Bruce of LA Photography

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 ...

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...

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...

With a socially critical eye and Berlin humor, the prints by Heinrich Zille (1858 - 1929) capture the milieu of the "little people" around 1900. The fact that the famous artist was a...

Leonard Freed’s authenticated/stamped vintage (back of photo), 16" x 20", gelatin silver print, Kate #14, is from the Kate series, 2002. A photographer herself, model and yogini Kate remains complicit in striking dramatic poses for the Kate nude series by Freed. In this image Kate is supine, arms outstretched, body arched on the backside of a person in a downward dog yoga pose. On the edge of a cliff with the ebb and flow of the sea and waves many feet below, the duo remain in balance above swirling waters. Kate's trust in the universe, a face of abandon, reveals youthful fearlessness and love of freedom. Freed captures a self-possessed modern woman and partner in a dance of sorts that Kate shares on the edge of time...

Oui, mon Cul #11, 2015 [Les Foxy Femmes de Carmen De Vos] 30x25cm, edition of 7 Archival color print based on original Polaroid on beautiful PHOTO RAG ULTRA SMOOTH 305gsm - 100% cot...

Vintage darkroom print of John Lennon and Yoko Ono taken in New York , naked in bed, November 26th 1980. This print is an original, hand printed darkr...

Printed by Cole Weston from the original negative now housed at the Center for Creative Photography in Tuscon, Arizona, retired. The Weston Gallery is owned by Matthew (grandson of Edward Weston) and his wife Davi Weston and we've been dealing in fine art photography since 1975! Edward Weston (1886 – 1958) was an American photographer, and co-founder of Group f/64. Most of his work was done using an 8 by 10 inch view camera. In 1902, he received his first camera for his sixteenth birthday, a Kodak Bull's-Eye #2, and began taking photographs in parks in Chicago and at his aunt's farm. The young Weston met with quick success, and his photographs were already being exhibited at the Chicago Art Institute merely a year later, in 1903. Weston worked mainly with nudes, still life - his shells and vegetable studies were especially important - and landscape subjects. After a few exhibitions of his works in New York, he went on to found Group f/64 in 1932 with fellow photographers Ansel Adams, Willard van Dyke...

Signed on the back.

Edition of 7 Also available in 73 x 100 cm / 28.7 x 43.3 in, Edition of 3, price on request A beautiful naked woman is kneeing on a stone bank and looks into the blue sky. You can o...

Silver gelatin print, with numeric notation and stamp of collection of Jon Anderson (verso), 12cm x 18cm (41cm x 44cm framed). Jon Anderson was Paul Cadmus' partner of 35 years. The picture depicts the artists Paul Cadmus and George Tooker, the photographer, George Platt Lynes, and publisher, Monroe Wheeler. The painter Paul Cadmus (1904 - 1999) and married artists Jared (1902 - 1989) and Margaret French (1906 - 1998) comprise the photographic collaborative known by their acronym, PaJaMa. Beginning in 1937, and over the course of nearly two decades, the trio collectively staged photographs set against the backdrops of Fire Island, Provincetown, and Nantucket, among other locations. Their psychologically and sexually charged images often served as studies for the artists' subsequent paintings and works on paper. The statuesque quality of the figures and the stillness of each scenario are key characteristics of PaJaMa’s photographs...

Edition of 7 Also available in 73 x 100 cm / 28.7 x 43.3 in, Edition of 3, price on request A naked woman lies very lascivious on her back on a couch and is holding a cigarette in h...