Lyle Ashton Harris

Untitled (Candles), 1998, rare cibachrome proof print

1998

Kenneth Snelson (American, 1927-2016). Photograph depicting a panorama of the Seine river and bridges in Paris, France Hand signed, dated 1985, numbe...

Deaccessioned from an important corporate collection. You (Five Children) From NY Times review: The large color photographs give no hint of their pains...

Genre: Contemporary Subject: Other Medium: Photograph Surface: Aluminum Country: France Dimensions: 19 3/4" x 19 3/4" Dimensions w/Frame: 19 3/4" x 19 3/4" Still life photograph, re...

Genre: Contemporary Subject: Other Medium: Photograph Surface: Photographic Paper Country: United States Dimensions w/Frame: 23 3/4" x 24 3/4" RICHARD ROSS New York City, NY USA, b. 1947 Richard Ross is an American photographer. He is best known for his body of work Architecture of Authority, which was published as a monograph by Aperture Foundation in 2007. In 2007 Ross was the recipient of a Guggenheim Fellowship to finish Architecture of Authority. EDUCATION 1973, University of Florida, Gainesville, Florida MFA 1967, University of Vermont, Burlington, Vermont, BA His latest project, Juvenile-in-Justice, produced with the support of the Annie E. Casey Foundation, documents juvenile detention and treatment in the U.S and will be shown at the Nevada Museum of Art in August 2012. Ross has exhibited his work extensively both nationally and internationally. Some of his solo exhibitions include ACME in Los Angeles (Architecture of Authority), Aperture Gallery in New York (Architecture of Authority), the National Building Museum in Washington D.C (Architecture of Authority), the Orange County Museum of Art (Gathering Light), the Santa Barbara Museum of Art (Gathering Light), and the Sonnenberg in Lucerne, Switzerland (Waiting for the End of the World). His work has also been included in group exhibitions at the Tate Modern in London, England (Exposed: Voyeurism, Surveillance and the Camera), San Francisco Museum of Modern Art (Exposed: Voyeurism, Surveillance and the Camera), the Ansel Adams Center for Photography (Beyond Boundaries), Catharine Clark Gallery...

A large scale Cibachrome photograph. An abstract work from the series titled, "Fairfax Ladies," (the historic old Jewish neighborhood of Los Angeles) produced 1983. The subject was created through by placing diaphanous fashion garments onto photo-sensitive paper, embellishing them with objects, paper bits, and flora, and layering in painterly surfaces with scratches, completely covering the image. The series won a prize in the BCibachrome competition (1985), sponsored by BC Space Gallery (Laguna Beach, CA), and was exhibited at "Robin Valle: From Darkroom to Digital, Works from 1974-2009," posthumously presented August 2009 at El Camino College Gallery (Torrance, CA). Work presented under plexiglass in a custom wood frame. Work Size: 39.5 x 29.5 in. Framed Dimensions: 43.5 X 33.5 X 2 in. Valle, Robin Joy (1953-2009) After receiving her BA from SMU and an MFA in Photo/Cinematography from the University of Illinois in 1977, she moved to Los Angeles. Valle exhibited her one-of-a-kind Cibachrome photographs at galleries and museums locally and nationally. In 1982, she was selected for the NEA funded, "Life in LA" project, sponsored by the Los Angeles Women's Building. Valle taught photography at many Southland colleges as well as the LA County High School for the Arts. She was one of the first LA based photographers to explore digital media, receiving an Innovative Instruction Grant from Chaffee College in 1989 to create their first photography class in digital media. In 1998 she became a member of the full-time faculty at El Camino College, where she was instrumental in developing the Digital Arts program. Her work ranged from Black and white photographs to colorful, intricately layered patterns that command the gallery walls. It isn’t surprising that she, along with fellow art instructor, Joyce Dalal, contributed largely to the ECC art department’s merge towards digital art. As one of the first local photographers to explore digital media, she was crucial to the development of the Digital Arts Program. Before computers became commonplace, Valle’s techniques show a digital influence. “Her work was always inventive”, said ECC art curator, Susanna Meiers. An effect that can easily be done now with a few mouse clicks on Adobe Photoshop, required a long process of rubbing dye into the actual photograph in the ’70s. Her methods of illustrating were just as unique as the topics themselves. Photographs of the violent Chinese protest at Tiananmen Square in 1989 where military response murdered protestors in large numbers included photographing images from her television screen. “Crime Stats/ Hollywood” was a theme she dedicated to the gang violence around her neighborhood in the early ’90s. With washed out gang members as the focal point, and graffiti as well as mapped out grids of Los Angeles as the backdrop, Valle’s layering, collage-like technique is continued on and more developed. “There is a fanciful, imaginary quality of her work,” said Meiers. From her quirky pieces of birds, zebras, and even dinosaurs enveloped in patterned, colorful, designs to her more serious themed feminist pieces, her eclectic, colorful style breaks through. Her feminism is on display in “Expectations” which illustrates women’s ability to “look good and produce children.” A bright human embryo steals your attention dead center, with a “June Cleaver” type 1950’s woman smirking at you from either side of it. A mustard yellow backdrop, brings the entire piece together illustrating society’s views of women as well as her playfulness as an artist. “Robin was terribly funny and had a laugh that would just set people off,” Meiers said. The art curator designed a section of the gallery similar to Valle’s apartment. A bright pink shelf...

David Levinthal Title: Untitled Edition: 2/5 Hand signed, numbered and dated in ink on recto Date: 1997 Original Polaroid Large Format Print (Photo-Internal dye diffusion transfer) Location: Cambridge Massachusetts United States Dimensions: Image: 28 X 22 in. Framed: 36 X 30 inches This depicts a still life of African American Blackface iron toys from his provocative, controversial photo series. This body of work is drawn from David Levinthal’s project Blackface, dating from 1995-1998, it featured blackface Polaroids of his original memorabilia, drawn from the artist’s African American Americana personal collection, that are the Polaroid’s subject matter. Levinthal’s collection of black memorabilia evolved into Blackface, a stimulating and controversial body of work. The title, according to Levinthal, “makes reference to the many facades, poise and physicality of these figures.” The title is also taken from the name of a journal of a black film-making company and is a term referring to both blacks and whites. Traditionally associated with minstrel, these images were used to perpetuate negative stereotypes. Levinthal’s work was originally intended to be exhibited at Philadelphia’s ICA in 1997. However, the show was cancelled when it became a cause célèbre as a result of its controversial subject-matter. Subsequently, images from the series were exhibited at the International Center of Photography and at Janet Borden, Inc. in New York. Levinthal’s initial inspiration for Blackface was D.W.Griffith’s 1915 film “Birth of a Nation,” a groundbreaking film of its time and a watershed moment in the cultural wars. It’s extreme and racist depictions of African Americans fueled a debate over the efficacy and motivation of using racially charged images that continues to reverberate in our culture today. Levinthal’s Blackface was originally intended to be a series based on “Birth of a Nation,” but the focus of the work shifted to the inscription of racially charged identities – what these collectibles convey, how they function within society, and how they continue to polarize social attitudes – within material objects produced and packaged as consumer goods. Levinthal works using a 20 x 24 inch Polaroid Polacolor ER Land Film which results in a large format Polaroid...

"What makes his work unique is how he has made interiors look so absolutely vivid, as if they had a secret life of their own that only he knows how to portray. Listri has the extraor...

Shirt Off Your Back (Deep, Blue, See), 2016 Discarded t-shirts from refugees on Lesvos, Inkodye light emulsion prints, life jacket swatches, tape 110 x 65 inches (280 x 165 cm) A collection of the eyes of refugee women and children printed...

Palazzo del Quirinale Salone dei Corazzieri 2015 C print Signed, dated, and numbered on verso label 39.5 x 47.5 inches edition of 5 47.5 x 59 inches edition of 5 71 x 88.5 ...

Biblioteca di Mafra I Portogallo, 2015 C-print Signed, numbered and dated on verso 39.5 x 47.5 inches edition of 5 47.5 x 59 inches edition of 5 71 x 88.5 inches edition of...

Musei Vaticani,Museo Pio Clementino,Sala a Croce Greca, 2014 Chromogenic print Edition of 5 Signed, dated, and numbered on verso label 39.5 x 47.5 inches, edition of 5 47....

Galleria degli Uffizi, La sala della Controriforma, Firenze, 2008 Chromogenic print Signed, titled, dated and numbered edition of 5 on artist's label on verso. The photographer...