Art Shay

Titter, Scantily Clad Woman Viewing Titter Magazine, 1950 Vintage Photograph

1951

Male nude figure draped over contemporary architectural table. . The artist uses traditional photography methods shooting the image on film. The image is printed using traditional darkroom techniques. The artwork is tastefully framed and matted. This artwork is framed using non reflective museum glass. Framed Dimensions: 17.5 x 14.5 inches Doug Birkenheuer...

Shadow and light dominate this photograph of two men engaged in a passionate kiss. The artist uses traditional photography methods shooting the image on film. The image is printed using traditional darkroom techniques. The artwork is tastefully framed and matted. This artwork is framed using non reflective museum glass. Framed Dimensions: 17.5 x 14.5 inches Doug Birkenheuer...

This gorgeous female figure is balanced on a wooden pedestal with a stray hand on her torso. Her muscular figure is enhanced by the sepia tones and the play of light on the subject....

Doug Birkenheuer A Woman with Hook, 1993 silver gelatin print 14h x 11w in 35.56h x 27.94w cm 4/30 DOB041 Doug Birkenheuer has devoted his talent and vision to photography for over ...

A quiet solitude is evident in Doug Birkenheuer's photograph entitled "Somber Woman". Her nakedness is veiled in a sheer black cloth, her eyes downcast. The piece is framed in a he...

The human form becomes one with the fluid fabric in Doug Birkenheuer's photograph entitled "JC1". The golden light highlights the form emerging from ...

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 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...

Ten years ago, after a particularly tumultuous period in his life, Michael Kenna quietly made a decision to expand his photographic practice to include the human form. Kenna is well known for his minimalistic landscapes, and has been vocal in the past about the absence of the human figure in his photographs stating, "I feel they gave away the scale and became the main focus of the viewer’s attention." But, believing "fixed dogma is not a creative tool...

Gelatin silver print (Edition of 100) Signed and numbered in pencil, verso Artist stamp in black ink, verso This artwork is offered by ClampArt, located in New York City.

Coming from an earlier interest in portraits and street photography, my Nudes in Water are less about eroticism and more about body as the human vessel for our multi-faceted but brie...

Ten years ago, after a particularly tumultuous period in his life, Michael Kenna quietly made a decision to expand his photographic practice to include the human form. Kenna is well known for his minimalistic landscapes, and has been vocal in the past about the absence of the human figure in his photographs stating, "I feel they gave away the scale and became the main focus of the viewer’s attention." But, believing "fixed dogma is not a creative tool...