photo booth, and an artist residency program too. Amazing. It’s like Rayko decided that the 21st Century Hustle was here to stay, and built a business model to satisfy its cravings.

Believe it or not, I told Rob that this San Francisco Series would be more condensed than normal. Not the Introduction, apparently. Henceforth, I’ll do a few specific exhibition reviews, as I saw so many stellar shows. (And one klunker I might just write about.)

Before I go, though, I’d like to deliver a message to my San Francisco peeps, meant with love. It is so gratifying to see your scene thriving. Especially as it’s obviously built upon mutual respect and communal positivity. Kudos.

It can be a challenge, when you’re all connected, to always share your truest thoughts in a critique. When people need to stay on good terms, in order to succeed, there can be a disincentive to probe and offend, which is often necessary to reach that next level of creative excellence. So stay vigilant while you stay classy, San Francisco. It’s a small concern, relative to all the things you seem to have figured out at the moment.

Why digital magazines are thriving

While business models, pricing strategies and monetisation continue to work themselves out, it remains clear that consumers are happy to pay for content on tablets and digital magazines are no exception.

via MediaTel: Newsline.

The Daily Edit – Wednesday
10.31.12

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Bon Appetit

Creative Director: Alex Grossman
Art Director: Elizabeth Spiridakis
Photo Editor: Susan Getzendanner
Photographer: Anders Overgaard

Note: Content for The Daily Edit is found on the newsstands. Submissions are not accepted

The Daily Edit – Tuesday
10.30.12

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Allure

Creative Director: Paul Cavaco
Design Director: Deanna Filippo
Photo Director: Nadine McCarthy
Associate Photo Editor: Holly Watson

Photographer: Greg Kadel

Note: Content for The Daily Edit is found on the newsstands. Submissions are not accepted

Capture Episode 4 – Bob Gruen and Kevin Bacon with Mark Seliger

Kevin Bacon and Bob Gruen talk music photography, shoot backs, cameras, John Lennon and more on Episode 4 of Capture.

A fresh and informative look at the art of photography and the stories behind the images. In each episode, renowned celebrity lensman Mark Seliger invites a fellow photographer and celebrity photography-buff into his NYC studio to share the story behind their images and discuss their common passion.

This Week In Photography Books – Daido Moriyama

by Jonathan Blaustein

Two months ago, I referred to Daido Moriyama as a woman. My mistake. Let this be my official apology. He is clearly a man, and I was remiss for stating otherwise. (Not that there’s anything wrong with that.)

How could such a thing happen? Well, I’m not omniscient. Despite the fact that his work is everywhere at the moment, (Tate Modern et al) I’d not seen much before I picked up that Okinawa book. And let’s not forget Dido, that New Age singer who was sampled in that classic Eminem song back in ’99. It must have stuck in my head as a woman’s name. (Like any parent knows, accidents happen.)

But I’d love to atone, and see an easy way to do so. I will now tell you of the existence of “Labyrinth,” Mr. Moriyama’s new book, recently published by Aperture. Yes, this week is more show than tell; not quite a straight review. (Even by my absurd standards.)

Why? Because this book consists of hundreds of black and white contact sheets. Only. Thousands of images. Not even an essay, thank the photo gods. Just an endless stream of photographs, presented with the hits next to the misses. As they were shot.

I’m providing a couple of extra photos, so you can feel confident about your prospective purchase. My two cents? Dynamic imagery, innovative concept. (I’m sure if anyone has ever done this before, you’ll tell me. It’s cool nonetheless.) And to you, Mr. Moriyama, you have my apologies. Keep up the good work.

Bottom line: Excellent book, countless photographs

To purchase “Labyrinth” visit Photo-Eye

Full Disclosure: Books are provided by Photo-Eye in exchange for links back for purchase.

Books are found in the bookstore and submissions are not accepted.

 

The Daily Edit – Friday
10.26.12

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Whole Living

Design Director: Matthew Axe
Art Director: Jamie Prokell
Associate Art Directors: Alexandra Drozda, Erin Wengrovius
Senior Associate Photo Editor: Erika Pruess

Photographer: Rodney Smith

Note: Content for The Daily Edit is found on the newsstands. Submissions are not accepted

Still Images in Great Advertising- Saverio Truglia

Still Images In Great Advertising, is a column where Suzanne Sease discovers great advertising images and then speaks with the photographers about it.

As I continue to showcase my favorite advertising winners in this year’s Communication Arts Photography annual, I wanted to showcase the ad by Saverio Truglia for Pan Am accessories campaign.  I was not aware of his work so while doing my research for this blog, it was nice to see his work and how he was chosen for this campaign and others.  I think that is one of the main reasons I am doing this column; I want to show photographers how important some award shows can be for your career.  It is up to you to make sure you do what you can to market it beyond just being in the annuals.



Suzanne:  When I go to your site, it is hard to figure out what is self assigned and what is assignment.  What do you use for inspiration when you are testing for your portfolio?

Saverio: You’re right. I showcase mostly either self-assigned work or redirections of client work. I don’t differentiate the two on my site. All my best images comes from the same passion so if client work is great, then I share it in the same place. My inspiration for shooting for myself is driven by my personal curiosity in the moment. There’s a lot in life that inspires me to check it out more closely. Making pictures for myself usually starts with seeing something in the physical world I want to investigate and repurpose. Like an out of place situation, the way light strikes a surface, or meeting somebody extraordinary. Making personal work is important to honing my instincts. Testing can also be a launching pad to experiment and try new approaches at pushing my comfort zone. I’ll always gravitate to shooting people and I find the camera to still be an incredible access point into people’s lives. When they know my curiosity is authentic and pure, I get invited into homes, businesses and bedrooms. It’s kind of uncanny how they participate and it always leaves me with a story to tell about the experience, not just the pictures. I usually write about it on my blog. When clients reference my personal work as inspiration for their own projects, it often leads to successful campaigns.

Suzanne:  The interesting thing about this winning image is that it is a combination of your period work but with a fashion flare.  Tell me about this campaign and how much you were a part of the concept to final process?

Saverio: I love working with period styling because of the rich back-story it gives. It conveys details about a character’s circumstance. Fashion isn’t something I’m known for but if the character needs to be dressed well to convey what’s happening to her, then fashion is my back-story and I’m totally into it.
There were no layouts so the creative director contacted me early to share his ideas and to get my spin. He races vintage motorcycles so was tossing around ideas of speed, Pan Am as emblem for the golden age of travel, and something about escape. I brought the idea that modern travel is full of inconvenience and that maybe we could play with the idea of getting f’d at the airport. We had access to vintage transportation like cars, motorcycles, a biplane, etc. It was kind of awesome. I fell in love with this blue Porsche laying about the airport hanger. Its shape was so satisfying to me. So I built a story around this girl who is trying frantically to catch her flight but gets stopped along the way. The afternoon sun was right and I added some light to pop all the surfaces. That month I was into shooting everything from above so I brought a ladder and looking down found all these delicious lines and triangles to play with. The concept that this girl parks her Porsche on the runway and won’t admit defeat made her into this spoiled, space age brat which was appealing to me.

Suzanne:  I was inspired to read your bio because I wanted to see where you grew up.  I was convinced either Europe or South America, so I was pleasantly surprised by the Northeast.  With that being said, where does this inter Euro vision come?  Being brought up on Italian food?

Saverio: My family came from Italy after WWII and settled in coastal New Hampshire where I grew up. My grandfather was a brick mason. He loved geometry. My father had a themed seafood restaurant called the Pirates Cove and Peg Leg Lounge. It was exactly as you imagine. My mother bred very elegant Morgan show horses. As a kid I was obsessed with the slickness of European bike racing and both parents encouraged me to study art early on. I suppose it all got mixed into the soup. My grandmother did most of the Italian cooking.

Suzanne:  While I see the sophistication of European work but with an Americana theme, how do you strike that balance?

Saverio: I’m an American. In fact I live in Chicago and love the bombastic history of this city. Like a lot of Americans I struggle with saying too much. I’m very conscious of it and always remind myself that more is not always more and restraint can speak volumes. So it’s true too when I’m working. My work probably looks American because of my environment and the people and places I can shoot. I gravitate towards the visual abundance of this country but I get pleasure from simplicity, economy and spaciousness. There’s wisdom in economy. I could describe my work as combining both a warm and cool aesthetic. So the sparse coolness may be the European traits you see, and the warm is my American tendency to show it all. It’s like having the devil and an angel sitting on my shoulders whispering in my ear.

Suzanne:  You seem to be able to keep your work with the subtleness that makes it more humorous.  What advice can you give to people who want to shoot humor but not pushing it too far?

Saverio: In photography, punch lines aren’t funny. That’s my advice. Personally I think tragedy can be funny. Not tragedy like everyone is going to die, but a poignant unfulfilled expectation. Farce can also be funny. You can call it black humor when the combination of farce and tragedy rub against each other. I happen to see all photographs as narratives so I naturally make work with an arc and timing to them. Richard Pryor had great timing. I guess I’ve developed a self-awareness or just gut instinct that has me choose where on the narrative arc my picture should exist and just how much information to offer the viewer. It’s important that they get what I ask but to discover it on their own. I call it a gestalt. It’s a great word to look up. My stories present its parts like in a circle, but some large pieces of the circle are never drawn. We automatically fill the gap with our minds to come to the conclusion. It’s actually super interactive because nobody completes the circle in the exactly same way but everyone arrives at a similar conclusion.

Note: Content for Still Images In Great Advertising is found. Submissions are not accepted.

Born on the Atlantic northeast and raised on Italian cooking, Saverio makes Chicago his home with his wife. A competitive cyclist, theater lover, an inspired cook and an equipped home improver; new experiences and challenges motivate his problem solving creativity. His images reflect life’s contrasting moments and represent a world swirling with joy and tension, black humor and light, all organized with thoughtful styling and a singular point of view. Saverio is best known for beautiful concept driven images, off-beat portraits and narrative work that is relatable and universal.  Saverio is commissioned for advertising campaigns and editorial productions worldwide.

APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s, after founding the art buying department at The Martin Agency then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies. She has a new Twitter fed with helpful marketing information.  Follow her @SuzanneSease.

 

The Daily Edit – Thursday
10.25.12

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Rolling Stone

Design Director: Joseph Hutchinson
Creative Director: Jodi Peckman
Art Department: Steven Charny (Sr. Art Dir.), Matthew Cooley (Deputy Art Dir.), Elizabeth Oh ( Assoc. Art Dir )
Photo Department: Deborah Dragon (Deputy Photo Ed.), Sacha Lecca ( Sr. Photo Ed.), Sonja Gill (Assoc. Photo Ed.)

Photographer: Peter Yang

Note: Content for The Daily Edit is found on the newsstands. Submissions are not accepted

Agencies Who No Longer Accept Printed Promos

A reader sent me the following question:

I wrote to you a while back regarding some agencies who no longer accept printed promotions from photographers. I just came across another agency who has started that policy. It’s really silly when you consider an ad agency not accepting advertising.

I reached out to Anne Maureen McKeating a Toronto-based freelance Project Manager, Art Producer and Consultant, because she worked at an agency that started such a policy. Here’s her answer:

In the spirit of “going green”, a well-meaning senior creative team at my former agency decided that we would no longer be accepting photographers’ promos. It would be a-ok if a promo came directly to me, (the art producer), but any photographer who sent multiple copies addressed to others, would be asked to come to the agency and pick them up.

So what was this new policy really about? In my opinion, it was less about “going green” and more about managing the daily onslaught of sameness. Our mailboxes were crammed full with mailers depicting frosty mixed drinks, smashed cosmetics on plexi and fit, relatable moms made even more aspirational with a sun flare. The promos were showcasing the already familiar and as a result, most ended up in the recycling bin. It was disheartening to see photographers waste their money and resources on a strategy that just wasn’t appreciated.

Agencies are complicit in the creation of the uninspired offerings that set the tone for mailer expectations. However, Art Directors don’t need a rehash of past campaigns – they need to be inspired for the next. As a result, they are turning to social spaces like Instagram, Compfight and tumblr in a hopeful pursuit of the new. Perhaps social media is the new promo?

Some printed promos do manage to achieve the illusive breakthrough. But they do so because they are targeted toward a specific audience and crafted with intelligence. Recently, Toronto-based photographer Derek Shapton sent a promo to a select group of contacts. He had shot four portraits of people sneezing and had them printed onto a box of tissue. The promo was deceptively simple conceptually: sneezing = tissue. But it was the promo’s self-referential commentary that stuck. He was remarking on the “throwaway nature of mailers and the ephemerality of promotions”. Shapton understood that his audience would appreciate his take on the promo conundrum while ensuring that he remained memorable.

I had initially found it ironic that an advertising agency was attempting to regulate the advertising of its potential suppliers. But when I really thought about it, some truths became clear. I was defending the rights of photographers to advertise, while filling the recycling bin with their efforts. I had never awarded a job based on a promo. And even if I liked a promo, it was rarely displayed because I didn’t have room.

Advertising strategies in the current market are branded, social and integrated. It’s vital that photographers also embrace this approach. While the printed promo may still occupy a place in an overall campaign, on its own, it’s passive, old technology.

My hiring practices are influenced by repeated exposure over varied platforms. I become aware of a photographer’s work if they are showing on the gallery circuit, shooting editorials, garnering blog mentions and posting regularly on social media. These multiple exposures have direct impact on my decision-making. The net-net is that yes, integrated marketing takes time, effort and patience. But it is an active strategy that will entice Art Directors and Producers to meaningfully interact with your work on an on-going basis – thereby keeping you top of mind.

Anne Maureen McKeating is a Toronto-based freelance Project Manager, Art Producer and Consultant. Her work is informed by her experience as Senior Art Producer at TAXI North America and as Photo Producer at Instil Productions. Anne Maureen is Board President for Gallery 44 Centre for Contemporary Photography and also sits on the Exhibitions, Strategy and Branding Committees. Her integrated marketing efforts are a “work in progress.”

The Daily Edit – Wednesday
10.24.12

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W

Creative Director: Alex Gonzales
Design Director: Anton Ioukhnovets
Art Director: Anna C. Davidson-Evans
Photography Director: Caroline Wolff
Photo Editor: Jacqeline Bates

Photographer: Steven Klein

Note: Content for The Daily Edit is found on the newsstands. Submissions are not accepted