Bill Costa Art

ALBERT WATSON (*1942, Scotland) Mick Jagger, New York City, 1989 Vintage silver gelatin print Sheet 50,8 x 40,64 cm (20 x 16 in.) Unique Print only Albert Watson was born 1942 in Edinburgh, Scotland. He currently lives and works in New York. A student of the famous Royal College of Art in London Albert Watson (born 1942) is a Scottish photographer well known for his fashion, celebrity, and art photography, having shot over 200 Vogue and 40 Rolling Stone covers since the mid-1970s. His photographs are signature, classical, and bold, and in our world of manipulation, Watson prefers the enlargers and the trays; an artist who greatly enriches our perception with his unique photographic view. Photo District News named Watson one of the 20 most influential photographers of all time, along with Richard Avedon and Irving Penn, among others. Presented in prestigious galleries and museums worldwide Watson has won numerous awards, including a Lucie Award, a Grammy Award, the Hasselblad Masters Award, and three ANDY Awards. He was awarded The Royal Photographic Society's Centenary Medal and Honorary Fellowship (HonFRPS) in recognition of a sustained, significant contribution to the art of photography in 2010. – Photography, Black and White, Mike Jagger...

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...

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 ...

Listing is for UNFRAMED print. Inquire within for framing. Edition of 1 of 20 If the exhibition piece is sold or the customer orders a different print size, the photograph is prod...

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 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...

Richard Heeps became well-known for his Burlesque Photography after he spent 2003 capturing performances in Britain & America. He spent a lot on time with his subjects on a number of...

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...

Edition 2 of 25. Shipping time depends on method of shipping. ABOUT Robin Rice is an accomplished Gallerist in The West Village. Her eye manages to capture the bliss of small sing...

HIROSHI SUGIMOTO (*1948, Japan) 310 Sea of Japan, Oki 1987 Gelatin silver print Sheet 50.8 x 61 cm (20 x 24 in.) Edition of 25; Ed. no 15/25 For over 40 years, the Japanese artist...

Listing is for UNFRAMED print. Inquire within for framing. Edition of 1 of 25 If the exhibition piece is sold or the customer orders a different print size, the photograph is prod...

HIROSHI SUGIMOTO (*1948, Japan) 401 Tyrrhenian Sea, C. Vaticano 1993 Gelatin silver print Sheet 50.8 x 61 cm (20 x 24 in.) Edition of 25; Ed. no 2/25 For over 40 years, the Japane...

A vintage print by Helmut Newton, dating back to the year 2000, bearing original stamps on the verso and accompanied by a certification of authenticity issued by Davide Manfredi, for...