Metal Photography

"BWM-S2" Photography 23" x 49" inch Edition 1/4 by Giuliano Bekor Original fine art photography by Giuliano Bekor Signed and numbered by the artist Series: Buccellati Wise Monkey ...

"Scintillating Scotoma" Photography 47" x 40" inch Edition 2/3 by Alina Karo "Scintillating Scotoma" Original fine art photography by Alina Karo Aluminum 47” x 40” Edition 2:3 C...

"Secret 1" Photography 47” x 40” inch Edition 1/3 by Alina Karo Secret 1 Aluminum 47” x 40” Edition 1/3 Comes with COA VOLLIPSIS series by Alina Karo The title of the show, ...

Alina Karo "Blank streams of Conxiousness" Aluminum 47” x 40” Edition 1/3 Comes with COA VOLLIPSIS series by Alina Karo The title of the show, Vollipsis, bears a hint of myster...

Secret 2 Aluminum 47” x 40” Edition 1/3 Comes with COA VOLLIPSIS series by Alina Karo The title of the show, Vollipsis, bears a hint of mystery. By merging the meanings of two ...

Secret 3 Aluminum 47” x 40” Edition 1/3 Comes with COA VOLLIPSIS series by Alina Karo The title of the show, Vollipsis, bears a hint of mystery. By merging the meanings of two ...

French actress Brigitte Bardot on the set of "The Ballad of Frenchie King" in Almeria, Spain, 1971 Platinum lifetime print. (lifetime signed) 20 x 24 inches Edition Size: 50 + 10 ...

Immerse yourself in the captivating world of Topher Straus, where a flock of sheep embarks on a whimsical journey. "Sheep in Transit" is a testament to Straus' artistic innovation an...

Immerse yourself in the captivating world of Topher Straus, where a lone figure basks in a mesmerizing dreamscape. "Paia" is a testament to Straus' innovative spirit and his ability ...

Immerse yourself in the captivating world of Topher Straus, where a single image explodes into a mesmerizing dreamscape. "Beachtree" is a testament to Straus' innovative spirit and h...

Each work Jackson makes is a one-of-one original using his proprietary silver and ink suspension technique - a process that unfolds over weeks of dedicated development through layers...

'Hotel Il Pellicano' by Slim Aarons The beachside pool at the Hotel Il Pellicano in Porto Ercole, Tuscany, August 1973. This photograph epitomise...

A photogram is a photographic image made without a camera by placing objects directly onto the surface of a light-sensitive material such as photographic paper and then exposing it t...

Binh Danh Buddhas of Bayon #1, 2017 Daguerreotype (exposed from an enlarger) 10" x 8" / 14.75" x 12.5" framed Edition of 3 Binh Danh’s work expresses his in...

Binh Danh Divinities of Angkor Wat #1, 2017 Daguerreotype (exposed from an enlarger) 12" x 10" / 17" x 14.75" framed Edition of 3 Binh Danh’s work expres...

AP, infused dye sublimated on aluminum. Includes flush-mounted frame. "Hydrangea Petal" is from Joyce Tenneson's Radiant Beings series from 2021 which emphasizes her interactions w...

Rebecca Skinner’s “Interior II” is a 12 x 18 inch color photograph taken from inside an abandoned farmhouse in North Dakota. Three windows offer a peak at the surrounding overgrowth ...

Running in Front of Church (Sidewinder) - 2005 Edition of 5 plus 2 Artist Proofs. 4 pieces, 82x101 each, installed including gaps 170x210cm. 4 analog C-Prints, hand-printed by the...

Rebecca Skinner’s “Interior III” is a 12 x 18 inch color photograph taken from inside an abandoned farmhouse in North Dakota. The viewer gets a glimpse of the beautiful landscape thr...

Day Worker (29 Palms, CA) - 1999 Edition 3/10. 65x60cm including 'Polaroid' frame. Analog C-Print, hand-printed by the artist, based on the original Polaroid. Mounted on Aluminum...

"Solar Plexus Chakra" Photography 26" x 26" inch Edition 2/7 by Oleg Char Medium: UV print on Aluminum Dibond, glass neon, wood backing, metal frame. Solar Plexus - Manipura The ...

Each work Jackson makes is a one-of-one original using his proprietary silver and ink suspension technique - a process that unfolds over weeks of dedicated development through layers...

Each work Jackson makes is a one-of-one original using his proprietary silver and ink suspension technique - a process that unfolds over weeks of dedicated development through layers...

Each work Jackson makes is a one-of-one original using his proprietary silver and ink suspension technique - a process that unfolds over weeks of dedicated development through layers...

Each work Jackson makes is a one-of-one original using his proprietary silver and ink suspension technique - a process that unfolds over weeks of dedicated development through layers...

Each work Jackson makes is a one-of-one original using his proprietary silver and ink suspension technique - a process that unfolds over weeks of dedicated development through layers...

Each work Jackson makes is a one-of-one original using his proprietary silver and ink suspension technique - a process that unfolds over weeks of dedicated development through layers...

Each work Jackson makes is a one-of-one original using his proprietary silver and ink suspension technique - a process that unfolds over weeks of dedicated development through layers...

Each work Jackson makes is a one-of-one original using his proprietary silver and ink suspension technique - a process that unfolds over weeks of dedicated development through layers...

Each work Jackson makes is a one-of-one original using his proprietary silver and ink suspension technique - a process that unfolds over weeks of dedicated development through layers...

Rebecca Skinner’s “Interior V” is a 18 x 12 inch color photograph taken from inside an abandoned farmhouse in North Dakota. A crooked window in a house in ruin looks out to a field i...

Rebecca Skinner’s “Nesting” is a 18 x 12 inch metal print and is part of her “Awakening” series. An antique Voltswagen Bug car rests in a foggy landscape in ru...

Ripple Effect II Year: 2018 Medium: Photography (printed on metal) Size: 30" x 20" (larger sizes available - inquire within) 16x24 on metal - $750 20x30 on metal - $950 Made to Order...

Franci & Michelle - Platinum Palladium print over pure 24 carat Gold leaf on vellum paper Edition 1 of 5 , plus 2 AP ( size 1 ) Signed + numbered with certificate of authenticit...

In the mid 1990s Richard Klein started working with found glass objects, including bottles, drinking glasses, ashtrays, and eyeglasses. Initially, Klein rejected any object with commercial or advertising content, but in 2015 he became fascinated with the promotional content that was screen printed on ashtrays from the 1950s, 1960s and early 1970s. This period was before smoking was looked at as being primarily a negative habit, and iconic American businesses, including Howard Johnson’s, International House of Pancakes (iHop) and Holiday Inn, all produced promotional ashtrays printed with their graphic identity. By the time Klein became interested in these objects, the businesses had either ceased to exist, or had changed their logos, and many of their signature buildings, which where examples of classic, “Pop” roadside architecture, has been torn down or repurposed. The artist wanted to connect the glass objects with the business’s sites that were still recognizable and spoke of their history, so he began researching where original buildings still stood. Klein then embarked on a series of road trips to photograph these sites with the intention of combining the photographs with the promotional glass objects. This led him to as far south as Maryland and as far north as upstate New York from his home in Connecticut. In the case of Holiday Inn, it wasn’t their buildings, but their iconic illuminated sign that appeared on ashtrays, so he sought out a standing example of the sign he could photograph. As it turned out all had been removed years before from the hotels' properties and the only working example was indoors at the Henry Ford Museum in Dearborn, Michigan. He did, however, find out that there was one still standing, surprisingly, in Beruit, Lebanon. He found an image of it on the web and used it to make Holiday Inn (Beruit). In 1973 Holiday Inn changed their tagline from “The Nations Innkeeper” to “The World’s Innkeeper” as they expanded overseas, including the Mideast. For the hotel chain it was bad timing: the disastrous Lebanese civil war began in 1975. In the war, the different Lebanese militias involved in the conflict, including the Nasserites, Christian Phalangists, and the Lebanese National Movement engaged in what came to be called “The Battle of the Hotels” where they each occupied a major high-rise hotel in central Beruit. The Phalangists commanded the Holiday Inn, which they used to fire with both light arms and heavier weapons at the militias in neighboring hotels. Klein used the photo of the heavily damaged Holiday Inn sign as I thought it spoke in a curious, offhanded way about American cultural imperialism in juxtaposition with an ashtray that proclaimed Holiday Inn to be “The World’s Innkeeper.” In the work Holiday Inn (Nocturne) the artist utilized a found, 35mm slide of a Holiday Inn sign at night at an unknown location as the basis of the photograph in the work. Richard Klein is a Connecticut-based artist, independent curator and writer. As an artist, he has exhibited widely, including the Neuberger Museum of Art at SUNY Purchase; Caren Golden Fine Art, New York; the John Michael Kohler Arts Center, Sheboygan, WI; Hales Gallery, London; Gavlak Gallery, Palm Beach, FL; deCordova Sculpture Park and Museum, Lincoln, MA; James Barron Art, Kent, CT; The Portland Institute of Contemporary Art (PICA), Portland, OR; Schoolhouse Gallery, Provincetown, MA; Stephan Stoyanov Gallery, NY; Katonah Museum of Art, Katonah, NY; Brattleboro Museum and Art Center, Brattleboro, VT; Ortega y Gasset Projects, Brooklyn, NY; Exhibit by Alberson Tulsa, OK; Incident Report/Flow Chart Foundation, Hudson, NY; ICEHOUSE Project Space, Sharon, CT; Kenise Barnes Fine Art in Kent, CT and with ODETTA Gallery at the Equity Gallery in New York City.. Reviews of his work have appeared in Two Coats of Paint, Whitehot Magazine, The New York Times, Sculpture Magazine, Art in America, and The New Yorker. In the summer of 2024 he will be the first Artist-In-Residence at Peck Ledge Light...

In the mid 1990s Richard Klein started working with found glass objects, including bottles, drinking glasses, ashtrays, and eyeglasses. Initially, Klein rejected any object with commercial or advertising content, but in 2015 he became fascinated with the promotional content that was screen printed on ashtrays from the 1950s, 1960s and early 1970s. This period was before smoking was looked at as being primarily a negative habit, and iconic American businesses, including Howard Johnson’s, International House of Pancakes (iHop) and Holiday Inn, all produced promotional ashtrays printed with their graphic identity. By the time Klein became interested in these objects, the businesses had either ceased to exist, or had changed their logos, and many of their signature buildings, which where examples of classic, “Pop” roadside architecture, has been torn down or repurposed. The artist wanted to connect the glass objects with the business’s sites that were still recognizable and spoke of their history, so he began researching where original buildings still stood. Klein then embarked on a series of road trips to photograph these sites with the intention of combining the photographs with the promotional glass objects. This led him to as far south as Maryland and as far north as upstate New York from his home in Connecticut. In the case of Holiday Inn, it wasn’t their buildings, but their iconic illuminated sign that appeared on ashtrays, so he sought out a standing example of the sign he could photograph. As it turned out all had been removed years before from the hotels' properties and the only working example was indoors at the Henry Ford Museum in Dearborn, Michigan. He did, however, find out that there was one still standing, surprisingly, in Beruit, Lebanon. He found an image of it on the web and used it to make Holiday Inn (Beruit). In 1973 Holiday Inn changed their tagline from “The Nations Innkeeper” to “The World’s Innkeeper” as they expanded overseas, including the Mideast. For the hotel chain it was bad timing: the disastrous Lebanese civil war began in 1975. In the war, the different Lebanese militias involved in the conflict, including the Nasserites, Christian Phalangists, and the Lebanese National Movement engaged in what came to be called “The Battle of the Hotels” where they each occupied a major high-rise hotel in central Beruit. The Phalangists commanded the Holiday Inn, which they used to fire with both light arms and heavier weapons at the militias in neighboring hotels. Klein used the photo of the heavily damaged Holiday Inn sign as I thought it spoke in a curious, offhanded way about American cultural imperialism in juxtaposition with an ashtray that proclaimed Holiday Inn to be “The World’s Innkeeper.” In the work Holiday Inn (Nocturne) the artist utilized a found, 35mm slide of a Holiday Inn sign at night at an unknown location as the basis of the photograph in the work. Richard Klein is a Connecticut-based artist, independent curator and writer. As an artist, he has exhibited widely, including the Neuberger Museum of Art at SUNY Purchase; Caren Golden Fine Art, New York; the John Michael Kohler Arts Center, Sheboygan, WI; Hales Gallery, London; Gavlak Gallery, Palm Beach, FL; deCordova Sculpture Park and Museum, Lincoln, MA; James Barron Art, Kent, CT; The Portland Institute of Contemporary Art (PICA), Portland, OR; Schoolhouse Gallery, Provincetown, MA; Stephan Stoyanov Gallery, NY; Katonah Museum of Art, Katonah, NY; Brattleboro Museum and Art Center, Brattleboro, VT; Ortega y Gasset Projects, Brooklyn, NY; Exhibit by Alberson Tulsa, OK; Incident Report/Flow Chart Foundation, Hudson, NY; ICEHOUSE Project Space, Sharon, CT; Kenise Barnes Fine Art in Kent, CT and with ODETTA Gallery at the Equity Gallery in New York City.. Reviews of his work have appeared in Two Coats of Paint, Whitehot Magazine, The New York Times, Sculpture Magazine, Art in America, and The New Yorker. In the summer of 2024 he will be the first Artist-In-Residence at Peck Ledge Light...

In the mid 1990s Richard Klein started working with found glass objects, including bottles, drinking glasses, ashtrays, and eyeglasses. Initially, Klein rejected any object with commercial or advertising content, but in 2015 he became fascinated with the promotional content that was screen printed on ashtrays from the 1950s, 1960s and early 1970s. This period was before smoking was looked at as being primarily a negative habit, and iconic American businesses, including Howard Johnson’s, International House of Pancakes (iHop) and Holiday Inn, all produced promotional ashtrays printed with their graphic identity. By the time Klein became interested in these objects, the businesses had either ceased to exist, or had changed their logos, and many of their signature buildings, which where examples of classic, “Pop” roadside architecture, has been torn down or repurposed. The artist wanted to connect the glass objects with the business’s sites that were still recognizable and spoke of their history, so he began researching where original buildings still stood. Klein then embarked on a series of road trips to photograph these sites with the intention of combining the photographs with the promotional glass objects. This led him to as far south as Maryland and as far north as upstate New York from his home in Connecticut. American Glassware (2010-present) which is presented in a small, wall-mounted vitrine. American Glassware is composed of three glass objects: a “souvenir” Walden Pond ashtray made by me as a multiple; a real souvenir ashtray from the 1964-65 New York World’s Fair; and an authentic “Happy Face” drinking glass from the same era. They are all nestled in crumpled, vintage newspaper from 1967, and are presented together in a dilapidated cardboard box, as if they have been found in someone’s attic or basement. Once again, in a similar manner to the Glass House Ashtray, versions of his Walden Pond ashtray (Walden Pond Souvenir) have been injected into the collectable stream of tag sales and flea markets, creating a souvenir that never existed. The ashtray is screenprinted with an image of Thoreau’s cabin on Walden Pond as pictured on the title page of his book Walden, or Life in the Woods (1854). (The original illustration was created by Thoreau’s sister, Sophia.) Walden Pond Souvenir was originally produced for the 2010 exhibition Renovating Walden at the Tufts University Art Gallery in Medford, MA. Richard Klein is a Connecticut-based artist, independent curator and writer. As an artist, he has exhibited widely, including the Neuberger Museum of Art at SUNY Purchase; Caren Golden Fine Art, New York; the John Michael Kohler Arts Center, Sheboygan, WI; Hales Gallery, London; Gavlak Gallery, Palm Beach, FL; deCordova Sculpture Park and Museum, Lincoln, MA; James Barron Art, Kent, CT; The Portland Institute of Contemporary Art (PICA), Portland, OR; Schoolhouse Gallery, Provincetown, MA; Stephan Stoyanov Gallery, NY; Katonah Museum of Art, Katonah, NY; Brattleboro Museum and Art Center, Brattleboro, VT; Ortega y Gasset Projects, Brooklyn, NY; Exhibit by Alberson Tulsa, OK; Incident Report/Flow Chart Foundation, Hudson, NY; ICEHOUSE Project Space, Sharon, CT; Kenise Barnes Fine Art in Kent, CT and with ODETTA Gallery at the Equity Gallery in New York City.. Reviews of his work have appeared in Two Coats of Paint, Whitehot Magazine, The New York Times, Sculpture Magazine, Art in America, and The New Yorker. In the summer of 2024 he will be the first Artist-In-Residence at Peck Ledge Light...

In the mid 1990s Richard Klein started working with found glass objects, including bottles, drinking glasses, ashtrays, and eyeglasses. Initially, Klein rejected any object with commercial or advertising content, but in 2015 he became fascinated with the promotional content that was screen printed on ashtrays from the 1950s, 1960s and early 1970s. This period was before smoking was looked at as being primarily a negative habit, and iconic American businesses, including Howard Johnson’s, International House of Pancakes (iHop) and Holiday Inn, all produced promotional ashtrays printed with their graphic identity. By the time Klein became interested in these objects, the businesses had either ceased to exist, or had changed their logos, and many of their signature buildings, which where examples of classic, “Pop” roadside architecture, has been torn down or repurposed. The artist wanted to connect the glass objects with the business’s sites that were still recognizable and spoke of their history, so he began researching where original buildings still stood. Klein then embarked on a series of road trips to photograph these sites with the intention of combining the photographs with the promotional glass objects. This led him to as far south as Maryland and as far north as upstate New York from his home in Connecticut. In the case of Holiday Inn, it wasn’t their buildings, but their iconic illuminated sign that appeared on ashtrays, so he sought out a standing example of the sign he could photograph. As it turned out all had been removed years before from the hotels' properties and the only working example was indoors at the Henry Ford Museum in Dearborn, Michigan. He did, however, find out that there was one still standing, surprisingly, in Beruit, Lebanon. He found an image of it on the web and used it to make Holiday Inn (Beruit). In 1973 Holiday Inn changed their tagline from “The Nations Innkeeper” to “The World’s Innkeeper” as they expanded overseas, including the Mideast. For the hotel chain it was bad timing: the disastrous Lebanese civil war began in 1975. In the war, the different Lebanese militias involved in the conflict, including the Nasserites, Christian Phalangists, and the Lebanese National Movement engaged in what came to be called “The Battle of the Hotels” where they each occupied a major high-rise hotel in central Beruit. The Phalangists commanded the Holiday Inn, which they used to fire with both light arms and heavier weapons at the militias in neighboring hotels. Klein used the photo of the heavily damaged Holiday Inn sign as I thought it spoke in a curious, offhanded way about American cultural imperialism in juxtaposition with an ashtray that proclaimed Holiday Inn to be “The World’s Innkeeper.” In the work Holiday Inn (Nocturne) the artist utilized a found, 35mm slide of a Holiday Inn sign at night at an unknown location as the basis of the photograph in the work. Richard Klein is a Connecticut-based artist, independent curator and writer. As an artist, he has exhibited widely, including the Neuberger Museum of Art at SUNY Purchase; Caren Golden Fine Art, New York; the John Michael Kohler Arts Center, Sheboygan, WI; Hales Gallery, London; Gavlak Gallery, Palm Beach, FL; deCordova Sculpture Park and Museum, Lincoln, MA; James Barron Art, Kent, CT; The Portland Institute of Contemporary Art (PICA), Portland, OR; Schoolhouse Gallery, Provincetown, MA; Stephan Stoyanov Gallery, NY; Katonah Museum of Art, Katonah, NY; Brattleboro Museum and Art Center, Brattleboro, VT; Ortega y Gasset Projects, Brooklyn, NY; Exhibit by Alberson Tulsa, OK; Incident Report/Flow Chart Foundation, Hudson, NY; ICEHOUSE Project Space, Sharon, CT; Kenise Barnes Fine Art in Kent, CT and with ODETTA Gallery at the Equity Gallery in New York City.. Reviews of his work have appeared in Two Coats of Paint, Whitehot Magazine, The New York Times, Sculpture Magazine, Art in America, and The New Yorker. In the summer of 2024 he will be the first Artist-In-Residence at Peck Ledge Light...

In the mid 1990s Richard Klein started working with found glass objects, including bottles, drinking glasses, ashtrays, and eyeglasses. Initially, Klein rejected any object with commercial or advertising content, but in 2015 he became fascinated with the promotional content that was screen printed on ashtrays from the 1950s, 1960s and early 1970s. This period was before smoking was looked at as being primarily a negative habit, and iconic American businesses, including Howard Johnson’s, International House of Pancakes (iHop) and Holiday Inn, all produced promotional ashtrays printed with their graphic identity. By the time Klein became interested in these objects, the businesses had either ceased to exist, or had changed their logos, and many of their signature buildings, which where examples of classic, “Pop” roadside architecture, has been torn down or repurposed. The artist wanted to connect the glass objects with the business’s sites that were still recognizable and spoke of their history, so he began researching where original buildings still stood. Klein then embarked on a series of road trips to photograph these sites with the intention of combining the photographs with the promotional glass objects. This led him to as far south as Maryland and as far north as upstate New York from his home in Connecticut. In the case of Holiday Inn, it wasn’t their buildings, but their iconic illuminated sign that appeared on ashtrays, so he sought out a standing example of the sign he could photograph. As it turned out all had been removed years before from the hotels' properties and the only working example was indoors at the Henry Ford Museum in Dearborn, Michigan. He did, however, find out that there was one still standing, surprisingly, in Beruit, Lebanon. He found an image of it on the web and used it to make Holiday Inn (Beruit). In 1973 Holiday Inn changed their tagline from “The Nations Innkeeper” to “The World’s Innkeeper” as they expanded overseas, including the Mideast. For the hotel chain it was bad timing: the disastrous Lebanese civil war began in 1975. In the war, the different Lebanese militias involved in the conflict, including the Nasserites, Christian Phalangists, and the Lebanese National Movement engaged in what came to be called “The Battle of the Hotels” where they each occupied a major high-rise hotel in central Beruit. The Phalangists commanded the Holiday Inn, which they used to fire with both light arms and heavier weapons at the militias in neighboring hotels. Klein used the photo of the heavily damaged Holiday Inn sign as I thought it spoke in a curious, offhanded way about American cultural imperialism in juxtaposition with an ashtray that proclaimed Holiday Inn to be “The World’s Innkeeper.” In the work Holiday Inn (Nocturne) the artist utilized a found, 35mm slide of a Holiday Inn sign at night at an unknown location as the basis of the photograph in the work. Richard Klein is a Connecticut-based artist, independent curator and writer. As an artist, he has exhibited widely, including the Neuberger Museum of Art at SUNY Purchase; Caren Golden Fine Art, New York; the John Michael Kohler Arts Center, Sheboygan, WI; Hales Gallery, London; Gavlak Gallery, Palm Beach, FL; deCordova Sculpture Park and Museum, Lincoln, MA; James Barron Art, Kent, CT; The Portland Institute of Contemporary Art (PICA), Portland, OR; Schoolhouse Gallery, Provincetown, MA; Stephan Stoyanov Gallery, NY; Katonah Museum of Art, Katonah, NY; Brattleboro Museum and Art Center, Brattleboro, VT; Ortega y Gasset Projects, Brooklyn, NY; Exhibit by Alberson Tulsa, OK; Incident Report/Flow Chart Foundation, Hudson, NY; ICEHOUSE Project Space, Sharon, CT; Kenise Barnes Fine Art in Kent, CT and with ODETTA Gallery at the Equity Gallery in New York City.. Reviews of his work have appeared in Two Coats of Paint, Whitehot Magazine, The New York Times, Sculpture Magazine, Art in America, and The New Yorker. In the summer of 2024 he will be the first Artist-In-Residence at Peck Ledge Light...

Gold Kiss 3D, 2023 by Koray Erkaya Photograph printing directly on BBC metal. 24 carat gold leafs and gold glitters are processed on this print. Afterwards, epoxy is poured in layers...

In the mid 1990s Richard Klein started working with found glass objects, including bottles, drinking glasses, ashtrays, and eyeglasses. Initially, Klein rejected any object with commercial or advertising content, but in 2015 he became fascinated with the promotional content that was screen printed on ashtrays from the 1950s, 1960s and early 1970s. This period was before smoking was looked at as being primarily a negative habit, and iconic American businesses, including Howard Johnson’s, International House of Pancakes (iHop) and Holiday Inn, all produced promotional ashtrays printed with their graphic identity. By the time Klein became interested in these objects, the businesses had either ceased to exist, or had changed their logos, and many of their signature buildings, which where examples of classic, “Pop” roadside architecture, has been torn down or repurposed. The artist wanted to connect the glass objects with the business’s sites that were still recognizable and spoke of their history, so he began researching where original buildings still stood. Klein then embarked on a series of road trips to photograph these sites with the intention of combining the photographs with the promotional glass objects. This led him to as far south as Maryland and as far north as upstate New York from his home in Connecticut. In the case of Holiday Inn, it wasn’t their buildings, but their iconic illuminated sign that appeared on ashtrays, so he sought out a standing example of the sign he could photograph. As it turned out all had been removed years before from the hotels' properties and the only working example was indoors at the Henry Ford Museum in Dearborn, Michigan. He did, however, find out that there was one still standing, surprisingly, in Beruit, Lebanon. He found an image of it on the web and used it to make Holiday Inn (Beruit). In 1973 Holiday Inn changed their tagline from “The Nations Innkeeper” to “The World’s Innkeeper” as they expanded overseas, including the Mideast. For the hotel chain it was bad timing: the disastrous Lebanese civil war began in 1975. In the war, the different Lebanese militias involved in the conflict, including the Nasserites, Christian Phalangists, and the Lebanese National Movement engaged in what came to be called “The Battle of the Hotels” where they each occupied a major high-rise hotel in central Beruit. The Phalangists commanded the Holiday Inn, which they used to fire with both light arms and heavier weapons at the militias in neighboring hotels. Klein used the photo of the heavily damaged Holiday Inn sign as I thought it spoke in a curious, offhanded way about American cultural imperialism in juxtaposition with an ashtray that proclaimed Holiday Inn to be “The World’s Innkeeper.” In the work Holiday Inn (Nocturne) the artist utilized a found, 35mm slide of a Holiday Inn sign at night at an unknown location as the basis of the photograph in the work. Richard Klein is a Connecticut-based artist, independent curator and writer. As an artist, he has exhibited widely, including the Neuberger Museum of Art at SUNY Purchase; Caren Golden Fine Art, New York; the John Michael Kohler Arts Center, Sheboygan, WI; Hales Gallery, London; Gavlak Gallery, Palm Beach, FL; deCordova Sculpture Park and Museum, Lincoln, MA; James Barron Art, Kent, CT; The Portland Institute of Contemporary Art (PICA), Portland, OR; Schoolhouse Gallery, Provincetown, MA; Stephan Stoyanov Gallery, NY; Katonah Museum of Art, Katonah, NY; Brattleboro Museum and Art Center, Brattleboro, VT; Ortega y Gasset Projects, Brooklyn, NY; Exhibit by Alberson Tulsa, OK; Incident Report/Flow Chart Foundation, Hudson, NY; ICEHOUSE Project Space, Sharon, CT; Kenise Barnes Fine Art in Kent, CT and with ODETTA Gallery at the Equity Gallery in New York City.. Reviews of his work have appeared in Two Coats of Paint, Whitehot Magazine, The New York Times, Sculpture Magazine, Art in America, and The New Yorker. In the summer of 2024 he will be the first Artist-In-Residence at Peck Ledge Light...

Rebecca Skinner’s “Lunds Valley” is a 12 x 18 inch color photograph of grain elevators in North Dakota. The rustic structures rest in the beautiful landscape with colors of blue, red...

Kate Breakey is internationally known for her large-scale, richly hand-colored photographs including her acclaimed series of luminous portraits of birds, flowers and animals in a ser...

Ed. of 10, includes thin black frame. Debranne Cingari is a well-established American photographer and assemblage artist. Cingari is known for her explorative and boundary breaking ...

Keith Haring 1982 1st edition (Keith Haring Tony Shafrazi Gallery): The much seminal & highly collectible, limited edition catalog featuring the iconic neon Haring Three Eyed Smiling...

Rebecca Skinner’s “Sorrow” is a 24 x 16 inch contemporary black and white photograph of a weathered cowboy boot resting on a fence in the beautiful North Dakota landscape. The framel...

“Brushstroke” is a part of Alex Sher’s popular series REFLECTIONS - underwater photographs that could be almost mistaken for abstract paintings as they bring up recollections of mast...

Ed. of 10, includes thin black frame. Debranne Cingari is a well-established American photographer and assemblage artist. Cingari is known for her explorative and boundary breaking ...

"Echoes 5" Photography 40" x 40" inch Edition 3/20 by Giuliano Bekor Original fine art photography by Giuliano Bekor Signed and numbered by the artist This artwork printed on a hi...

Photographer Christopher Petsos shot this 2016 contemporary image of Solna Centrum Metro in Stockholm, one of the most striking metro stations in the world because it features a brig...

the 12" x 24" on metal - Edition of 5 Colorful dawn photograph printed on metal About the artist: A computer programmer and Webmaster by trade, Paul describes himself as a fine art...

the 12" x 24" on metal - - Edition of 5 Colorful dusk photograph printed on metal About the artist: A computer programmer and Webmaster by trade, Paul describes himself as a fine a...

Blue Sky (Zuma Beach) - 2004 50x49cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #20432. No...

About the artist: Multi-award winning artist Grégoire A. Meyer creates digital illustrations that evoke emotional reactions. Self-taught visual artist, he examines through Art, the ...

Streetcorner (Stranger than Paradise) - triptych, 2003 Edition 6/10, 57x56cm each, 57x185cm installed including 5cm gaps. 3 Analog C-Prints, hand-printed by the artist on Fuji Cr...

Rebecca Skinner’s “Great Norther Railcar” is a 16 x 24 inch contemporary black and white photograph of a weathered railcar resting in the beautiful North Dakota landscape. The framel...

Rebecca Skinner’s “Succession” was photographed at an abandoned hospital and is part of her “Forgotten” series raising mental health awareness. Seemingly endless doorways open to sof...

"LB27" Photography 42" x 56" inch Edition of 4 by Giuliano Bekor INSTALLATION: 12 pieces of 14 x14 inches trim bleed (please refer to photos) Medium: Single Sided Printed on a Koda...