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Culture & Communication


Presented with Andrea Smith Public Relations

Daylight, the pioneering art book publisher that has revitalized the relationship between art, photography, and the world at large, is pleased to announce its fall 2015 book season comprised of seven books featuring the work of some of the most innovative and exciting photographers working in the field today.

Daylight will unveil its fall 2015 book season with a party and book signing with the artists at Photoville, located in New York’s Brooklyn Bridge Park, on September 19. Following is a preview of Daylight’s fall 2015 line-up:

Essays by Ken Hewitt and Karen Irvine
Poem by Dallas Clayton, Letters by Jesse and Clover Burke

Wild + Precious brings together a series of road trips that photographer Jesse Burke took with his daughter Clover to explore the natural world. When they set out, Burke had no predetermined destination or goal. While on the road all aspects of the trip become fair game—the routes they drove along, the landscapes they explored, the roadside motels where they stayed, and all of the creatures they encountered. To encourage a connection between his child and nature, Burke used these experiences to provide her with an education that he considers essential—one that includes appreciation, respect and conservation. Together father and daughter studied the trees, the land, the sky, and the animals. This book is as much about love and parenting as it is a hands-on training manual of new age environmentalism, the perfect combination of nurture and nature. Wild + Precious explores the fragile complicated relationship that humans share with nature, as well as a father’s love for his child. Jesse Burke writes, “I want [my daughter] to truly understand how wild and precious nature is and how we, as humans, are an integral part of the system. »

Download complete press release here

Essay by David Breslin

Rockabye examines the condition of Queens, New York, post-Hurricane Sandy. Lili Holzer-Glier reveals damaged landscape, debris still scattered, the lingering emotional and financial toll on hurricane victims, as well as the resiliency of this community that continues to rebuild itself. Two years after Hurricane Sandy ripped through New York City, many coastal neighborhoods remain ravaged by the storm. In the Rockaways, located in the borough of Queens, abandoned houses are still plastered with plywood, some tilting at crazy angles as they are left to rot. Sinkholes line city blocks and some streets have caved into the ocean. Low-lying blocks are still flooding dramatically. On an optimistic note, Rockabye also documents the progress that has been made, showing houses that have been rebuilt, businesses that have reopened, and long stretches of the Rockaway Beach boardwalk that have been reconstructed stronger than before. Massive man-made sand dunes now encircle the Rockaways, protecting the peninsula from the storms of the future. 

Introduction by Mark Jacobs
Essay by Larry R. Collins

Barmaid presents images by photographer John Arsenault of the Eagle LA where he worked as a barback, or « barmaid, » as Arsenault liked to refer to the position. The site of the leather bar Eagle LA in Los Angeles has been home to three highly legendary leather bars over the decades—the Shed, the Outcast and the Gauntlett II. The Eagle LA, which opened in 2005, follows a long-standing tradition of leather fetish and uniform, set forth by leather Eagle bars around the country. The series consists of portraits of customer and employees, interior landscapes and self-portraits. These evocative images that include painterly still lifes, punctuate the vision of Arsenault’s experience as a barmaid. A tinge of melancholy and sadness is suffused with beauty and sensuality reflecting an insider ‘s emotional and nuanced view of the iconic bar.

Introduction by Brian W. Forsgren
Essays by John A. Tyson, James Lowen and Susan Wegner


Ornithological Photographs by Todd Forsgren depicts birds that have been caught in mist nets as part of scientific surveys and ornithological research. During this moment, the birds inhabit a fascinating conceptual space between our framework of ‘the bird in the hand and the bird in the bush.’ The captured creatures are embarrassed, fearful, angry, and vulnerable. Forsgren photographs these birds just before the ornithologist removes them from the nets to be weighed and measured—before the bird becomes ‘known’ by these concise numbers. Capturing the bird’s vibrant bodies wrestling in the dynamics of fight or flight, Forsgren carefully treads between the deadpan and delicate, offering us a challenging update to the genre of ornithological art that provokes questions about the ethics of ecological preservation, research methodology, and our relationship to the natural world. For more information, go here.

Essay by Amy Galpin, Interview: Jess T. Dugan and Dawoud Bey


For nearly a decade, Jess T. Dugan has explored issues of gender, sexuality, and identity through intimate portraits of herself and others. Working within the framework of the queer community, and from her actively constructed sense of masculinity, Dugan’s photographs examine the intersection between private and individual identity, and the search for intimate connection with others. She photographs people in their homes, often in their bedrooms, combining formal portraits, images of couples, self-portraits, and photographs of her own romantic relationship to investigate broader themes of identity and connection while also speaking to individual experience. The photographs of men and masculine individuals act as a kind of mirror; they depict the type of gentle masculinity Dugan is attracted to, yet also the kind she wants to embody. Similarly, the photographs of relationships speak to a drive to be seen, understood, and desired through the eyes of another person; a reflection of the self as the ultimate intimate connection. Through her beautifully vulnerable and honest portraits, Every breath we drew engages larger questions about how identity is formed, desire is expressed, and close connections are sought.



Sylvania by photographer Anna Beeke’s is a composite “forest-land” of photographs that explores the intersection of nature, imagination, and myth in the American woodlands. Across cultures and centuries, the forest has occupied a unique place in our collective imagination. The oppositions they represent—good and evil, chaos and peace, beauty and terror—are as fundamental to the forest’s liminal landscape as they are to the human experience. Through images of both real and depicted nature, Sylvania examines the differing characteristics of the woods that in fairytales are places of adventures and quests and at times scary. Documenting locations from Washington to Vermont to Louisiana, while also seeking the Forest Universal rooted in them all, Beeke explores the physical presence of the forest in the contemporary world as well as its metaphoric presence.

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