https://antoniodeluca.com Antonio de Luca Mon, 09 May 2022 00:49:27 +0000 https://antoniodeluca.com en https://antoniodeluca.com/bio Wed, 10 Jan 2018 16:10:37 +0000 Antonio de Luca https://antoniodeluca.com/bio I am an editor and visual reporter at The New York Times. My work encompasses writing, directing, design, photography, branding, and production. I also specialize in book design for cultural institutions and creators, with works in the permanent collections of MoMA, Tate Modern, the NY Public Library, The Photographers' Gallery London, C/O Berlin, and Kunsthal Charlottenborg. For more insight, see my interview with Aperture Foundation. In addition to my research and teaching, I’ve serve as a visiting professor and lecturer at the University of the Arts London, Geneva University of Art and Design, Academy of Fine Arts Nürnberg, OCAD University in Toronto, and the School of Visual Arts in New York. https://antoniodeluca.com/new-york-times Mon, 15 Jun 2020 19:52:19 +0000 Antonio de Luca https://antoniodeluca.com/new-york-times As an editor at The New York Times, I manage a multidisciplinary team of designers, developers, animators and art directors to create interactive stories. I also edit and produce content involving creative direction, writing, design, photo/video and branding. Below is a selection of work I am particularly proud of: Barcelona Is Made of Math The Woman to See About Your Face Fashion’s Historic Shake-Up Landing a Job at Vogue in the ’90s? Gen X Meltdown Gen Z Trends! Fashion Army Rubik’s Speed Cubbing Slow Mo Bulletproofing Education Bring Out Your Dead (Christmas Trees) 🎄Skating NY Under Lockdown No Longer in RussiaDear Customers MTA Map NASA’s Shadowcam&nbsp; Harlem Renaissance History All For The Dogs How Hip-Hop Changed English Forever A Hip-Hop Love Story What’s in a Word&nbsp;🤓 NASA Logo Rat Selfies The Visions of Octavia Butler Serena Williams Tennis HairGen Z, a 1000 page tap storyThe Pianist and the Lobster Black Heirlooms Asian American Today + Callout How Did Roe Fall Carnival in Winter Asian American IdentityBIPOC, Critical race theory... Amanda Gorman - A Coda to Black History The Sound of New York BirdsWe Gather, the Virus Follows&nbsp; Reimagining Community The Doctor and the ‘Apocalypse’ DOOMSDAY Clock The Best Illustration of 2020 Pride Identity Hyphen-Nation Caliphate Trailer or&nbsp;PodcastDiary of a Song Women are making the best rock musicPost-Text FutureDrone Flight Story 1 NYT Live Drawing Series Race/Related Identity Podcast Visual Branding: The Run-Up Still ProcessingPopcast The Daily&nbsp;🌍 https://antoniodeluca.com/books Sun, 17 Apr 2022 20:34:10 +0000 Antonio de Luca https://antoniodeluca.com/books https://antoniodeluca.com/aperture-foundation-photobook-review Mon, 12 Feb 2018 16:20:02 +0000 Antonio de Luca https://antoniodeluca.com/aperture-foundation-photobook-review The PhotoBook Review#010, Spring 2016 Designer SpotlightPublisher Lesley A. Martin in conversation with Antonio de Luca Lesley A. Martin: Antonio – tell me a little bit about your background and how you came to be a designer and art director . Antonio de Luca: I studied classical graphic design at the OCAD University in Toronto. It was a formal 2-D and 3-D training, pre-computer. Silk-screening, guache, hand-lettering. It was an applied arts school, but one that a number of well-known conceptual artists, like General Idea, came out of. Do you think that having that kind of training has been useful to you—is still useful to you? It has allowed me to keep a haptic connection to the type of work that I do. I’m interested in work that has a tactile soul. In German, haptic means the soul of texture not just the sense of touch. It’s the soul. A lot of books that I’ve done with SPBH possess some haptic sensation to the work. I originally got into art school as a painter, not as a designer. But I was also being groomed as an artist representative so early on I began to learn the idea of art and commerce. School by day and evenings, all-nighters, and weekends at an agency called Reactor Art and Design. Through that work, I got my first job as a junior designer at a newspaper. It was a real “fake it till you make it” situation. Because you hadn’t been trained for that specific job or the design tools? I was trained, but I needed way more hours on the software to really handle a daily and a weekly. What I really relied on was my training at Reactor. The woman who hired me, Friederike Girst explained that I didn’t have to really design the whole weekend section of 48 pages that I was working on—all I needed to do was to art direct it. And because I had connections with this whole catalog of illustrators or conceptual artists that the agency I had been working for represented, I just reached out to that community and started to commission work. You do both hands-on design and creative or artistic direction. What is the difference between those roles. They’re not so different – I’m a designer at the end of the day. If the designer doesn’t show up, I’ll just do it. Creative direction is really about empowering people’s personalities and making them feel that they are part of the creative process. It’s about allowing them to see a reflection of their own interests, their own beliefs, their own rhythms within the work. And then it’s about managing monies. That’s a really big thing. Later, when I was hired as creative director at The Walrus, for example, we had a very limited budget—yet somehow we made stories happen. I was sending people to Kabul outside the Green Zone. I sent Rita Leistner into a mental institution to seduce the warden and hopefully to get the keys to the institution so she could make pictures of the women there. &nbsp;I sent Adam Broomberg and Oliver Chanarin to Hotel Rwanda and asked them just to photograph flower bouquets because I thought perhaps they possessed some of the aura of the atrocities (which too place there) within their compositions – just crazy things. Your work as a creative director, in part, seems to be about marshaling resources then – whether it’s money or people or ideas, especially while working at big monthly &amp; weekly publications like The Walrus and Saturday Night, Canadian publications akin to Harper’s and The New York Times Magazine. What led you to take the turn toward designing photobooks? I had been working with photography quite a bit, mostly photojournalism. I ended up moving to New York around 2007 and took an apartment in Brooklyn on Kent Ave., where a bunch of Magnum photographers lived. I would end up looking at Chris Anderson’s work and commenting. Alex Majoli, Stanley Greene, Paolo Pellegrin—they all came through the doors. It was the Bush era. There was war going on. There were a lot of correspondents coming through. Writers who were really disturbed. Photographers who were exhausted from what they had seen. And that made for these intense conversations. Even if I wasn’t working on someone’s book, I’d get involved in conversations about whether the books they were working on were too big or too long– how many should be printed; where were they printing it. This was exactly the creative community that I had left behind in Canada, and which I wanted to put myself back into somehow. Would you say you were able to engage in those conversations through the design you were doing? How did that lead you to work for SPBH? &nbsp;I know that SPBH didn’t originally set out to become a publisher. ... I thought maybe by eliminating all the advertising and the publisher and the distribution – eliminating all of that might help and that it would be a way of having an intimate discussion with the photographer and their work—through the book format. &nbsp; &nbsp; &nbsp; &nbsp; Around that same time, I was introduced to Bruno Ceschel. We came from a similar, frustrated, editorial past and thought there should be something that we could work on together. I remember saying to Bruno from the very beginning that we should take our own advice and self publish—or just publish—if we’re encouraging other people to do so. Bruno never really wanted to become a publisher. And rightly so. If you really want to do it, you really have to go in and do it full force. But hasn't SPBH ended up as a publisher, in fact? And not just of Self Publish Be Naughty, or of limited-edition books but of “proper” photobooks like&nbsp;Fire in Cairo and Dalston Anatomy. &nbsp; Incrementally. It wasn’t as though we started out making those type of books. Originally we didn’t want to make the type of books we’re making now. What type of books is that? How would you describe them? We wanted things not to have a front, a middle, and a back. We didn’t want it to be structured like what we see now in, in truth, in the books that we’re making. Let’s take Matthew Connor’s Fire in Cairo as an example. It has a very disorienting beginning, middle, and end.&nbsp; You don’t really know where you should begin and where you end. &nbsp; That is quintessentially a great photobook, but I don't think we would have thought about making that type of book at the beginning. The disorientation you’re talking about was done consciously—and that effect was even more extreme in earlier designs I did. Matthew asked us to pull it back, to make it a little bit calmer, I guess. Which I think was probably right. What triggers your entry point into a body of work that you’re presented with? Where do you start in thinking about the design and shape of it? I view pretty much view all the books I do as cinema. And the concept with Matthew’s was essentially based on static shots that you see all the time in film. It’s a slow zoom, closer and closer, and then next thing you know you’re full frame and the viewer didn’t even realize it. I also thought about Matthew’s work as pure fashion. Is it not also about revolution? I see this body of work in direct conversation with Matthew’s earlier work from the Occupy movement—it’s political. How do you reconcile that with fashion? The revolution is there, for sure. But there were all of these other images that dealt with attire, and smoke and light and the textures and the postures of people. I would love to see him shoot a really high-end fashion campaign and take those sensibilities and apply it to that. I found that particular work – at least the work leading up to the scenes of revolution— very dreamy. It feels like you’re floating through Cairo. A lot of that had to do with the edit, which was a combination of Bruno and Matthew’s efforts – it’s really brilliant. &nbsp; How do you negotiate those different roles and ideas – the editor, the photographer, the designer? How do those come together in your process? They’re clearly defined. We trust one another’s task. We play that game where everyone lays the photographs out on the table. It has to start in the physical dimension; we cut out everything and lay it out in this dimension – not inside the phone or computer. We don’t design the book on a computer. Never. The computer is more like a production tool. Making a book is more about making things with your hands and about holding something in your hands. This leads very nicely to the work you’re currently doing, which is the complete opposite – you’re the lead product designer for the New York Times online which means ... what, exactly? Designing what the New York Times looks like online. And art directing or creating experiences – virtual experiences that only exist in the virtual world. The type of artwork I’m commissioning will never be seen printed on a piece of paper. The intimacy of book making really satisfies my hunger for print; but I also come from the newspaper world, which offers the opportunity to be part of a daily zeitgeist. Tell me a little bit more about some of projects you’re currently working on for the Times – for example, the project that was ongoing during Black History Month, in which previously unpublished images from The New York Times picture morgue were shown contextualized, and open for reader comments. That’s part of a section that I’m art directing called Race/Related. We’re going to begin having discussions with America about race online. It’s really about presenting a forum – a platform – for the public to have these discussions about themselves. You’ve described this to me as working with a feedback loop – a triangulation between an editorial team, the audience, and the material. I feel like this also takes us back to Self Publish, Be Happy—because that’s about a community and its input as well. You designed the recent Self Publish, Be Happy manual. How does that encapsulate the world of Self Publish, Be Happy that Bruno and you created? That book intentionally really feels like our studio in London. Not only because it represents the SPBH book collection and experience, but even the table that the books are photographed on is the same table we photograph everything on. It’s the space itself. Would you say that there’s a SPBH look? Where does it come from? It comes from the collective. There are a lot of people that make up SPBH. People assume that it’s a small group of people putting it together, but in fact it’s huge. We don’t just reach out to the Facebook &amp; Instagram community for the sake of promotion; we actually ask them to come help us make things. We have parties together, we go out together, we dance together. I don’t think SPBH could be what it is if it weren’t for all of the people who have been there along the way. SPBH is not only a publisher. It’s also an organization that promotes a lot of different skill sets and platforms. You and Bruno are the designers-slash-creative directors-slash-editors of a community. We interchange those roles. Bruno’s a great art director, I’m a great editor. You know, a lot of SPBH’s initial work established that idea of the feedback loop I’m applying at the New York Times now. Take a project like Self Publish Be Naughty. That publication was pre-Kickstarter; early crowd-sourcing. We emailed people and posted on Facebook asking people to send us their naughty pictures. We received almost 7,000 photographs. Bruno came to Amsterdam, where I was living at the time, and the design happened in one afternoon. For the typography I wanted to use a really basic font, Arial Narrow. I’ve always wanted to design a magazine or book just using Microsoft Word. The design philosophy of SPBH Editions is kind of like that. I practice a default design philosophy. The less options you have, the more creativity comes out of it. I think certain familiarities occur when the public sees something they also see on their own interfaces. “I know that!” They feel a certain amount of empowerment that they can do something like that too. Yes, it becomes a call to action. It tells people to just get on with it. The first success story for a self publisher is that you take the leap of faith to make something and materialize it into this physical realm. We were somewhat shocked by the success of Self Publish Be Naughty. The idea of that book reminds me of what people are talking about now with The Life of Pablo, the new Kanye West album, where the unfinished is the new finished. That book played on all of those themes, where you were allowed to take the book apart, change the sequencing. Every book is different—they all went out to different people with a different order. You could remove pictures. They could be thrown away, or put up on your wall. The idea of that book came from the question “How do we look at a book now?” &nbsp;Even now, when I commission artwork for the Times, I say that the incomplete is the new complete. Let’s somehow make it transparent, or at least show the public that this piece of work might have flaws, it’s not quite complete. SPBH is like that. Everything’s pretty honest. Establishing yourself with an open philosophy encourages people and attracts them to be a part of it. — The PhotoBook Review is a publication dedicated to the consideration of the photobook—focusing on the best photography books being published, from the coffee-table book to the handmade artist’s edition, and on creating a better understanding of the ecosystem of the photobook as a whole. Books https://antoniodeluca.com/lecture Mon, 17 Aug 2015 15:10:11 +0000 Antonio de Luca https://antoniodeluca.com/lecture 2021 - Nürnberg: Akademie der Bildenden Künste2021 - Vancouver: FotoFilmic 2021 - Minneapolis College of Art and Design 2020 - Nürnberg: Akademie der Bildenden Künste2020 - New York: School of Visual Arts2019 - New York: Parsons School of Design 2018 - C/O Berlin - Photobook: Reset2017 - The New York Times - Enabling Image Options 2016 - University of Buffalo, Chris Lee’s Design Class2016 - New York: School of Visual Arts2016 - New York: Harvard Business School 2016 - AIGA/NY The Worst Thing I Ever Made Part 2 2015 - Self Publish Be, Happy Project Space, Offprint 2015 - University of the Arts London Elevator Pitches 2015 - Stedelijk Museum Amsterdam - SPBH Editions 2014 - Paris: Offprint – SPBH Editions table 2014 - Amsterdam: Unseen Photo Fair - SPBH Editions2014 - University of the Arts London 2014 - Berlin: Air Berlin Alexanderplatz – Joachim Schmid, Erica Overmeer,&nbsp; Patricia Reed 2014 - Staatliche Akademie der Bildenden Künste Stuttgart Twerkshop 2013 - Lecce, Italy: Spazio 314 Let’s Publish and Be Happy 2013 - University of the Arts London 2013 - New York: Jury Member American Photography 29 2012 - University of the Arts London Working with Art Directors 2012 - Frankfurt: JWT Germany Antonio de Luca Kommt 2012 - Hamburg: JWT Germany Antonio de Luca Kommt 2011 - New York: Big Talk American Illustration and Photography 2010 - Toronto: OCAD University How to survive as an Illustrator 2009 -&nbsp;Mainz: University of Applied Sciences Working w/ Art Directors 2009 - Nürnberg: Neues Museum Where Do Ideas Come From? 2009 - Karlsruhe: Staatliche Hochschule für Gestaltung Antonio de Luca Kommt 2009 -&nbsp;Nürnberg: Akademie der Bildenden Künste My Name Is 2008 - Berlin: Art Directors Club of Germany The Future Is Illustrated 2008 - Nürnberg: Akademie der Bildenden Künste The Future Is Illustrated 2008 - New York: Jury Member American Illustration 27 2007&nbsp;- Toronto: Sheridan College, 4th Year Illustration 2007 - Vancouver: Magazines Conference Canadian Illustration 2006 - Toronto: OCAD University How to survive as an Illustrator https://antoniodeluca.com/SPBH-Posters Tue, 10 Feb 2015 17:02:03 +0000 Antonio de Luca https://antoniodeluca.com/SPBH-Posters <img width="1056" height="1560" width_o="1056" height_o="1560" data-src="https://freight.cargo.site/t/original/i/4b7f1ef223008903209d25add9005d87329529d4527e4685dfd7681980882edb/SPBH-REVOLUTION-BOARDS-2.jpg" data-mid="9202152" border="0" src="https://freight.cargo.site/w/1000/i/4b7f1ef223008903209d25add9005d87329529d4527e4685dfd7681980882edb/SPBH-REVOLUTION-BOARDS-2.jpg" /><img width="1056" height="1560" width_o="1056" height_o="1560" data-src="https://freight.cargo.site/t/original/i/4f26a9a99051d6388cc6b767a653dc60fabc09ab8ce928fa5217cf5d945505f1/SPBH-REVOLUTION-BOARDS_2-3.jpg" data-mid="9202155" border="0" src="https://freight.cargo.site/w/1000/i/4f26a9a99051d6388cc6b767a653dc60fabc09ab8ce928fa5217cf5d945505f1/SPBH-REVOLUTION-BOARDS_2-3.jpg" /><img width="1056" height="1560" width_o="1056" height_o="1560" data-src="https://freight.cargo.site/t/original/i/439ce552bc1487f0c5d500f849b2c4702dc812dd2dc26dc27981f2169b5a04ae/SPBH-REVOLUTION-BOARDS_2-1.jpg" data-mid="9202153" border="0" src="https://freight.cargo.site/w/1000/i/439ce552bc1487f0c5d500f849b2c4702dc812dd2dc26dc27981f2169b5a04ae/SPBH-REVOLUTION-BOARDS_2-1.jpg" /><img width="1056" height="1560" width_o="1056" height_o="1560" data-src="https://freight.cargo.site/t/original/i/e24b38b3ea5567c6b03be0673d39097e9298ae6fcb75eb5e2a9e3a283a92103b/SPBH-REVOLUTION-BOARDS_2-2.jpg" data-mid="9202156" border="0" src="https://freight.cargo.site/w/1000/i/e24b38b3ea5567c6b03be0673d39097e9298ae6fcb75eb5e2a9e3a283a92103b/SPBH-REVOLUTION-BOARDS_2-2.jpg" /><img width="1056" height="1560" width_o="1056" height_o="1560" data-src="https://freight.cargo.site/t/original/i/149fb47544794019f0ed421875bf916119911c322083c55e3de6396c73b000c9/SPBH-REVOLUTION-BOARDS-3.jpg" data-mid="9202154" border="0" src="https://freight.cargo.site/w/1000/i/149fb47544794019f0ed421875bf916119911c322083c55e3de6396c73b000c9/SPBH-REVOLUTION-BOARDS-3.jpg" /><img width="650" height="975" width_o="650" height_o="975" data-src="https://freight.cargo.site/t/original/i/09ac78b34a781a8d0799a93d0b3e2e6050a92990ebdec3f179755584d06b118e/IMG_6612.jpg" data-mid="9202157" border="0" src="https://freight.cargo.site/w/650/i/09ac78b34a781a8d0799a93d0b3e2e6050a92990ebdec3f179755584d06b118e/IMG_6612.jpg" /> https://antoniodeluca.com/Walrus Mon, 16 Jan 2017 04:34:36 +0000 Antonio de Luca https://antoniodeluca.com/Walrus The Walrus is a Canadian general interest magazine which publishes long form journalism on Canadian and international affairs. Chris Levine <img width="435" height="593" width_o="435" height_o="593" data-src="https://freight.cargo.site/t/original/i/8f0da53c1c1b8687a72187e7be654bbd19f50b212441c4354fdb8de4e02f72bb/antonio_deluca_chris_levine_01_o.jpg" data-mid="9202570" border="0" src="https://freight.cargo.site/w/435/i/8f0da53c1c1b8687a72187e7be654bbd19f50b212441c4354fdb8de4e02f72bb/antonio_deluca_chris_levine_01_o.jpg" /> <img width="426" height="586" width_o="426" height_o="586" data-src="https://freight.cargo.site/t/original/i/23fa425be182c3b43c097a17cae579949ebd2e85c87ced65f9c09372e8312df3/antonio_deluca_ludimar_hermann_01_o.jpg" data-mid="9202562" border="0" src="https://freight.cargo.site/w/426/i/23fa425be182c3b43c097a17cae579949ebd2e85c87ced65f9c09372e8312df3/antonio_deluca_ludimar_hermann_01_o.jpg" /> Gary Taxali <img width="428" height="595" width_o="428" height_o="595" data-src="https://freight.cargo.site/t/original/i/b5e3826d5c4cb3dfbc791ff7273c49b4e9a448959b72cdc545a663134122d2ba/antonio_deluca_gary_taxali_01_o.jpg" data-mid="9202566" border="0" src="https://freight.cargo.site/w/428/i/b5e3826d5c4cb3dfbc791ff7273c49b4e9a448959b72cdc545a663134122d2ba/antonio_deluca_gary_taxali_01_o.jpg" /> Josephine Meckseper <img width="431" height="585" width_o="431" height_o="585" data-src="https://freight.cargo.site/t/original/i/4e1e855eb57d86928cb93664596efe1e83d18ad92aa7543c1c916d8281c90911/antonio_deluca_josephine_meckseper_01_o.jpg" data-mid="9202577" border="0" src="https://freight.cargo.site/w/431/i/4e1e855eb57d86928cb93664596efe1e83d18ad92aa7543c1c916d8281c90911/antonio_deluca_josephine_meckseper_01_o.jpg" /> Bruce Mau <img width="429" height="588" width_o="429" height_o="588" data-src="https://freight.cargo.site/t/original/i/d39bb7e252d1c08a282687fabc7e8a1138c9e4759687d046cf7753ed2d652476/antonio_deluca_bruce_mau_01_o.jpg" data-mid="9202572" border="0" 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data-src="https://freight.cargo.site/t/original/i/3383f02d5ee43f02368c4d89c85c94c85e700af2da7b5be81c7e3b49dbeb9a5b/Antonio_de_Luca_PDF_Portfolio_2014_illustration13.jpg" data-mid="186871397" border="0" src="https://freight.cargo.site/w/936/i/3383f02d5ee43f02368c4d89c85c94c85e700af2da7b5be81c7e3b49dbeb9a5b/Antonio_de_Luca_PDF_Portfolio_2014_illustration13.jpg" /> <img width="844" height="586" width_o="844" height_o="586" data-src="https://freight.cargo.site/t/original/i/6b0da7742e2865e90872a5c0686cb912db4112d19300899769f17f5a51d2a262/antonio_deluca_miles_collyer_01_o.jpg" data-mid="9202559" border="0" src="https://freight.cargo.site/w/844/i/6b0da7742e2865e90872a5c0686cb912db4112d19300899769f17f5a51d2a262/antonio_deluca_miles_collyer_01_o.jpg" /> Tamara Shopsin &amp; Jason Fulford <img width="836" height="586" width_o="836" height_o="586" data-src="https://freight.cargo.site/t/original/i/3fc0b39e92c9997dcd034db8d82f863c7ce55573d482ae6336df275f92d2d251/antonio_deluca_tamara_shopsin_jason_fulford_01_o.jpg" data-mid="9202549" border="0" src="https://freight.cargo.site/w/836/i/3fc0b39e92c9997dcd034db8d82f863c7ce55573d482ae6336df275f92d2d251/antonio_deluca_tamara_shopsin_jason_fulford_01_o.jpg" /> <img width="838" height="587" width_o="838" height_o="587" data-src="https://freight.cargo.site/t/original/i/6761730c1e28aeed75b022efa9887ca37bb7fd8d3b63fe15f172249f0820929c/antonio_deluca_tamara_shopsin_jason_fulford_02_o.jpg" data-mid="9202550" border="0" src="https://freight.cargo.site/w/838/i/6761730c1e28aeed75b022efa9887ca37bb7fd8d3b63fe15f172249f0820929c/antonio_deluca_tamara_shopsin_jason_fulford_02_o.jpg" /> Stephen Appleby-Barr <img width="834" height="593" width_o="834" height_o="593" data-src="https://freight.cargo.site/t/original/i/a121cb72c1d165f290eafc09c98b52be238cd207289f52453b74a09e2a7cb522/antonio_deluca_stephen_appleby_barr_01_o.jpg" data-mid="9202552" border="0" src="https://freight.cargo.site/w/834/i/a121cb72c1d165f290eafc09c98b52be238cd207289f52453b74a09e2a7cb522/antonio_deluca_stephen_appleby_barr_01_o.jpg" /> Rinzen <img width="840" height="590" width_o="840" height_o="590" data-src="https://freight.cargo.site/t/original/i/436b6efdb8273aa8a017976042bd43d2fa55d2fd30950a549e9d8d09f697f5a9/antonio_deluca_rinzen_01_o.jpg" data-mid="9202580" border="0" src="https://freight.cargo.site/w/840/i/436b6efdb8273aa8a017976042bd43d2fa55d2fd30950a549e9d8d09f697f5a9/antonio_deluca_rinzen_01_o.jpg" /> Farhad Moshiri <img width="846" height="590" width_o="846" height_o="590" data-src="https://freight.cargo.site/t/original/i/8b97c7f50542ce11d68f7c439609c75ed7f5fc724772f2a1e4d81e4c3ac3142a/antonio_deluca_farhad_moshiri_01_o.jpg" data-mid="9202567" border="0" src="https://freight.cargo.site/w/846/i/8b97c7f50542ce11d68f7c439609c75ed7f5fc724772f2a1e4d81e4c3ac3142a/antonio_deluca_farhad_moshiri_01_o.jpg" /> Peter Fraser <img width="833" height="587" width_o="833" height_o="587" data-src="https://freight.cargo.site/t/original/i/f6c8083475ef72a028d7ca3490c0ac1fd7b3dfb66089692e3314cb2e100f5c4b/antonio_deluca_peter_fraser_01_o.jpg" data-mid="9202557" border="0" src="https://freight.cargo.site/w/833/i/f6c8083475ef72a028d7ca3490c0ac1fd7b3dfb66089692e3314cb2e100f5c4b/antonio_deluca_peter_fraser_01_o.jpg" /> Marjana Kella <img width="843" height="588" width_o="843" height_o="588" data-src="https://freight.cargo.site/t/original/i/fc186db236f20b18253ecbd13558fc8da1dd5db580e327cf7ad3a0315ef6903c/antonio_deluca_marjaana_kella_01_o.jpg" data-mid="9202560" border="0" src="https://freight.cargo.site/w/843/i/fc186db236f20b18253ecbd13558fc8da1dd5db580e327cf7ad3a0315ef6903c/antonio_deluca_marjaana_kella_01_o.jpg" /> <img width="845" height="589" width_o="845" height_o="589" data-src="https://freight.cargo.site/t/original/i/effc265bcff83190cf1d5c5319e2805c485c22e237bb3d191ed2d54b6342dcbe/antonio_deluca_marjaana_kella_02_o.jpg" data-mid="9202561" border="0" src="https://freight.cargo.site/w/845/i/effc265bcff83190cf1d5c5319e2805c485c22e237bb3d191ed2d54b6342dcbe/antonio_deluca_marjaana_kella_02_o.jpg" /> Antonio de Luca <img width="836" height="589" width_o="836" height_o="589" data-src="https://freight.cargo.site/t/original/i/b56c7aabecc7e16fcae3613977cdf1a678b757010282c72fc3226ac1a2d63920/antonio_deluca_pinot_noir_01_o.jpg" data-mid="9202579" border="0" src="https://freight.cargo.site/w/836/i/b56c7aabecc7e16fcae3613977cdf1a678b757010282c72fc3226ac1a2d63920/antonio_deluca_pinot_noir_01_o.jpg" /> Robert Longo <img width="839" height="587" width_o="839" height_o="587" data-src="https://freight.cargo.site/t/original/i/99dcdbe64b7bb90a7fb22a9b9cc35aff07373592e5cfff1649de1aa475d7e624/antonio_deluca_robert_longo_02_o.jpg" data-mid="9202554" border="0" src="https://freight.cargo.site/w/839/i/99dcdbe64b7bb90a7fb22a9b9cc35aff07373592e5cfff1649de1aa475d7e624/antonio_deluca_robert_longo_02_o.jpg" /> <img width="847" height="592" width_o="847" height_o="592" data-src="https://freight.cargo.site/t/original/i/8df39afd72476e5946a1f833b03b347a07d05bfe77478b05c5d42e809d705db1/antonio_deluca_robert_longo_03_o.jpg" data-mid="9202555" border="0" src="https://freight.cargo.site/w/847/i/8df39afd72476e5946a1f833b03b347a07d05bfe77478b05c5d42e809d705db1/antonio_deluca_robert_longo_03_o.jpg" /> Benoit Aquin <img width="842" height="592" width_o="842" height_o="592" data-src="https://freight.cargo.site/t/original/i/2aa3981de434d9cc8ad7061e1b54a66fd2bd6d5d023905e0f05ac01fe7ec22ad/antonio_deluca_benoit_aquin_01_o.jpg" data-mid="9202573" border="0" src="https://freight.cargo.site/w/842/i/2aa3981de434d9cc8ad7061e1b54a66fd2bd6d5d023905e0f05ac01fe7ec22ad/antonio_deluca_benoit_aquin_01_o.jpg" /> Christopher Wahl <img width="847" height="592" width_o="847" height_o="592" data-src="https://freight.cargo.site/t/original/i/5507f39d4ed96985104b4396a466036c5635d241008d61538fed3f15127571d2/antonio_deluca_chris_wahl_01_o.jpg" data-mid="9202569" border="0" src="https://freight.cargo.site/w/847/i/5507f39d4ed96985104b4396a466036c5635d241008d61538fed3f15127571d2/antonio_deluca_chris_wahl_01_o.jpg" /> Andrei Molodkin <img width="850" height="593" width_o="850" height_o="593" data-src="https://freight.cargo.site/t/original/i/7d344572c6810305552c6a2377dab5464e7c62babf0d565e97d6607f386deb0c/antonio_deluca_andrei_molodkin_01_o.jpg" data-mid="9202574" border="0" src="https://freight.cargo.site/w/850/i/7d344572c6810305552c6a2377dab5464e7c62babf0d565e97d6607f386deb0c/antonio_deluca_andrei_molodkin_01_o.jpg" /> – Founding Creative Director 2003–08 Title: The Walrus Circulation: 100,000 Frequency: Monthly Place: North America https://antoniodeluca.com/Five-Dials Wed, 22 Jan 2014 17:28:20 +0000 Antonio de Luca https://antoniodeluca.com/Five-Dials Five Dials Five Dials is a literary magazine published by Hamish Hamilton, an imprint of Penguin Books UK. Distributed in Portable Document Format (PDF), Five Dials is best downloaded, printed out and enjoyed away from the computer. – Five Dials Issue 37Download (PDF) Artwork collaboration with Leif Parsons and Low-Beer <img width="1000" height="1414" width_o="1000" height_o="1414" data-src="https://freight.cargo.site/t/original/i/8d661af5df4dfd738fd217c23e510a1b1303e6c654d03c13d0775279bab05146/fivedials_no37_Final-1_1000.jpg" data-mid="9201915" border="0" src="https://freight.cargo.site/w/1000/i/8d661af5df4dfd738fd217c23e510a1b1303e6c654d03c13d0775279bab05146/fivedials_no37_Final-1_1000.jpg" /> Five Dials 36 Download (PDF) A collaboration with Stanley Donwood, who is known for his close association with the British band Radiohead, having created all of their album and poster art since 1994. <img width="1000" height="1414" width_o="1000" height_o="1414" data-src="https://freight.cargo.site/t/original/i/bd358134443256482d316d5705fd2f380136de23783a18695fec9da66ff34f43/antonio_de_luca_fivedials_36.jpg" data-mid="9201914" border="0" src="https://freight.cargo.site/w/1000/i/bd358134443256482d316d5705fd2f380136de23783a18695fec9da66ff34f43/antonio_de_luca_fivedials_36.jpg" /> Five Dials 35 Download (PDF) Richard McGuire Makes A Book. Featuring the sketches, notes, phrases, inspirations, paintings, lists and photo collages used to create the essential ‘Here’ book. <img width="1000" height="1414" width_o="1000" height_o="1414" data-src="https://freight.cargo.site/t/original/i/649806528d4a9be616faa0ccff8b0ce78eeb4c5a7b87fbf6b026e7462228536a/fivedials_no35_AdL_Studio_1000.jpg" data-mid="9201913" border="0" src="https://freight.cargo.site/w/1000/i/649806528d4a9be616faa0ccff8b0ce78eeb4c5a7b87fbf6b026e7462228536a/fivedials_no35_AdL_Studio_1000.jpg" /> Five Dials 34 Download (PDF) Jokes / Not Joking At All. Featuring jokes, obviously, but not too many. Plus Knausgaard, Nick Hornby, the paintings of Margaux Williamson, two chapters of Tom Basden’s ongoing serial, Stuart Evers, Emily Berry on breakfasts in literature, and a contribution from Sigmund Freud. Plus animals in rehab, a short story by Colin Barrett (winner of the Guardian First Book Award) Are you kidding me?&nbsp;Drawings by Jody Barton. <img width="850" height="820" width_o="850" height_o="820" data-src="https://freight.cargo.site/t/original/i/7d851f7f451d72665259f38b3f3e022818b3131426063259b9b1b9d5fa18c3f8/five_dials_34_antonio_de_luca_01.jpg" data-mid="9201895" border="0" src="https://freight.cargo.site/w/850/i/7d851f7f451d72665259f38b3f3e022818b3131426063259b9b1b9d5fa18c3f8/five_dials_34_antonio_de_luca_01.jpg" /> <img width="850" height="820" width_o="850" height_o="820" data-src="https://freight.cargo.site/t/original/i/a1c5adb7f1955e3ad463e1f21a4889871b14562c9cb2aca0504921fea1b4467e/five_dials_34_antonio_de_luca_02.jpg" data-mid="9201896" border="0" src="https://freight.cargo.site/w/850/i/a1c5adb7f1955e3ad463e1f21a4889871b14562c9cb2aca0504921fea1b4467e/five_dials_34_antonio_de_luca_02.jpg" /> <img width="850" height="820" width_o="850" height_o="820" data-src="https://freight.cargo.site/t/original/i/d1241b37d710ce20e829c41f8818f78134ed61f42c55f39bf0cce0d18eb9f9b1/five_dials_antonio_de_luca_03_67.jpg" data-mid="9201897" border="0" src="https://freight.cargo.site/w/850/i/d1241b37d710ce20e829c41f8818f78134ed61f42c55f39bf0cce0d18eb9f9b1/five_dials_antonio_de_luca_03_67.jpg" /> <img width="850" height="820" width_o="850" height_o="820" data-src="https://freight.cargo.site/t/original/i/b8ce7c0821c8aae9779fecaed6dfab1364f7f8668172a8a97a851fb260495dbb/five_dials_antonio_de_luca_06_64.jpg" data-mid="9201900" border="0" src="https://freight.cargo.site/w/850/i/b8ce7c0821c8aae9779fecaed6dfab1364f7f8668172a8a97a851fb260495dbb/five_dials_antonio_de_luca_06_64.jpg" /> <img width="850" height="820" width_o="850" height_o="820" data-src="https://freight.cargo.site/t/original/i/7f13dc758bfd4ca56088098ab6515d29e1f31bde57a1a5568e27240314b5b2f4/five_dials_antonio_de_luca_08_62.jpg" data-mid="9201902" border="0" src="https://freight.cargo.site/w/850/i/7f13dc758bfd4ca56088098ab6515d29e1f31bde57a1a5568e27240314b5b2f4/five_dials_antonio_de_luca_08_62.jpg" /> <img width="850" height="820" width_o="850" height_o="820" data-src="https://freight.cargo.site/t/original/i/1d52f9065734261983501a9f2c0b389ce379e095065b1e2fb764618a64e511fd/five_dials_antonio_de_luca_09_61.jpg" data-mid="9201903" border="0" src="https://freight.cargo.site/w/850/i/1d52f9065734261983501a9f2c0b389ce379e095065b1e2fb764618a64e511fd/five_dials_antonio_de_luca_09_61.jpg" /> <img width="850" height="820" width_o="850" height_o="820" data-src="https://freight.cargo.site/t/original/i/1256e73353021a8c76019fea1b4a53f571bbd571ae9c711d962c68715bc128fd/five_dials_antonio_de_luca_10_60.jpg" data-mid="9201904" border="0" src="https://freight.cargo.site/w/850/i/1256e73353021a8c76019fea1b4a53f571bbd571ae9c711d962c68715bc128fd/five_dials_antonio_de_luca_10_60.jpg" /> <img width="850" height="820" width_o="850" height_o="820" data-src="https://freight.cargo.site/t/original/i/7d442f81ebc80bf8b332e74fd912fe1b1f8f89650a09d1db06e6d0723279f9ff/five_dials_antonio_de_luca_11_59.jpg" data-mid="9201905" border="0" src="https://freight.cargo.site/w/850/i/7d442f81ebc80bf8b332e74fd912fe1b1f8f89650a09d1db06e6d0723279f9ff/five_dials_antonio_de_luca_11_59.jpg" /> <img width="850" height="820" width_o="850" height_o="820" data-src="https://freight.cargo.site/t/original/i/bbe9cdd0d542c823600737ea24d23138184a0a30d5a6feb19e71b2fcc342bb81/five_dials_antonio_de_luca_12_58.jpg" data-mid="9201906" border="0" src="https://freight.cargo.site/w/850/i/bbe9cdd0d542c823600737ea24d23138184a0a30d5a6feb19e71b2fcc342bb81/five_dials_antonio_de_luca_12_58.jpg" /> <img width="850" height="820" width_o="850" height_o="820" data-src="https://freight.cargo.site/t/original/i/7fef43d1610e142399d7f6d417877af2f75c978ba2b9f1041a07e1bba0f5b44f/five_dials_antonio_de_luca_13_15.jpg" data-mid="9201907" border="0" src="https://freight.cargo.site/w/850/i/7fef43d1610e142399d7f6d417877af2f75c978ba2b9f1041a07e1bba0f5b44f/five_dials_antonio_de_luca_13_15.jpg" /> <img width="850" height="820" width_o="850" height_o="820" data-src="https://freight.cargo.site/t/original/i/f0a5feddf6e2544582001c25c1cc4142d4599693e30c000cb273b1ebbf43c666/five_dials_antonio_de_luca_14_16.jpg" data-mid="9201908" border="0" src="https://freight.cargo.site/w/850/i/f0a5feddf6e2544582001c25c1cc4142d4599693e30c000cb273b1ebbf43c666/five_dials_antonio_de_luca_14_16.jpg" /> <img width="850" height="820" width_o="850" height_o="820" data-src="https://freight.cargo.site/t/original/i/488c8c2530b24a091e2cfd90de406603cd719971942d5085f413265422e0212a/five_dials_antonio_de_luca_15_17.jpg" data-mid="9201909" border="0" src="https://freight.cargo.site/w/850/i/488c8c2530b24a091e2cfd90de406603cd719971942d5085f413265422e0212a/five_dials_antonio_de_luca_15_17.jpg" /> <img width="850" height="820" width_o="850" height_o="820" data-src="https://freight.cargo.site/t/original/i/46514911780630dc79080c9f301a69eaff5d5990e15a549a89fbfaea060e35d2/five_dials_antonio_de_luca_16_18.jpg" data-mid="9201910" border="0" src="https://freight.cargo.site/w/850/i/46514911780630dc79080c9f301a69eaff5d5990e15a549a89fbfaea060e35d2/five_dials_antonio_de_luca_16_18.jpg" /> <img width="850" height="820" width_o="850" height_o="820" data-src="https://freight.cargo.site/t/original/i/19a7bfc6b552c3002cb7e3933b65ed812b6be77462503623057f07d37b4a8280/five_dials_antonio_de_luca_17_19.jpg" data-mid="9201911" border="0" src="https://freight.cargo.site/w/850/i/19a7bfc6b552c3002cb7e3933b65ed812b6be77462503623057f07d37b4a8280/five_dials_antonio_de_luca_17_19.jpg" /> <img width="850" height="820" width_o="850" height_o="820" data-src="https://freight.cargo.site/t/original/i/f6f0804fdb7e82c5d32ab2dc05b58ea4e8da074e11c932ff9997fa94710ee011/five_dials_antonio_de_luca_18_20.jpg" data-mid="9201912" border="0" src="https://freight.cargo.site/w/850/i/f6f0804fdb7e82c5d32ab2dc05b58ea4e8da074e11c932ff9997fa94710ee011/five_dials_antonio_de_luca_18_20.jpg" /> Five Dials 33 Download (PDF) Five Dials x @readwomen2014&nbsp; PART 1. Featuring Jenni Fagan, Lauren Elkin, Susan Barbour and Rachel Genn.&nbsp;Drawings by Cari Vander Yacht <img width="850" height="820" width_o="850" height_o="820" data-src="https://freight.cargo.site/t/original/i/aaa695e343f10c8e7523f5c342a3dfcdd72265dc8941ef394da533ab610d4648/five_dials_antonio_de_luca_01_3.jpg" data-mid="9201894" border="0" src="https://freight.cargo.site/w/850/i/aaa695e343f10c8e7523f5c342a3dfcdd72265dc8941ef394da533ab610d4648/five_dials_antonio_de_luca_01_3.jpg" /> <img width="850" height="820" width_o="850" height_o="820" data-src="https://freight.cargo.site/t/original/i/6e908eacacd62eca70e140fb903ee46ef400de4056b5d539fa48221c1674324f/five_dials_antonio_de_luca_08_10.jpg" data-mid="9201887" border="0" src="https://freight.cargo.site/w/850/i/6e908eacacd62eca70e140fb903ee46ef400de4056b5d539fa48221c1674324f/five_dials_antonio_de_luca_08_10.jpg" /> <img width="850" height="820" width_o="850" height_o="820" data-src="https://freight.cargo.site/t/original/i/cff10667b5d00619a511309090c37053438f5c834dcffcf65e1dd8f2189dfc89/five_dials_antonio_de_luca_06_8.jpg" data-mid="9201889" border="0" src="https://freight.cargo.site/w/850/i/cff10667b5d00619a511309090c37053438f5c834dcffcf65e1dd8f2189dfc89/five_dials_antonio_de_luca_06_8.jpg" /> <img width="850" height="820" width_o="850" height_o="820" data-src="https://freight.cargo.site/t/original/i/3ae320bb466ffbac5c198fd88df0afe570d6acd8bb566561ba93ec805db0ab64/five_dials_antonio_de_luca_02_4.jpg" data-mid="9201893" border="0" src="https://freight.cargo.site/w/850/i/3ae320bb466ffbac5c198fd88df0afe570d6acd8bb566561ba93ec805db0ab64/five_dials_antonio_de_luca_02_4.jpg" /> <img width="850" height="820" width_o="850" height_o="820" data-src="https://freight.cargo.site/t/original/i/7287b41cf74a88fd36ef6bc3adae51e656cb0bea7bb9662b29dee1e24bde6402/five_dials_antonio_de_luca_09_11.jpg" data-mid="9201886" border="0" src="https://freight.cargo.site/w/850/i/7287b41cf74a88fd36ef6bc3adae51e656cb0bea7bb9662b29dee1e24bde6402/five_dials_antonio_de_luca_09_11.jpg" /> <img width="850" height="820" width_o="850" height_o="820" data-src="https://freight.cargo.site/t/original/i/8f7c7b5a2b017f8fbf845a52e171369de3ce81ba6eebdf8f956b50a34ebe2863/five_dials_antonio_de_luca_03_5.jpg" data-mid="9201892" border="0" src="https://freight.cargo.site/w/850/i/8f7c7b5a2b017f8fbf845a52e171369de3ce81ba6eebdf8f956b50a34ebe2863/five_dials_antonio_de_luca_03_5.jpg" /> Five Dials 32 Download (PDF) New Zealand. New artwork from Francis Upritchard. New writing from C.K. Stead, Paula Morris, Paul Ewen and Ashleigh Young. 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Mondovi, Algeria, in 1913. An avid sportsman, Camus claimed to have learned all he knew about morality and the obligations of men from football. He preferred to write whilst standing up and was awarded the Nobel Prize for Literature in 1957.&nbsp;Drawings by Zoo project (Bilal Berreni) <img width="850" height="820" width_o="850" height_o="820" data-src="https://freight.cargo.site/t/original/i/17e3cf6e50418b39aa18333784a3d01f359159794c87bf8ec753073c9dd73253/five_dials_30_antonio_de_luca_01_o.jpg" data-mid="9201864" border="0" src="https://freight.cargo.site/w/850/i/17e3cf6e50418b39aa18333784a3d01f359159794c87bf8ec753073c9dd73253/five_dials_30_antonio_de_luca_01_o.jpg" /> <img width="850" height="820" width_o="850" height_o="820" data-src="https://freight.cargo.site/t/original/i/1bd1f7d0c0aeda3c57ada954688faabbf2af2d7464e0f715b090b2f36d3a4293/five_dials_30_antonio_de_luca_03_o.jpg" data-mid="9201862" border="0" src="https://freight.cargo.site/w/850/i/1bd1f7d0c0aeda3c57ada954688faabbf2af2d7464e0f715b090b2f36d3a4293/five_dials_30_antonio_de_luca_03_o.jpg" /> <img width="850" height="820" width_o="850" height_o="820" data-src="https://freight.cargo.site/t/original/i/e94e3ac0f51dc3f3a71c93f7d89960756b6d6081080c8f89d3e6f59038b874da/five_dials_30_antonio_de_luca_04_o.jpg" data-mid="9201861" border="0" src="https://freight.cargo.site/w/850/i/e94e3ac0f51dc3f3a71c93f7d89960756b6d6081080c8f89d3e6f59038b874da/five_dials_30_antonio_de_luca_04_o.jpg" /> <img width="850" height="820" width_o="850" height_o="820" data-src="https://freight.cargo.site/t/original/i/c36b19d7dec30b2671373e8b797c052026bd5853d09541feccf07408d042f101/five_dials_30_antonio_de_luca_05_o.jpg" data-mid="9201860" border="0" src="https://freight.cargo.site/w/850/i/c36b19d7dec30b2671373e8b797c052026bd5853d09541feccf07408d042f101/five_dials_30_antonio_de_luca_05_o.jpg" /> <img width="850" height="820" width_o="850" height_o="820" data-src="https://freight.cargo.site/t/original/i/a9e31a90bfd07c7960c2e066c5050c86a5e9ca100bf73618c1674fa2e33108d4/five_dials_30_antonio_de_luca_06_o.jpg" data-mid="9201859" border="0" src="https://freight.cargo.site/w/850/i/a9e31a90bfd07c7960c2e066c5050c86a5e9ca100bf73618c1674fa2e33108d4/five_dials_30_antonio_de_luca_06_o.jpg" /> <img width="850" height="820" width_o="850" height_o="820" data-src="https://freight.cargo.site/t/original/i/d06ee62dc356d9fcf3174d60563c2806b56284900a746837c1cc977b38c422e4/five_dials_30_antonio_de_luca_11_o.jpg" data-mid="9201854" border="0" src="https://freight.cargo.site/w/850/i/d06ee62dc356d9fcf3174d60563c2806b56284900a746837c1cc977b38c422e4/five_dials_30_antonio_de_luca_11_o.jpg" /> <img width="850" height="820" width_o="850" height_o="820" data-src="https://freight.cargo.site/t/original/i/52dc259d0f82e5d9c23a0c9643bb254cf55dce35f606fa97563a993779b3f092/five_dials_30_antonio_de_luca_13_o.jpg" data-mid="9201852" border="0" src="https://freight.cargo.site/w/850/i/52dc259d0f82e5d9c23a0c9643bb254cf55dce35f606fa97563a993779b3f092/five_dials_30_antonio_de_luca_13_o.jpg" /> <img width="850" height="820" width_o="850" height_o="820" data-src="https://freight.cargo.site/t/original/i/67aa2fb55d9c86ee1313351d9b526a2b38d0dd128ae6b827b42243107631bdfe/five_dials_30_antonio_de_luca_18_o.jpg" data-mid="9201847" border="0" src="https://freight.cargo.site/w/850/i/67aa2fb55d9c86ee1313351d9b526a2b38d0dd128ae6b827b42243107631bdfe/five_dials_30_antonio_de_luca_18_o.jpg" /> <img width="850" height="820" width_o="850" height_o="820" data-src="https://freight.cargo.site/t/original/i/f3df212896ff0132c4f573761bed4c279cbf8f8e9e6637ca048c4822383ae54c/five_dials_30_antonio_de_luca_19_o.jpg" data-mid="9201846" border="0" src="https://freight.cargo.site/w/850/i/f3df212896ff0132c4f573761bed4c279cbf8f8e9e6637ca048c4822383ae54c/five_dials_30_antonio_de_luca_19_o.jpg" /> https://antoniodeluca.com/awards Mon, 09 May 2022 00:49:27 +0000 Antonio de Luca https://antoniodeluca.com/awards Awards and Distinctions New York Press Club, 2023 – The New York Times“The Visions of Octavia Butler”Deadline Club, 2023&nbsp;– The New York Times“The Visions of Octavia Butler” SPD, 2021 Finalist in Page Design – The New York Times “Black Surfers Reclaim Their Place On The Waves”SPD, 2021 Finalist in Typography – The New York Times “Carnival in Winter” SPD, 2020 Finalist in Illustration – The New York Times “17 Artists Capture a Surreal New York From Their Windows”SPD, 2019 –&nbsp;The New York Times Silver in Video Series – “Diary of a Song” SPD, 2017 –&nbsp;The New York Times&nbsp; Gold in Page Design “Women Are Making the Best Rock Music” International Center of Photography, 2015&nbsp; – ICP Infinity Award, Fire in Cairo The New York Times – Best Books of 2014 –&nbsp;Close Your Eyes Phaidon, The Photobook: A History Volume III, 2014 –&nbsp;Self Publish, Be Naughty Photo-eye, The Best Books of 2014 – Self Publish, Be Happy book club Vol. 6&nbsp; TIME’s best of 2012, The Photobooks We Loved – Self Publish, Be Happy book club Vol. IThe Guardian, Best photography books of 2012 – Self Publish, Be Happy book club Vol. IPhoto-eye, The Best Books of 2012 – Self Publish, Be Happy book club Vol. I &amp; IICommunication Arts, 2012 Book Design – American Photography 27Photo-eye, The Best Books of 2011 – Self Publish, Be Naughty Canadian National Magazine Awards, 2009 – The Walrus Gold – Art direction for a single magazine article – “Part One: A Legend Is Born”Gold – Words + Pictures – “Our Faces, Our Selves”&nbsp;The Advertising &amp; Design Club of Canada, 2009 – The WalrusSilver – Art direction – Words + Pictures – “Our Faces, Our Selves” Canadian National Magazine Awards, 2008 – The Walrus Gold – Illustration – “God’s Slow Death” by Sam Weber Gold – Portrait photography – “Miss Canadiana” by Robyn Cumming Gold – Spot illustration – “Tank Talk” by Leif Parsons Silver – Cover – “Lightness of Being (The Queen)” by Antonio de Luca Silver – Still-life photography – “Digby Neck” by Russell Monk Silver – Photojournalism and photo essay – “The Chinese Dust Bowl” by Benoit AquinThe Prix Pictet, 2008 – The Walrus The Advertising &amp; Design Club of Canada, 2008 – The Walrus Silver – Art direction for spread – “The Counterpart” by Petra Mrzyk &amp; Jean-François Moriceau Silver – Illustration – “Parallel Universe” by Graham Roumieu Silver – Illustration – “Tunneling Through Time” by Chris Lee Silver – Cover – “Lightness of Being (The Queen)” photographed by Chris Levine The Advertising &amp; Design Club of Canada, 2007 – The Walrus Gold – Cover – “Grid Solution” by Ludimar Hermann Gold – Illustration – “God’s Slow Death” by Sam Weber Gold – Photojournalism – “The Last Lumberjacks” by Rita Leistner Silver – Art direction for a single magazine article – “The Teenage Brain” Silver – Art direction for a single magazine spread – “Red Rush” Silver – Conceptual photography – “A House Half Built” by Liz Cowie Silver – Conceptual photography – “Brighter Lights, Bigger Cities” by Eamon Mac Mahon Silver – Illustration – “Her Dog” by Jillian Tamaki Silver – Illustration – “My Cherry” by Marcos Chin Silver – Illustration – “Snail Males” by Zoe Barcza Silver – Portrait photography – “Alienated Cosmopolitans” by Robyn Cumming Silver – Photojournalism – “Separate and Unequal” by Eamon Mac MahonCanadian National Magazine Awards, 2006 – The WalrusGold – Magazine of the year Gold – Art direction for a single magazine article – “The Teenage Brain” Gold – Art direction for an entire magazine issue – “Bird Flu Fever” Gold – Magazine cover – “The Alberta Cash Cow” Silver – Illustration – “Hijacking History” by Graham RoumieuThe Art Directors Club (NYC), 2006 – The Walrus Silver – Photo illustration – “Waiting for the Pandemic” by Tamara Shopsin and Jason Fulford Silver – Illustration – “Might Is Wrong” by Rinzen The Advertising &amp; Design Club of Canada, 2006 – The Walrus Gold – Art direction for a single magazine article – “Waiting for the Pandemic” Gold – Art direction for an entire magazine issue – “Bird Flu Fever” Gold – Illustration – “Ephemera” by Leif Parsons Canadian National Magazine Awards Foundation, 2005 – The Walrus Gold – Art direction for a single magazine page or spread – “Totally Genius” Gold – Illustration – “Dangerous Liaisons” by Jillian Tamaki Gold – Words and pictures – “Al Rashad” by Rita Leistner and Joshua Knelman Gold – Portrait photography – “Jew Funk” by Davida NemeroffCanadian National Magazine Awards Foundation, 2004 – The Walrus Gold – Art direction for a single magazine page or spread – “Will Bush Win/Will Kerry Win?” Gold – Spot illustration – “How to Save Democracy” by Leif Parsons Gold – Words and pictures – “Inside a Different Kabul” by Ahmet SelThe Advertising &amp; Design Club of Canada, 2002 – Shift Gold – Art direction for an entire magazine issue – “Culture Where Art Thou?” Gold – Art direction for a single magazine page or spread – “Being John Lee” Silver – Art direction for a single magazine article – “Unplugged, Seven Days with No Tech” Silver – Art direction for a single magazine page or spread – “My Keyboard, My Wrists…” Silver – Art direction for magazine cover – “Why Technology is Failing Us” Silver – Portrait photography – “Green Innovators” Silver – Portrait photography – “Shift’s 2002 Guide to Digital Education” Silver – Photojournalism – “Rawshift: Freedom”The Advertising &amp; Design Club of Canada, 2001 – The Walrus Gold – Design of a magazine cover – “When Dolphins Go Bad” Gold – Design of a feature (spread), conceptual photography – “Picture Imperfect” https://antoniodeluca.com/Matthew-Connors Mon, 10 Aug 2015 20:28:08 +0000 Antonio de Luca https://antoniodeluca.com/Matthew-Connors <img width="1024" height="657" width_o="1024" height_o="657" data-src="https://freight.cargo.site/t/original/i/e51bda59e24733deb3838233d9e091c4035fc3044895f572f55249bc1946ae84/Connor_1-1024x657.jpg" data-mid="9201723" border="0" src="https://freight.cargo.site/w/1000/i/e51bda59e24733deb3838233d9e091c4035fc3044895f572f55249bc1946ae84/Connor_1-1024x657.jpg" /> <img width="1024" height="683" width_o="1024" height_o="683" data-src="https://freight.cargo.site/t/original/i/0f7b0a5552d6d140faadc63143e88da49b16c9fdee6e7b1b77da6aa101d0545f/Connor_2-1024x683.jpg" data-mid="9201724" border="0" src="https://freight.cargo.site/w/1000/i/0f7b0a5552d6d140faadc63143e88da49b16c9fdee6e7b1b77da6aa101d0545f/Connor_2-1024x683.jpg" /> <img width="1024" height="683" width_o="1024" height_o="683" data-src="https://freight.cargo.site/t/original/i/1905dd9bb2826ecc57c2330f388cdea25147b8aeb460a32cbd1e335abccd5253/Connor_4-1024x683.jpg" data-mid="9201729" border="0" src="https://freight.cargo.site/w/1000/i/1905dd9bb2826ecc57c2330f388cdea25147b8aeb460a32cbd1e335abccd5253/Connor_4-1024x683.jpg" /> <img width="1024" height="683" width_o="1024" height_o="683" data-src="https://freight.cargo.site/t/original/i/d50fa17b2d37121a075ef6c3b47038cfcc3a13f09173af3cc2162e45f32e2ded/Connor_6-1024x683.jpg" data-mid="9201726" border="0" src="https://freight.cargo.site/w/1000/i/d50fa17b2d37121a075ef6c3b47038cfcc3a13f09173af3cc2162e45f32e2ded/Connor_6-1024x683.jpg" /> <img width="1024" height="683" width_o="1024" height_o="683" data-src="https://freight.cargo.site/t/original/i/65cc543f56f4cecf256b6414c10a2b7a4c9d3028e62f75000efffc08c17ae537/Connor_5-1024x683.jpg" data-mid="9201727" border="0" src="https://freight.cargo.site/w/1000/i/65cc543f56f4cecf256b6414c10a2b7a4c9d3028e62f75000efffc08c17ae537/Connor_5-1024x683.jpg" /> <img width="1024" height="683" width_o="1024" height_o="683" data-src="https://freight.cargo.site/t/original/i/9fce9e6bf7657f917903e7b75dc4bd48e350df5b1c1b3a78d3179f2748be2981/Connor_9-1024x683.jpg" data-mid="9201725" border="0" src="https://freight.cargo.site/w/1000/i/9fce9e6bf7657f917903e7b75dc4bd48e350df5b1c1b3a78d3179f2748be2981/Connor_9-1024x683.jpg" /> <img width="1024" height="683" width_o="1024" height_o="683" data-src="https://freight.cargo.site/t/original/i/71c2db2bf7767c578f7d0794df02726a4038e5ce901703fd1d19a1e8d9d44c0a/Connor_10-1024x683.jpg" data-mid="9201728" border="0" src="https://freight.cargo.site/w/1000/i/71c2db2bf7767c578f7d0794df02726a4038e5ce901703fd1d19a1e8d9d44c0a/Connor_10-1024x683.jpg" /> <img width="1024" height="683" width_o="1024" height_o="683" data-src="https://freight.cargo.site/t/original/i/7535fe140a72b5f286fc83d2cf234b0c045795db912fa7459a69129370982a2b/Connor_16-1024x683.jpg" data-mid="9201722" border="0" src="https://freight.cargo.site/w/1000/i/7535fe140a72b5f286fc83d2cf234b0c045795db912fa7459a69129370982a2b/Connor_16-1024x683.jpg" /> <img width="1024" height="683" width_o="1024" height_o="683" data-src="https://freight.cargo.site/t/original/i/d200b92e0b3507f88919ca873d300dae0ab486f9d3625b04cd0ae7c1d837e2e7/Connor_18-1024x683.jpg" data-mid="9201731" border="0" src="https://freight.cargo.site/w/1000/i/d200b92e0b3507f88919ca873d300dae0ab486f9d3625b04cd0ae7c1d837e2e7/Connor_18-1024x683.jpg" /> <img width="1024" height="714" width_o="1024" height_o="714" data-src="https://freight.cargo.site/t/original/i/e9f9edce4ca66e04a6aa4386c65e74dd72992125773e02321332ce73f2a6af6e/Connor_19-1024x714.jpg" data-mid="9201732" border="0" src="https://freight.cargo.site/w/1000/i/e9f9edce4ca66e04a6aa4386c65e74dd72992125773e02321332ce73f2a6af6e/Connor_19-1024x714.jpg" /> FIRE IN CAIROPhotographs and text by Matthew ConnorsSPBH Editions, London, 2015Hardcover, Lithography7.75 x 10 in (19.9 x 25.4 cm)148 pages, 91 imagesEdition of 1,000 2016 ICP Infinity Award: Artist’s Book Fire in Cairo emerged from Egypt as an oblique and fragmentary document of revolutionary struggle. The book charts Matthew Connors’ uneasy engagement with the political turmoil that gripped the nation during its rapidly unfolding history. The complexity of the situation resisted comprehensive explanation, but invited metaphorical speculation. In his images Cairo reveals itself to be an enormous studio for social change, ripe with visual, sculptural and atmospheric residues of resistance. Matthew weaves these together with portraits of Egyptians from across the political spectrum and his own experimental fiction. The result is a book that careens between reportage, poetry and surrealism to heighten the tensions between beauty, threat and historical consequence. REVIEWSBrian Sholis, friezeAdam Bell, photo-eyeJörg M. Coberg, Conscientious Photo MagazineMax Houghton, 1000 WordsOlga Yatskevich, Collector DailyPaul Moakley, TIME Lightbox LISTS2016 ICP Infinity Award: Artist’s Book2015 Paris Photo – Aperture Foundation First PhotoBook Awards ShortlistArles 2015 Author Book Award Shortlist The Guardian Best Photography Books of 2015Humble Arts Foundation Best Photobooks of 2015photo-eye Best Books of 2015: Gerry Badgerphoto-eye Best Books of 2015: Aaron Schuman