Interview with Taj Forer and Michael Itkoff of Daylight Magazine

Taj Forer and Michael Itkoff are the co-founding editors of Daylight Magazine which launched the Debut Issue in March 2004 with the work of Sara Gomez, Tom Rankin, Alec Soth, Jen Szymaszek. They have followed with themed issues on Iraq, Sustainability, Israel/Palestine, and the current issue on Agriculture. In addition to being magazine editors, Forer and Itkoff have both published monographs with Charta. Threefold Sun, Forer's book is on Waldorf communities in the United States and has a enlightening essay on these communities and its founder, Rudolph Steiner, by Carol Mavor. Michael Itkoff's book, Street Portraits, with faces from London, Sydney, Hanoi, Bangkok, and New York is due in the US in February. Here Forer and Itkoff discuss the publication of the magazine and not-for-profit organization, Daylight Community Arts Foundation.

MM: What is the mission of Daylight Magazine? How has this mission evolved from the first program/issue into the multimedia organization that Daylight Magazine has become?

TF/MI: Founded in 2003, Daylight Magazine is the biannual printed publication of Daylight Community Arts Foundation (DCAF), a non-profit organization dedicated to promoting the use of photography as a tool for effecting social change. By reimagining the documentary mode through collaboration with established and emerging artists, scholars and journalists, Daylight Magazine has become one of the premier showcases for contemporary photography. Recently DCAF launched Fundacion Imaginer (www.fundacionimaginer.org) based in Panama City, Panama which is dedicated to promoting contemporary art and photography from Latin America.

In addition to publishing Daylight Magazine, DCAF seeks to help underrepresented communities share their stories by distributing cameras, establishing darkroom and digital imaging facilities, administering photographic workshops, and curating local and traveling exhibitions. Ultimately, DCAF’s goal is to provide these communities with access to the resources and equipment necessary to participate in the global visual dialogue.

We invite interested individuals to initiate and manage self-representative photography projects using Daylight Community Arts Foundation as an umbrella to apply for funding. By working with photographers all over the world we have built a network of successful satellite projects. Join us!


MM: What are your roles in the organization?

TF/MI: We are co-founding editors and make all of the decisions regarding the overall "big picture" trajectory of Daylight and its many programs. A dedicated team of volunteer staff members allow for our organization to work towards and attain the goals that we put in place.


MM: Daylight has numerous relationships with other organizations and functions as a not-for-profit organization. What is the best way you have found to receive funding for most of your projects?

TF/MI: Funding is the single most difficult obstacle for Daylight. There is no single source of funding that allows Daylight to function. Rather, Daylight's operational expenses are met through a diverse funding portfolio consisting of grants, tax-deductible donations from individuals and companies, subscription and single issue sales and advertising revenue. We are constantly applying for grants and soliciting in-kind donations - without the generosity of the supporting public and that of foundations, our work cannot happen.


MM: Daylight sponsors many programs relating to photography for rural and impoverished communities including darkroom construction in the Akwasasne Reservation and the Phillipines and camera distribution in Baghdad, La Boquilla, Colombia, Mehdiganj, India and New Orleans. How did this aspect of the organization come about and how do you choose these projects?

TF/MI: This is one of the most important aspects of what we are trying to do with Daylight. We believe that photography promotes visual dialogue. By helping to increase photographic opportunity for marginalized communities, Daylight empowers community members to participate in the ever-growing global, visual dialogue. As members of the international community, we all want to be heard; to share our needs, successes, ideas, fears, aspirations, etc. Photography is an incredibly powerful tool for this purpose and we believe that visibility within a larger global conversation is a basic right that everyone posses - unfortunately, this is often ignored. Daylight seeks to help facilitate inclusion in global dialogue via its programming.



MM: The podcasts started in 2007 seem a natural evolution from the print to digital media. To hear the earthy quality of Danny Wilcox Frazier speaking about his project on the farmlands in Driftless; the Irish brogue of John Duncan discussing the bonfires built on the occasion of the anniversary of the Protestant victory of the Catholic forces in 1690; and the youthful voice of Joseph Johnson discussing his discovery and exploration of the Megachurchs adds another dimension to the images. Why did you decide to move in this direction or did I just answer the question for you in the introduction to this question?

TF/MI: Yes you did thanks! Certainly it is a natural evolution and our desire to showcase work outpaced by our publishing schedule. It is so simple yet so profound to be guided through a portfolio by the artist her/himself. The Daylight Podcast offers an experience that, in most cases, the public is unable to have in person. How often do we find ourselves in a gallery with the artist who produced the work on exhibition? It is a real treat to have access to the artists' stories as we examine their work. Our podcasts attempt to bring this intimacy into the living room, office, studio, airplane (via the ipod), theater, gallery space; wherever the podcasts are viewed which, in this day and age, is extremely almost anywhere.


MM: Do you accept submissions for the magazine or website or proposals for projects for individuals? Do you fund any of the projects?

TF/MI: We have an open submission policy (weblinks only please). We do not fund projects but do, when appropriate, take on projects proposed to us and offer editorial / curatorial support. And, of course, we do fund the publication of works featured in print. Who does the design work for the organization? Daylight Magazine and its supporting advertising and promotional material is designed by Ursula Damm, our website is designed by Ethan Clauset, our podcasts are designed by Aaron Greenhood and Jody Sugrue.


MM: How would you recommend a photographer get funding for his or her project aside from personal funds?

TF/MI: Unfortunately this is not our area of expertise but there are a lot of private and public foundations that regularly accept funding proposals for artistic projects. Check out your local arts council or see if the university or college that you may be affiliated with has access to online grant databases. There is a lot out there, its just difficult to find...


MM: Who is your favorite photographer or one who has impacted your life and work?

MI: Joel Sternfeld, hands down. - Michael
TF: Sternfeld, hands up in praise. - Taj

MM: What blogs do you read? Magazines?
Blogs: Conscientious, Asian Photography Blog, Politico, Modern Art Notes, ArtForum Diary, Brian Ulrich's blog, Alec Soth's blog before it went away to the great sadness of the photography world...
Magazines: PDN, Source, Aperture, Blindspot, ArtForum, Art in America, Orion, The New Yorker

MM: What is your favorite book, photo or otherwise?

TF: I can't narrow this down to a single book (I assume you mean photography book) but would have to say: William Eggleston Guide (William Eggleston), American Prospects (Joel Sternfeld), Fish Story (Allan Sekula), Let Us Now Praise Famous Men (Walker Evans, James Agee). I also have to say that I am influenced by much art that is produced by non-photo-based artists and need to mention: Joseph Beuys, Alfredo Jaar and Felix Gonzalez-Torres as being very important figures for me.

MI: Tough call really but I would pick Robert Frank's Americans. Also a huge fan of Misrach's Bravo 20 and other topographical projects. These days I have been quite interested in Tillman's, Etheridge and Fulford. Daniel Eldon's collected journals 'Journey is the Destination' had quite a big influence on me as well.

MM: Do you have an odd or funny photography related story to share?

TF/MI: About once a year we are able to take a small trip together to attend a photography fair or portfolio review. These journeys are great fun and always involve a bit of madness. In Paris last year Parisian friend suggested that we check out his favorite club, Club Rex while in town. Little did we know, a huge VIP party was currently underway for Paris Photos when we arrived around midnight on evening. Memories of the rest of the night are shrouded in Jager, heavy European dance beats and the blurred faces of many famous photographers...

MM: Do you have any other comments to make about your organization?

TF/MI: We are in a perpetual state of funding need. Any donations to Daylight are fully tax-deductible and we encourage anyone interested in our work to donate or spread the word to friends, family and colleagues regarding Daylight's need for in-kind donations. If we can establish just a few significant, annual corporate or private donations it would help solidify the future of our work. Also, please subscribe and the spread the word in general! :-) Thank you!

Interview with Roger Ballen Foundation

In addition the the small publisher interviews, I am pleased to offer a series of interviews with members of photographic not-for-profit organizations. The following interview is with Chief Curator of the Roger Ballen Foundation, Meredith Randall.

MM: How and why did you start the Roger Ballen Foundation? What is the mission of your foundation?

MR: Roger had been thinking for the past 5 years or so that he would like to start a photography foundation, to give back to a field that has enriched his life. The idea began becoming more concretized from the beginning of 2007 as he began to systematically meet with artists and art professionals in South Africa, discussing his idea and asking others for their opinion. During this process, I also spoke with Roger, at the end of which asked if I could come on board. To me, it sounded very exciting as there are not many art foundations in South Africa. (To my knowledge, besides the Art Galleries and Museums, there are a few residency programs, such as the Bag Factory and Nirox, the Ampersand Foundation which is a NY residency program, and then schools.)

Our mission statement is:
The Roger Ballen Foundation is dedicated to the advancement of education of photography in South Africa. RBF creates and supports programmes of the highest quality to further the understanding and appreciation of the medium. Working with artists from around the world, our program enables students and general audiences to engage with notable contemporary photographic art that would otherwise not be seen in South Africa.


MM: In the United States the government requires that you have a base fund to establish an endowments and foundations. What does it take to start a foundation in South Africa? Does what is the role of the government in this process vs. the private sector? How difficult is it to attain this status?

MR: It is not easy to set up a foundation in South Africa. The tax code is quite prohibitive on it. I will explain a little of it, but please understand, it is quite complicated, my description is very simple and I am by no means an expert on it. We spoke to a number of lawyers and tax experts before we could proceed. It was a lengthy and complex process. From my understanding, there are 2 types of trusts you can set up. One allows you to receive donations without having to pay a donations tax. The second, which is restricted to foundations involved in education, religion, security, and maybe sport (not art nor culture) allows for a certain percentage of a donation to be tax deductible. It is very difficult to obtain permission to be able to not pay VAT (14%) on goods purchased. It is very difficult to sell goods either, as the South African Revenue Service does not want unfair business competition. The trust cannot operate outside of South Africa (85% of all money spent must be spent in South Africa). All foundations must apply to the SARS for approval and ever year must submit our financial records for review.

I do not mean to be crass by only speaking about money. We are not a huge foundation. Loosing 14% of all of your expenses on taxes has a large impact on what we are able to financially able to achieve. Further, if we could receive donations and extend a tax deduction to our donors, we could increase our revenue. These are basic tools that are extended to non profits in the States.

When I first started at the Foundation, one of the questions I asked myself was why there were not more foundations of this kind in South Africa. The only answer I am able to come up with is that the tax code does not encourage them.

MM: Why did you begin with a seminar with Stephen Shore and what types of projects will you fund in the future?

MR: South Africa has some amazing local artists, from William Kentridge (film clip shown below) to David Goldblatt to top notch up and coming artists. In South Africa, one only has the opportunity to see local art. In the past 3 years or so, there have been a few shows with African artists each year. Besides this, South Africa is quite isolated, one is only able to see what is happening elsewhere by reading slightly outdated magazines journal or surfing the web.



Roger often attributes his own visual literacy to his New York childhood when he was surrounded by many of the great photographers of the day such as Cartier-Bresson, Evans, Kertesz, Steichen, Strand and Arbus. Ballen’s mother worked for the photographic Magnum Agency in New York in the 1960s and in the early 1970s opened her own photographic art gallery in the city. This experience made him appreciate the value of being exposed to world renowned photographers and instilled in him the desire to create a similar milieu for the South African artistic community.

We support bringing in top caliber artists for an exhibition and lecture series. Stephen Shore (film clip shown below), to me has been an idea artist: his work is fantastic, has had a huge impact on the trajectory of art photography and I believe his lectures will provoke an interesting debate in South Africa.

Stephen has also agreed to host a master class. We have received applications from many of the photographer lecturers from around the country. One of the exciting potentials is that the South African art community can hopefully increase their fellowship with each other.