Photographic Paper Abstract Photography

Unique silver gelatin print (photogram made sans enlarger - with snow, ice, sand, flowers, and more). Cameraless ice-rubbing photogram. Alt process landscape print. I began making c...

An Open Edition Print by National Geographic Photographer Keith Ladzinski from his “Cities” collection. Bokeh shaping the lines and structure of the illuminated George Washington ...

'Bubbles' London, United Kingdom 2020 Limited edition of 20.

This is an exclusive handprinted unique cyanotype that takes its inspiration from the mid-century modern shapes. It's made by layering paper cutouts and different exposures using uv-...

An Open Edition Print by National Geographic Photographer Keith Ladzinski from his “Cities” collection. Evening traffic streaking over London’s iconic Tower Bridge.

José Yalenti, (1895-1967) Brazilian Photographer "Beiras" (Sides) Photo, numbered 5/15, circa 1950, (printed later) on premium luster photo paper with ultrachrome ink. Art: 15" H x 11" W; Frame: 20 1/4" H x 14 1/4" W. Provenance: Dickinson Roundell Gallery José Yalenti’s Architecture photos seem at first disorienting, abstract black & white and grey surfaces, cut through by startlingly straight lines and a variety of surface textures. Much of his work is of mid-century Latin American architecture, by the likes of Oscar Niemeyer and Roberto Burle Marx. José Yalenti was born in São Paulo, Brazil in 1895. On April 28, 1939, a group of photography aficionados, including Yalenti, formed the Foto Clube Bandeirante, later changed to Foto Cine Clube Bandeirante, or FCCB. Starting in the late 1940s, a contingent of FCCB photographers began creating photographs of abstracted architectural motifs (as in Architecture or Twilight), and eventually became known as the Escola Paulista, or “Paulista School.” Yalenti was among the members of the unofficial Paulista School. Between 1945 and 1960, the Paulista School photographers explored the rapidly changing formal qualities of São Paulo. By photographing skyscrapers and stairways at steep angles, creating closely cropped compositions from found geometric motifs, and capturing the flattening effects of shadows, Paulista School photographers investigated the new physical perspectives emerging in the urban environment. They created a distinctively Modern aesthetic that used strong contrasts of light and dark, geometric forms, linear compositions, and collapsed space to assert photography’s status as an artistic medium. As part of their pursuit of photographic Modernism, Yalenti and his fellow Brazilians adapted the stylistic innovations of U.S. and European photographers such as f.64, New Objectivity, Dada, Surrealism, and the Bauhaus, to the Brazilian context. Along with his FCCB compatriots—Thomaz Farkas, Geraldo de Barros, and German Lorca, among others—Yalenti explored the formal properties of black-and-white image-making. Yalenti and the Paulista’s School’s abstract photographs responded to the new trends in Brazilian Modernist architecture being developed by young architects in São Paulo and Rio de Janeiro. In 1939, Lúcio Costa, Oscar Niemeyer, and Affonso Reidy broke ground on the Ministry of Education and Health Building (MES), the building that would define Brazilian architectural modernism. The Rio-based team combined elements of Le Corbusier’s undecorated structural purity with Brazilian regional design to produce a more organic and “tropical” Modernism that responded to the local culture and climate. The sinuous and sensuous curves of Yalenti’s photograph are directly influenced by stylistic developments in architecture at the MES, including the building’s covered entry and its organically abstract contours. By 1957, when Yalenti created Architecture or Twilight, Brazil was globally recognized as an architectural leader. MoMA in New York City organized a popular exhibition of Brazilian architecture in 1943 (“Brazil Builds”), and highlighted the country again in its survey show "Latin American Architecture since 1945," that ran from 1955–56. Brazilian photography...

An Open Edition Print by National Geographic Photographer Keith Ladzinski from his “Cities” collection. This photograph captures the iconic Eiffel Tower shrouded in light mist on ...

A unique photogram from abstract alphabet drawings. A silver gelatin print toned in tea. About the Series: Gilliam began the series Life Lines in 20...

An Open Edition Print by National Geographic Photographer Keith Ladzinski from his “Cities” collection. Streaked traffic flowing across London’s Tower Bridge

An Open Edition Print by National Geographic Photographer Keith Ladzinski from his “Cities” collection. A long exposure of twirled supports along a building in Munich, Germany

An Open Edition Print by National Geographic Photographer Keith Ladzinski from his “Cities” collection. Peering through ripply 19th century glass of Vatican City, Italy

An Open Edition Print by National Geographic Photographer Keith Ladzinski from his “Cities” collection. Rainy day reflections along the back streets of Rome, Italy.

'Bay boys' Dubrovnik, Croatia 2014 Limited edition of 20.

An Open Edition Print by National Geographic Photographer Keith Ladzinski from his “Cities” collection. Gloomy twilight over the Verrazzano-Narrows Bridge, New York City

An Open Edition Print by National Geographic Photographer Keith Ladzinski from his “Cities” collection. Twilight traffic over the Brooklyn Bridge, NYC

An Open Edition Print by National Geographic Photographer Keith Ladzinski from his “Cities” collection. Streaks from cars along a busy street next to the iconic Coliseum, a conver...

Hsu Yun Chin is a multidisciplinary artist who holds a BA in Fine Art Photography from Emily Carr University and an MA from the Royal College of Art. She is a member of the Royal British Society of Sculptors and has had international exhibitions and publications. Her work mainly focuses on sculpture and photography and combines her technical skills with a natural creative ability to explore themes such as body sculpture, religion, culture, and philosophy to create a unique narrative and meaning in her symbolic and personal works. "The Barbican Centre of London photomontages by Hsu show no longer a space of unity and yet, we get lost in it. The carved self-portraits of Hsu are split up. Why do they have multiple faces? It looks like Hsu sees her breaks in the brutalist architecture of the Barbican, this huge complex of concrete and bricks, built in the 1980s, with such steep lines. Are the face we offer to ourself and the face we offer to others united and true? What and where is our real true face?" Alexandra Jaffré
 French Art Historian and author
 Belgian-based Art Book Publisher Measurement: 100X100cm This photograph is sold unframed. All prints are signed and numbered (edition of 10). * Fine art print in size 100X100 cm will be post in postal tube. * If you would like to send in flat package, please message us for special fine art carting...

Keever’s landscapes are paint and ink that he pours into a 200-gallon tank and then photographs.

Hsu Yun Chin is a multidisciplinary artist who holds a BA in Fine Art Photography from Emily Carr University and an MA from the Royal College of Art. She is a member of the Royal British Society of Sculptors and has had international exhibitions and publications. Her work mainly focuses on sculpture and photography and combines her technical skills with a natural creative ability to explore themes such as body sculpture, religion, culture, and philosophy to create a unique narrative and meaning in her symbolic and personal works. "The Barbican Centre of London photomontages by Hsu show no longer a space of unity and yet, we get lost in it. The carved self-portraits of Hsu are split up. Why do they have multiple faces? It looks like Hsu sees her breaks in the brutalist architecture of the Barbican, this huge complex of concrete and bricks, built in the 1980s, with such steep lines. Are the face we offer to ourself and the face we offer to others united and true? What and where is our real true face?" Alexandra Jaffré
 French Art Historian and author
 Belgian-based Art Book Publisher Measurement: 100X100cm Edition: 2/10 This photograph is sold unframed. All prints are signed and numbered (edition of 10). * Fine art print in size 100X100 cm will be post in postal tube. * If you would like to send in flat package, please message us for special fine art carting...

Living in a Dream (Till Death do us Part) - 2005 20x20cm, Edition of 10, Archival C-Print print, based on the Polaroid. Certificate and Signature label, artist Inventory No. 9781. Not mounted. on offer is a piece from the movie "Till Death do us Part" Stefanie Schneider’s Till Death Do Us Part or “There is Only the Desert for You.” BY DREW HAMMOND Stefanie Schneider’s Til Death to Us Part is a love narrative that comprises three elements: 1. A montage of still images shot and elaborated by means of her signature technique of using Polaroid formats with outdated and degraded film stock in natural light, with the resulting im ages rephotographed (by other means) enlarged and printed in such a way as to generate further distortions of the image. 2. Dated Super 8 film footage without a sound track and developed by the artist. 3. Recorded off-screen narration of texts written by the actors or photographic subjects, and selected by the artist. At the outset, this method presupposes a tension between still and moving image; between the conventions about the juxtaposition of such images in a moving image presentation; and, and a further tension between the work’s juxtaposition of sound and image, and the conventional relationship between sound and image that occurs in the majority of films. But Till Death Do Us Part also conduces to an implied synthesis of still and moving image by the manner in which the artist edits or cuts the work. First, she imposes a rigorous criterion of selection, whether to render a section as a still or moving image. The predominance of still images is neither an arbitrary residue of her background as a still photographer—in fact she has years of background in film projects; nor is it a capricious reaction against moving picture convention that demands more moving images than stills. Instead, the number of still images has a direct thematic relation to the fabric of the love story in the following sense. Stills, by definition, have a very different relationship to time than do moving images. The unedited moving shot occurs in real time, and the edited moving shot, despite its artificial rendering of time, all too 2009often affords the viewer an even greater illusion of experiencing reality as it unfolds. It is self-evident that moving images overtly mimic the temporal dynamic of reality. Frozen in time—at least overtly—still photographic images pose a radical tension with real time. This tension is all the more heightened by their “real” content, by the recording aspect of their constitution. But precisely because they seem to suspend time, they more naturally evoke a sense of the past and of its inherent nostalgia. In this way, they are often more readily evocative of other states of experience of the real, if we properly include in the real our own experience of the past through memory, and its inherent emotions. This attribute of stills is the real criterion of their selection in Til Death Do Us Part where consistently, the artist associates them with desire, dream, memory, passion, and the ensemble of mental states that accompany a love relationship in its nascent, mature, and declining aspects. A SYNTHESIS OF MOVING AND STILL IMAGES BOTH FORMAL AND CONCEPTUAL It is noteworthy that, after a transition from a still image to a moving image, as soon as the viewer expects the movement to continue, there is a “logical” cut that we expect to result in another moving image, not only because of its mise en scène, but also because of its implicit respect of traditional rules of film editing, its planarity, its sight line, its treatment of 3D space—all these lead us to expect that the successive shot, as it is revealed, is bound to be another moving image. But contrary to our expectation, and in delayed reaction, we are startled to find that it is another still image. One effect of this technique is to reinforce the tension between still and moving image by means of surprise. But in another sense, the technique reminds us that, in film, the moving image is also a succession of stills that only generate an illusion of movement. Although it is a fact that here the artist employs Super 8 footage, in principle, even were the moving images shot with video, the fact would remain since video images are all reducible to a series of discrete still images no matter how “seamless” the transitions between them. Yet a third effect of the technique has to do with its temporal implication. Often art aspires to conflate or otherwise distort time. Here, instead, the juxtaposition poses a tension between two times: the “real time” of the moving image that is by definition associated with reality in its temporal aspect; and the “frozen time” of the still image associated with an altered sense of time in memory and fantasy of the object of desire—not to mention the unreal time of the sense of the monopolization of the gaze conventionally attributed to the photographic medium, but which here is associated as much with the yearning narrator as it is with the viewer. In this way, the work establishes and juxtaposes two times for two levels of consciousness, both for the narrator of the story and, implicitly, for the viewer: A) the immediate experience of reality, and B) the background of reflective effects of reality, such as dream, memory, fantasy, and their inherent compounding of past and present emotions. In addition, the piece advances in the direction of a Gesammtkunstwerk, but in a way that reconsiders this synaesthesia as a unified complex of genres—not only because it uses new media that did not exist when the idea was first enunciated in Wagner’s time, but also because it comprises elements that are not entirely of one artist’s making, but which are subsumed by the work overall. The totality remains the vision of one artist. In this sense, Till Death Do Us Part reveals a further tension between the central intelligence of the artist and the products of other individual participants. This tension is compounded to the degree that the characters’ attributes and narrated statements are part fiction and part reality, part themselves, and part their characters. But Stefanie Schneider is the one who assembles, organizes, and selects them all. THE RELATIONSHIP BETWEEN THIS IDEA (above) AND PHOTOGRAPHY This selective aspect of the work is an expansion of idea of the act of photography in which the artistic photographer selects that which is already there, and then, by distortion, definition or delimitation, compositional and lighting emphasis, and by a host of other techniques, subsumes that which is already there to transform it into an image of the artist’s contrivance, one that is no less of the artist’s making than a work in any other medium, but which is distinct from many traditional media (such as painting) in that it retains an evocation of the tension between what is already there and what is of the artist’s making. Should it fail to achieve this, it remains, to that degree, mere illustration to which aesthetic technique has been applied with greater or lesser skill. The way Til Death Do Us Part expands this basic principle of the photographic act, is to apply it to further existing elements, and, similarly, to transform them. These additional existing elements include written or improvised pieces narrated by their authors in a way that shifts between their own identities and the identities of fictional characters. Such characters derive partially from their own identities by making use of real or imagined memories, dreams, fears of the future, genuine impressions, and emotional responses to unexpected or even banal events. There is also music, with voice and instrumental accompaniment. The music slips between integration with the narrative voices and disjunction, between consistency and tension. At times it would direct the mood, and at other times it would disrupt. Despite that much of this material is made by others, it becomes, like the reality that is the raw material of an art photo, subsumed and transformed by the overall aesthetic act of the manner of its selection, distortion, organization, duration, and emotional effect. * * * David Lean was fond of saying that a love story is most effective in a squalid visual environment. In Til Death Do Us Part, the squalor of the American desert...

Unique silver gelatin print (Printed while working with a remote photograms student). Triple exposure with flowers, sand, and glitter. This 8x10 mixed process multiple exposure photogram was printed on Fomatone MG 133 - (The Chamois surface is quite beautiful, but doesn't translate super well digitally.) Before covid, I specialized in what I refer to as gelatin silver "spiritual landscapes...

Flowing 2 - Large scale photograph by Michael Banks -Archival Pigment print on fiber based paper ( Hahnemühle Photo RAG Baryta 315 gsm ) Limited Editi...

Unique silver gelatin print (photogram made sans enlarger). Triple exposure with flowers, sand, and glitter. This 8x10 mixed process multiple exposure photogram was printed on Fomatone MG 133 - (The Chamois surface is quite beautiful, but doesn't translate super well digitally.) [FYI - this print makes a great diptych with "Raindrops" and some of my other 8x10 offerings.] Before covid, I specialized in what I refer to as gelatin silver "spiritual landscapes...

Unique silver gelatin print (Printed while working with a remote photograms student). Triple exposure with flowers, sand, and glitter. This 8x10 mixed process multiple exposure photogram was printed on Fomatone MG 133 - (The Chamois surface is quite beautiful, but doesn't translate super well digitally.) [FYI - this print makes a great diptych with "Rosewater" and some of my other 8x10 offerings.] Before covid, I specialized in what I refer to as gelatin silver "spiritual landscapes...

Vintage Mint Condition Platinum Photograph Fabulous image in the true style of Uelsmann

This one-of-a-kind handmade darkroom print (along with 4 others that I'll be adding momentarily) marks the very beginning of yet a new 11x14 sub-series of "Fire & Ice." For now, I'm ...

"Composition with Silver and Green 2", photography by the artist Anna Golovanova. Abstract digital compositions. Extravagant play with form and colo...

This is an exclusive handprinted unique cyanotype that takes its inspiration from the mid-century modern shapes. It's made by layering paper cutouts and different exposures using uv-...

"Composition with Silver and Green 1", photography by the artist Anna Golovanova. Abstract digital compositions. Extravagant play with form and colo...

Untitled (Paradise) - 1999 50x50cm. Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certificate. Artist Inventory No. 20451. N...

"Adam" Photography 24" x 24" in Edition 2/15 by Olha Stepanian Printed on Epson Professional Paper Signed and numbered by the artist Not framed. Ships in a tube. Available sizes...

"Removal of Self #60" Photography 16" x 20" inch Edition 1/1 by Ben Cope 2011 Photo on deconstructed paper 16” x 20” inch Ben Cope is a Georgia native graduating from Columbus Sta...

This beautiful photograph Light 2 was shot by the Italian photographer Sofia Mattioli. From the series The lights I see since you are gone, limited edition of 50 copies in Arab numb...

This beautiful photograph Light 1 was shot by the Italian photographer Sofia Mattioli. From the series The lights I see since you are gone, limited edition of 50 copies in Arab numb...

This one-of-a-kind cameraless photograph is actually a baby photogram, initially made for a submission that requested specific small sized prints. All of my images are about what som...

This is an exclusive handprinted unique cyanotype that takes its inspiration from the mid-century modern shapes. It's made by layering paper cutouts and different exposures using uv-...

Midnight Sun (Life on Mars) - 2022 Edition of 10, 40x17cm, Archival C-Print. Artist inventory E020. Signature label and Certificate. Not mounted. ...

"Composition No. 4", photography by the artist Anna Golovanova. Abstract digital compositions. Abstract colour space. Country of Origin: Russia. Signed: Signed, numbered in print. ...

Unique silver gelatin print (Printed while working with a remote photograms student). Triple exposure with flowers, sand, and glitter. This 8x10 mixed process multiple exposure photogram was printed on Fomatone MG 133 - (The Chamois surface is quite beautiful, but doesn't translate super well digitally.) Before covid, I specialized in what I refer to as gelatin silver "spiritual landscapes...

Into the dark (Deconstructivism) - 2020 - about the narrative potential of images. 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid, Artist Inventory 4600. Signat...

"Composition No. 5", photography by the artist Anna Golovanova. Abstract digital compositions. Composition with Silver and Red. Country of Origin: Russia. Signed: Signed, numbered ...

This extra large montage of photographs is mounted onto aluminum from Ken Gonzales-Day's dysmorphologies series. Photo paper mounted to aluminum. Ken Gonzales-Day's interdisciplinary and conceptually grounded projects consider the history of photography, the construction of race, and the limits of representational systems ranging from the lynching photograph to museum display. The Searching for California Hang Trees series offered a critical look at the legacies of landscape photography in the West while his most recent project considers the sculptural depiction of race. Profiled began as an exploration of the influence of eighteenth century "scientific" thought on twenty-first century institutions ranging from the museum to the prison and extended to the sculpture and portrait bust collections of several major museums including: The J. Paul Getty Museum; The Field Museum, Chicago; The Museum of Man, San Diego; L'École des beaux-arts,Paris. The Bode Museum, Berlin, Park Sanssouci, Potsdam; The National Museum of Natural History, Paris; The Yale Center for British Art, New Haven; among others. Gonzales-Day lives in Los Angeles and is Chair of the Art Department at Scripps College. Much of Gonzales-Day's work considers the larger political and social representational histories of the Mexican-American experience. His early work draws on the constructed photo methods of artists like Jeff Wall, Cindy Sherman, or Gregory Crewdson. For example, in Bone Grass Boy (1996), Gonzales-Day casts himself as all the central characters in a staged photonovella set during the Mexican American War. In a later series entitled Erased Lynchings (2004-2006), Gonzales-Day explores the history of lynching in the American West by appropriating and digitally altering an archive of 19th and 20th century postcards that depict Mexican and Mexican-American lynchings. In 2012, Gonzales-Day received the Creative Capital Award in the discipline of Visual Arts. In 2014, he created his project titled Run Up which pairs together recreated images of lynchings from the 1920s and images of police brutality from Ferguson and Los Angeles. The title, Run Up, stems from the term for an illegal lynching. Court-ordered executions were called hangings while hate crimes were referred to as "run-ups". Along with his artwork, Gonzales-Day has authored two monographs. His first, Profiled, deals with the works of Malvina Hoffman...

This beautiful photograph Light 7 was shot by the Italian photographer Sofia Mattioli. From the series The lights I see since you are gone, limited edition of 50 copies in Arab numb...

This beautiful photograph Light 6 was shot by the Italian photographer Sofia Mattioli. From the series The lights I see since you are gone, limited edition of 50 copies in Arab numb...

This beautiful photograph Light 5 was shot by the Italian photographer Sofia Mattioli. From the series The lights I see since you are gone, limited edition of 50 copies in Arab numb...

Blue Space Dark - Mindscreen 09 (Night on Earth) - 1999 58x56cm, Edition of 10. Analog C-Print, hand-printed by the artist, based on the Polaroid. Signature label and Certificate....

Strangers (Deconstructive) - 2022 Edition of 10, 49x48cm. Archival C-Print, based on the Polaroid. Artist inventory number: 18894. Signature label and certificate. Not mounted. ...

"The Barbican Centre of London photomontages by Hsu show no longer a space of unity and yet, we get lost in it. The carved self-portraits of Hsu are split up. Why do they have multip...

The Silence (Deconstructivism) - 2020 - about the narrative potential of images. 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid, Artist Inventory 1903. Signatur...

Rapture (29 Palms, CA) - 2022 48x46cm, Edition of 10, plus 2 Artist Proofs. Archival Print, based on the Polaroid. Artist inventory Number 218829. Signature label and Certificate...

This beautiful photograph Light 4 was shot by the Italian photographer Sofia Mattioli. From the series The lights I see since you are gone, limited edition of 50 copies in Arab numb...

This one-of-a-kind cameraless photograph is actually a baby photogram, initially made for a submission that requested specific small sized prints. All of my images are about what som...

I began making photograms with alternate light sources in 2020, due to having an unfinished darkroom at the time of the shutdown. (Fortunately, the wet side was nearly complete just ...

I began making photograms with alternate light sources in 2020, due to having an unfinished darkroom at the time of the shutdown. (Fortunately, the wet side was nearly complete just ...

"The Barbican Centre of London photomontages by Hsu show no longer a space of unity and yet, we get lost in it. The carved self-portraits of Hsu are split up. Why do they have multip...

I began making photograms with alternate light sources in 2020, due to having an unfinished darkroom at the time of the shutdown. (Fortunately, the wet side was nearly complete just prior and I had a ton of old European sized Forte in my paper safe to experiment with). "Into the Ether" was my first in-depth body of cameraless work, which was completed at the end of the year. All of my images are essentially subconscious self-portraits which reveal themselves during my printing processes (that applies to both film-based prints and unique darkroom darkroom prints made without the use of a camera). This award-winning series took shape while in the height of covid-based isolation. However, making the work led to my now current occupation, as I now specialize in experimental photograms and teach some of my processes. "Flower Implosion" was one of my first sparkler exposures involving moving water; Made with flowers and water, this triple exposed sparkler-o-gram debuted via an online exhibition...

I began making photograms with alternate light sources in 2020, due to having an unfinished darkroom at the time of the shutdown. (Fortunately, the wet side was nearly complete just ...

I began making photograms with alternate light sources in 2020, due to having an unfinished darkroom at the time of the shutdown. (Fortunately, the wet side was nearly complete just ...