Rene Peña

Untitled (Nude)

1995

Edition of 35 Signed, titled, dated and numbered by Vojtech V. Sláma

Edition of 35 Signed, titled, dated and numbered. Keith Carter is an American photographer who is known for his dreamlike black and white photographs of the figure, animals, and mea...

White Triangles, Houston by George Krause features a nude woman, reclining on a patterned couch. She leans her head back and holds her white bra in her hand, which is draped over the...

Open edition Signed and dated in pencil on print margin by George Krause Gelatin silver print, 14 1/2 x 19 in. Printed 1997 George Krause is an American photographer, born in Philad...

Signed, titled, and dated.

Signed and dated.

Kate #9, 2002 by Leonard Freed is an 8” x 10” signed black and white photograph, stamped "vintage" by the Freed estate on verso (back of photo). Model, photographer, and yogini Kate ...

Albert WATSON (*1942, Scotland) Kate Moss, Frontal Nude 2, 1993 Special Gelatin Silver Print Sheet 61 x 51 cm (24 x 20 1/8 in.) Edition of 10 plus 2 AP's; Ed. no. 10/10 – from sold o...

Brigitte LUSTENBERGER (*1969, Switzerland) Not titled yet, from the series 'A Gaze of One's Own‘, 2021 Silver gelatin print on Baryta paper Sheet 70 x 70 cm (27 1/2 x 27 1/2 in.) Edition of 5, plus 2 AP; Edn. no. 1/5 print only Born in Zurich, Switzerland, Brigitte studied at Zurich University and received her MA in Social and Photo History in 1996. In the following years she established herself as an fine art photographer. She moved to New York and received her MFA in Fine Art Photography and Related Media at Parsons The New School of Design in 2007. The main issues in her works lie in her interest in the study of the gaze, the interplay between absence and presence in a photographic image, and the fact that the reading of a photograph is most often triggered by a collective memory. She explores the media itself and its close connection to themes like decay, memory, death and transitoriness. Brigitte Lustenberger has shown nationally and internationally in both solo and group shows. She had Solo Shows at the Museée de l’Elysée in Lausanne/Switzerland, at Walter Keller’s Scalo Gallery in Zurich and New York, at Le Maillon...

Marianne Marić Le Jardin D Haggadah, 2012 Silver gelatin print 80 x 120 cm (31 1/2 x 47 1/4 in.) Edition of 5, plus 2 AP; Ed. no. 2/5 Print only Marianne Marić looks at the body as...

Savannah Spirit Waiting Silver gelatin on Ilford multigrade paper, signed, edition of 5 Scroll for more on the artist and this series and an excerpt from the recent monograph, The A...

Savannah Spirit Never Let the Same Snake Bite You Twice Silver gelatin on Ilford multigrade paper, signed, edition of 5 Scroll for more on the artist and this series and an excerpt from the recent monograph, The Archive #6: Savannah Spirit, published by Quiet Lunch: "When I first saw Savannah Spirit’s early nudes, I felt immediately struck by their power and awareness. Of course, they were traditionally beautiful, with classical lighting and shadows from Venetian blinds. Some of them were sexy, in the way bodies are sexy. But they weren’t sexualized. Looking at them, I felt powerful. I felt good. They depicted the body of an adult woman viewing herself with love. I’ve been devoted to them ever since. To me, these portraits invoke the power of a landscape. The way the light rolls over the body evokes the body’s connection with the earth, with sunrise and its long deep shadows. The patterns of darkness can break the figure into geometry, creating a distance between the viewer and the image, as in End of An Era and Staying Abreast. Yet others, like Resist and Be The Woman You Needed When You Were Younger, create direct address, and sometimes empathy. Sometimes, the viewer takes the vantage point of the artist, and the piece becomes a further study in introspection. The titles, like The Bottom Line and Read Between the Lines, often invoke idioms, figures of speech, or stereotypes that themselves point back to the culture that produced them. As conceptual components, they are both playful and political, which, when juxtaposed against image to elicit a mood or reaction. For me, it’s different every time. I am often pricked to discover how the vernacular of Hollywood capitalism, juxtaposed to a powerful, nude self-portrait of a woman, almost always feels a bit surprising–as if I wasn’t expecting her to be there. Recent works, like Network, use both shadow and mirror to create a doubled image, the artist and her reflection, further suggesting the sense of a dialogue with the self. The two bodies are not a mirror image, though seen in a mirror: a conversation between two sides of oneself, rather than a literal twinning. Over the past decade, as this series took on greater and deeper life, Savannah and I have had countless wonderful discussions about women, bodies and art. As a former artist’s model, early in her career, she participated in the form of power that was available to her: that of the quieted muse. She knew she was being objectified, she recalls, but at least she was included in the club. I instantly recognized that message. She was still creating her own work, though, and one day, she realized she’d had enough of seeing herself through someone else’s lens. She turned the camera on herself, and began to take a very different kind of picture. During the pandemic, the feeling of being alone with oneself can sometimes feel overwhelming. These recent pieces reflect that agitation of the dialogue alone, the being with oneself, seeking connection..." - Katie Peyton Hofstadter Classic black and white silver gelatin print, signed by the artist Savannah Spirit. This is a self portrait of the artist. Categorize between self-portrait, contemporary feminism, take back control, I am my own muse, my body my choice...