Lauren Chin

"The Womb" Photography 24" x 24" inch Edition 1/7 by Lauren Chin

2023

"Obscure Beauty" Photography 24" x 18" inch Edition 1/7 by Lauren Chin Comes in glass frame Lauren Chin, a photographer and creative director based in Los Angeles focuses her visu...

"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...

"Removal of Self #73" Photography 20" x 16" inch Edition 1/1 by Ben Cope 2011 Photo on deconstructed paper 20” x 16” inch Ben Cope is a Georgia native graduating from Columbus Sta...

"Mirrors" Photography 24" x 24" inch Edition 1/15 by Olha Stepanian Printed on Epson Professional Paper Signed and numbered by the artist Not framed. Ships in a tube. Available ...

"Adam" Photography 31" x 31" in Edition of 7 by Olha Stepanian Printed on Epson Professional Paper Signed and numbered by the artist Not framed. Ships in a tube. Available sizes...

"Geometry 2" Photography 31" x 31" inch Edition of 7 by Olha Stepanian Printed on Epson Professional Paper Signed and numbered by the artist Not framed. Ships in a tube. Availa...

In 2015 I while on assignment for National Geographic for a story centered around Montana Culture, I was offered a chance to accompany a family of ranchers to photograph them relocating a herd of 125 horses from Winter to Summer pasture. Throughout the winter, this herd had been moved to lower elevation, some 50 miles south where they were mostly left to themselves to graze at their leisure. During this 6 month period of time the horses become somewhat feral, unruly and less willing to take direction, making for a long hard day or all involved. On horse back of their own, the cowboys drive the horses to higher elevation along a 50 mile network of trails and dirt road "getting out that winter energy" as it was described. I shot this motion panned photograph here as a small portion of the herd ran by thunderously. I could feel the ground quaking under their powerful hooves, even at my stance some 50 feet away. It was one of my favorite images from the assignment and I'm pleased to now offer this as a limited edition print in 3 different sizes. Printed at my studio in Boulder Colorado...

Ian Gittler’s Motor Art series-photographs of century-old engine parts, gears, sparkplugs, and brand tags-offers respite from the digital fetishism, overexp...

Black and white fine art landscape photography print. Archival pigment ink print, edition of 9. Signed, titled, dated and numbered by artist. Certificate of authenticity included. Pr...

Dubawi, 'Stripped’, 2001 by John Reardon Edition of 15 Silver Gelatin Print, Mounted on Aluminium, Custom framed, UV protective Museum AR Glass This piec...

Ian Gittler’s Motor Art series-photographs of century-old engine parts, gears, sparkplugs, and brand tags-offers respite from the digital fetishism, overexposure and one-hundred-forty-character bursts of communication that seem to define our era. Gittler is no luddite, he loves his iPhone. But these images, often obscuring the objects beyond identification, take unsentimental pleasure in elements of weight, ground, volume and permanence that are more closely associated with a bygone heyday of industrialization. These photographs are about a tangible physical experience, about moving parts. Gittler’s expert printing-his ability to see the potential in a frame and employ the techniques necessary to articulate that vision on paper-brings the work to life. There’s wit in the brand iconography and a documentary component, but Gittler resists prescribing interpretations, saying subtext isn’t the point. His use of extremely shallow depth of field, intense contrast and exploded grain is muscular and poetic. But subtext is relevant. Although Robin Rice first approached Ian Gittler about his vector-based art on photo paper, the gallerist challenged him to create a series of photographs with that kind of machismo. As a native New Yorker who was marched through the halls of MOMA as a toddler, Gittler’s inspiration-his idea of macho-has less to do with cowboys and racecar drivers than with Franz Kline brushstrokes and modernist design. For Gittler, macho means the maximum amount of black ink that can lie across a sheet of photo paper. That kind of force. He narrowed his field of view for this series-often to a centimeter or two-in order to achieve a purely visual, visceral response. Gittler titled the work Motor Art in tribute to the 1934 Museum of Modern Art exhibit, Machine Art. Upon its sixtieth anniversary, Phillip Johnson wrote of the show (and of his own essay for its original opening), “The thrust was clear: anti-handicraft, industrial methods alone satisfied our age; Platonic dreams of perfection were the ideal.” Ian Gittler photographs, draws, writes, and makes music. He has created album covers for Willie Nelson, Roy Hargrove...

Ian Gittler’s Motor Art series-photographs of century-old engine parts, gears, sparkplugs, and brand tags-offers respite from the digital fetishism, overexposure and one-hundred-forty-character bursts of communication that seem to define our era. Gittler is no luddite, he loves his iPhone. But these images, often obscuring the objects beyond identification, take unsentimental pleasure in elements of weight, ground, volume and permanence that are more closely associated with a bygone heyday of industrialization. These photographs are about a tangible physical experience, about moving parts. Gittler’s expert printing-his ability to see the potential in a frame and employ the techniques necessary to articulate that vision on paper-brings the work to life. There’s wit in the brand iconography and a documentary component, but Gittler resists prescribing interpretations, saying subtext isn’t the point. His use of extremely shallow depth of field, intense contrast and exploded grain is muscular and poetic. But subtext is relevant. Although Robin Rice first approached Ian Gittler about his vector-based art on photo paper, the gallerist challenged him to create a series of photographs with that kind of machismo. As a native New Yorker who was marched through the halls of MOMA as a toddler, Gittler’s inspiration-his idea of macho-has less to do with cowboys and racecar drivers than with Franz Kline brushstrokes and modernist design. For Gittler, macho means the maximum amount of black ink that can lie across a sheet of photo paper. That kind of force. He narrowed his field of view for this series-often to a centimeter or two-in order to achieve a purely visual, visceral response. Gittler titled the work Motor Art in tribute to the 1934 Museum of Modern Art exhibit, Machine Art. Upon its sixtieth anniversary, Phillip Johnson wrote of the show (and of his own essay for its original opening), “The thrust was clear: anti-handicraft, industrial methods alone satisfied our age; Platonic dreams of perfection were the ideal.” Ian Gittler photographs, draws, writes, and makes music. He has created album covers for Willie Nelson, Roy Hargrove...