Rainfall, Upstate New York by Chikara Umihara

Tuesday greetings, collectors! It's a lovely springtime day here in NYC and I'm just about recovered from last week's excitement, which included a whirlwind trip to San Francisco with Sara, returning just in time for Michelle Muldrow's fantastic opening at JBG and our eagerly anticipated announcement of 2010's Hey, Hot Shot! winner. As Sara mentioned last week, it was tough to make a decision with five great artists to choose from: Laura Bell, Michael Bodiam, Amy Stevens, Zhijie Sui and Chikara Umihara. When all was said and done, though, Sara, Jeffrey and I came to a unanimous decision and selected none other than today's edition-maker, the world-wandering Chikara Umihara.

Rainfall, Upstate New York is a very different photograph than Untitled, from the series Aggressive Girls, an edition we released a few weeks back from Chikara's body of work that initially captured our panel's attention. Similarly, the Chikara we met in person was very different than the person we imagined the maker of such a series might be. During his last two trips to NYC, everyone here at JBP has been glad to have the opportunity to spend lots of time finally getting to know him. I've certainly grown quite fond of him, although differences in culture and language can be strange mediators in new relationships. I think that's why I found his statement about Rainfall to be so charming and affecting. My forthright, sometimes-bordering-on-overbearing-mama-bear way feels utterly at odds with Chikara's much more reserved nature, but the frankness of his statement accompanying Rainfall reassures me that the person beyond that reserve is as interested in being known as he is in knowing.

With Chikara starting the MFA program at University of Hartford shortly, our getting-to-know-each-other prospects are excellent. We're so thrilled to continue our collaboration with him as he enters this exciting new phase of his career, and our hope is that the good stuff that comes with being selected as our Ultra—the $10,000 grant and gallery representation—will help pave the brightest of paths.

Old Camera by Todd McLellan

Good day, collectors! It's Sara, with an announcement full of photo geekery, gadgetry and goodness. There is of course, the Pentax-packed print you see above and the much anticipated announcement of the opening of the First Edition 2011 Hey, Hot Shot! competition. The competition opens (drumroll, please... wait for it...) TOMORROW, May 5th, 2011.

Since its inception in 2005, Hey, Hot Shot! has provided one hundred and thirty-five photographers from all over the world with unrivaled exposure, support and recognition. With a longstanding history of incredible opportunities being awarded to hundreds of artists, we encourage photographers at all stages of their careers to enter the competition. You'll be in the running for a $10,000 grand prize with countless other invaluable opportunities to be had along the way, including the chance to see your work here. Right here, on 20x200! Yesterday's gorgeous edition from the 2010 grand-prize HHS! winner, Chikara Umihara, is just one of dozens of prints we've created with photographers found through Hey, Hot Shot! and there's more to come. The competition is the only way for photographers to submit work for consideration for 20x200 editions. Sign up for the HHS! newsletter to stay up to date on the competition's opening and ongoing news.

If you fancy yourself more of a fan than a photographer, today's print Old Camera by Todd McLellan just might satisfy the shutterbug within you. This dismantled simple machine joins ranks with Todd's Old Typewriter and Old Flip Clock. Affinities for these seemingly ancient objects run deep. My very first camera was a hand-me-down, classic Pentax K1000 and I'm guessing it was the first for many of you, too. I don't take that many pictures these days but never lost my love for the medium. And I can tell you, one of the next best things to making images is supporting those who are in the thick of making work, which is exactly what you're doing when you buy prints here—supporting artists at work. Opportunities for artists and the people who love them abound!

Eccentric Glamour by Simon Doonan

Thrilling Thursday greetings, collectors! I'm terribly excited about today's edition for myriad reasons. Let me count the ways:

- First and foremost, HELLO, Simon Doonan. I adore you, your exuberance and your views on things like camp and especially your exhortations for people of all stripes to lay claim to their own Eccentric Glamour.

- Speaking of Eccentric Glamour, Simon's been incredibly kind and generous in allowing us to create this exclusive edition, which is the cover illustration of his fabulously inspiring book by the same name.

- And by generous, I mean: proceeds from the sale of this edition will benefit an organization most worthy, Housing Works.

- And (and!) it's all so perfectly timed, because Housing Works' Design on a Dime benefit is tonight, and at that benefit is a room designed by Iman (Yes, THAT Iman!) and my BFF Robert Verdi (yes, that Robert Verdi) and in that room, in all its glory, hangs a 20"x16" print of this very edition.

- Also, OMG... I get to go to tonight's event. Which is part of the reason why I am so freaking hyper this morning, because ummm: What am I going to wear?! Will it be eccentric enough? (Likely.) Glamorous enough? (Lie to me, Simon darling.) Will my heels be high enough to see eye-to-eye with Iman? (Not a chance.)

All of this is to say: I gotta go. And you should get going your own selves, because I have a feeling that I'm not the only person who loves Simon and Housing Works and glamour and everything good in the world, and all of those people are putting today's edition in their carts right now. So go on, get one.

WANT TO KNOW MORE ABOUT HOUSING WORKS & DESIGN ON A DIME?

Housing Works is a healing community of people living with and affected by HIV/AIDS. Their mission is to end the dual crises of homelessness and AIDS through relentless advocacy, the provision of lifesaving services and entrepreneurial businesses that sustain their efforts. Learn more about their services.

Housing Works’ seventh-annual Design on a Dime takes place from May 5 to 7 at the Metropolitan Pavilion at 125 West 18th street. The May 5th ticketed benefit begins at 7:00 p.m. and is followed by public days with free entry on Friday, May 6th (10:00 a.m. to 6:00 p.m.) and Saturday, May 7th (10:00 a.m. to 6:00 p.m.). Visit their site for a complete list of designers or to purchase opening night tickets.

Garden Delight by Michelle Muldrow

Brilliantly gorgeous Tuesday greetings, collector friends! I've officially got spring fever, with thoughts of beach houses, lazy days and ocean breezes making it hard to focus on matters at hand. It's not as if retraining my focus is much of a chore, though, seeing as how I have the best job in the world. I work with an amazingly talented, ever-widening circle of people and spend my days surrounded by the art that many of them make.

Michelle Muldrow is a recent and most welcome addition to our benevolent ecosystem. Cathedrals of Desire, her solo exhibition at Jen Bekman Gallery, was heralded with Icon, her first 20x200 print. A few Fridays ago, we celebrated its debut with a warm and wonderful opening reception that included many far-flung members of her charming clan. Today, I exhort you to go see her gorgeous paintings in person before the show closes on Sunday, June 5th and offer up her second 20x200 edition, Garden Delight.

For more background on Michelle's work, check out the newsletter I wrote introducing Icon. For further incentive to make your way to 6 Spring Street to see Michelle's original paintings, I'll leave you with some installation shots of the exhibition and a few words from our gallery's Director, Jeffrey Teuton:

The large size works really allow you to be surrounded and fall in to the image, experiencing the work in a way that does not translate to the screen. Gallery visitors really have a strong reaction to them in person; most everyone spends a great deal of time with them. It is really magical to watch people engage with Michelle's paintings, and I want everyone to have that experience.

Tree Study I by Beth Dow

Hello, collectors! It's Sara, with a quick note to introduce our fifth edition from Beth Dow. It's also a first—a subtly saturated departure from her gorgeous black and white prints, Tree Study 1 debuts Dow's color work.

Since she had her very first NYC solo show at Jen Bekman Gallery way back in 2007 (when 20x200 was a wee baby!), we've been watching Beth's practice unfold. In Fieldwork and In the Garden, Beth married her methods—old school, printed-by-hand, platinum-palladium prints created from digitally enlarged negatives—with her subject matter—studies of the strange and mysterious ways we humans better or damage (which is it?) the land. On landscapes unfettered and fettered gardens alike, our own human nature is inflicted on nature nature.

Beth's recent addition of subdued hues lends this archival pigment print a layer of lusciousness, further obscuring the weirdness of manicured English gardens, in particular. Their slightly unnatural tint was lent by an oncoming storm that eventually rendered the light totally green. It seems, um, natural, that these works were made strikingly, unusually beautiful by something beyond Beth's precise control of exposure, process and frame.

The persistent popularity of Beth's works have left most of her editions sold out or nearly so—if Tree Study 1 strikes your fancy, pick it up, stat.

Midway, Neshoba County Fair, Philadelphia, Mississippi by Mike Sinclair	Las Vegas, Nevada, November 2000 by Mike Sinclair

We have just three words for you: 1) mobile 2) truck 3) galleries.

Sufficiently curious? Great. We'd love to tell you more about this novel new outlet for collaboration between American artists—it's called America: Now and Here. Essentially, visual artists, musicians, filmmakers, playwrights, poets and others will team up to share their art across state lines. And their vehicle for doing this? Well, it just so happens that it literally is a vehicle. Actually, multiple vehicles. A convoy of trucks, to be exact, will travel together to eight different regions of the country and set up camp, aka installations.

"When the custom-designed mobile truck galleries arrive at a location, they will link together to create a spectacular exhibition and event space," the ANH site elaborates. Once fully set up in their pre-determined location, they will boast:

-3,300 total sq ft exhibition space
-4,400 total sq ft plaza, pavilion and event space
-One outdoor screening area for movies
-Over 60 works of visual art
-One multi-media presentation of the renga
-16 listening stations for music
-Actors performing scenes and monologues live
-Open space for public programs and displays
-Activity space for youth engagement
-Gift shop and retail space

So now you're probably wondering how you can experience this multi-dimensional, mobile art exhibition, right? The journey began in Kansas City, Missouri (the hometown of our very own Mike Sinclair, who will be participating) on May 6th and will remain until May 28th, followed by Detroit and Chicago. As the tour continues, upcoming locations will be updated on the ANH site.

America: Now and Here offers people all over the country the opportunity to engage with artists of every variety in a space outside of the conventional museum, gallery or theater. Be sure to check out the exhibition when it rolls into a town near you.

And because ANH kicked off in Mike Sinclair's stomping grounds, we're offering 11"x14" prints of his Midway, Neshoba County Fair, Philadelphia, Mississippi and Las Vegas, Nevada, November 2000 for just $30 until 8 p.m. ET as this week's Friday Flash.

IMAN No. 1 by David Bowie

Greetings, collectors! I'm terribly excited to introduce today's edition, which was created by none other than legendary musician and iconoclast David Bowie. Yes, THE David Bowie. Of "Space Oddity" and Ch-ch-changes fame. That's the one (and only)! And guess what, there are 10 (yes, you read that right, only 10) prints available in this very special edition so if you want one, go on, get one, now.

IMAN No. 1 is a portrait of his wife, supermodel and fashion icon Iman. Proceeds from the sale of these prints benefit Housing Works' "Get a Room" program—which provides housing for homeless people living with and affected by HIV/AIDS. Iman herself co-hosted last week's Design on a Dime event, where the first of these ten prints made its striking debut in the "dream boudoir" room vignette designed by my ever-talented BFF Robert Verdi and Iman for IMAN Home.

This marks the second benefit edition we've released that supports Housing Works' "Get a Room" program. Eccentric Glamour by Simon Doonan—Barneys New York Creative Ambassador-at-Large—debuted on 20x200 last week. Get your hands on one or both and we can all be "Heroes" (but not just for one day) by helping out Housing Works' "Get a Room" program.

WANT TO KNOW MORE ABOUT HOUSING WORKS?

Housing Works is a healing community of people living with and affected by HIV/AIDS. Their mission is to end the dual crises of homelessness and AIDS through relentless advocacy, the provision of lifesaving services and entrepreneurial businesses that sustain their efforts. Learn more about their services.

It's that time again, Collectors! Please join us for the FOURTH annual 20x200 Bay Area Collectors' Confab—happening next Thursday, May 19th, from 6:00 to 8:00 p.m.—which is generously being hosted by our friends at Chronicle Books in San Francisco.

Many of our awesome artists will be in attendance. Plus, it's a great opportunity to meet a few of the very fine people from team 20x200. And—just for those SF/Bay Area fans who join us on Thursday—we'll have a special selection of prints in sizes big and small, presented in custom mats + frames and ready for you to purchase right then and there. Many of these prints have never been offered in their framed-and-ready-to-hang form at 20x200. That's right—come see us and you'll be able to snap these super spiffy 20x200 prints right off our wall and hang them on yours.

To sum it up:

Who: Collectors, Artists & Team 20x200
What: 20x200 Collectors' Confab
When: Thursday, May 19th | 6:00 to 8:00 p.m.
Where: Chronicle Books | 680 Second Street (btwn Brannan + Townsend) San Francisco, CA
Why: Because we love you.

Space is limited, so make sure you RSVP to rsvp@20x200.com.

Mushrooms (from the series Meanwhile, Farmers' Market Farmers) by Wendy MacNaughton

Vegetables (from the series Meanwhile, Farmers' Market Farmers) by Wendy MacNaughton

Greetings, collectors! It's Sara, on this rainy NYC morning—one hop, skip and a jump away from (hopefully) sunnier San Francisco, where I'll be joining Jen and a few other 20x200 all-stars and artists for our Fourth Annual Collectors' Confab at Chronicle Books. Will we see you there? If you're anywhere near the Bay Area, do stop by this Thursday evening from 6:00 to 8:00 p.m., but please be sure to RSVP at rsvp@20x200.com.

Today, I have two new prints from SF-based wonder woman Wendy MacNaughton. Mushrooms and Vegetables, from the series Farmers' Market Farmers, are a part of her larger body of work Meanwhile, an illustrated documentary series. Formerly a social worker, non-profit campaign director, used book-seller and film producer (among other things), Wendy now works as an artist/journalist, often highlighting the lives of those less often seen and studied.

Farmers' Market Farmers features both the people who cultivate, grow and sell the fine fresh produce depicted in Mushrooms and Vegetables—their family histories, daily lives, long days and interactions with others—as well as the fruits of their labors. Wendy celebrates both the metaphorical—communities built, cities changed, friendships forged—and the literal—chanterelles, white trumpets, artichokes and leeks. It's a feast for all!

Road to Bonneville Raceway, Tooele County, Utah by Stuart Klipper

Salutations from San Francisco, friends! It's Sara—presenting our fourth edition from Stuart Klipper. Jen first introduced you to Stuart's work a couple years ago, in celebration of Collectors' Confab number two. On the eve of our fourth annual soiree, it seems apropos to come full circle with a new print from Mr. Klipper. Our friends (and hosts) at Chronicle Books published a gorgeous tome of his photos, The Antarctic: From the Circle to the Pole.

In that book, you'll find Stuart's first editions—Swell, Southern Ocean near 50 S, Antarctica and Icebreaker, Emperor penguin, Southern O., Antarctica—photographs from his travels to the coldest climates, in the most desolate of places. Road to Bonneville Raceway, Tooele County, Utah is from a different body of work—The World in a Few States—a series he's been working on since 1979.

That Stuart's been working on this project longer than I've been alive comes as no surprise, as I wrote when introducing Monteverde Cloud Forest, Costa Rica, "his sense of adventure is equaled only by his photographic fervor: he's super prolific, leaving panoramic peeks of the farthest reaches of the world in his wake." His dedication to his practice has reaped rewards; among other things, his photographs have been exhibited in, and collected by, major museums including the Museum of Modern Art, the San Francisco Museum of Modern Art, the Art Institute of Chicago, the Minneapolis Institute of Arts and the Walker Art Center. Road to Bonneville Raceway, Tooele County, Utah, in fact, resides in the Smithsonian's collection. He's been awarded major grants, including two each from the Guggenheim Foundation and the Bush Foundation, and three each from the McKnight Foundation and the Minnesota State Arts Board.

Stuart's success is just one of many things we'll be celebrating tomorrow—stellar artists, great art and good cheer will abound. See you then?

Fourth Annual Collectors' Confab at Chronicle Books
Who: Collectors, Artists & Team 20x200
What: 20x200 Collectors' Confab
When: Thursday, May 19th | 6:00 to 8:00 p.m.
Where: Chronicle Books | 680 Second Street (btwn Brannan + Townsend) San Francisco, CA

In its May issue, Art in America touts Jen and 20x200 as the first to foray into the world of digital print selling and into the business of making art accessible to the everyman.

In the article, writer Faye Hirsch examines the emergence of digital art startups and their effect on the larger, more traditional art market. "How profitable Internet print businesses will become remains to be seen, as they are all start-ups," she writes. "However, the pioneer, 20x200, is surprisingly visible, at least in New York: it seems everyone I mentioned this article to has purchased one of the prints or knows someone who has." She continues:

I recently spotted William Powhida's 20x200 project, the amusing Why You Should Buy Art, a checklist in emphatic uppercase lettering (which as of this writing was nearly sold out), on the wall in a hip downtown group exhibition.

Hirsch points to 20x200 as the first to introduce affordable art to the online community, and the original promoter of "Art for Everyone." Though some remain skeptical, Hirsch writes, others are jumping onboard the 20x200 train:

Pace's [Jacob] Lewis is receptive to the idea of e-commerce prints. "These folks are introducing art to a younger generation. As the buyers invest further, I would hope they will invest in stronger work. It’s a great starting point."

The article closes with Jen's insight into the future of 20x200 and the changing face of the art world:

Bekman is more than hopeful: "I often call 20x200 the 'gateway drug' of the art world," she says. And there is evidence that people who purchase e-commerce prints go on to buy more expensive works by the same artists, beginning with the originals, which some seek to acquire (often through the publishers, sometimes through the artist’s gallery). Her appetite whetted, Bekman herself bought an etching by Ed Ruscha from Crown Point Press in San Francisco for $4,000. "The goal is to get people to move on and buy other work," she says. As to the resistance from the fine-art print dealers: "That's a pretty small pie they've got, and no one wants to give up their piece. Sometimes I look at those fantastic print workshops and think, 'Boy, I could move that inventory!' But I have too many irons in the fire." She adds, "There are tons of people willing to buy art if you sell it to them. There's no shame in that."

Along with Jen, artists Mike + Doug Starn, William Wegman, Roger Ballen, Lawrence Weiner, Penelope Umbrico and William Powhida are also mentioned in the article. To read the text in full, pick up the May issue of Art in America at your neighborhood newsstand or read online—and don't miss the sidebar highlighting 20x200!

Traveling by Mike Perry

Confab-ulous greetings, collectors! We're all running around San Francisco readying for tonight's Collectors' Confab, but I wanted to (needed to!) take a quick break to introduce today's edition. Mike Perry was one of the very first artists we worked with in 2007. Can I just share how bewildered I am at a) how fast time flies and b) how much great stuff has happened since then? When I introduced him last, I was extolling his talents in graphics and typography. Today's edition, Traveling, is no different: his layers upon layers of colors and shapes create endless mini-landscapes and sights to see (see what I did there? sightseeing? traveling?!).

Mike has been like a member of the JBP family since we met, all those years ago, through edition-maker and good friend Kate Bingaman-Burt. When I saw his cheekily-titled book Hand Job: A Catalog of Type, I knew we had to hold an event to celebrate its publication. (Both artists live and breathe their work and design, and their process is fascinating to behold.) Three books later, Mike is still putting his many multidisciplinary talents to use in his latest, Pulled: A Catalog of Screen Printing. You can (should!) order it here.

So here's where it gets interesting: Several of Mike's books have been published by Princeton Architectural Press, which was recently acquired by the McEvoy Group, becoming a part of the Chronicle Books family. Between Chronicle Books and Princeton Architectural Press, there are many artists we've worked with who have also made beautiful books (and yet, there's more to come!).

And with that, off to prepare for tonight's event I go! And if you're in the San Francisco Bay Area tonight, be sure to stop by Chronicle Books for our Fourth Annual Collectors' Confab. There will be prints (framed and unframed) for purchase and, thanks to our friends at Square, credit card transactions will be a cinch. RSVP at rsvp@20x200.com.

Fourth Annual Collectors' Confab at Chronicle Books
Who: Collectors, Artists & Team 20x200
What: 20x200 Collectors' Confab
When: Thursday, May 19th | 6:00 to 8:00 p.m.
Where: Chronicle Books | 680 Second Street (btwn Brannan + Townsend) San Francisco, CA

Animal Locomotion; Plate 197 (Couple Dancing) by Eadweard Muybridge

Muggy, damp Tuesday greetings, collector friends. Sticky weather aside, I'm thrilled to be back in NYC after a wonderful week in San Francisco. The confab was, well, fabulous. Particularly gratifying this year: selling framed prints right off the wall. It is so cool to see so many smiley people walking out the door with their new acquisitions tucked under their arms. And, as always, the chance to mix and mingle with our collectors face-to-face is both invaluable and inspiring. It's a nice change of pace from imagining all of you as I tap away at my keyboard, and hearing all your stories, ideas and feedback makes the why of what we do that much more real.

Animal Locomotion; Plate 197 (Couple Dancing) comes with Bay Area roots and an excellent back story. Its creator is the legendary Eadweard Muybridge. English by birth, Muybridge made a name for himself in San Francisco with his pioneering work on animal locomotion, unraveling its mysteries through stop-motion photography and the earliest projections of motion pictures—the series dates back to 1887.

Releasing vintage images has always figured into the broader vision of 20x200, but like many (so! many!) of the other ideas we've got about what the site can and should be, it's remained on the back burner for a long time. A Valentine's Day blog post by my friend and fellow art dealer James Danziger proved to be just the thing to make the idea a reality. I was utterly charmed by James' tale of his pursuit of this image, its subsequent disappearance and resurfacing, and was especially intrigued by his alluding to the idea of printing reproductions of it. Being the type of person who will ask anyone anything, and having long wanted to collaborate with James on something or other, I immediately fired off an email to him with the subject line: "We should do an edition with the Muybridge!" The rest, my friends, is about to be history.

Supporting contemporary artists in their practices is, and will always be, core to 20x200's mission. The introduction of vintage editions today is a key component to furthering and expanding upon that mission. Naysayers and skeptics are sure to look askance at such a statement, which takes me back to 2007. Back then, the idea of translating the sales of affordable prints into substantive support for artists was deemed preposterous by almost anyone I told. I'm pretty excited about how we're planning to use proceeds from sales of these editions—while we're not 100% ready to unveil our full plans yet, you can purchase this print today knowing that a substantial portion of its proceeds will be funneled into 20x200's newly formed Artists' Fund.

The Distance is Closer by Ky Anderson

Passing Through by Ky Anderson

Hi collectors, it's Sara. I've been coveting Ky Anderson's work since Jen introduced her first edition, Many Mountains, in 2007. I've since seen that print in the homes of friends, including those who work at major institutions and know art and some who are new to collecting, too. These sightings always make me feel closer to people—a mutual affection for an artist's work is one more thing we have in common, one more thing to talk about, and even if we don't talk about it, it's one more thing to chalk up in the column of reasons why we knew we'd be friends.

Ky's work is gorgeous, soft and comforting, but it's also a little unsettling. It's abstract, but there are also things we can nearly identify. In both The Distance is Closer and Passing Through, I can see the lines and shapes that make the waves in this drawing by the late, great Louise Bourgeois. You can see some of the other things that Ky might be thinking about in her work by studying the smart art collection she's amassed—which includes more than a few works from fellow 20x200 artists. Of her collection, she says: "The majority of my collection consists of people I know and have known for most of my life. I identify the art with the person who made it. It comforts me and makes me feel at home to live with their work."

Because of the sheer love I have for her work, and because it makes me think of Bourgeois, in a way that I think Ky probably thinks of her too (she does), and because I admire her personal collection so, I knew I would like Ky when we finally had the chance to work together in creating these editions. And I did. The rest is a happily-ever-after of sorts that lets you all be a part of the story as well.

Shallow Left Center by Don Hamerman

No. 46 by Don Hamerman

Can't-wait-for-the-weekend greetings, collector friends! Generally speaking, I'm not a TGIF kinda girl, but with two of my favorite fellas flying in from California on Saturday, and a long weekend of barbequing Upstate with a friends-like-family crew to look forward to... well, let's just say I am counting the minutes. And speaking of counting, today's new photographs from 20x200 MVP Don Hamerman make us just shy of a dozen of his offerings in our archives.

Shallow Left Center and No. 46 come from Don's beloved-by-many Found Baseballs series. Like many of our artists, Don gets a real kick out of the fact that 20x200 has gotten his photographs into the hands (and onto the walls!) of many collectors. Knowing that, I think he'll get a kick out of the tale that follows.

Loving writing newsletters though I do, inspiration about exactly what to say doesn't always come easy, especially when I've already had a lot to say about someone. Riding the train home last night, I was kibitzing with Team 20x200 superstar Stephanie Curran about how I needed to figure out what to write about today's editions. She was excited to hear that Don was up at bat, since she knows lots of friends who own or have given his prints as gifts. I'll close out today's announcement with an email she sent me later in the evening, telling the tale of one of Don's editions:

At Christmastime, a friend of mine found one of the unraveling Don Hamerman baseball prints on our site and immediately knew that she had to get it for her dad. A total pack rat, he has spent many summer evenings walking around the neighborhood golf course, pocketing found golf balls. Their garage was littered with buckets full of them, many busted and unraveling. Don's print reminded her of her dad, her neighborhood, summertime and growing up. The best part? He totally had the same reaction to it when he opened his Christmas gift, and the whole family had a good laugh about all the balls in the garage...

Psst! If you're looking for inspired gifts for your own gift-giving, there's a secret, super-limited stash of framed prints available right now.

Untitled from RFK Funeral Train Rediscovered

[Update: Two limited-edition photographs from Paul Fusco's RFK Funeral Train series, , FUP1968010K003 + FUP1968010K052, are now available, starting at $100. Proceeds benefit the Magnum Foundation's Legacy Program.]

Over the years, we've partnered with some pretty great artists, organizations and institutions to bring our collectors great art in support of a good cause. But we're especially thrilled to announce that we've teamed up with the Magnum Foundation to release two prints from Magnum photographer Paul Fusco's RFK Funeral Train series. Not only will collectors have a chance to own a piece of history, but also (and best of all!), proceeds from the sale of this edition will directly benefit the Magnum Foundation's Legacy Program, dedicated to preserving, interpreting and making accessible materials related to the history of Magnum Photos, and to the larger history of photography to which Magnum has uniquely contributed. The prints (not featured here) will be available on 20x200.com on Wednesday, June 8th, at 2:00 p.m. ET. Newsletter subscribers will have first access to the prints at 11:00 a.m. ET—be the first in line and sign up here.

James Danziger, founder of Danziger Projects, exhibited RFK Funeral Train Rediscovered in 2008, and had this to say about the estimable Magnum Photos and the renowned photographer:

As director of Magnum New York in 2003-2004, getting to know Paul was one of the many privileges of the position. Housing the work of legendary photographers like [Robert] Capa and [Henri] Cartier-Bresson, the depth and quality of the Magnum archive is legendary. Yet for me, nothing was more affecting than Fusco's RFK Funeral Train pictures.

Untitled from RFK Funeral Train Rediscovered

Fusco, a legendary photographer, joined Magnum in 1973, and his body of work surrounds the many social issues that have abounded in the U.S. and around the world in the six decades he's been active. In June 1968, Senator Robert Francis "Bobby" Kennedy was the leading Democratic candidate for the U.S. Presidency. Bobby Kennedy was a beacon of hope and equality during a time of widespread turmoil: the Vietnam war raged on, civil rights riots were rampant and MLK had been assassinated a mere two months prior. His murder—he was shot three times by Sirhan Sirhan after delivering his victory speech—deflated millions of Americans' aspirations for social change and justice.

RFK's body was flown from California to New York, where his Requiem Mass was held at St. Patrick's Cathedral. On June 8, 1968, as his coffin was placed aboard a train bound for Washington, D.C., LOOK magazine instructed Fusco to photograph the events surrounding the funeral and the train ride. The resulting images became the RFK Funeral Train series and documented the thousands upon thousands of mourners and onlookers that waited by train stations, in fields and by tracks, sometimes for hours. As Paul describes, they watched "hope pass by, on a train." The striking documentary images in this series were also included in the Aperture-published Paul Fusco: RFK.

Untitled from RFK Funeral Train Rediscovered

As Cartier-Bresson, one of Magnum's founders, once said, "Magnum is a community of thought, a shared human quality, a curiosity about what is going on in the world, a respect for what is going on and a desire to transcribe it visually." With the release of this pair of prints, the Magnum Foundation and 20x200 collectors are not only engaging in and remembering a seminal moment in U.S. history, but they are also fostering a dialogue about photojournalism's role in changing lives and the human condition.

If you haven't already, sign up for the 20x200 newsletter here to get first access to the prints and for more details about this partnership.

Breidalsvik, Iceland by Bob O'Connor

Welcome back after the long weekend, collectors! It's Sara, with a much-awaited second edition from Bob O'Connor. The sequel to the sold-out Laugarás, Iceland, Breiðdalsvík, Iceland is as stunning.

When Jen introduced Laugarás, she wrote: It's peaceful and epic at the same time. The color palette of the sky, the grass and the windblown horse are subtle and soft, and their beauty is enhanced by the richness of the muddy earth in the foreground... It's one of those pictures that makes me want to tell a million stories...

Breiðdalsvík, Iceland, too, inspires tales of adventure, of travels past and future. The promise of impossibly fresh air, infinite horizons, dewy, flower-flecked grass and endless expanses of green all spark wanderlust. Like the lone horse in Laugarás, Iceland, the slide in Breiðdalsvík inhabits a surreal landscape, made all the more unbelievable by the presence of the slide itself—seemingly randomly settled in the middle of nowhere, it invites anyone and everyone who happens upon this place to play. As we return to the day-to-day, Breiðdalsvík enables inescapable daydreaming—the surest sign of the unofficial start of summer.