Items Similar to Kauzan 2`, Tokyo-from the series Okurimono- Japan cherryblossom tree pink flower
Want more images or videos?
Request additional images or videos from the seller
1 of 4
Christian HougeKauzan 2`, Tokyo-from the series Okurimono- Japan cherryblossom tree pink flower2010
2010
About the Item
Okurimono
66 cm. x 200 cm. Edition 6 (+2 ap)
100 cm. x 200 cm. Edition 3 (+1ap) Euro 8,000
Pigment Print
Okurimono (meaning both “gift” and “that which is in-between” in Japanese) - is a word that binds together this comprehensive project developed over five trips to Japan between 2007 and 2018.
The series explores the personal pursuit of identity, at times with an underlying darkness as Houge had the chance to be introduced to Tokyo’s subculture. In exploring this theme, Houge has ventured into delicate matters such as sexuality, longing and gender dysphoria. In this particular series, he uses staging as a method to create a story within a story.
The artist wishes to question the viewer and provoke a reflection on topics that are often seen as taboos in our contemporary societies. The viewer’s own associations are important in appreciating this work where ambiguity plays an important role.
The project started in the Harajuku district of Tokyo which is known as a center of Japanese youth culture and where Houge found some of his first motifs: teenage girls dressing up in post-Victorian dresses or ‘cosplay’ costumes to identify with a character of their favorite comics. Here, the desire to express one’s uniqueness is central and the photographer explores the tension between personal identity and aesthetics shared by all (or at least by the same youth group).
In many of his carefully staged photographs, Houge’s models are masked, so as to echo the many social masks we wear in our day-to-day lives. In our post-modern information society, drained of wonder, these enigmatic masked characters also evoke the world of shamans and pagan rituals, therefore injecting a sense of mystery and spirituality that many people are longing for.
Symbolism and the many references to ritual and identity in an otherwise suppressed society, may at times create a sense of unease among viewers. The Okurimono project also explores the topic of identity and sexuality in gender dysphoria with Japan’s nyūhāfu (the transsexual ‘new halfs’). Here, the quest for identity coincides with a search of femininity and body image which results in complex physical transformations. Viewers may look at these portraits not having any clue that models are nyūhāfu. Yet, the photographs are staged so that viewers are placed in a disconcerting voyeuristic role while looking at otherwise closed world.
Shibari (the art of tying), which originates from the Edo period (1600s), is another territory explored by Houge in his Okurimono series. His striking photographs of female models tied with red rope on a white background take us into this powerful journey into vulnerability and surrender, power and freedom.
Through tradition, symbolism and technology, Okurimono also explores the hugely potent symbols that help define parts of Japanese culture and national identity, between old and new. As Art historian Erling Bugge put it: “Christian Houge guides us into a mystery. It resides between the ritualized shapes of the traditional and withdrawn Zen garden in Kyoto and the equally ritualized spaces of futuristic, urban Tokyo. For a westerner, Japan might look familiar, since what is held up for us looks like a futuristic spectacle somehow grounded in a western imagination. This judgment, however, is too easy. In Houge’s photographs, the sense of sameness withdraws and a very different feeling of strangeness creeps up on us. In fact, what this series registers is a remarkable place of alterity in today’s global order, a radical difference bang in the middle of the familiar.”
The images of the Okurimono series share a ghostly, otherworldly quality. In reality and dream, ritual and play merge while the boundaries between the known and the unknown dissolve.
Christian Houge – Now – Okurimono
Christian Houge guides us into a mystery. It resides between the ritualized shapes of the traditional and withdrawn Zen garden in Kyoto and the equally ritualized spaces of futuristic, urban Tokyo. For a westerner, Japan might look familiar, since what is held up for us looks like a futuristic spectacle somehow grounded in a western imagination. This judgment, however, is too easy. In Houge’s photographs, the sense of sameness withdraws and a very different feeling of strangeness creeps up on us. In fact, what this series registers is a remarkable place of alterity in today’s global order, a radical difference bang in the middle of the familiar.
This is pushed to the limit in the technological and virtual wonderland of Akihabara in Tokyo, where shop after shop trade in electronic products and computer games, while a weird costume play, “cosplay”, is being performed in streets. A similar kind of simulation is being acted out in the district of Harajuku, where Houge found some of his motifs. There is no authenticity here, no western “essence” or “reality”; instead, the virtual conquers the carnal body in a purified play of surface, image and the hyperreal. This is exotic. All the while as we are conscious of these notions as pinnacle points in a western idea of the post-modern. But in this sense Japan has always been “post-modern”. It has always integrated the most refined culture and technology from the outside while somehow retained an identity for itself. So, what would this identity be? Houge takes the view of ritual and play. Indeed, Japanese culture seems to be grounded solely on ritual, in business and in sex, in its relation to nature and in religion.
This play transcends the notion of authenticity altogether, unlike the West which is haunted by the “ghost” of origin and beginnings. In Japan, “now” would mean just that; it is a “no looking back”, but rather a flow of intensities integrated in the play and ritual of the ever-present, okurimono. There is no threat of being eaten up by western culture and technology here, for, like in Zen practice, the ritual oversees everything and has no historical drag. Japan becomes weightless, shot into orbit outside the material of earth itself.
Is acting out the role as Lewis Caroll’s Victorian girl driven by a sense of nostalgia? I think not. It is a striving for a moment of perfected presence, in dialogue with Houge’s optical machine. It is the moment of Now. The girl, the Zen garden and the image shares in a perfection modified by small uncertainties, coincidental imperfections that become somewhat oblique points of entry for us - a discarded handkerchief or seemingly unremarkable shapes and reflections in the prismatic play of surfaces.
There is a ghostly, otherworldly quality in these images, even in the fleeting blossoming cherrytree and the play of shadows across a concrete minimalism. The doubly exposed or reflected light on the lens reminds us of the uncertain beginnings in photography’s history, with its widespread belief that the camera was able to perceive more than the naked eye, like spirits and ghosts. In Houge’s images there are different specters, skeletal, natural shapes on the one hand, the machine and the virtual on the other. Here, like some scene from the film Blade Runner, there is an uncanny confusion and mix between the human and non human.
Maybe the search for a perfect moment in the perpetual flow of things is a romantic or melancholic longing for transcendent wholeness, a drive that is harnessed in a rigorous attention to visual detail. This compulsive discipline might seem absurd to any western observer, while longing itself form a common ground and will ultimately be the basis in our meeting.
Erling Bugge
Bio:
Christian Houge (born in Oslo 1972)
Based in Oslo, Norway, I have been making photographs for over twenty years and new insights continue to open. By exploring the relation, and conflict, between Nature and culture, I get a better understanding about Mans` condition.
I am interested in the consequences of Humankinds progression and how science often is the result of our conquering of Nature, both on Earth and beyond.
Mans` ego, consumer society, the last remnants of pure Nature and identity are recurring elements in my work. I often juxtapose the visually aesthetic with an underlying uneasiness. This often emanates a cognitive dissonance in the viewer to invite deeper truths and personal references.
Looking at our actions and place in environment, which we are so dependent on, is a recurring theme in all my exploration and can use everything from digital cameras to large format and panoramic analog cameras for specific projects.
I have exhibited extensively in galleries and museums in my native country Norway, as well as the US, England, France and China.
The series `Death of a Mountain`(2016-2021) is nominated for the 2021 Leica Oskar Barnack Award, as well as receiving an arts grant from Norwegian Arts Council.
Most recently, my series `Residence of Impermanence` 2017-2019 has been exhibited at five museums and several galleries already (including a solo show at Fotografiska, Stockholm (2019), and Les Recontres d`Arles, Haugar Artmuseum, Preus Muaeum of Photography and 2019 (Galerie Omnius, Arles).
In 2021, this series received ten nominations for the Prix Pictet Award with the theme FIRE.
`Residence of Impermanence` is currently exhibited at the UCR: California Museum of Photography in Los Angeles with the exhibition `Facing Fire,` Art, Wildfire and The End of Nature in the New West.`
This exhibition explores the ever-worsening forest fires due to climate change.
In 2005, my series `Arctic Technology`, was shortlisted for the BMW Prize at Paris Photo (Scout Gallery, London). In 2015, my series `Paradise Lost`(containing three of my main environmental series) toured between three large museums in China.
My other environmental work has been nominated for the annual Prix Pictet Award twice, with my series, `Barentsburg` and `Shadow Within`, for both Earth and Power themes.
In 2005, my series `Arctic Technology` was shortlisted for the BMW Prize at Paris photo (through Scout Gallery, London).
My work has been shown in numerous museums, including a symposium at Johnson Museum, N.Y., was included in traveling exhibitions with WHATCOM (Museum of Washington) with the exhibition `Vanishing Ice`, as well as a two-year museum tour in China environmental issues with Three Shadows Photography Art Centre in Beijing and the Norwegian Embassy.
Publications/books include `Vanishing Ice`and `Altered Landscape` (Nevada Museum of Art), including purchased work for their collection at Center for Art and Environment.
Selected exhibitions CV:
Christian Houge (born in Oslo 1972) - Curriculum Vitae
2021
`As far as my Eye can Sea – The Expedition Exhibition`
Rev Ocean, Bomuldsfabrikken Kunsthall, Arendal
`Facing Fire`, Collaborative, UCR ARTS:California Museum of Photography
Continuation
`Death of a Mountain`/ In;Human Nature`, Buer Gallery, Oslo
2020
`Facing Fire`, Collaborative, UCR ARTS:California Museum of Photography
2019
`Metafysica`, `Residence of Impermanence`,collaborative, Haugar Kunstmuseum, Vestfold
`Residence of Impermanence`, Fotografiska Museum, Stockholm. Solo
`Helt Dyrisk` Residence of Impermanence`, collaborative, Preus Museum, Horten
`Residence of Impermanence`, Galleri Fineart, Oslo. Solo
2017
`Shadow Within/Rituals` Gulden Kunstverk, Drammen. Solo
Commission, MAAEMO restaurant. `In;Human Nature`
`Mirror,Mirror` Hosfelt Gallery, San.Fran. Collaborative w/Ed Ruscha, Adam Fuss, Liliana Porter
2016
`In;Human Nature`, TM51 Gallery, Oslo. Solo
Fotofever/ParisPhoto, Louvre, Paris
Cornette de Saint Cyr, Auction, Paris
2015
Three Shadows Photography Art Center, Beijing, China. `Paradise Lost` .
`Arctic Technology/Barentsburg`/ Shadow Within. Solo
Fotofever (ParisPhoto), Artistics Art Gallery, Paris. Collaborative
How Art Museum, Wenzhou, China. `Paradise Lost`
Arctic Technology/Barentsburg/Shadow Within. Solo
Redtory, Guangzhou, China. `Paradise Lost`
Arctic Technology/Barentsburg/Shadow Within. Solo
2014
Fineart Gallery, Oslo `Shadow Within` 2010-2013 / `Darkness Burns Bright` 2013/2014. Solo
Beyond Earth Art • (contemporary artists and the environment)
Johnson Museum of Art, New York. Shadow Within. Collaborative
(incl. Olafur Eliasson, Edward Burtynsky, Mathew Brandt, Yun-Fei Ji amongst others)
The El Paso Museum of Art, Texas. `Arctic Technology`. Collaborative
Glenbow Museum, Alberta. `Arctic Technology`. Collaborative
LIFF (Lofoten International Photofestival)
`Shadow Within` w/speaking. Solo
2013
Nominated for the Prix Pictet Award/ `Shadow Within`.
Hosfelt Gallery, San.Fran. USA. `Shadow Within`. Solo
Accompanied by Call of the Wild`( Joseph Beuys, Ed Ruscha, Patricia Piccinini and Alan Rath)
Carnegie, Oslo, Arctic Technology` series. Commission.
`Vanishing Ice` Tour, USA/Canada, Whatcom Museum 2013-2015.
Publication `Vanishing Ice`, Alpine and Polar Landscapes in Art, 1775-2012
Author: Barbara Matilsky.
Altered Landscapes: Photographs of a changing environment (Impact of human activity on natural landscapes)
by Ann M. Wolfe. Rizzoli Publications.
2012
Vanishing Ice, Whatcom (Museum of Washington), USA, 2012.
`Arctic Technology`. Collaborative
Public speaking, Ambassadors residence, London. `Shadow Within`.
2010
Akershus Kunstsenter, Oslo. `Arctic Technology`. Collaborative
`In full color`, Hosfelt Gallery, New York.
Arctic Technology/ Barentsburg. Collaborative
2009
Nominated for the Prix Pictet Award with the series `Barentsburg`.
Hosfelt Gallery, San. Fran, `Arctic technology/Barentsburg`. Solo
AntArctica, Haugar Kunstmuseum. Collaberative
`The coldest winter`, Hosfelt Gallery, San. Fran. Collaborative
2008
`Arctic technology` Hosfelt Gallery, New York, USA, Solo
Gardemoen Airport,10-year Anniversary Oslo. Public(Arctic Technology)
Oslo Sentral Station/Rom for Kunst, Oslo. Public (Arctic Technology)
2007
ArtBasel/Scout Gallery,London, Miami. Collaborative
PhotoLondon Fair, Zebra Gallery London. Collaborative
Annual Grants exhibition Kunstnernes Hus, Oslo. Collaborative
Annual grants exhibition Fotogalleriet, Oslo. Collaborative
Defence Ministry H.Q. Oslo. Commission(Arctic Technology)
2006
Sotheby's London. Collaborative auction
Zebra One, London. Collaberative
Annual Grants exhibition, Oslo. Collaborative
Defence Ministry H.Q. `Arctic Technology. Oslo. Commission
2005
Scout Gallery, London. `Arctic Technology`, Solo
BMW Awards, Paris Photo. `Arctic Technology`. Collaborative
Paris Photo, Louvre, Paris, Scout Gallery (London). Collaborative
Arctic Technology/ Barentsburg
PhotoLondon Fair (Scout Gallery, London). Collaborative
2003
Annual grants exhibition, Kunstnerenes Hus, Oslo. Collaborative
Økokrim, Oslo, Commission. Public
Eiendommspar, Oslo. Commission. Public
2002
Autumn grants exhibition, Kunstnernes hus, Oslo. Collaborative
- Creator:Christian Houge (1972, Norwegian)
- Creation Year:2010
- Dimensions:Height: 25.99 in (66 cm)Width: 78.75 in (200 cm)
- More Editions & Sizes:100 x 300 cm. Edition 3 +1Price: $8,770
- Medium:
- Period:
- Condition:
- Gallery Location:Oslo, NO
- Reference Number:1stDibs: LU160028669352
Christian Houge
Based in Oslo, Norway, I have been making photographs for over twenty years, and new insights continue to open. By obsessively exploring the relation, and conflict, between Nature and culture, I understand Mans` condition and Mans` ego, consumer society, the last remnants of pure Nature and identity. These are all recurring elements in my work. I often like to juxtapose the visually aesthetic with an underlying uneasiness. All of this usually emanates a cognitive dissonance in the viewer to invite deeper truths and personal references. This also gives the work a lot of room for interpretation, and this is where the beautiful dialog starts between the work and the viewer, but also amongst the viewers themselves.
In my work, I wish to ask new questions to the increasing challenges we face environmentally and see how it all relates.Art is often made to invite us to see ourselves from new angles, understanding our surroundings and each other.
I find `humanizing` nature is a good way of conveying my work to invite the audience to see themselves in a bigger picture. Looking at our actions and place in the environment, which we are so dependent upon, is a recurring theme in my exploration. My work ranges from panoramic analog cameras to state of the art digital cameras to large format for specific projects.
All the work is made with pigment on cotton paper producing the best quality. I have exhibited extensively in galleries and museums in my native country Norway and the US, England, France, and China.
`Residence of Impermanence` has been exhibited at five museums and several galleries already (including a big solo show at Fotografiska, Stockholm (2019), and Arles Fotofestival (2019). Work from `Residence of Impermanence' is currently exhibited at the UCR: California Museum of Photography in Los Angeles with the exhibition `Facing Fire,` Art, Wildfire and The End of Nature in the New West.` My previous environmental work has been nominated for the Prix Pictet Award on several occasions with my previous series for both Earth, Power and Fire themes.
In 2005, my series `Arctic Technology` was shortlisted for the BMW Prize at Paris photo (through Scout Gallery, London).
I have sold work from the series `Arctic Technology`at Sothebys` in London as well as Cornette det Syr in Paris. My other series has been shown in museums, including a symposium at Johnson Museum, N.Y. and been part of travelling exhibitions with WHATCOM (Museum of Washington) with the exhibition `Vanishing Ice`. China tour on environmental issues with Three Shadows Photography Art Centre in Beijing 2009.
Publications include `Altered Landscape` (Nevada Museum of Art) including purchased work for their collection at Center for Art and Environment. My extensive research and photographic work on melting glaciers and the consequences of climate change, `Death of a Mountain`, exhibited April-June 2021 at Buer Gallery, Oslo.
This series has also been nominated for the Leica Oscar Barnack Award and received the annual arts grant from the Norwegian Government.
About the Seller
No Reviews Yet
Vetted Seller
These experienced sellers undergo a comprehensive evaluation by our team of in-house experts.
Established in 2000
1stDibs seller since 2021
- ShippingRetrieving quote...Ships From: Oslo, Norway
- Return PolicyA return for this item may be initiated within 3 days of delivery.
More From This SellerView All
- `Tori`, Tokyo-from the series Okurimono- flowers - Japan natureBy Christian HougeLocated in Oslo, NOOkurimono 66 cm. x 200 cm. Edition 6 (+2 ap) 100 cm. x 200 cm. Edition 3 (+1ap) Euro 8,000 Pigment Print Okurimono (meaning both “gift” and “that which is in-between” in Japanese) - is a word that binds together this comprehensive project developed over five trips to Japan between 2007 and 2018. The series explores the personal pursuit of identity, at times with an underlying darkness as Houge had the chance to be introduced to Tokyo’s subculture. In exploring this theme, Houge has ventured into delicate matters such as sexuality, longing and gender dysphoria. In this particular series, he uses staging as a method to create a story within a story. The artist wishes to question the viewer and provoke a reflection on topics that are often seen as taboos in our contemporary societies. The viewer’s own associations are important in appreciating this work where ambiguity plays an important role. The project started in the Harajuku district of Tokyo which is known as a center of Japanese youth culture and where Houge found some of his first motifs: teenage girls dressing up in post-Victorian dresses or ‘cosplay’ costumes to identify with a character of their favorite comics. Here, the desire to express one’s uniqueness is central and the photographer explores the tension between personal identity and aesthetics shared by all (or at least by the same youth group). In many of his carefully staged photographs, Houge’s models are masked, so as to echo the many social masks we wear in our day-to-day lives. In our post-modern information society, drained of wonder, these enigmatic masked characters also evoke the world of shamans and pagan rituals, therefore injecting a sense of mystery and spirituality that many people are longing for. Symbolism and the many references to ritual and identity in an otherwise suppressed society, may at times create a sense of unease among viewers. The Okurimono project also explores the topic of identity and sexuality in gender dysphoria with Japan’s nyūhāfu (the transsexual ‘new halfs’). Here, the quest for identity coincides with a search of femininity and body image which results in complex physical transformations. Viewers may look at these portraits not having any clue that models are nyūhāfu. Yet, the photographs are staged so that viewers are placed in a disconcerting voyeuristic role while looking at otherwise closed world. Shibari (the art of tying), which originates from the Edo period (1600s), is another territory explored by Houge in his Okurimono series. His striking photographs of female models tied with red rope on a white background take us into this powerful journey into vulnerability and surrender, power and freedom. Through tradition, symbolism and technology, Okurimono also explores the hugely potent symbols that help define parts of Japanese culture and national identity, between old and new. As Art historian Erling Bugge put it: “Christian Houge guides us into a mystery. It resides between the ritualized shapes of the traditional and withdrawn Zen garden in Kyoto and the equally ritualized spaces of futuristic, urban Tokyo. For a westerner, Japan might look familiar, since what is held up for us looks like a futuristic spectacle somehow grounded in a western imagination. This judgment, however, is too easy. In Houge’s photographs, the sense of sameness withdraws and a very different feeling of strangeness creeps up on us. In fact, what this series registers is a remarkable place of alterity in today’s global order, a radical difference bang in the middle of the familiar.” The images of the Okurimono series share a ghostly, otherworldly quality. In reality and dream, ritual and play merge while the boundaries between the known and the unknown dissolve. Christian Houge – Now – Okurimono Christian Houge guides us into a mystery. It resides between the ritualized shapes of the traditional and withdrawn Zen garden in Kyoto and the equally ritualized spaces of futuristic, urban Tokyo. For a westerner, Japan might look familiar, since what is held up for us looks like a futuristic spectacle somehow grounded in a western imagination. This judgment, however, is too easy. In Houge’s photographs, the sense of sameness withdraws and a very different feeling of strangeness creeps up on us. In fact, what this series registers is a remarkable place of alterity in today’s global order, a radical difference bang in the middle of the familiar. This is pushed to the limit in the technological and virtual wonderland of Akihabara in Tokyo, where shop after shop trade in electronic products and computer games, while a weird costume play...Category
2010s Color Photography
MaterialsDigital Pigment
- `Convergence `, Tokyo-from the series Okurimono -technology light JapanBy Christian HougeLocated in Oslo, NOOkurimono 66 cm. x 200 cm. Edition 6 (+2 ap) 100 cm. x 200 cm. Edition 3 (+1ap) Euro 8,000 Pigment Print Okurimono (meaning both “gift” and “that which is in-between” in Japanes...Category
2010s Color Photography
MaterialsDigital Pigment
- `Untitled 3`, Norway 2012 wolf nature forest animalBy Christian HougeLocated in Oslo, NO`Shadow Within` Norway/USA 2010-2013 70 cm x 110 cm. (28 in. x 43 in.) Edition 6 + 2 a.p. SOLD OUT 110 cm. x 150 cm. (47 in. x 59 in.) Edition 3 + 1 a.p. 100 cm x 150 cm. Edition...Category
2010s Contemporary Landscape Photography
MaterialsDigital Pigment
- `Kauzan Invert`, Tokyo-from the series Okurimono japan cherryblossom tree natureBy Christian HougeLocated in Oslo, NOOkurimono 66 cm. x 200 cm. Edition 6 (+2 ap) 100 cm. x 200 cm. Edition 3 (+1ap) Euro 8,000 Pigment Print Okurimono (meaning both “gift” and “that which is in-between” in Japanes...Category
2010s Color Photography
MaterialsDigital Pigment
- `Zen Garden`, Tokyo-from the series Okurimono- Japan -landscapeBy Christian HougeLocated in Oslo, NOOkurimono 66 cm. x 200 cm. Edition 6 (+2 ap) 100 cm. x 200 cm. Edition 3 (+1ap) Euro 8,000 Pigment Print Okurimono (meaning both “gift” and “that which is in-between” in Japanese) - is a word that binds together this comprehensive project developed over five trips to Japan between 2007 and 2018. The series explores the personal pursuit of identity, at times with an underlying darkness as Houge had the chance to be introduced to Tokyo’s subculture. In exploring this theme, Houge has ventured into delicate matters such as sexuality, longing and gender dysphoria. In this particular series, he uses staging as a method to create a story within a story. The artist wishes to question the viewer and provoke a reflection on topics that are often seen as taboos in our contemporary societies. The viewer’s own associations are important in appreciating this work where ambiguity plays an important role. The project started in the Harajuku district of Tokyo which is known as a center of Japanese youth culture and where Houge found some of his first motifs: teenage girls dressing up in post-Victorian dresses or ‘cosplay’ costumes to identify with a character of their favorite comics. Here, the desire to express one’s uniqueness is central and the photographer explores the tension between personal identity and aesthetics shared by all (or at least by the same youth group). In many of his carefully staged photographs, Houge’s models are masked, so as to echo the many social masks we wear in our day-to-day lives. In our post-modern information society, drained of wonder, these enigmatic masked characters also evoke the world of shamans and pagan rituals, therefore injecting a sense of mystery and spirituality that many people are longing for. Symbolism and the many references to ritual and identity in an otherwise suppressed society, may at times create a sense of unease among viewers. The Okurimono project also explores the topic of identity and sexuality in gender dysphoria with Japan’s nyūhāfu (the transsexual ‘new halfs’). Here, the quest for identity coincides with a search of femininity and body image which results in complex physical transformations. Viewers may look at these portraits not having any clue that models are nyūhāfu. Yet, the photographs are staged so that viewers are placed in a disconcerting voyeuristic role while looking at otherwise closed world. Shibari (the art of tying), which originates from the Edo period (1600s), is another territory explored by Houge in his Okurimono series. His striking photographs of female models tied with red rope on a white background take us into this powerful journey into vulnerability and surrender, power and freedom. Through tradition, symbolism and technology, Okurimono also explores the hugely potent symbols that help define parts of Japanese culture and national identity, between old and new. As Art historian Erling Bugge put it: “Christian Houge guides us into a mystery. It resides between the ritualized shapes of the traditional and withdrawn Zen garden...Category
2010s Color Photography
MaterialsDigital Pigment
- `Untitled 8`, Norway 2012- nature colour wolf animalBy Christian HougeLocated in Oslo, NO`Shadow Within` Norway/USA 2010-2013 70 cm x 110 cm. (28 in. x 43 in.) Edition 6 + 2 a.p. 110 cm. x 150 cm. (47 in. x 59 in.) Edition 3 + 1 a.p. 100 cm x 150 cm. Edition 3 + 1 a....Category
2010s Contemporary Color Photography
MaterialsArchival Pigment
You May Also Like
- 'Exhalation' Limited edition photograph. Light Ocean Sea Beach Water AbstractBy Sophia MilliganLocated in Penzance, GB'Exhalation' Limited Edition 30 x 24" Photograph. Edition of 25. Unframed _________________ The wild Atlantic pounds the granite cliffs in raw abandon, breathes and exhales gracefull...Category
2010s Contemporary Color Photography
MaterialsPhotographic Paper, Archival Ink, Archival Paper, Digital, Pigment, Arch...
- 'Youth and the Wise' Contemporary landscape photograph Spring flowers green pinkBy Sophia MilliganLocated in Penzance, GB'Youth and the Wise' ('Mono No Aware' Series) 24 x 36" edition Limited edition archival photograph, hand signed and numbered. Unframed _________________ Woven together into richly te...Category
2010s Contemporary Color Photography
MaterialsPhotographic Paper, Archival Ink, Archival Paper, Digital, Giclée, Archi...
- 'The Optimism of Spring' Photograph Cherry blossom Sakura flowers green pinkBy Sophia MilliganLocated in Penzance, GB'The Optimism of Spring' ('Mono No Aware' Series) 24 x 36" edition Limited edition archival photograph, hand signed and numbered. Unframed _________________ The cherry blossoms burst...Category
2010s Contemporary Color Photography
MaterialsArchival Ink, Archival Paper, Photographic Paper, Digital, Giclée, Archi...
- Blue Moon, East Hampton, NYBy Bob SteinerLocated in Hudson, NYThe Robin Rice Gallery proudly announces SUMMERTIME Salon 2018, an annual photography exhibit featuring gallery artists as well as a few newcomers. This year’s opening reception will be held on Wednesday, June 27th from 6 – 8 PM, and the show will be on view until September 23rd, 2018 Rice has brought together the works of 55 gallery artists and nearly a hundred photographs for this salon-style exhibition. From floor to ceiling, the walls of the gallery are a mosaic of various size photographs in sepia, color and black & white, expertly hung to fit together like pieces of a puzzle. “This is my favorite exhibition even though it takes months to curate and a week to install,” says Rice. “I love the moment when a viewer is first drawn to an image. Sometimes in’s indefinable; a moment when the viewer not only shares but reconnects to an experience remembered.” Each year, the Summertime Salon matures and Rice’s annual masterpiece is revealed to showcase an exhibition stronger than the year before. Rice has a close relationship with the works of her photographers, and strategically curates the show to best exemplify the artists’ strengths, remaining cohesively linked by Rice’s aesthetic. This year’s invitational image, Hoop and Ball by Nenad Samuilo Amodaj is from a series of one hundred photographs. Rice chose three photographs from Amodaj’s series to create a triptych on the back wall of her gallery for this exhibition. The invitational image is of a standing semi-nude woman in profile wearing a hoop skirt. Her entire head rests inside of a large white plaster ball that she holds above her. He explained: “I wanted to explore the abstract architectural properties of the hoop skirt, a clothing item with curious geometric form that appears both in nature and in the world of artifice.” Before photographing the model he created numerous figure drawings that helped solidify his vision for the series. Hamptons, The Hamptons, East Hampton...Category
21st Century and Contemporary Contemporary Color Photography
MaterialsDigital Pigment
- Prayer 2001, Los AngelesBy Ron HamadLocated in Hudson, NYThis listing is for the unframed photograph. The Robin Rice Gallery proudly announces SUMMERTIME Salon 2019, an annual photography exhibit featuring gallery artists as well as a fe...Category
Early 2000s Contemporary Color Photography
MaterialsDigital Pigment
- Boy on Bike, Salvador, Brazil, 1998By Robin RiceLocated in Hudson, NYThis listing is for the unframed photograph. The Robin Rice Gallery proudly announces SUMMERTIME Salon 2019, an annual photography exhibit featuring gallery artists as well as a fe...Category
1990s Contemporary Color Photography
MaterialsDigital Pigment