Gleb Derujinsky

Angel in Dior, Les Caves at Maxim's

1957

Caddy Tailfin Archival pigment print on canvas 60 x 96 inches Edition of 10 AMERICANA "From rural Montana to the Manhattan skyline at dawn, from a New Mexico cowboy...

Red Shoes and a Bulldog, 1991 Archival pigment print 30” x 40” (76.2x101.6 cm) Edition of 10 signed and numbered $ 9,000.00 40” x 60” (101.6x152.4 cm) Edition of 10 signed and n...

Red Lips at the Paris Cafe, 1987 Archival pigment print 30” x 40” (76.2x101.6 cm) Edition of 10 signed and numbered $ 9,000.00 40” x 60” (101.6x152.4 cm) Edition of 10 signed an...

Carmin in Chanel 1957 Archival pigment print Estate stamped, signed and numbered by Andrea Derujinsky with certificate of authenticity Groundbreaking fashion photographer Gleb Deru...

Ruth Neumann, Uppuveli Beach, Sri Lanka 1957 Archival pigment print Estate stamped, signed and numbered by Andrea Derujinsky with certificate of authenticity Groundbreaking fashion photographer Gleb Derujinsky invigorated the fashion industry with his glamorous, exotic, and often unconventional photographs. Gleb Derujinsky's career as a fashion photographer took hold in the golden age of European haute couture, when Balenciaga and Pierre Balmain were at the top of their game and Yves Saint Laurent and Karl Lagerfeld were designing their first runway shows. Although air travel was still reserved for the happy few, Derujinsky convinced his editors Carmel Snow and Diana Vreeland to send him around the world to photograph beautiful models like Carmen Dell Orefice and his future wife, Ruth Neumann draped in expensive gowns juxtaposed against rough desert dunes or a glittering ocean at sunset. His ideas were revolutionary and they gave rise to the mystique and glamour that is now pervasive in fashion. Derujinsky was the quintessential Renaissance man photographer, award-winning cinematographer and commercial director, inventor, WWII veteran, world traveler, jewelry designer, musician, ski instructor, Ferrari America race-car driver, and champion glider pilot. His passion for photography started at the tender age of six, by ten, he had built a photo enlarger, and as a teenager, he became the youngest member of the Camera Club of New York. His photographs appeared in major lifestyle magazines and extensively in Harper's Bazaar from 1950 to 1970 Derujinsky’s best fashion photographs are typified by the frisson between high fashion in the 1950s and 1960s with the dynamism of locations and urban scenarios." Louis Vuitton Fashion...

The Temple of Dawn II, Bangkok, Thailand 1957 Archival pigment print Edition of 5 Estate stamped, signed and numbered by Andrea Derujinsky with certificate of authenticity The entir...

Amodaj created the Hoop and Ball series of photographs in June 2010 with dancer and author Shawnrey Notto. The photographs were based on an earlie...

Amodaj created the Hoop and Ball series of photographs in June 2010 with dancer and author Shawnrey Notto. The photographs were based on an earlie...

This item is available unframed or framed, They are in edition of 20 in he 16" x 20" paper size. Amodaj created the Hoop and Ball series of photographs in June 2010 with dancer and author Shawnrey Notto. The photographs were based on an earlier series of drawings Nenad made of Notto wearing parts of the deconstructed wedding dress during his figure drawing study in Michael Markowitz’s 23rd Street studio in San Francisco. The hoop skirt serves as an augmentation device, a skeletal extension meant to alter the visual perception of the human form. To realize the full associative power of the hoop, Amodaj created a counter-shape to the hoop, a white sphere (the Ball) made from plaster strips, to match the cloth texture and placed it in a dynamic relationship with his model. Notto improvised the poses from Nenad’s drawings in constant slow motion. The whole project was done in two 3-hour sessions with no rehearsals and no replays. The minimalistic setting, uniform lighting, and central vantage point shift perception from a trivial reality to a metaphysical one. The intent was to induce the spectator to spontaneously alternate between the three aspects: the human form, the symbolic function of the skirt, and the geometry of the cone and sphere. The spontaneity of dynamic poses and the imperfections of a handheld camera balance this sparse imagery. The exhibition presents a selection of 15 photographs from a project collection of over a hundred. Most of the series are gelatin-silver prints from a 35 mm film, with a few exceptions for large-scale digital color prints. Amodaj was influenced by the work of Bernd and Hilla Becher's typologies of industrial buildings and František Drtikol’s nudes. In the spirit of Becher’s “typologies,” Amodaj’s Hoop and Ball series of photographs explores endless mutations of the hoop skirt architecture, a clothing item with a curios geometric form that can be classified as a “flexible cone.” It is a form that appears both in nature and in artifice: flowers, bells, horns, nuclear power plants...

Amodaj created the Hoop and Ball series of photographs in June 2010 with dancer and author Shawnrey Notto. The photographs were based on an earlier series of drawings Nenad made of Notto wearing parts of the deconstructed wedding dress during his figure drawing study in Michael Markowitz’s 23rd Street studio in San Francisco. The hoop skirt serves as an augmentation device, a skeletal extension meant to alter the visual perception of the human form. To realize the full associative power of the hoop, Amodaj created a counter-shape to the hoop, a white sphere (the Ball) made from plaster strips, to match the cloth texture and placed it in a dynamic relationship with his model. Notto improvised the poses from Nenad’s drawings in constant slow motion. The whole project was done in two 3-hour sessions with no rehearsals and no replays. The minimalistic setting, uniform lighting, and central vantage point shift perception from a trivial reality to a metaphysical one. The intent was to induce the spectator to spontaneously alternate between the three aspects: the human form, the symbolic function of the skirt, and the geometry of the cone and sphere. The spontaneity of dynamic poses and the imperfections of a handheld camera balance this sparse imagery. The exhibition presents a selection of 15 photographs from a project collection of over a hundred. Most of the series are gelatin-silver prints from a 35 mm film, with a few exceptions for large-scale digital color prints. Amodaj was influenced by the work of Bernd and Hilla Becher's typologies of industrial buildings and František Drtikol’s nudes. In the spirit of Becher’s “typologies,” Amodaj’s Hoop and Ball series of photographs explores endless mutations of the hoop skirt architecture, a clothing item with a curios geometric form that can be classified as a “flexible cone.” It is a form that appears both in nature and in artifice: flowers, bells, horns, nuclear power plants...

Amodaj created the Hoop and Ball series of photographs in June 2010 with dancer and author Shawnrey Notto. The photographs were based on an earlier series of drawings Nenad made of Notto wearing parts of the deconstructed wedding dress during his figure drawing study in Michael Markowitz’s 23rd Street studio in San Francisco. The hoop skirt serves as an augmentation device, a skeletal extension meant to alter the visual perception of the human form. To realize the full associative power of the hoop, Amodaj created a counter-shape to the hoop, a white sphere (the Ball) made from plaster strips, to match the cloth texture and placed it in a dynamic relationship with his model. Notto improvised the poses from Nenad’s drawings in constant slow motion. The whole project was done in two 3-hour sessions with no rehearsals and no replays. The minimalistic setting, uniform lighting, and central vantage point shift perception from a trivial reality to a metaphysical one. The intent was to induce the spectator to spontaneously alternate between the three aspects: the human form, the symbolic function of the skirt, and the geometry of the cone and sphere. The spontaneity of dynamic poses and the imperfections of a handheld camera balance this sparse imagery. The exhibition presents a selection of 15 photographs from a project collection of over a hundred. Most of the series are gelatin-silver prints from a 35 mm film, with a few exceptions for large-scale digital color prints. Amodaj was influenced by the work of Bernd and Hilla Becher's typologies of industrial buildings and František Drtikol’s nudes. In the spirit of Becher’s “typologies,” Amodaj’s Hoop and Ball series of photographs explores endless mutations of the hoop skirt architecture, a clothing item with a curios geometric form that can be classified as a “flexible cone.” It is a form that appears both in nature and in artifice: flowers, bells, horns, nuclear power plants...

Each year, Robin Rice celebrates a Salon style exhibition to showcase her gallery artists and invite new ones. With Robin’s extensive experience as a gallery curator, all Robin Rice Gallery endeavors are superbly managed. Whether working with corporate clients, interior designers or established collectors, the Robin Rice Gallery guides patrons throughout the selection process, inspiring them to build a stylish collection or striking décor. The Robin Rice Gallery offers a bevy of styles that Robin has procured with her own signature school of artists. Figurative, black and white, water, swim, swimming, lake, Bear lake...