Bruce Weber Photography

16x20” Limited Edition Next available edition printed upon purchase. Other sizes available. Please allow 4 weeks for production.

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 ...

Kate #7, 2002 by American photographer Leonard Freed is an 8" x 10" hand printed, signed by the photographer black and white photograph, stamped "vintage" by the Freed estate on vers...

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...

This is a contemporary black and white photograph of Northern California Wild Mustangs. "They represent the ultimate expression of American freedom" Printed on archival paper using ...

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...

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...

This is a contemporary photograph of an American Bison. 36x24 Edition of 50. Signed by Shane. Printed on archival paper and using archival inks Framing available. Inquire for rates...

This is a black and white photograph of American Wild Mustangs by Shane Russeck. Printed on Archival Paper Using Archival ink Shane Russeck has built a reputation for capturing Am...

This is a contemporary photograph of a Wild Horses. 60x40 Printed on archival paper using archival inks. Edition of 10 Signed and numbers by Shane Framing Options Available Shane...

This is a contemporary black and white photograph of Wild Mustangs 24x 36 Edition of 12. Signed by artist. Printed on archival paper using only archival ink. Framing available. Inq...

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...