1
New York City, New York (US)
(1) Please introduce yourself: What is your name, where are you from, what do you do?
I’m Ira Wagner and I live in Montclair, New Jersey about 12 miles west of New York. I worked in banking for many years but decided to stop in 2008 to pursue other interests, including photography. I couldn’t have imagined then that this would lead to me returning to school, and receiving my MFA degree in 2013. Following graduation, I began teaching photography at Monmouth University in New Jersey and I have been working on a number of projects, focused on the urban landscape and the built environment.
(2) What is your relationship with photography and how did you get into it?
Probably like many people, my relationship began when I was young. I delivered the newspaper, saved my 10 and 25 cent tips and bought a camera—a Minolta SRT 100. (It’s quite a workhorse—I still have it and have lent it to students when teaching black and white darkroom at Monmouth). Photography for me is partnered with a life-long interest in maps, travel, urban history, exploring new places and wandering around cities. I must admit, it never occurred to me to pursue photography professionally during my college days, but I think these interests overlapped even then—I studied urban history and planning in college. After leaving banking in 2008, I began to take courses at ICP in New York. Many of these courses had a strong impact on me, particularly on subject matter and developing an approach to photographing. Courses focused on the urban landscape opened up my eyes to a whole different world of landscape photography. I began shooting in and around New Jersey’s meadowlands (places I passed through while commuting to my job in NY) and the neighborhood I grew up in—Yonkers, NY. For some of my first work, I kept shooting in «golden hour,» until one of the ICP teachers said to stop doing that and to shoot in the bleakest, greyest light in the middle of the day. At ICP, I was also exposed to the use of the view camera. Finally, one of my teachers there suggested looking into an MFA, which led to where I am today.
(3) What do you think triggers you to photograph in a certain moment? Is it planned or solely driven by intuition?
Things start with intuition in trying to find the places and scenes that I am interested in and think will make a strong photograph. Then, there is an element of planning as I move into something that I am going to photograph more extensively. The planning includes time of day, type of light, weather and destination. Once in a place at the right time and with the right light, there is again intuition. I’ll generally walk extensively and come to subjects that are what I am looking for. There is always a sense of surprise and discovery in my wanderings, which is part of the pleasure I take in photographing. Also, while driving to my destination, I’ll be alert to places that look ripe for a return visit on a future day.
(4) What is the story you want your pictures to tell?
There are several themes that run through my work; in some projects one of the themes may be stronger than others. Generally, they involve how people choose to live and work. Additionally, I look for layering of history—thinking about the time the places I am photographing were built as well as what has happened since. What were the original designers and builders of a place seeking to communicate? Is the environment conducive to living for them and their families? What does the architecture of the area look like and what messages do their environments convey? How is the history of a place evident in what is there now and how has an environment changed and adapted over time? Why do people choose the place they live? Ultimately, underlying these themes is that there is a common goal for families across history and cultures—for a safe and comfortable place to live.
(5) Which city would you like to visit the most, and why?
I can find something of interest in almost any city I visit. I especially like to explore «everyday» neighborhoods – the places that people live, work, shop and play. I look to find what makes a place unique—the style of buildings, the history, the culture. Earlier this year I made my first visit to India. It was a rich visual environment that appealed to me in so many ways—the layers of history, the passion, energy and vibrancy of the people. One place I didn’t visit which I would like to photograph is Kolkata. It seems like a place with so many layers to explore and photograph. For a photography project, I like to have the opportunity to work in a place over time. As I explore a place, different themes and ideas manifest themselves that I can work on more deeply. Present day Kolkata also combines many things that I have been looking at more recently in the urban environment, including climate change and its effects on the urban and built environment.
(6) Regarding your project Superior Apartments: What was your intention, and how did you come up with the idea?
Superior Apartments combined many interests that I have in the city: the history of urban development, unique architecture, the ideas that have evolved over time for improving the city, and how people impact and are impacted by their environments. There was also the personal relationship I had with the Bronx. I was born there, had family living there through the early 70s, my mother taught school there through the 90s and I worked there in college. The Bronx is essentially a laboratory of urban development. The Grand Concourse (the «Champs Elysees of the Bronx») was built to be the pinnacle of middle class aspirations in the 1920s and 1930s with an explosion of art-deco apartment buildings. In the 1960s and 70s, the Bronx became a catchword for the ills affecting American cities. For many, that image of the Bronx has remained, even as the borough has rebounded and changed. In its history, the Bronx has had dramatic cycles of promise, possibility, loss and revival. In shooting this project, I was looking to capture the range, chaos, richness and beauty of the urban landscape.
(7) Which project did you never finish?
I have several projects that have moved into the background, but which I plan to return to. I have been photographing the Highline in New York City in black and white in a 6x17 format. I have also started a project that goes by the working title Acela, in which I have been photographing the landscape around the train line between New York and Washington. What I find is that I turn to a particular aspect of something that I start and focus in on that. While I have taken pictures in many places along the Amtrak route, including Baltimore and Chester, Pennsylvania, I have focused in for the time being on «twin houses» in Northeast Philadelphia.
(8) What is that «one thing» you have never managed to photograph and is now gone for good?
One of the first areas I explored was the area I grew up in. There are at least two institutions that I would have liked to photograph that are now gone. One is the local candy store—Lane’s Luncheonette. It was a classic New York institution—a lunch counter with stools where you could get an egg cream, racks of magazines and comic books, greeting cards, toys, a pay phone in the back. Everyone came there at some point during the day and they kept tabs which your parents could settle later. The other place that I was surprised to find was gone was the central Yonkers public library. It was one of the Carnegie sponsored libraries and was an inspirational building in the old downtown of the city that I spent hours in. I remember that they had a great collection of architecture monographs. More generally, the life I remember on the sidewalks of Yonkers doesn’t seem to exist there anymore.
(9) If you could travel back / forth in time, what advice would you give your younger / older self?
I would «enlighten» my younger self to the full range of photography and its tools. I would love to have been exposed much earlier to the view camera and all its capabilities.
(10) What do you prefer saying: To «take a photograph» or to «make a photograph», and why?
I still think of it in terms of taking a photograph—looking at the world and extracting something that is interesting to me and may be overlooked.
(11) What is the most interesting experience you have had while photographing?
I’ve had so many. Photography for me is exploration and discovery—finding something unexpected. I particularly like when I am photographing something and someone passing me by turns and looks at where my camera is aimed and tells me that although they pass the site almost every day, they never noticed what I see in the place.
(12) If it wasn’t for photography, what would you be interested in doing instead?
I spent many years already doing things other than photography. I certainly don’t have regrets, but I wouldn’t want to give up the role photography plays in my life today.
(13) How would you describe one of your pictures to a visually impaired person?
A series of 30 story apartment buildings in white and brown brick looms over an expanse of parched lawn making up the bottom third of the frame. The lawn is empty, except for a woman in bright blue sitting on the lawn near the front of the image gazing at the buildings. Her small daughter in pink is facing away, tossing her white sandal in the air. They are dwarfed by the scale of the buildings in the background. The sky is blue grey and filled with high clouds. How does she feel about the place she is living?
(14) What are you currently working on, and—if there is—what is your next project or journey?
In photographing the landscape between New York and Washington, I have come to concentrate on twin houses of Northeast Philadelphia (the neighborhood is also known as «The Great Northeast»). I have been fascinated by the sheer expanse of the landscape—block after block of twin houses with many variations of a basic design—two side by side houses that share a common center wall. Some are of brick, some of stone. The gables may be over individual windows, one side of the houses or the other. Because the structure is shared, they haven’t changed much since the time they were built. The small details are telling—sometimes one side of the lawn is mowed and the other is overgrown with weeds. Many people mark the division by a bush or tree. Some completely hide their side of the building with lush landscaping, others have their lawn chairs and grills out for everyone to see. I see many more trips to the area. I just returned from a vacation to the Adriatic. I loved photographing the architecture there—Trieste, Vicenza and Venice in Italy and Ljubljana in Slovenia. Trieste and Ljubljana have a rich heritage with a strong Austrian Secession influence. Ljubljana has these buildings alongside buildings constructed during the communist era. Vicenza is the home of Palladio who was instrumental in neoclassical architectural design in the 16th Century. Again, many layers of history to explore.
Thank you, Ira.
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Images
1–17 Ira Wagner, Superior Apartments, New York City, New York (US) 2011–2013.
Superior Apartments was shot in the Bronx from 2011 to 2013. The project was my MFA thesis for the University of Hartford’s Limited Residency program. For many people, the Bronx is synonymous with urban failure. I worked in the Bronx in the summer of 1977 and witnessed the declining neighborhoods and devastation that took place following the blackout that occurred that summer. As someone with a keen interest in urban history and development, as well as family history, I was interested in what the present-day Bronx was like. What I saw and photographed was something very different from the images of the Bronx from that earlier time. For this project, I used a view camera and a medium format camera. It was a wonderful experience to set up the view camera and get under the dark cloth on various street corners throughout the Bronx. People walking by were interested in what I was doing and I would let them take a look through the ground glass.
Links:
1
New York City, New York (US)
(1) Please introduce yourself: What is your name, where are you from, what do you do?
I’m Ira Wagner and I live in Montclair, New Jersey about 12 miles west of New York. I worked in banking for many years but decided to stop in 2008 to pursue other interests, including photography. I couldn’t have imagined then that this would lead to me returning to school, and receiving my MFA degree in 2013. Following graduation, I began teaching photography at Monmouth University in New Jersey and I have been working on a number of projects, focused on the urban landscape and the built environment.
(2) What is your relationship with photography and how did you get into it?
Probably like many people, my relationship began when I was young. I delivered the newspaper, saved my 10 and 25 cent tips and bought a camera—a Minolta SRT 100. (It’s quite a workhorse—I still have it and have lent it to students when teaching black and white darkroom at Monmouth). Photography for me is partnered with a life-long interest in maps, travel, urban history, exploring new places and wandering around cities. I must admit, it never occurred to me to pursue photography professionally during my college days, but I think these interests overlapped even then—I studied urban history and planning in college. After leaving banking in 2008, I began to take courses at ICP in New York. Many of these courses had a strong impact on me, particularly on subject matter and developing an approach to photographing. Courses focused on the urban landscape opened up my eyes to a whole different world of landscape photography. I began shooting in and around New Jersey’s meadowlands (places I passed through while commuting to my job in NY) and the neighborhood I grew up in—Yonkers, NY. For some of my first work, I kept shooting in «golden hour,» until one of the ICP teachers said to stop doing that and to shoot in the bleakest, greyest light in the middle of the day. At ICP, I was also exposed to the use of the view camera. Finally, one of my teachers there suggested looking into an MFA, which led to where I am today.
(3) What do you think triggers you to photograph in a certain moment? Is it planned or solely driven by intuition?
Things start with intuition in trying to find the places and scenes that I am interested in and think will make a strong photograph. Then, there is an element of planning as I move into something that I am going to photograph more extensively. The planning includes time of day, type of light, weather and destination. Once in a place at the right time and with the right light, there is again intuition. I’ll generally walk extensively and come to subjects that are what I am looking for. There is always a sense of surprise and discovery in my wanderings, which is part of the pleasure I take in photographing. Also, while driving to my destination, I’ll be alert to places that look ripe for a return visit on a future day.
(4) What is the story you want your pictures to tell?
There are several themes that run through my work; in some projects one of the themes may be stronger than others. Generally, they involve how people choose to live and work. Additionally, I look for layering of history—thinking about the time the places I am photographing were built as well as what has happened since. What were the original designers and builders of a place seeking to communicate? Is the environment conducive to living for them and their families? What does the architecture of the area look like and what messages do their environments convey? How is the history of a place evident in what is there now and how has an environment changed and adapted over time? Why do people choose the place they live? Ultimately, underlying these themes is that there is a common goal for families across history and cultures—for a safe and comfortable place to live.
(5) Which city would you like to visit the most, and why?
I can find something of interest in almost any city I visit. I especially like to explore «everyday» neighborhoods – the places that people live, work, shop and play. I look to find what makes a place unique—the style of buildings, the history, the culture. Earlier this year I made my first visit to India. It was a rich visual environment that appealed to me in so many ways—the layers of history, the passion, energy and vibrancy of the people. One place I didn’t visit which I would like to photograph is Kolkata. It seems like a place with so many layers to explore and photograph. For a photography project, I like to have the opportunity to work in a place over time. As I explore a place, different themes and ideas manifest themselves that I can work on more deeply. Present day Kolkata also combines many things that I have been looking at more recently in the urban environment, including climate change and its effects on the urban and built environment.
(6) Regarding your project Superior Apartments: What was your intention, and how did you come up with the idea?
Superior Apartments combined many interests that I have in the city: the history of urban development, unique architecture, the ideas that have evolved over time for improving the city, and how people impact and are impacted by their environments. There was also the personal relationship I had with the Bronx. I was born there, had family living there through the early 70s, my mother taught school there through the 90s and I worked there in college. The Bronx is essentially a laboratory of urban development. The Grand Concourse (the «Champs Elysees of the Bronx») was built to be the pinnacle of middle class aspirations in the 1920s and 1930s with an explosion of art-deco apartment buildings. In the 1960s and 70s, the Bronx became a catchword for the ills affecting American cities. For many, that image of the Bronx has remained, even as the borough has rebounded and changed. In its history, the Bronx has had dramatic cycles of promise, possibility, loss and revival. In shooting this project, I was looking to capture the range, chaos, richness and beauty of the urban landscape.
(7) Which project did you never finish?
I have several projects that have moved into the background, but which I plan to return to. I have been photographing the Highline in New York City in black and white in a 6x17 format. I have also started a project that goes by the working title Acela, in which I have been photographing the landscape around the train line between New York and Washington. What I find is that I turn to a particular aspect of something that I start and focus in on that. While I have taken pictures in many places along the Amtrak route, including Baltimore and Chester, Pennsylvania, I have focused in for the time being on «twin houses» in Northeast Philadelphia.
(8) What is that «one thing» you have never managed to photograph and is now gone for good?
One of the first areas I explored was the area I grew up in. There are at least two institutions that I would have liked to photograph that are now gone. One is the local candy store—Lane’s Luncheonette. It was a classic New York institution—a lunch counter with stools where you could get an egg cream, racks of magazines and comic books, greeting cards, toys, a pay phone in the back. Everyone came there at some point during the day and they kept tabs which your parents could settle later. The other place that I was surprised to find was gone was the central Yonkers public library. It was one of the Carnegie sponsored libraries and was an inspirational building in the old downtown of the city that I spent hours in. I remember that they had a great collection of architecture monographs. More generally, the life I remember on the sidewalks of Yonkers doesn’t seem to exist there anymore.
(9) If you could travel back / forth in time, what advice would you give your younger / older self?
I would «enlighten» my younger self to the full range of photography and its tools. I would love to have been exposed much earlier to the view camera and all its capabilities.
(10) What do you prefer saying: To «take a photograph» or to «make a photograph», and why?
I still think of it in terms of taking a photograph—looking at the world and extracting something that is interesting to me and may be overlooked.
(11) What is the most interesting experience you have had while photographing?
I’ve had so many. Photography for me is exploration and discovery—finding something unexpected. I particularly like when I am photographing something and someone passing me by turns and looks at where my camera is aimed and tells me that although they pass the site almost every day, they never noticed what I see in the place.
(12) If it wasn’t for photography, what would you be interested in doing instead?
I spent many years already doing things other than photography. I certainly don’t have regrets, but I wouldn’t want to give up the role photography plays in my life today.
(13) How would you describe one of your pictures to a visually impaired person?
A series of 30 story apartment buildings in white and brown brick looms over an expanse of parched lawn making up the bottom third of the frame. The lawn is empty, except for a woman in bright blue sitting on the lawn near the front of the image gazing at the buildings. Her small daughter in pink is facing away, tossing her white sandal in the air. They are dwarfed by the scale of the buildings in the background. The sky is blue grey and filled with high clouds. How does she feel about the place she is living?
(14) What are you currently working on, and—if there is—what is your next project or journey?
In photographing the landscape between New York and Washington, I have come to concentrate on twin houses of Northeast Philadelphia (the neighborhood is also known as «The Great Northeast»). I have been fascinated by the sheer expanse of the landscape—block after block of twin houses with many variations of a basic design—two side by side houses that share a common center wall. Some are of brick, some of stone. The gables may be over individual windows, one side of the houses or the other. Because the structure is shared, they haven’t changed much since the time they were built. The small details are telling—sometimes one side of the lawn is mowed and the other is overgrown with weeds. Many people mark the division by a bush or tree. Some completely hide their side of the building with lush landscaping, others have their lawn chairs and grills out for everyone to see. I see many more trips to the area. I just returned from a vacation to the Adriatic. I loved photographing the architecture there—Trieste, Vicenza and Venice in Italy and Ljubljana in Slovenia. Trieste and Ljubljana have a rich heritage with a strong Austrian Secession influence. Ljubljana has these buildings alongside buildings constructed during the communist era. Vicenza is the home of Palladio who was instrumental in neoclassical architectural design in the 16th Century. Again, many layers of history to explore.
Thank you, Ira.
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
Images
1–17 Ira Wagner, Superior Apartments, New York City, New York (US) 2011–2013.
Superior Apartments was shot in the Bronx from 2011 to 2013. The project was my MFA thesis for the University of Hartford’s Limited Residency program. For many people, the Bronx is synonymous with urban failure. I worked in the Bronx in the summer of 1977 and witnessed the declining neighborhoods and devastation that took place following the blackout that occurred that summer. As someone with a keen interest in urban history and development, as well as family history, I was interested in what the present-day Bronx was like. What I saw and photographed was something very different from the images of the Bronx from that earlier time. For this project, I used a view camera and a medium format camera. It was a wonderful experience to set up the view camera and get under the dark cloth on various street corners throughout the Bronx. People walking by were interested in what I was doing and I would let them take a look through the ground glass.
Links:
ISO 3166-1 alpha-2
The two digit ISO country codes serve as a standardized reference to the geographical contexts of the projects and works presented on the platform. Their use allows locations to be identified clearly and unambiguously, independent of linguistic or regional variations, while simultaneously revealing which places are represented within the archive and which remain absent (for now).
AD Andorra
AE United Arab Emirates
AF Afghanistan
AG Antigua and Barbuda
AI Anguilla
AL Albania
AM Armenia
AO Angola
AQ Antarctica
AR Argentina
AS American Samoa
AT Austria
AU Australia
AW Aruba
AX Åland Islands
AZ Azerbaijan
BA Bosnia and Herzegovina
BB Barbados
BD Bangladesh
BE Belgium
BF Burkina Faso
BG Bulgaria
BH Bahrain
BI Burundi
BJ Benin
BL Saint Barthélemy
BM Bermuda
BN Brunei
BO Bolivia
BQ Bonaire Sint Eustatius and Saba
BR Brazil
BS Bahamas
BT Bhutan
BV Bouvet Island
BW Botswana
BY Belarus
BZ Belize
CA Canada
CC Cocos Islands
CD Democratic Republic of the Congo
CF Central African Republic
CG Republic of the Congo
CH Switzerland
CI Côte d’Ivoire
CK Cook Islands
CL Chile
CM Cameroon
CN China
CO Colombia
CR Costa Rica
CU Cuba
CV Cabo Verde
CW Curaçao
CX Christmas Island
CY Cyprus
CZ Czechia
DE Germany
DJ Djibouti
DK Denmark
DM Dominica
DO Dominican Republic
DZ Algeria
EC Ecuador
EE Estonia
EG Egypt
EH Western Sahara
ER Eritrea
ES Spain
ET Ethiopia
FI Finland
FJ Fiji
FK Falkland Islands
FM Micronesia
FO Faroe Islands
FR France
GA Gabon
GB United Kingdom
GD Grenada
GE Georgia
GF French Guiana
GG Guernsey
GH Ghana
GI Gibraltar
GL Greenland
GM Gambia
GN Guinea
GP Guadeloupe
GQ Equatorial Guinea
GR Greece
GS South Georgia and South Sandwich Islands
GT Guatemala
GU Guam
GW Guinea Bissau
GY Guyana
HK Hong Kong
HM Heard Island and McDonald Islands
HN Honduras
HR Croatia
HT Haiti
HU Hungary
ID Indonesia
IE Ireland
IL Israel
IM Isle of Man
IN India
IO British Indian Ocean Territory
IQ Iraq
IR Iran
IS Iceland
IT Italy
JE Jersey
JM Jamaica
JO Jordan
JP Japan
KE Kenya
KG Kyrgyzstan
KH Cambodia
KI Kiribati
KM Comoros
KN Saint Kitts and Nevis
KP North Korea
KR South Korea
KW Kuwait
KY Cayman Islands
KZ Kazakhstan
LA Laos
LB Lebanon
LC Saint Lucia
LI Liechtenstein
LK Sri Lanka
LR Liberia
LS Lesotho
LT Lithuania
LU Luxembourg
LV Latvia
LY Libya
MA Morocco
MC Monaco
MD Moldova
ME Montenegro
MF Saint Martin
MG Madagascar
MH Marshall Islands
MK North Macedonia
ML Mali
MM Myanmar
MN Mongolia
MO Macao
MP Northern Mariana Islands
MQ Martinique
MR Mauritania
MS Montserrat
MT Malta
MU Mauritius
MV Maldives
MW Malawi
MX Mexico
MY Malaysia
MZ Mozambique
NA Namibia
NC New Caledonia
NE Niger
NF Norfolk Island
NG Nigeria
NI Nicaragua
NL Netherlands
NO Norway
NP Nepal
NR Nauru
NU Niue
NZ New Zealand
OM Oman
PA Panama
PE Peru
PF French Polynesia
PG Papua New Guinea
PH Philippines
PK Pakistan
PL Poland
PM Saint Pierre and Miquelon
PN Pitcairn
PR Puerto Rico
PS Palestine
PT Portugal
PW Palau
PY Paraguay
QA Qatar
RE Réunion
RO Romania
RS Serbia
RU Russia
RW Rwanda
SA Saudi Arabia
SB Solomon Islands
SC Seychelles
SD Sudan
SE Sweden
SG Singapore
SH Saint Helena
SI Slovenia
SJ Svalbard and Jan Mayen
SK Slovakia
SL Sierra Leone
SM San Marino
SN Senegal
SO Somalia
SR Suriname
SS South Sudan
ST Sao Tome and Principe
SV El Salvador
SX Sint Maarten
SY Syria
SZ Eswatini
TC Turks and Caicos Islands
TD Chad
TF French Southern Territories
TG Togo
TH Thailand
TJ Tajikistan
TK Tokelau
TL Timor Leste
TM Turkmenistan
TN Tunisia
TO Tonga
TR Türkiye
TT Trinidad and Tobago
TV Tuvalu
TW Taiwan
TZ Tanzania
UA Ukraine
UG Uganda
UM United States Minor Outlying Islands
US United States
UY Uruguay
UZ Uzbekistan
VA Vatican City
VC Saint Vincent and the Grenadines
VE Venezuela
VG British Virgin Islands
VI United States Virgin Islands
VN Vietnam
VU Vanuatu
WF Wallis and Futuna
WS Samoa
YE Yemen
YT Mayotte
ZA South Africa
ZM Zambia
ZW Zimbabwe
ISO 3166-1 alpha-2
The two digit ISO country codes serve as a standardized reference to the geographical contexts of the projects and works presented on the platform. Their use allows locations to be identified clearly and unambiguously, independent of linguistic or regional variations, while simultaneously revealing which places are represented within the archive and which remain absent (for now).
AD Andorra
AE United Arab Emirates
AF Afghanistan
AG Antigua and Barbuda
AI Anguilla
AL Albania
AM Armenia
AO Angola
AQ Antarctica
AR Argentina
AS American Samoa
AT Austria
AU Australia
AW Aruba
AX Åland Islands
AZ Azerbaijan
BA Bosnia and Herzegovina
BB Barbados
BD Bangladesh
BE Belgium
BF Burkina Faso
BG Bulgaria
BH Bahrain
BI Burundi
BJ Benin
BL Saint Barthélemy
BM Bermuda
BN Brunei
BO Bolivia
BQ Bonaire Sint Eustatius and Saba
BR Brazil
BS Bahamas
BT Bhutan
BV Bouvet Island
BW Botswana
BY Belarus
BZ Belize
CA Canada
CC Cocos Islands
CD Democratic Republic of the Congo
CF Central African Republic
CG Republic of the Congo
CH Switzerland
CI Côte d’Ivoire
CK Cook Islands
CL Chile
CM Cameroon
CN China
CO Colombia
CR Costa Rica
CU Cuba
CV Cabo Verde
CW Curaçao
CX Christmas Island
CY Cyprus
CZ Czechia
DE Germany
DJ Djibouti
DK Denmark
DM Dominica
DO Dominican Republic
DZ Algeria
EC Ecuador
EE Estonia
EG Egypt
EH Western Sahara
ER Eritrea
ES Spain
ET Ethiopia
FI Finland
FJ Fiji
FK Falkland Islands
FM Micronesia
FO Faroe Islands
FR France
GA Gabon
GB United Kingdom
GD Grenada
GE Georgia
GF French Guiana
GG Guernsey
GH Ghana
GI Gibraltar
GL Greenland
GM Gambia
GN Guinea
GP Guadeloupe
GQ Equatorial Guinea
GR Greece
GS South Georgia and South Sandwich Islands
GT Guatemala
GU Guam
GW Guinea Bissau
GY Guyana
HK Hong Kong
HM Heard Island and McDonald Islands
HN Honduras
HR Croatia
HT Haiti
HU Hungary
ID Indonesia
IE Ireland
IL Israel
IM Isle of Man
IN India
IO British Indian Ocean Territory
IQ Iraq
IR Iran
IS Iceland
IT Italy
JE Jersey
JM Jamaica
JO Jordan
JP Japan
KE Kenya
KG Kyrgyzstan
KH Cambodia
KI Kiribati
KM Comoros
KN Saint Kitts and Nevis
KP North Korea
KR South Korea
KW Kuwait
KY Cayman Islands
KZ Kazakhstan
LA Laos
LB Lebanon
LC Saint Lucia
LI Liechtenstein
LK Sri Lanka
LR Liberia
LS Lesotho
LT Lithuania
LU Luxembourg
LV Latvia
LY Libya
MA Morocco
MC Monaco
MD Moldova
ME Montenegro
MF Saint Martin
MG Madagascar
MH Marshall Islands
MK North Macedonia
ML Mali
MM Myanmar
MN Mongolia
MO Macao
MP Northern Mariana Islands
MQ Martinique
MR Mauritania
MS Montserrat
MT Malta
MU Mauritius
MV Maldives
MW Malawi
MX Mexico
MY Malaysia
MZ Mozambique
NA Namibia
NC New Caledonia
NE Niger
NF Norfolk Island
NG Nigeria
NI Nicaragua
NL Netherlands
NO Norway
NP Nepal
NR Nauru
NU Niue
NZ New Zealand
OM Oman
PA Panama
PE Peru
PF French Polynesia
PG Papua New Guinea
PH Philippines
PK Pakistan
PL Poland
PM Saint Pierre and Miquelon
PN Pitcairn
PR Puerto Rico
PS Palestine
PT Portugal
PW Palau
PY Paraguay
QA Qatar
RE Réunion
RO Romania
RS Serbia
RU Russia
RW Rwanda
SA Saudi Arabia
SB Solomon Islands
SC Seychelles
SD Sudan
SE Sweden
SG Singapore
SH Saint Helena
SI Slovenia
SJ Svalbard and Jan Mayen
SK Slovakia
SL Sierra Leone
SM San Marino
SN Senegal
SO Somalia
SR Suriname
SS South Sudan
ST Sao Tome and Principe
SV El Salvador
SX Sint Maarten
SY Syria
SZ Eswatini
TC Turks and Caicos Islands
TD Chad
TF French Southern Territories
TG Togo
TH Thailand
TJ Tajikistan
TK Tokelau
TL Timor Leste
TM Turkmenistan
TN Tunisia
TO Tonga
TR Türkiye
TT Trinidad and Tobago
TV Tuvalu
TW Taiwan
TZ Tanzania
UA Ukraine
UG Uganda
UM United States Minor Outlying Islands
US United States
UY Uruguay
UZ Uzbekistan
VA Vatican City
VC Saint Vincent and the Grenadines
VE Venezuela
VG British Virgin Islands
VI United States Virgin Islands
VN Vietnam
VU Vanuatu
WF Wallis and Futuna
WS Samoa
YE Yemen
YT Mayotte
ZA South Africa
ZM Zambia
ZW Zimbabwe
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Submission
As an open, discursive platform, allcitiesarebeautiful.com invites contributions from artists, photographers, writers, and publishers worldwide. Projects, publications, and texts can be submitted via the form below, following the category-specific guidelines. Submissions are welcomed from both emerging and established voices alike.
Printed matter:
If you wish to submit physical materials such as photo books, prints, or magazines, please complete the submission form first. Afterwards, send your materials to the address provided in the imprint and include all relevant publication details (e.g. artist, publisher, and press release).
Instagram:
Since 2018, allcitiesarebeautiful.com has been curating weekly photo collections on ↘︎ Instagram. You can share your posts using #allcitiesarebeautiful for a chance to be featured in the community round-up.
Info:
Submissions are free of charge but undergo a careful editorial review to ensure quality and coherence. Submission does not guarantee publication, and review times may vary. Due to the number of entries, only selected contributors will be contacted. Incomplete or improperly formatted submissions cannot be considered. For any submission-related inquiries, contact hello [at] allcitiesarebeautiful.com.
Fields marked with an * are required.
Submission
As an open, discursive platform, allcitiesarebeautiful.com invites contributions from artists, photographers, writers, and publishers worldwide. Projects, publications, and texts can be submitted via the form below, following the category-specific guidelines. Submissions are welcomed from both emerging and established voices alike.
Printed matter:
If you wish to submit physical materials such as photo books, prints, or magazines, please complete the submission form first. Afterwards, send your materials to the address provided in the imprint and include all relevant publication details (e.g. artist, publisher, and press release).
Instagram:
Since 2018, allcitiesarebeautiful.com has been curating weekly photo collections on ↘︎ Instagram. You can share your posts using #allcitiesarebeautiful for a chance to be featured in the community round-up.
Info:
Submissions are free of charge but undergo a careful editorial review to ensure quality and coherence. Submission does not guarantee publication, and review times may vary. Due to the number of entries, only selected contributors will be contacted. Incomplete or improperly formatted submissions cannot be considered. For any submission-related inquiries, contact hello [at] allcitiesarebeautiful.com.
Fields marked with an * are required.
Imprint
Publisher
Alexandre Kurek
Martin-Luther-Straße 76
10825 Berlin, Germany
Email:
hello [at] allcitiesarebeautiful.com
Identity, logo design:
↘︎ Anja Rausch
Design, web design:
↘︎ Alexandre Kurek
Typeface:
ABC Diatype, Dinamo Typefaces
Website built with:
↘︎ Lay Theme
Legal disclosure
(in accordance with § 5 TMG and § 18 (2) MStV)
Responsible:
Alexandre Kurek
Martin-Luther-Straße 76
10825 Berlin, Germany
Email:
hello [at] allcitiesarebeautiful.com
Hosting provider:
STRATO AG
Otto-Ostrowski-Straße 7
10249 Berlin, Germany
↘︎ www.strato.de
By accessing and using the website allcitiesarebeautiful.com (the platform), users accept the following terms and conditions. These terms are subject to change without prior notice. Continued use of the platform after changes have been published constitutes acceptance of the updated version. The platform is provided for non-commercial, cultural and informational purposes. Unless explicitly stated, no content may be copied, reproduced, modified, published, transmitted, publicly displayed, or distributed in any form without prior written permission from the rights holder. Users may view, print, or download content for personal, non-commercial use, provided that the source and the name of the author or creator are clearly identified. Any use of the platform or its content that infringes upon the rights of others or violates applicable law is prohibited. Access to the platform does not imply the granting of any rights beyond those expressly stated here.
The platform curates and publishes visual and textual works provided by independent photographers, writers, artists and other contributors. Unless otherwise noted, all rights remain with the respective authors and copyright holders. The platform does not claim authorship or ownership of such third-party content and acts solely as the publisher. Content may be published based on permission, license, or submission by its creator. All contributions are attributed to the original authors wherever possible. The platform refrains from using any contributed content for purposes beyond publication unless further consent is obtained. Any use, duplication, distribution, or adaptation of such content beyond personal and non-commercial use is not permitted without the explicit approval of the respective rights holder.
Submissions
Users may submit content (e.g. photographs, texts, visual media) to the platform voluntarily. By submitting, contributors confirm that:
• the content is their own original work or they possess the necessary rights and permissions to submit it;
• the content does not violate any applicable law or infringe any third-party rights (including copyright, trademark, personality, or privacy rights);
• the submission does not contain unlawful, defamatory, discriminatory, or otherwise inappropriate material.
By submitting content, contributors grant the platform a non-exclusive, royalty-free, worldwide license to publish, display, and archive the submitted material on allcitiesarebeautiful.com, in associated newsletters, and on related social media channels. This license is granted for the purposes of editorial use, communication, and platform documentation. It does not include resale, commercial distribution, or modification of the work without separate permission. Contributors retain full copyright in their work. Any additional use of the submitted content outside of the above-mentioned scope will require further agreement. Contributors agree to indemnify and hold the platform harmless against any claims, damages or legal expenses that may arise as a result of unlawful submissions or third-party rights violations.
Privacy Policy
In accordance with Regulation (EU) 2016/679 (GDPR), the responsibility for processing personal data in connection with this platform lies with Alexandre Kurek (contact above). This includes the collection, storage, and use of personal data as described in this policy. Inquiries or concerns related to data protection or the exercise of data subject rights under the GDPR can be submitted via email.
The website is hosted by STRATO AG (Germany). As part of the hosting service, STRATO AG automatically collects and processes access data (such as IP address, time of access, and browser information) in order to ensure the technical functionality, stability, and security of the website. This processing is carried out on the basis of a legally binding Data Processing Agreement in accordance with Article 28 of the General Data Protection Regulation (GDPR) between the platform operator and the hosting provider. STRATO AG acts strictly on instruction and does not process any personal data for its own purposes. Further information on data protection can be found ↘︎ here.
• When visiting the platform, technical data for security and error detection [Art. 6, 1 (f) GDPR] may be automatically processed, including: anonymized IP address, date and time of the request, visited pages or files, referrer URL, browser type and version, operating system.
• If contact is made via email or form, personal data (e.g. name, email address, message content) is processed to respond to the inquiry. [Art. 6(1)(b) or (f) GDPR] No data is transferred to third parties unless legally required or explicitly consented to.
• When submitting content, additional data may be collected, such as name, email address, biographical notes, and technical metadata. This data is used for editorial purposes and communication. [Art. 6(1)(a) or (f) GDPR]
• If a newsletter is subscribed to, personal data (email address and optionally name) will be processed by a third-party provider based in the EU or operating under a valid EU-US Data Privacy Framework. The subscription includes consent to store and process the data for the purpose of sending email updates. Subscription can be withdrawn at any time by using the unsubscribe link or contacting the address listed above. [Art. 6(1)(a) GDPR]
This website uses the analytics tool WP Statistics to evaluate visitor access for statistical purposes. The provider is Veronalabs, Tatari 64, 10134 Tallinn, Estonia (https://veronalabs.com). WP Statistics allows the website provider to analyze the use of the website. In doing so, WP Statistics collects log data (such as IP address, referrer, browser used, user’s origin, and search engine used) and user interactions on the website (e.g., clicks and page views). The data collected with WP Statistics is stored exclusively on the STRATO server. The use of this analytics tool is based on Article 6(1)(f) of the GDPR. The website provider has a legitimate interest in the anonymized analysis of user behavior in order to optimize the website. If consent has been requested, processing is carried out solely on the basis of Article 6(1)(a) of the GDPR and § 25(1) of the TDDDG, insofar as the consent includes the storage of cookies or access to information on the user’s device (e.g., device fingerprinting) as defined by the TDDDG. Consent can be revoked at any time.
This website uses Google Analytics, a service provided by Google Ireland Ltd., Gordon House, Barrow Street, Dublin 4, Ireland. Google Analytics uses cookies to analyze website usage. The information generated by the cookie (including IP address, truncated within the EU) is transmitted to a Google server and processed there. The data is used to evaluate user behavior and compile statistical reports. IP anonymization is active on this website. Data is processed based on consent [Art. 6(1)(a) GDPR] and may be withdrawn at any time via the cookie preferences. Users may also prevent data collection by disabling cookies in their browser or installing the following opt-out plugin: https://tools.google.com/dlpage/gaoptout. Further details: https://support.google.com/analytics/answer/6004245.
According to Articles 15–21 GDPR, data subjects have the right to: request access to their data, request correction or deletion, restrict processing, object to processing, request data portability, lodge a complaint with a supervisory authority.
Personal data is stored only for as long as necessary to fulfill its intended purpose or in accordance with statutory retention obligations. Data is deleted once the applicable period has expired.
Cookies
This website uses technically necessary cookies for its operation (e.g. session control, language preferences). Optional cookies—including those for statistical purposes (e.g. Google Analytics)—are used only with prior user consent (Art. 6(1)(a) GDPR). Cookie preferences can be managed via the cookie banner or browser settings. Disabling cookies may affect some website functions. Information about cookie types and purposes is available in the privacy policy above.
Imprint
Publisher
Alexandre Kurek
Martin-Luther-Straße 76
10825 Berlin, Germany
Email:
hello [at] allcitiesarebeautiful.com
Identity, logo design:
↘︎ Anja Rausch
Design, web design:
↘︎ Alexandre Kurek
Typeface:
ABC Diatype, Dinamo Typefaces
Website built with:
↘︎ Lay Theme
Legal disclosure
(in accordance with § 5 TMG and § 18 (2) MStV)
Responsible:
Alexandre Kurek
Martin-Luther-Straße 76
10825 Berlin, Germany
Email:
hello [at] allcitiesarebeautiful.com
Hosting provider:
STRATO AG
Otto-Ostrowski-Straße 7
10249 Berlin, Germany
↘︎ www.strato.de
By accessing and using the website allcitiesarebeautiful.com (the platform), users accept the following terms and conditions. These terms are subject to change without prior notice. Continued use of the platform after changes have been published constitutes acceptance of the updated version. The platform is provided for non-commercial, cultural and informational purposes. Unless explicitly stated, no content may be copied, reproduced, modified, published, transmitted, publicly displayed, or distributed in any form without prior written permission from the rights holder. Users may view, print, or download content for personal, non-commercial use, provided that the source and the name of the author or creator are clearly identified. Any use of the platform or its content that infringes upon the rights of others or violates applicable law is prohibited. Access to the platform does not imply the granting of any rights beyond those expressly stated here.
The platform curates and publishes visual and textual works provided by independent photographers, writers, artists and other contributors. Unless otherwise noted, all rights remain with the respective authors and copyright holders. The platform does not claim authorship or ownership of such third-party content and acts solely as the publisher. Content may be published based on permission, license, or submission by its creator. All contributions are attributed to the original authors wherever possible. The platform refrains from using any contributed content for purposes beyond publication unless further consent is obtained. Any use, duplication, distribution, or adaptation of such content beyond personal and non-commercial use is not permitted without the explicit approval of the respective rights holder.
Submissions
Users may submit content (e.g. photographs, texts, visual media) to the platform voluntarily. By submitting, contributors confirm that:
• the content is their own original work or they possess the necessary rights and permissions to submit it;
• the content does not violate any applicable law or infringe any third-party rights (including copyright, trademark, personality, or privacy rights);
• the submission does not contain unlawful, defamatory, discriminatory, or otherwise inappropriate material.
By submitting content, contributors grant the platform a non-exclusive, royalty-free, worldwide license to publish, display, and archive the submitted material on allcitiesarebeautiful.com, in associated newsletters, and on related social media channels. This license is granted for the purposes of editorial use, communication, and platform documentation. It does not include resale, commercial distribution, or modification of the work without separate permission. Contributors retain full copyright in their work. Any additional use of the submitted content outside of the above-mentioned scope will require further agreement. Contributors agree to indemnify and hold the platform harmless against any claims, damages or legal expenses that may arise as a result of unlawful submissions or third-party rights violations.
Privacy Policy
In accordance with Regulation (EU) 2016/679 (GDPR), the responsibility for processing personal data in connection with this platform lies with Alexandre Kurek (contact above). This includes the collection, storage, and use of personal data as described in this policy. Inquiries or concerns related to data protection or the exercise of data subject rights under the GDPR can be submitted via email.
The website is hosted by STRATO AG (Germany). As part of the hosting service, STRATO AG automatically collects and processes access data (such as IP address, time of access, and browser information) in order to ensure the technical functionality, stability, and security of the website. This processing is carried out on the basis of a legally binding Data Processing Agreement in accordance with Article 28 of the General Data Protection Regulation (GDPR) between the platform operator and the hosting provider. STRATO AG acts strictly on instruction and does not process any personal data for its own purposes. Further information on data protection can be found ↘︎ here.
• When visiting the platform, technical data for security and error detection [Art. 6, 1 (f) GDPR] may be automatically processed, including: anonymized IP address, date and time of the request, visited pages or files, referrer URL, browser type and version, operating system.
• If contact is made via email or form, personal data (e.g. name, email address, message content) is processed to respond to the inquiry. [Art. 6(1)(b) or (f) GDPR] No data is transferred to third parties unless legally required or explicitly consented to.
• When submitting content, additional data may be collected, such as name, email address, biographical notes, and technical metadata. This data is used for editorial purposes and communication. [Art. 6(1)(a) or (f) GDPR]
• If a newsletter is subscribed to, personal data (email address and optionally name) will be processed by a third-party provider based in the EU or operating under a valid EU-US Data Privacy Framework. The subscription includes consent to store and process the data for the purpose of sending email updates. Subscription can be withdrawn at any time by using the unsubscribe link or contacting the address listed above. [Art. 6(1)(a) GDPR]
This website uses the analytics tool WP Statistics to evaluate visitor access for statistical purposes. The provider is Veronalabs, Tatari 64, 10134 Tallinn, Estonia (https://veronalabs.com). WP Statistics allows the website provider to analyze the use of the website. In doing so, WP Statistics collects log data (such as IP address, referrer, browser used, user’s origin, and search engine used) and user interactions on the website (e.g., clicks and page views). The data collected with WP Statistics is stored exclusively on the STRATO server. The use of this analytics tool is based on Article 6(1)(f) of the GDPR. The website provider has a legitimate interest in the anonymized analysis of user behavior in order to optimize the website. If consent has been requested, processing is carried out solely on the basis of Article 6(1)(a) of the GDPR and § 25(1) of the TDDDG, insofar as the consent includes the storage of cookies or access to information on the user’s device (e.g., device fingerprinting) as defined by the TDDDG. Consent can be revoked at any time.
This website uses Google Analytics, a service provided by Google Ireland Ltd., Gordon House, Barrow Street, Dublin 4, Ireland. Google Analytics uses cookies to analyze website usage. The information generated by the cookie (including IP address, truncated within the EU) is transmitted to a Google server and processed there. The data is used to evaluate user behavior and compile statistical reports. IP anonymization is active on this website. Data is processed based on consent [Art. 6(1)(a) GDPR] and may be withdrawn at any time via the cookie preferences. Users may also prevent data collection by disabling cookies in their browser or installing the following opt-out plugin: https://tools.google.com/dlpage/gaoptout. Further details: https://support.google.com/analytics/answer/6004245.
According to Articles 15–21 GDPR, data subjects have the right to: request access to their data, request correction or deletion, restrict processing, object to processing, request data portability, lodge a complaint with a supervisory authority.
Personal data is stored only for as long as necessary to fulfill its intended purpose or in accordance with statutory retention obligations. Data is deleted once the applicable period has expired.
Cookies
This website uses technically necessary cookies for its operation (e.g. session control, language preferences). Optional cookies—including those for statistical purposes (e.g. Google Analytics)—are used only with prior user consent (Art. 6(1)(a) GDPR). Cookie preferences can be managed via the cookie banner or browser settings. Disabling cookies may affect some website functions. Information about cookie types and purposes is available in the privacy policy above.
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Newsletter
The allcitiesarebeautiful.com newsletter offers a curated monthly overview of new projects, texts, and publications featured on the platform, along with occasional recommendations and selected news from the wider community. On special occasions, you will also receive information about upcoming events, publications, and related initiatives. No automated mailings, no unnecessary messages—only relevant updates. You can unsubscribe at any time via the link provided in the email footer.
Info:
Fields marked with an * are required
Newsletter
The allcitiesarebeautiful.com newsletter offers a curated monthly overview of new projects, texts, and publications featured on the platform, along with occasional recommendations and selected news from the wider community. On special occasions, you will also receive information about upcoming events, publications, and related initiatives. No automated mailings, no unnecessary messages—only relevant updates. You can unsubscribe at any time via the link provided in the email footer.
Info:
Fields marked with an * are required