Early 2000s Landscape Photography
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Period: Early 2000s
Coney Island (Stay) - Polaroid, 21st Century, Contemporary, Color
Located in Morongo Valley, CA
Stefanie Schneider's work was used for Marc Forster's movie 'Stay'. Featuring Ewan McGregor, Naomi Watts and Ryan Gosling. Naomi and Ryan were both portraying artists and Stefanie's ...
Category
Contemporary Early 2000s Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Athena and Henry (Stay) - featuring Ryan Gosling and Elizabeth Reaser
Located in Morongo Valley, CA
Stefanie Schneider's work was used for Marc Forster's movie 'Stay'. Featuring Ewan McGregor, Naomi Watts and Ryan Gosling. Naomi and Ryan were both portraying artists and Stefanie's art was the art both created during the movie. Stefanie's images were also used for Ryan Gosling's memory sequence, for the end titles, for edits in between and as art paintings hanging in several scenes within the movie.
Athena and Henry (Stay), from Ryan Gosling's memory sequence, - 2006,
56x55cm,
Edition 1/5.
Analog C-Print, printed by the artist on Fuji Archive Crystal Paper, matte surface, based on the Polaroid.
Certificate and Signature label.
Artist Inventory No. 2428.01.
Not mounted.
Torsten Scheid, “Fotografie, Kunst, Kino. Revisited.”, FilmDienst 3/2006, page 11-13
Photography Art Cinema. Revisited
Stay expands a traditional connection through new facets
Interwoven between the media of photography and film is a veritable mesh-work of technical, motific, metaphorical and personal interrelationships. Extending from photo-film which, as in La Jetée by Chris Marker (France, 1962) is a montage of single, unmoving photographs all the way to the portrayal of photographic motifs in Hollywood cinema―most recently in Memento (USA, 2000) and One hour photo (USA, 2002)―is the range of filmic-photographic interactions on the one hand, and from the adaption of modes of cinematic production to the imitation of film stills on the other. For instance, with the legendary Untitled Film Stills (1978) of the American artist Cindy Sherman, who later made her debut as a film director with Office Killer (USA, 1997) and thereby, like many others, changed sides: Wim Wenders, Robert Frank and Larry Clark are doubtlessly the most successful of these photographic-filmic border crossers. This brief survey provides only a vague indication of the dimensions of this intermedial field, which in fact extends much further and is constantly being cultivated.
Also as a motif in film, photography has experienced a historical transformation: Photographers were once considered to be technicians who mastered a craft but never achieved the status of artists. Photographer-figures were caught in the allure of beautiful appearance, incapable of penetrating to the actual essence of things. Such depth was reserved for literature or painting. When photography in film touched upon the sphere of art, then most often as its contrasting model, as the metaphor for a superficial access to the world. Coming to mind are Fred Astaire as a singing fashion photographer in Stanley Donen’s musical film Funny Face (USA, 1957), or the restless lifestyle-photographer in Michelangelo Antonioni’s genre-classic Blow up (GB, 1966). For the doubting Thomas, only that exists which can be photographed. He ultimately enters the world of fantasy and thereby the field of art only unwillingly, when he becomes entangled in the world of his images. The last of his detail-enlargements shows only the photographic grain and has lost all connection to reality. The photograph looks as if it had been painted by Bill, the painter who is both friend and antagonist to the protagonist.
Photography as Art
It was first around the end of the last century that numerous filmmakers discovered photography as a genuine art form. In The Bridges of Madison County (USA, 1995) a sensitive Clint Eastwood stands, camera in hand, on the threshold of artistic status, and in Smoke (USA, 1994) a tobacco merchant ripens into a philosopher through his involvement in photography. Finally, in John Water’s parody of the art market, Pecker (USA, 1998), a provincial tom-fool is hyped into celebrated stardom amid the New York art scene because of his blurred snapshots. This film about a postmodern Kaspar Hauser in photographic art (with clear parallels to Richard Billingham, the British shooting...
Category
Contemporary Early 2000s Landscape Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Massimo Listri, Palazzo Reale, Belgrado
Located in New York, NY
Massimo Listri
Uffizi XI, Firenze, 2009
C print
Signed and numbered edition of 5
39.5 x 47 inches Edition of 5
47.5 × 59 inches Edition of 5
71 x 88.75 inches Edition of 5
Flor...
Category
Contemporary Early 2000s Landscape Photography
Materials
C Print
East River View (Stay) - Polaroid, 21st Century, New York
Located in Morongo Valley, CA
Stefanie Schneider's work was used for Marc Forster's movie 'Stay', featuring Ewan McGregor, Naomi Watts and Ryan Gosling. Naomi and Ryan were both portraying artists and Stefanie Schneider's art was the art both characters created during the movie. Stefanie's images were also used for Ryan Gosling's memory sequence, for the end titles, for edits in between and as paintings hanging in several scenes within the movie.
East River View (Stay) - 2006
49x48cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label, artist Inventory No. 2598.
Not mounted.
Torsten Scheid, “Fotografie, Kunst, Kino. Revisited.”, FilmDienst 3/2006, page 11-13
Photography Art Cinema. Revisited
Stay expands a traditional connection through new facets interwoven between the media of photography and film is a veritable mesh-work of technical, motific, metaphorical and personal interrelationships. Extending from photo-film which, as in La Jetée by Chris Marker (France, 1962) is a montage of single, unmoving photographs all the way to the portrayal of photographic motifs in Hollywood cinema―most recently in Memento (USA, 2000) and One hour photo (USA, 2002)―is the range of filmic-photographic interactions on the one hand, and from the adaption of modes of cinematic production to the imitation of film stills on the other. For instance, with the legendary Untitled Film Stills (1978) of the American artist Cindy Sherman, who later made her debut as a film director with Office Killer (USA, 1997) and thereby, like many others, changed sides: Wim Wenders, Robert Frank and Larry Clark are doubtlessly the most successful of these photographic-filmic border crossers. This brief survey provides only a vague indication of the dimensions of this intermedial field, which in fact extends much further and is constantly being cultivated.
Also as a motif in film, photography has experienced a historical transformation: Photographers were once considered to be technicians who mastered a craft but never achieved the status of artists. Photographer-figures were caught in the allure of beautiful appearance, incapable of penetrating to the actual essence of things. Such depth was reserved for literature or painting. When photography in film touched upon the sphere of art, then most often as its contrasting model, as the metaphor for a superficial access to the world. Coming to mind are Fred Astaire as a singing fashion photographer in Stanley Donen’s musical film Funny Face (USA, 1957), or the restless lifestyle-photographer in Michelangelo Antonioni’s genre-classic Blow up (GB, 1966). For the doubting Thomas, only that exists which can be photographed. He ultimately enters the world of fantasy and thereby the field of art only unwillingly, when he becomes entangled in the world of his images. The last of his detail-enlargements shows only the photographic grain and has lost all connection to reality. The photograph looks as if it had been painted by Bill, the painter who is both friend and antagonist to the protagonist.
Photography as Art
It was first around the end of the last century that numerous filmmakers discovered photography as a genuine art form. In The Bridges of Madison County (USA, 1995) a sensitive Clint Eastwood stands, camera in hand, on the threshold of artistic status, and in Smoke (USA, 1994) a tobacco merchant ripens into a philosopher through his involvement in photography. Finally, in John Water’s parody of the art market, Pecker (USA, 1998), a provincial tom-fool is hyped into celebrated stardom amid the New York art scene because of his blurred snapshots. This film about a postmodern Kaspar Hauser in photographic art (with clear parallels to Richard Billingham, the British shooting...
Category
Contemporary Early 2000s Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Lone Pine Motel I (The Last Picture Show)
Located in Morongo Valley, CA
Lone Pine Motel I (The Last Picture Show) - 2005
60x80cm,
Edition of 5,
analog C-Print, hand-printed by the artist, based on a Polaroid,
Certificate and Signature label
artist In...
Category
Contemporary Early 2000s Landscape Photography
Materials
Archival Paper, Polaroid, Color, C Print, Photographic Paper
Stefanie Schneider Polaroid sized unlimited Mini 'Village Motel Blue' - signed
Located in Morongo Valley, CA
Stefanie Schneider Polaroid-sized unlimited Mini 'Village Motel Blue' (The Last Picture Show) - 2004 -
signed in front, not mounted.
1 Archival Color Photograph based on the Polar...
Category
Contemporary Early 2000s Landscape Photography
Materials
Archival Paper, Polaroid, Lambda, Color, C Print
On the Road (Last Picture Show) - mounted, analog, Polaroid, Contemporary, Color
Located in Morongo Valley, CA
On the Road (Last Picture Show) - 2005,
38x37cm,
Edition 2/5.
Analog C-Print, hand-printed by the artist on Archive Fuji Crystal Paper,
based on original the Polaroid.
Certifica...
Category
Contemporary Early 2000s Landscape Photography
Materials
Metal
David Burdeny - River Seine I, Paris, France, Photography 2009, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
13” x 16" Edition of 15
21” x 26" Edition of 7
32” x 40” Edition of 7
44" x 55" Edition of 7
While the spaces themse...
Category
Contemporary Early 2000s Landscape Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
David Burdeny - Puxi I, Shanghai, China, Photography 2009, Printed After
Located in Greenwich, CT
David Burdeny (b. 1968. Winnipeg, Canada) graduated with a Masters in Architecture and Interior Design and spent the early part of his career practicing in his field before establish...
Category
Contemporary Early 2000s Landscape Photography
Materials
Photographic Paper, Digital, Pigment
David Burdeny - Île Du Fort National, St-Malo, France, 2009, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
13” x 16" Edition of 15
21” x 26" Edition of 7
32” x 40” Edition of 7
44" x 55" Edition of 7
While the spaces themse...
Category
Contemporary Early 2000s Landscape Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
David Burdeny - Grand Canal II, Venice, Italy, Photography 2009, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
13” x 16" Edition of 15
21” x 26" Edition of 7
32” x 40” Edition of 7
44" x 55" Edition of 7
While the spaces themse...
Category
Contemporary Early 2000s Landscape Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
David Burdeny - Grand Canal I, Venice, Italy, Photography 2009, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
13" x 16" Edition of 4
21” x 26" Edition of 4
32” x 40" Edition of 7
44” x 55” Edition of 10
While the spaces themse...
Category
Contemporary Early 2000s Landscape Photography
Materials
Paper, Digital Pigment, Archival Pigment, Pigment, Digital, Pigment, Pho...
David Burdeny - Campo San Barnaba, Venice, Italy, 2010, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
21” x 21" Edition of 4
32” x 32" Edition of 10
44” x 44” Edition of 7
While the spaces themselves are ornate and tra...
Category
Contemporary Early 2000s Landscape Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
England- Signed limited edition landscape art print, Contemporary black white
By Sam Thomas
Located in Barcelona, Barcelona
England - Limited edition pigment print - Limited Editions of 5
Pebble beach in England with a single summer visitor under his umbrella, 2005
This is an Archival Pigment print on...
Category
Modern Early 2000s Landscape Photography
Materials
Photographic Film, Archival Paper, Photographic Paper, Black and White, ...
Symphony of Arches. New York City, USA, 2001
Located in Toronto, ON
Symphony of Arches. New York City, USA, 2001
Photograph by Cosmo Condina. Rotunda of the Metropolitan Museum of Art.
Archival pigment print 19 X 12.8 in. Edition of 10. This is # 3/...
Category
Early 2000s Landscape Photography
Materials
Archival Pigment
Manhattan (Stay) - Contemporary, Abstract, Landscape, Polaroid, expired
Located in Morongo Valley, CA
A piece of art from the movie 'Stay' by Stefanie Schneider
Stefanie Schneider created the art for both main actors Naomi Watts and Ryan Gosling in the movie 'Stay' directed by Marc ...
Category
Contemporary Early 2000s Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Columns and arches in misty fog, black and white. Doges Palace, Venice, Italy 2
Located in Toronto, ON
Columns and arches in misty fog, black and white. Doges Palace, Venice, Italy 2004
Photograph by Cosmo Condina. Arched vaulted ceiling.
Archival pigm...
Category
Early 2000s Landscape Photography
Materials
Archival Pigment
Massimo Listri 'Castello di Rivoli'
Located in New York, NY
Castello di Rivoli
2007
Chromogenic print
180 x 225 cm
Edition of 5
Italian, b. 1954, Florence, Italy, based in Florence, Italy
Massimo Listri travels his native Italy and the worl...
Category
Contemporary Early 2000s Landscape Photography
Materials
C Print
David Burdeny - Cava Bianco IV, Carrara, IT, Photography 2018, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
59” x 73.5” Edition of 5
The raw immediacy and lived experience of taking a photograph matters as much to me as how I compose the frame. It is my private personal connection to these places and the emotional or intellectual intrigue that grips me through the process that I hoperesonates in the print. I seek to capture the mood and promise, silence and solitude in that extended moment of awareness. In my earlier architectural practice and now my photography career, I'm fascinated by the opportunity to invest symbols and narrative into built form or see the metaphor in a material space. I have an abiding interest in thresholds and liminal spaces-places that seem somehow a bridge between the concrete and the ephemeral, elevated above time, hallowed. The sublime resides even in an ordinary space. And while the wondrous capabilities of the digital process permits an extraordinary level of clarity, detail and sensuality to be ingrained into an image, I like to
think that there is a mystery at the heart of all my photographs, an appeal for the viewer to keep looking and see more.Salt–Plottings, Fields and ExtractsIn 1858, Gaspard-Felix Tournachon -known with a flourish as ‘Nadar’ -mounted a wet-plate camera to a giant gas-powered balloon becoming the first to take photography aerial. Jules Verne called Nadar “an Icarus with replaceable wings.” As it had been in the classical era, the spirit of the age was once more animated by the potential for height. But the noted caricaturist Honore Daumier -typically the century’s most incisive social chronicler -doubted that there was anything aesthetically beneficial to be gained from such a lofty perspective. Daumier’s famously satirical lithograph, Nadar Raising Photography to the Height of Art, was intended as a mockery of aerial photography’s artistic pretense and as a warning against its surveillance purpose. Daumier’s print shows Nadar rising high above Paris with his camera pointed down and every building below target-marked by the word “PHOTOGRAPHIE”. Already, the utility of panoptic vision was thought to trump its sublime allure or transcendental opportunity. And it would take another 50 years before this fundamentally new visual perspective would upend artistic representation of space.That tension between utilitarian purpose and artistic inspiration is the unexpectedly compelling strength of David Burdeny’s mesmerizing series of aerial abstractions called Salt. His large-format and luminously intriguing photographs of salterns occupy the hazy border zonebetween the prosaic and the poetic. In our hyper-connected age of GPS, Google maps and instant information, the instinctual reaction to these scenes might first be to determine the where and the why of them -their ground-level location or biological/environmental fact. To see first the service roads and draining ditches or to puzzle out how the chemical balance in the salt ponds creates these particular blooms of colour. Such readings serve to root vision in the commonplace and the established order -the here and now -and downgrade the sublimity in the aerial experience. But Burdeny’s Salt photographs aim to be more evocative and exalted than pedestrian. They seek to elevate our experience of the world in more ways than one.From the startof his fine art photography career -certainly aided by his earlier architectural practice -Burdeny has always had a deft appreciation for the artistic potential of pure space and how it can be purposefully structured to appeal to the senses. He has become a
master of the photographic moment made in service of a sublime sensibility. His early black-and-white long-exposure work created a minimalist monumentality out of spare landscapes that felt privately spiritual and seemed to exist outside time. And thestark awesome force of the icebergs in his North/South series crackled with a similar terrifying majesty as the Romantic poets and artists of the nineteenth century regarded them. Even the docents sitting alone and attentively in the Hermitage in Burdeny’s recent Bright Future series seem to be keenly aware of the profound privilege of sensuous perception. What Salt adds to this conversation is its cunning use of the artistic heritage and sublime intrigue of abstract art to further Burdeny’s interest inliminal spaces. In their use of amorphous shapes, elongated fields of colour and vertical, jagged and sinuous lines, Burdeny’s images suggest the painterly expressiveness of Rothko, Still, Newman, Diebenkorn and late career Willem de Kooning. The effect is less intentional than it is available -Modernism’s abstracted reordering of the visual landscape (which essentially got going in pre-WWI Paris...
Category
Contemporary Early 2000s Landscape Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
Signed limited edition Landscape print, Black White, Contemporary Archi- Venice
Located in Barcelona, Barcelona
An original signed archival pigment print on Hahnemühle Photo Rag® Baryta 315 gsm paper by Scottish artist Ian Sanderson (1951- 2020) titled ‘ Venice ‘ who was captured on film in 2...
Category
Contemporary Early 2000s Landscape Photography
Materials
Photographic Film, Archival Paper, Black and White, Giclée, Pigment, Arc...
David Burdeny - Rialto Bridge, Venice, Italy, Photography 2009, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
13” x 13" Edition of 15
21” x 21" Edition of 7
32” x 40” Edition of 7
44" x 55" Edition of 7
While the spaces themse...
Category
Contemporary Early 2000s Landscape Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
White Sands National Park, USA, 2004, Vers. 1
Located in Toronto, ON
White Sands National Park, USA, 2004, Vers. 1 - Like no place on earth, powder white sand dunes,
Photograph by Cosmo Condina. Sand dunes as abstracts.
Archival pigment print 19 X ...
Category
Early 2000s Landscape Photography
Materials
Archival Pigment
The Valley (Wastelands) - Polaroid, Contemporary, 21st Century, Color, Landscape
Located in Morongo Valley, CA
The Valley - this used to be my Valley - (Wastelands) - 2003
57x56cm,
Edition 3/5.
Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper,
based on the Polaroid,...
Category
Contemporary Early 2000s Landscape Photography
Materials
Metal
White Sands National Park, USA, 2004, Ver. 2
Located in Toronto, ON
White Sands National Park, USA, 2004, Ver. 2
Like no place on earth, powder white sand dunes,
Photograph by Cosmo Condina. Sand dunes as abstracts.
Archival pigment print 19 X 13.8...
Category
Early 2000s Landscape Photography
Materials
Archival Pigment
Israel - Gaza Border
By Shai Kremer
Located in New York, NY
Images from the series Infected Landscape are at several MUSEUMS COLLECTIONS:
Metropolitan Museum of Art. New York, NY
SF MoMA - San Francisco Museum of Modern Art. San Francisco, CA...
Category
Conceptual Early 2000s Landscape Photography
Materials
Archival Ink, Archival Paper, Archival Pigment
Childhood Memories (Paris), analog, Contemporary
Located in Morongo Valley, CA
Childhood Memories (Paris) - 1995
Edition of 5,
50x60cm including white borders.
Analog C-Print, hand-printed by the artist and based on the Polaroid,
Signature label and Certif...
Category
Contemporary Early 2000s Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
David Burdeny - River Loire, Blois, France, Photography 2009, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
13” x 16" Edition of 15
21” x 26" Edition of 7
32” x 40” Edition of 7
44" x 55" Edition of 7
While the spaces themse...
Category
Contemporary Early 2000s Landscape Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
Stefanie Schneider Polaroid sized unlimited Mini 'Leaving' (Sidewinder) - signed
Located in Morongo Valley, CA
Stefanie Schneider Polaroid-sized unlimited Mini 'The End' (Sidewinder) - 2005 -
signed in front, not mounted.
1 Archival Color Photograph based on the Polaroid.
Polaroid sized ...
Category
Contemporary Early 2000s Landscape Photography
Materials
C Print, Archival Paper, Color, Lambda, Polaroid
Iceberg XIX - Arctic
Located in Munich, DE
Limited Edition of 6
More sizes on request
Sebastian Copeland is considered a photographer "who has created works of outstanding artistic quality and conveys messages of urgent glob...
Category
Contemporary Early 2000s Landscape Photography
Materials
Platinum
Stefanie Schneider Polaroid sized unlimited Mini 'Trickle' (29 Palms) - signed
Located in Morongo Valley, CA
Stefanie Schneider Polaroid-sized unlimited Mini 'Trickle' (S29 Palms, CA) - 2007 -
signed in front, not mounted.
1 Archival Color Photograph based on the Polaroid.
Polaroid siz...
Category
Contemporary Early 2000s Landscape Photography
Materials
C Print, Archival Paper, Color, Lambda, Polaroid
David Burdeny - Saint-Malo, France, Photography 2009, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
13” x 16" Edition of 15
21” x 26" Edition of 7
32” x 40” Edition of 7
44" x 55" Edition of 7
While the spaces themse...
Category
Contemporary Early 2000s Landscape Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
Urban Warfare Training Center, Panorama, Tze’elim
By Shai Kremer
Located in New York, NY
This Image is at the collection of The Metropolitan Museum of Art. New York, NY.
The Urban Warfare Training Center is a mock city located in Israel...
Category
Conceptual Early 2000s Landscape Photography
Materials
Archival Paper, Archival Pigment, Archival Ink
Shooting Defense Wall, Gilo Neighborhood, Jerusalem, 2004 (Version 2)
By Shai Kremer
Located in New York, NY
Images from the series Infected Landscape are at several MUSEUMS COLLECTIONS:
Metropolitan Museum of Art. New York, NY
SF MoMA - San Francisco Museum of Modern Art. San Francisco, CA...
Category
Conceptual Early 2000s Landscape Photography
Materials
Archival Ink, Archival Paper, Archival Pigment
David Burdeny - Shanghai II, China, Photography 2009, Printed After
Located in Greenwich, CT
David Burdeny (b. 1968. Winnipeg, Canada) graduated with a Masters in Architecture and Interior Design and spent the early part of his career practicing in his field before establish...
Category
Contemporary Early 2000s Landscape Photography
Materials
Photographic Paper, Digital, Pigment
David Burdeny - Shanghai I, China, Photography 2009, Printed After
Located in Greenwich, CT
David Burdeny (b. 1968. Winnipeg, Canada) graduated with a Masters in Architecture and Interior Design and spent the early part of his career practicing in his field before establish...
Category
Contemporary Early 2000s Landscape Photography
Materials
Photographic Paper, Digital, Pigment
Mont Saint Michel
Located in PARIS, FR
Quand une photo couleur semble être du Noir et Blanc !!.
Les grappes de voitures stationnées sur le parking pour accéder au Mont Saint Michel décrive...
Category
Contemporary Early 2000s Landscape Photography
Materials
Digital, Lambda
Desert Mauritanie
Located in PARIS, FR
Les ondulations dorées des dunes du désert d' Atar en Mauritanie.
Mais la vie est là avec ces massifs d'acacia ou les traces d'empreintes sur la sable.
Photographie prise par Bellec...
Category
Contemporary Early 2000s Landscape Photography
Materials
Digital, Lambda
Henry watching Athena Dance (Stay) - with Ryan Gosling - 21st Century, Polaroid
Located in Morongo Valley, CA
Henry watching Athena Dance (Stay) III - with Ryan Gosling - 2006
20x20cm,
Edition of 10,
Archival C-Print, based on a Polaroid.
Certificate and Signature label.
Artist Invento...
Category
Contemporary Early 2000s Landscape Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Zephyr - Arctic
Located in Munich, DE
Limited Edition of 15
More sizes on request
Sebastian Copeland is considered a photographer "who has created works of outstanding artistic quality and conveys messages of urgent glo...
Category
Contemporary Early 2000s Landscape Photography
Materials
Archival Pigment
Rosegarden II (Suburbia), analog, mounted - 21st Century, Polaroid, Contemporary
Located in Morongo Valley, CA
Rosegarden II (Suburbia) - 2004,
Edition of 1/5,
60x80cm.
analog C-Print, hand-printed by the artist, based on the original Polaroid.
Mounted on Aluminum with matte UV-Projecti...
Category
Contemporary Early 2000s Landscape Photography
Materials
Metal
Greenland Sky III - N69˚25 W045˚30 - Greenland
Located in Munich, DE
Limited Edition of 15
More sizes on request
Sebastian Copeland is considered a photographer "who has created works of outstanding artistic quality and conveys messages of urgent glo...
Category
Contemporary Early 2000s Landscape Photography
Materials
Archival Pigment
Greenland Sky II - N77˚29 W061˚12 - Greenland
Located in Munich, DE
Limited Edition of 15
More sizes on request
Sebastian Copeland is considered a photographer "who has created works of outstanding artistic quality and conveys messages of urgent glo...
Category
Contemporary Early 2000s Landscape Photography
Materials
Archival Pigment
Coney Island Beach Life (Stay) - Polaroid, 21st Century, Contemporary, Color
Located in Morongo Valley, CA
Stefanie Schneider's artwork was used for Marc Forster's movie 'Stay'. Featuring Ewan McGregor, Naomi Watts and Ryan Gosling. Naomi and Ryan were both portraying artists and Stefanie...
Category
Contemporary Early 2000s Landscape Photography
Materials
Polaroid, Archival Paper, Photographic Paper, C Print, Color
Quiet Night At Otto Fjord - Canadian Arctic
Located in Munich, DE
Limited Edition of 15
More sizes on request
Sebastian Copeland is considered a photographer "who has created works of outstanding artistic quality and conveys messages of urgent glo...
Category
Contemporary Early 2000s Landscape Photography
Materials
Archival Pigment
Iceberg I - Antarctica
Located in Munich, DE
Limited Edition of 10
More sizes on request
Sebastian Copeland is considered a photographer "who has created works of outstanding artistic quality and conveys messages of urgent glo...
Category
Contemporary Early 2000s Landscape Photography
Materials
Archival Pigment
Massimo Listri 'Castello di Rivoli'
Located in New York, NY
Castello di Rivoli
2007
Chromogenic print
180 x 225 cm
Edition of 5
Italian, b. 1954, Florence, Italy, based in Florence, Italy
Massimo Listri travels his native Italy and the worl...
Category
Contemporary Early 2000s Landscape Photography
Materials
C Print
Greenland Sky One - N77˚29 W61˚12 - Greenland
Located in Munich, DE
Limited Edition of 10
More sizes on request
Sebastian Copeland is considered a photographer "who has created works of outstanding artistic quality and conveys messages of urgent glo...
Category
Contemporary Early 2000s Landscape Photography
Materials
Archival Pigment
Cowboy, Kanab, Utah - American Landscape Color Photography
Located in Cambridge, GB
A Cowboy silhouette, captured in Kanab, the home of many Western Movies. This artwork is typical of one of Richard's signatures, a surreal twist using composition to play with realit...
Category
Contemporary Early 2000s Landscape Photography
Materials
Photographic Paper, C Print, Color, Silver Gelatin
0°00 Longitude, 52°32N' Latitude, Hake's Drove - Landscape Color Photography
Located in Cambridge, GB
Hake's Drove, British landscape photograph from Richard Heeps series, 36 Minutes in Cambridgeshire.
Richard Heeps was awarded a Millennium Year of the Artist Arts Council Grant to m...
Category
Contemporary Early 2000s Landscape Photography
Materials
Photographic Paper, C Print, Color, Silver Gelatin
0°00 Longitude, 52° 18N' Latitude, Mare Fen - Landscape Color Photography
Located in Cambridge, GB
Mare Fen, British landscape photograph from Richard Heeps series, 36 Minutes in Cambridgeshire.
Richard Heeps was awarded a Millennium Year of the Artist Arts Council Grant to make ...
Category
Contemporary Early 2000s Landscape Photography
Materials
C Print, Photographic Paper, Color, Silver Gelatin
Across the Lake
By Peter Doig
Located in Toronto, Ontario
In 2007, Peter Doig (b. 1959) became a household name when his painting “White Canoe” sold for $11.3 million at auction, setting the record at the time for the highest auction price ...
Category
Contemporary Early 2000s Landscape Photography
Materials
C Print
Massimo Listri 'Castello di Rivoli'
Located in New York, NY
Castello di Rivoli
2007
Chromogenic print
Edition of 5
Italian, b. 1954, Florence, Italy, based in Florence, Italy
Massimo Listri travels his native Italy and the world with his ca...
Category
Contemporary Early 2000s Landscape Photography
Materials
C Print
Athena and Henry (Stay) - with Ryan Gosling - 21st Century, Polaroid
Located in Morongo Valley, CA
Athena and Henry (Stay), from Ryan Gosling's memory sequence - 2006
38x36cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signat...
Category
Contemporary Early 2000s Landscape Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Gay Beach, A Heavenly Place on Miami Beach Men in Bathing Suits. Gay Interest
Located in Miami, FL
Follow the rainbow flags, and it will lead you to the famous Gay Beach on Miami Beach. Beyond the couples in the foreground, we see a packed scene of engaged in-shape men in bathing...
Category
Contemporary Early 2000s Landscape Photography
Materials
Archival Ink, Archival Paper, Archival Pigment
Massimo Listri, Palazzo Reale, Belgrado
Located in New York, NY
Massimo Listri
Uffizi XI, Firenze, 2009
C print
Signed and numbered edition of 5
39.5 x 47 inches Edition of 5
47.5 × 59 inches Edition of 5
71 x 88.75 inches Edition of 5
Flor...
Category
Contemporary Early 2000s Landscape Photography
Materials
C Print
Massimo Listri Palazzo Ducale, Galleria degli Specchi, Mantova
Located in New York, NY
Massimo Listri
Palazzo Pitti a Firenze, Sala di Venere, 2018
C print
Signed and numbered edition of 5
39.5 x 47 inches (100x120 cm) Edition of 5
47.5 × 59 inches (120x150 cm) Edit...
Category
Contemporary Early 2000s Landscape Photography
Materials
C Print
Massimo Listri Palazzo Wittum, Weimar
Located in New York, NY
Massimo Listri
Palazzo Wittum, Weimar 1997
C print
Signed and numbered edition of 5
39.5 x 47 inches (100x120 cm) Edition of 5
47.5 × 59 inches (120x150 cm) Edition of 5
71 x 88...
Category
Contemporary Early 2000s Landscape Photography
Materials
C Print
Red Tree, Akumal, Mexico, 2007.
Located in Toronto, ON
Red Tree, Akumal, Mexico, 2007.
Photograph by Cosmo Condina of a red tree against a blue sky with modern architecture in Akurnal, Mexico.
Archival Pigment Print, 18” X 13.6”, Editio...
Category
Early 2000s Landscape Photography
Materials
Archival Pigment
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Addison Jones shares how she got this gorgeous minimalist shot while immersed in the stink of dead fish.
This Photo of Big Sur Reveals the Awesomeness and Intimacy of Nature
When a beachcomber accidentally stepped in front of Jeffrey Conley’s camera, a perfect moment was captured.
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Savor Ansel Adams’s Landscapes and Those of His Ambitious Successors
A new exhibition examines images by the master photographer alongside works by photographers who influenced him and contemporary creators.
These Artists Are Changing the Nature of Landscape Photography
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