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Chris Maggio

Untitled (from Midtown Lunch), 2017

on reverse: another photograph from Midtown Lunch

Chris Maggio is a photographer living in New York City with 8.5 million of his closest friends. He’d really like to take your picture. His series Midtown Lunch documents the one measly hour of freedom enjoyed by the working stiffs of Manhattan’s central business district.

This body of work was also featured by VICE. The "weird beauty of routine in the Midtown lunch hustle" is an apt description for this window into New York ceaseless activity. View the feature HERE

To learn more about Chris Maggio's work, check out his website HERE.

Joe Bressler

Birds, Brooklyn, 2017

on reverse: Untitled, New York City, 2016

Joe Bressler is a photographer and Filmaker based in New York City. He has produced work for Vice, Hypebeast, Adidas, Converse, New Balance, Versace, Ugg, Target, Conde Nast, Brixton and more.
To view more of Joe Bressler's work, check out his website HERE

Aubrey Trinnaman 

Bo Lily, 2017

on reverse: an interview with Aubrey Trinnaman by Lindley Warren

Aubrey Trinnaman was born and raised in Alpine, Utah, and lives in Bolinas, California. Her interviewer, Lindley Warren is a photographer currently residing in Iowa City, IA where she is pursuing her BFA in Photography at the University of Iowa. She is the founder and editor of various publications including The Ones We Love and The Photographic Dictionary. Warren has curated international exhibitions and self-published books and magazines. She is presently working on a newsprint called The Reservoir with Jack Harries (The Heavy Collective) which will be released late Summer 2018. Here's an extract from their interview:

LW The more time I have spent with Bo Lily the more I have noticed ways in which this image is dualistic and deceptive. An example of this is that the calla lily, which is in fact not a lily at all, is traditionally associated with purity. However, I can’t help but see this flower as being erotic with its central erect stigma amplified by the camouflaged spider crawling along its edge. This impression is also informed by the photographs you sent me alongside this one that, to me, have a very distinct sexual tension.

AT I see what you mean. Although I was not intending to convey it directly, I see that the flower, as well as the spider, is sexual. When I really take the time to listen, I feel that our sexuality is everything, yet we often complicate that. The “sexual tension” you mention is, to me, the feeling of being a living-anything. This is my experience anyway. To be alive is a precarious walk on the edge of something vital, unpredictable, and sublime in its dangers and rewards. It’s a dance we have no control over, but we try gracefully at. I see the stigma. And I see the orifice. I see a spider finding a white flower to exist safely in, and scaling the edge of. It just so happens to be an uncanny and gorgeous reveal of camouflage to someone who is not interested in eating the spider.

Olivia Locher

How To See The Sun (II), 2017

on reverse: a studio visit interview with Olivia Locher by Romke Hoogwaerts

Olivia Locher was born in 1990 in Johnstown, Pennsylvania. She has resided in Manhattan, NYC since 2009. Locher is known for her sarcastic approach to studio photography with a heavy focus on color and concept. Her photographs are grounded in dreamlands and consciousness, while Olivia herself is generally dreaming. She breathes carefully and dances very rarely. She is represented by Steven Kasher Gallery in NYC.

When we asked her about her poster, here's what she said:

OL I shot that in 2012 and I was in astronomy class. The professor at SVA was talking about a way that you could look at the sun without burning out your retinas. You hold binoculars and shine the sun through and it projects on the paper. You could see the sun spots and, yeah. So I went home and found our old binoculars and I’m like, let’s run out to the yard and see if we could see it.

RFP That’s cool. I like that a lot.

OL Yeah. What you do is, you tape up the one end of the binoculars so it only shines through one lens. But that’s one of the funny things I took from that class. How To was my thesis project and then I abandoned it and now I’m coming back to it. It’s fun to come back to it with fresh eyes.