THIERRY LE GOUES

THIERRY LE GOUES - Soul 29, Shirley

1997

Limited Ediiton number 1 on 15 - numbered and signed on the back of the print Framed black wood and glass About this iconinc series : At times Thierry Le Goues...

Limited edition of 15 - After graduating from UCLA, Robert worked on several tv shows in Paris and Los Angeles and shot for the best magazines in the fashion industry e.g. Interview...

Iconic silver print ( metallic ) from Kate Moss, number 2 on 5 , numbered and signed on the recto . Having worked for more than 30 years as one of the leading photographers in fashion, MICHEL HADDI...

EDITION 9/9 THE PAINTERS PROJECT A meeting between a painter, a model and a photographer... Vast in both time and space, The Painters Project is an ongoing collection of collaboratio...

The female nude becomes a canvas on which to paint with shadows and light. The curvature of the woman’s body is accentuated by the spiralling circular forms cast over her body. The f...

Limited Edition number 6 on 7 signed and numbered on the front. Very close to Serge and Jane, Tony has captured many moments of their lives. Rare and intimate moments that have been...

Marianne Marić Le Jardin D Haggadah, 2012 Silver gelatin print 80 x 120 cm (31 1/2 x 47 1/4 in.) Edition of 5, plus 2 AP; Ed. no. 2/5 Print only Marianne Marić looks at the body as...

Savannah Spirit Waiting Silver gelatin on Ilford multigrade paper, signed, edition of 5 Scroll for more on the artist and this series and an excerpt from the recent monograph, The A...

Savannah Spirit Waiting Silver gelatin on Ilford multigrade paper, signed, edition of 5 Scroll for more on the artist and this series and an excerpt from the recent monograph, The Archive #6: Savannah Spirit, published by Quiet Lunch: "When I first saw Savannah Spirit’s early nudes, I felt immediately struck by their power and awareness. Of course, they were traditionally beautiful, with classical lighting and shadows from Venetian blinds. Some of them were sexy, in the way bodies are sexy. But they weren’t sexualized. Looking at them, I felt powerful. I felt good. They depicted the body of an adult woman viewing herself with love. I’ve been devoted to them ever since. To me, these portraits invoke the power of a landscape. The way the light rolls over the body evokes the body’s connection with the earth, with sunrise and its long deep shadows. The patterns of darkness can break the figure into geometry, creating a distance between the viewer and the image, as in End of An Era and Staying Abreast. Yet others, like Resist and Be The Woman You Needed When You Were Younger, create direct address, and sometimes empathy. Sometimes, the viewer takes the vantage point of the artist, and the piece becomes a further study in introspection. The titles, like The Bottom Line and Read Between the Lines, often invoke idioms, figures of speech, or stereotypes that themselves point back to the culture that produced them. As conceptual components, they are both playful and political, which, when juxtaposed against image to elicit a mood or reaction. For me, it’s different every time. I am often pricked to discover how the vernacular of Hollywood capitalism, juxtaposed to a powerful, nude self-portrait of a woman, almost always feels a bit surprising–as if I wasn’t expecting her to be there. Recent works, like Network, use both shadow and mirror to create a doubled image, the artist and her reflection, further suggesting the sense of a dialogue with the self. The two bodies are not a mirror image, though seen in a mirror: a conversation between two sides of oneself, rather than a literal twinning. Over the past decade, as this series took on greater and deeper life, Savannah and I have had countless wonderful discussions about women, bodies and art. As a former artist’s model, early in her career, she participated in the form of power that was available to her: that of the quieted muse. She knew she was being objectified, she recalls, but at least she was included in the club. I instantly recognized that message. She was still creating her own work, though, and one day, she realized she’d had enough of seeing herself through someone else’s lens. She turned the camera on herself, and began to take a very different kind of picture. During the pandemic, the feeling of being alone with oneself can sometimes feel overwhelming. These recent pieces reflect that agitation of the dialogue alone, the being with oneself, seeking connection..." - Katie Peyton Hofstadter Classic black and white silver gelatin print, signed by the artist Savannah Spirit. This is a self portrait of the artist. Categorize between self-portrait, contemporary feminism, take back control, I am my own muse, my body my choice...

All prints are limited edition. Available in multiple sizes. High-end framing on request. All prints are done and signed by the artist. The collector receives an additional certific...

All prints are limited edition. Available in multiple sizes. High-end framing on request. All prints are done and signed by the artist. The collector receives an additional certificate of authenticity from the gallery. Argentini’s work is characterized by an underlying fantasy vision. His women are untouchable and alien, inhabitants of mysterious spheres, while at the same time radiating a confident physicality. Although Argentini’s style is quite unmistakable, he loves diversity and variety and repeatedly finds novel ways of communicating his visual fantasies. ‘Tove Playing with Her Shoe’ is a cinematic piece. The Model is sitting in a hallway. She is wearing a short black dress...

BRIGITTE LUSTENBERGER (*1969, Switzerland) Not titled yet, from the series 'A Gaze of One's Own‘ 2021 Silver gelatin print on Baryta paper Sheet 70 x 70 cm (27 1/2 x 27 1/2 in.) Frame 81,2 x 80,7 x 3,5 cm (32 x 31 3/4 x 1 3/8 in.) Edition of 5, plus 2 AP; Ed. no. 1/5 Print only Born in Zurich, Switzerland, Brigitte studied at Zurich University and received her MA in Social and Photo History in 1996. In the following years she established herself as an fine art photographer. She moved to New York and received her MFA in Fine Art Photography and Related Media at Parsons The New School of Design in 2007. The main issues in her works lie in her interest in the study of the gaze, the interplay between absence and presence in a photographic image, and the fact that the reading of a photograph is most often triggered by a collective memory. She explores the media itself and its close connection to themes like decay, memory, death and transitoriness. Brigitte Lustenberger has shown nationally and internationally in both solo and group shows. She had Solo Shows at the Museée de l’Elysée in Lausanne/Switzerland, at Walter Keller’s Scalo Gallery in Zurich and New York, at Le Maillon...