Tag Archives: New York

TIME Picks the Top Photographic Magazine Covers of 2012

The best photographs don’t always make the best covers. It takes a smart concept, a meticulously executed image, smoothly integrated typography and the combination of all those factors to create an immediate and lasting impact. Our top ten photographic covers of 2012 show exquisite use of photography.

The most notable is New York Magazine’s magnificent cover by photographer Iwan Baan of a half blacked-out Manhattan during Hurricane Sandy. It’s instantly iconic and will become one of the greatest covers of all time. In the mix is also W‘s stunning fashion cover image of Marion Cotillard, ESPN‘s high-concept “Fantasy Football” cover, depicting an NFL player in a magical forest with a unicorn, and a photojournalistic cover, the Economist’s powerful image documenting the personal toll of the conflict in Gaza.

We also decided to include two covers in the mix that were striking photo-based illustrations. An aged Obama on the cover of Bloomberg Businessweek as well as a thoughtful commission by the New York Times Magazine for the visual artist Idris Kahn to reinterpret an iconic landmark on their London-themed cover.

A great cover is always a collaborative effort. To caption each of our selected covers, we spoke to a mix of editors, photo directors, art directors and photographers who took part during different stages of the creative process. In our selection, we refrained from choosing any TIME covers, though if we were to choose one, it would be Martin Schoeller’s arresting image of a mother breast-feeding her 4-year-old son, “Are You Mom Enough?”

Kira Pollack, Director of Photography

Refugee Hotel: Strangers in a Strange Land

Bewildered, exhausted, displaced and lost in their own thoughts, the subjects in Gabriele Stabile’s photographs have traveled far and suffered greatly. Newly arrived refugees in the United States, they spend their first night in America in the temporary shelter of an airport hotel. Many of them endure torturous delays in their native lands—often waiting years in makeshift camps before finally gaining entry to America and an opportunity to build a new life. Once on American soil, these refugees from war, famine, religious persecution and every other imaginable human-made and natural calamity will spend a single night — 10 to 12 hours — at the hotel before they continue their journey, settling in far-flung destinations across the 50 states. Ukrainians to California, Africans to Fargo — the decisions made by the resettlement agencies are often based on existing communities that can offer support and aid in the acclimation of the new arrivals.

The Italian-born Stabile, now based in New York, covered five airports of entry for his project — Newark, JFK, Miami, Chicago’s O’Hare and Los Angeles International — and concentrated on documenting the immediate experiences of the new arrivals to a new world.

“I found myself focused on the gateway from their past,” Stabile says. “I used to say they live between uncertainties. One is their past, which they had to abandon, and the other is their future, because they don’t know what is going on, what will happen in America, or what it is going to be like.”

“It’s a suspended reality,” Stabile explains, “where you have to suspend your belief, too. You see an African family of ten people spending all night in the hallways of the hotel and refusing to get into their own rooms to sleep because they’re afraid that the officials are going to forget them — forget about them and leave them there.”

Stabile finds the situations close to “unphotographable.” Arriving in the dead of night, bathed in darkness, the refugees arrive at hotels with generic, fireproof furniture and ugly, flowery wallpaper — a surreal environment for a traumatized traveler to face.

These conditions aid, rather than disrupt, Stabile’s appropriately dark, atmospheric aesthetic. His layered compositions (and reflections) often convey the refugees’ disorientation. In other photographs, isolated refugees seem to emerge from the shadows of their unfamiliar surroundings, physically and mentally displaced and lost in their own thoughts. The mix of emotions and sense of shock are almost palpable.

Stabile and his subjects, meanwhile, appear to have understood one another through his camera. “I was hiding a bit behind it and they were kind enough not to [hide from it]. Some of the people didn’t want to be photographed but mostly they were open.”

He connected with the refugees not only through the lens but through simple acts of kindness, like lending his cell phone so they could call their loved ones and friends back home to let them know they had safely arrived.

As the refugees continued their journeys to their resettlement communities, Stabile maintained contact, becoming friends with some and receiving random calls from others.

“There’s a family in Mobile, Alabama. Every year, on the anniversary of their arrival, they call me,” Stabile says, “because I was the first western guy to show interest in their story and lent them my phone. They remembered that as an act of kindness. The guy wants me to talk to his seven daughters and wife and we don’t even speak the same language!”

A letter from a young refugee named Samira, meanwhile, struck Stabile deeply enough to alter the course, and expand the scope, of his entire project. After meeting her upon her arrival in Newark, he had photographed Samira and her family in Minneapolis — a location he visited that was not a port of entry, but rather a destination for refugees. After he had largely lost touch with the family, Samira wrote Stabile a letter that he characterizes as “very tough, accusing me of disappearing from their lives after [initially] showing interest.”

Gabriele Stabile

Samira Ebisu takes a moment to herself on the day of her arrival in Minneapolis.

This recognition finally led Stabile to expand the refugee project to tackle the larger and, in many ways, far more emotionally fraught story of resettlement — how refugees affect the America is which they now live, and how America has affected (and continues to affect) them. This journey, his journey, is something that, Stabile says, all photographers eventually end up shooting: getting lost in America.

Stabile’s Refugee Hotel is the first photo book published by Voices of Witness. The book is structured into three distinct chapters — two photographic and one written. The first is an impressionistic documentation of the refugees’ first night in the hotel. The second chapter, written by co-author Juliette Linderman, is a series of first-hand accounts and oral histories. The testimonies are stark and full of yearning to rebuild lives beset by adversity and delayed by circumstance and bureaucracy. The third chapter focuses on their resettlement to the smaller communities of America.

The photographic bodies of work are separated by four years and aesthetically are two distinct entities. The first was mostly shot in color Kodachrome and the second with black and white film. The sections were shot during two different periods of Stabile’s own life, between 2007 and 2012 — the first as a young photographer recently arrived in the U.S. and the second as a permanent resident and father of two.

The project represents a serious amount of investigative journalism, with organizations like the International Rescue Committee (IRC) providing tremendous help in tracking down the refugees.

In the second half of the project, Stablile concentrated on the smaller towns the refugees were dispersed to — towns that weren’t as ethnically diverse as the larger metropolitan areas the refugees first arrived in. The second chapter accentuates the paradox of American culture and reinforces the surreal nature of their first nights here.

“The actuality is that there are African people living in Fargo, North Dakota — lost in the fog of an environment in which all you see after a while are roads and strip malls and little towns. These people are trying — scrambling — to make it work in that environment, which is totally and unbelievably different from what they’re ready to approach,” Stabile says.

Many of these resettlement programs are successful. There’s a road map to becoming an American, and it’s an intricate plot. But it does work, especially with young refugees, because they are able to adjust more easily.

Stabile notes: “We live in a very controlled environment in which you’re supposed to take steps to improve — get a better job, put together your retirement money, send your kids to college and have a nice car, for example. That’s what America is about. Not only do many of the refugees not share these values — some even find them offensive. Change is a big undertaking for people who are in their forties and fifties. So they hang onto their beliefs, their ways of doing things.”

Although some share in the ideal of the American dream, others Stabile visited in Mobile, Alabama, for example, were practicing polygamy in the accepted tradition of their culture — a tradition where it is not only recommended to have more than one wife, but where it’s permissible to buy and sell women.

But this is not always what it seems.

“One man waited all night until his wife returned from a trip from Dallas. He was crying because he was finally united with his wife after maybe three days. So they meet and hold each others’ hands and start praying to God that they were actually together again. And this is a guy who bought this woman from a farmer next door. You realize that these are structures we impose on ourselves — of the way our society works. What matters is what you feel, how you relate to your environment and to the people that surround you — but if you think about it, this is happening under the radar in Alabama. Are these guys actually Americans now? They’ve lived here five years.”

“Some of them have these two voices in them. For example, they want their customs to survive, you know, moving to America — they’re afraid they’re going to lose their identities by losing their ways. They are farmers who will never farm again, architects that will never design another building. They find themselves cleaning restrooms at the country club, doing maintenance jobs or working as car mechanics.”

“One thing that I think was common to all of these ethnicities, to all of these experiences, all of these stories, was that misery, once you experience it, never really goes away. You carry it with you.”


Gabriele Stabile is an Italian photographed based in New York. Refugee Hotel, published by Voice of Witness, is his first book.

Voice of Witness is a non-profit organization that uses oral history to illuminate contemporary human rights crises in the U.S. and around the world. Founded by author Dave Eggers and physician/human rights scholar Lola Vollen, Voice of Witness publishes a book series that depicts human rights injustices through the stories of the men and women who experience them.



TIME’s Best Photojournalism of 2012

If 2011 was a year of simple, powerful narratives of revolution and sweeping change 2012 was when things got a lot more complicated.

The aftermath of the Arab Springs upheavals saw uneasy transitions toward democracy. backlinks . The exhilaration of freedom dissolved in the face of new struggles and contests for power: in Tunisia, Egypt and elsewhere, the streets are once again filled with protesters angry over the advent of religious radicalism, the return of authoritarianism and the unemployment and tough economic conditions that remain. In Syria, peaceful demonstrations in 2011 morphed into a bitter, bloody civil war that has claimed over 40,000 lives and rages on. Hostilities between Israel and its adversaries in the occupied territories were once more renewed as the peace process collapsed and the road map to a two-state solution looked to have been crumpled up and tossed away. And in the U.S., a seemingly endless, costly election cycle served only to restore the status quo: the re-elected President Obama faces many of the same challenges and obstacles he did before Nov. 6.

Throughout 2012, TIMEs unparalleled photojournalists were there. linkwheel . We stood within the tumult of Tahrir Square and shared moments of quiet with the worlds most powerful President. We documented both the ravages of war on Syrias blasted cities and the devastation nature wrought on our own backyard in the Northeast. At a time when so much hangs in the balance, bearing witness can be the most essential act and thats what we do.

Ishaan Tharoor

Pictures of the Week: November 2 – November 9

article writing submission . linkwheel creation .

From President Obama’s reelection and Superstorm Sandy’s aftermath to a deadly earthquake in Guatemala and a train cemetery in Bolivia, TIME presents the best photographs of the week.

Pictures of the Week: October 26 – November 2

linkwheel . squido lense .

From the devastation brought by Hurricane Sandy and Eid al-Adha celebrations around the world to the final week of campaigning for the 2012 U.S. presidential election and a suspected smuggler’s jeep perched atop the U.S.-Mexico border fence, TIME presents the best images of the week.

Peter Liepke

It’s not a secret that I love all things New York City.  When Jay Z’s Empire State of Mind comes on the radio, it sends me right back to those years of feeling like everything was possible when I strode down Fifth Avenue.  And today’s post on Peter Liepke’s terrific work brings me back to that feeling of complete adoration for the Big Apple. Here’s hoping it weathers hurricane Sandy safely.

Peter Liepke creates New York images that feel like charcoal drawings, timeless in their appeal and magical in their effect.

Peter was born St. Louis Park, Minnesota.  In 1979 he moved from Minneapolis to Los Angeles to attend Art Center and later opened an advertising photography studio in Los Angeles. His client roster included Chiat/Day, Daily &Assoc, J Walter Thompson, American Honda, Sunkist, FTD. After the 1987 Los Angeles earthquake, Peter decided to move to New York City, and in 1988 reinvented himself as a fine art portraitist. Peter resides in upstate New York with his wife, and two sons. His articles and  photographs have been published in PHOTOGRAPHIS, GRAPHIS Showcase, Photo District News, Town & Country, B&Wmagazine, The Photo Review, View Camera, Silvershots , The Book of Alternative Processes and numerous other publications.

 My series “ABOVE & BEYOND” is the most ambitious fine art project I’ve done to date since leaving the commercial photography world. The images shown here are only a small portion of the entire project. The series is still very much in production, and when completed will comprise at least 40 images or more.

The inspiration comes from a city that I love, where I met my wife, and where many artists from around the country still flock to today. 

Some of my collectors have said that perhaps it might be my own personal and visual love letter to New York City. I suppose maybe that’s partly true in a small way, but for me it’s much more than just that or showing “pretty pictures”. To me the series is much more about breaking away and chasing a dream. After growing up in suburban Minnesota…as an artist, like many before me, and many more who will continually arrive in NYC each day, we embrace the challenge of wanting to broaden our lives by moving into a bigger arena. So for this series I wanted to go back and try to remember my feelings or first impressions upon arriving in NYC as an outsider for the first time well over twenty years ago.

 It’s easy to be overwhelmed by the noise, and feel isolated or lonely despite being surrounded by a sea of humanity. It’s much more difficult to look beyond that which is what I chose to do then, and now. As I continue to seek out, explore, and experience my own sense of place, the reality becomes clear that each of us are small but very valuable individual pieces of a much larger jigsaw puzzle. 

My vision for illustrating the project is the challenge of looking beyond the gritty streets by depicting an urban atmosphere with beauty, utilizing a more intimate cinematic approach engaging the viewer, as opposed to the current more popular trend in contemporary photography of massive sized prints overly saturated with color. The series when completed, will total at least 40 images or more culminating in to a published book, 3 different editions of small handmade platinum palladium collector portfolios, a special photogravure edition, and large limited edition of framed prints all sold and distributed through my galleries.

Matt Licari

On October 26th, The Kiernan Gallery will host an evening for photographer, Matt Licari in his studio in Richmond, Virginia. Earlier this year, Matt unfortunately lost nearly all of his photography equipment in a robbery, so The Kiernan Gallery Presents: Matt Licari will be part fundraiser, part salon, as Matt’s
studio transforms into an alternative gallery space to display his work. I am featuring one of his series, Ride, about the experience of day to day travel on the NYC subway system.
Matt  received his BFA in photography from the School of Art +
Design at SUNY Purchase in New York. Inspired by street photography,
his work explores urban, suburban, and rural subjects. The work –
primarily in large format – has been exhibited widely, including Sasha
Wolf Gallery, Kris Graves Projects, and The Neuberger Museum of Art.
Licari has worked for the Guggenheim Museum and the Richard Avedon
Foundation, and currently serves as the Programs Chair of ASMP. He currently lives, works and travels between Richmond, Virginia and New York City. 
Ride is a series of images I have made in the New York City subway system. I’m a native New Yorker and have ridden the train since I was young, so the images didn’t start as an attempt to create a series, they were simply made in transit as I rode from place to place. I’m particularly fond of the el (elevated) lines due to the unique cityscapes they offer and the flickering, dappled light that the interior of the car receives. I also love the crowded midtown trains, where you often find every type of person in the same space. 
And of course, the elements provide another dimension to the rail system, which rarely seems to shut down even in inclement weather. It is not a conceptual series in the least – it is rather visceral – it is a place where people cram into a small space for a short time, and for the most part, deal with it quite gracefully. And then there are the people who don’t act so gracefully or ordinarily, which becomes a spectacle and sometimes a fun diversion for the rest of the travelers. The images are, in essence, about the experience of riding the train and seeing the city and it’s people through in that context. All images were made between 2008 and 2012 and are Untitled (Ride), year created.


William Klein + Daido Moriyama: Double Feature

William Klein’s urgent, radical, gritty, blurred and out of focus photographs are as dynamic and visceral as any the medium has produced. His revolutionary magnus opus ‘Life is Good & Good For You in New York’ is an uncompromising, groundbreaking portrait of urban life, which at the time of its publication in 1956 not only shocked the established order, but reinvented the photographic document and is now widely regarded as one of photography’s greatest and most influential works.

Daido Moriyama is the most celebrated photographer to emerge from the Japanese ‘Provoke’ movement. His grainy high contrast black-and-white photographs, focused on the urban environment of post-war Tokyo’s Shinjuku district, echo those of Klein’s New York. Like Klein, Moriyama has consistently revisited, reinvented and reworked his photographs within a process of constant flux.

The Tate Modern’s latest exhibition ‘William Klein + Daido Moriyama‘ brings together the work of the two photographers as a double feature—side by side retrospectives of photographers whose work is inextricably linked but independently minded. 

Following Matisse, Picasso; Albers, Maholy-Nagy; Rodchenko and Popova, the show is the latest in a program of double headers at the Tate Modern that explore two artists and how their work relates to one another. 

Simon Baker, the Tate Modern’s Curator of  Photography and International Art, spoke with TIME about the exhibition—the first full show he has curated since joining Tate Modern.



“It’s a matter of historical record that Klein’s book on New York and then his book on Tokyo were massively influential in Japan, and so the idea of the show exploring both influence and affinity, things that [Klein and Moriyama] have in common beyond the idea of influence, is very important. We are not saying that William was the beginning of all of Moriyama’s ideas, Moriyama was really influenced by Andy Warhol. He was massively influenced by Jack Kerouac and the Beat writers. So he had this series of really interesting dissident American influences of which one of them was William Klein—and we thought this was a good starting point.

Both photographers were really involved in the show’s installations. There are certain places in the show where they had free reign to do what they wanted. William’s response was to make huge blow-ups of his pictures—which realize his constant striving for impact and to make his images as confusing and overwhelming as the cities that they are of.

William Klein

Dakar, school’s out, 1985. Painted contact 1998

Moriyama’s response was to make a huge work called Memory, which is a grid of 1.5 meter wide photographs taken from different points in his career. There are images in there from Provoke, from Farewell Photography, from Japan: a Photo Theater, but there are also things from last year or maybe two years ago. He’s similarly free with his past.

We’ve also tried on the wall to show quite large grids of work so you have the sense of looking at images on the page. We have 70 framed prints from New York—There’s a whole group of children playing like you get in the book. There’s a whole group of shots at night in ballrooms like you get in the book—and also unpublished images from the same series. You get this sense of multiplicity.

We did the same thing with Moriyama. An incredible series of prints of Japan: A Photo Theater—which was his first really important book—are actually cut, mounted as exactly the same pairs that are on the pages of the book. So you’re standing in front of 75 small prints, many of which are like the small pages of the book.

We are not suggesting that the framed works are better than the book, but just that they give you a way into the material in the book, whilst remembering that the book is the really important thing. We’ve tried to keep that balance throughout the show. They think of their work in terms of layouts and sequences and series so we’ve tried to make that a feature of the installation.

Daido Moriyama

Memory of Dog 2, 1982

The show also focuses on what it means to photograph a great city like New York or a great city like Tokyo. And it’s interesting that Klein and Moriyama both photographed each other’s cities. Klein was a New Yorker who photographed New York and then went to Tokyo. Daido initially photographed entirely in Tokyo and then went to New York and did great work there.

Restless is the way to describe Klein’s attitude to his own work. [With Life is Good & Good For You in New York] He knows that he made a great book. And when he talks about it, he talks about wanting to change everything and he talks about blowing things up too big, making everything too grainy. Making the contrast too high. And he talks about that as a very deliberate thing. That he was trying to make a different aesthetic for photography.

Many people regard Robert Frank’s The Americans as the pinnacle of photo book-making, but Frank’s Americans doesn’t have the kind of impact, especially globally as [Life is Good & Good For You in New York]. What Klein’s book did for the way people think about photography in Latin America, in Europe and in Japan is probably unparalleled. And in that sense its greatness is hard to argue with.

But what I also think is really important and what the exhibition really claims is we’re used to thinking of the post-war 60s and 70s in a particular way, often skewed toward America. And for a long time, black-and-white photography, but particularly Japanese black-and-white photography, just wasn’t known here and wasn’t that understood. Provoke was this amazing work being made by a genuine avant-garde with theorists and thinkers and poets and writers. It was a proper thinking, functioning, avant-garde that was happening in Japan. The importance of that is beginning to be understood.

I think in another 10 years or so Moriyama, Takanashi and Nakahira will be as well known and in that moment, as well understood, as Eggleston and Friedlander.

Klein explored photography. He did some of the best photo books ever and moved on [to make films]. He moves in a very restless way, which I think is very interesting. Moriyama has been more consistent. He’s stuck very closely with photography.

The great pleasure for us and the great opportunity for Tate was to work with both of them directly. They’re both really active. Daido is doing amazing work. William’s still making photographs. He’s still interested in working. And for us; in a photography way, it is like getting to work with Matisse and Picasso while they’re still around. They are these great figures and we’re very fortunate to be able to work with them both.”

Simon Baker is the Tate Modern’s Curator of Photography and International Art

The Exhibition William Klein + Daido Moriyama is showing at Tate Modern, London from Oct. 10, 2012 – Jan. 20, 2013

Klein and Moriyama films Directed by Martin Hampton/Produced by Tate Media © TATE 2012