Art by Medium: C Print

Fear (Stage of Consciousness) - 2007 20x24cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature label and Certificate. Artist Inventory No. 7...

Facing Trains (Stranger than Paradise) - 1999 55x73cm, Edition 2/5. Aanalog C-Print, printed by the artist, based on the Polaroid. Mounted on Aluminum with matte V-Protection. A...

Melissa - 2018 Edition of 10, 20x30cm. Archival C-Print. Signature label and Certificate. Tao Ruspoli (born 7 November 1975) is an Italian-American filmmaker, photographer, and musician. He is the second son of occasional actor and aristocrat Prince Alessandro Ruspoli, 9th Prince of Cerveteri and Austrian-American actress Debra Berger. Tao was born in Bangkok, Thailand and raised in Rome and Los Angeles. He graduated from the University of California, Berkeley with a Bachelor of Arts in Philosophy. Movie maker magazine singled out Ruspoli as one of the 10 Young Filmmakers To Watch in its spring 2008 issue. His feature narrative debut, Fix, was one of 10 feature films to screen in competition at the 2008 Slamdance Film Festival and soon afterward at the Santa Barbara International Film Festival where Ruspoli was awarded the Heineken Red Star Award for "most innovative and progressive filmmaker." Fix also won the Festival Award for Best Film at the 2008 Brooklyn Film Festival, Vail Film Festival and the 2008 Twin Rivers Media Festival, as well as other prizes at several international festivals. His most well-known documentary is Just Say Know, a personal discussion of his family's drug addiction. His other films include Flamenco: A Personal Journey, a feature length documentary about the flamenco way of life as it is lived by Gypsies in the south of Spain. He has directed a number of other short documentaries, including El Cable (also about Flamenco), and This Film Needs No Title: A Portrait of Raymond Smullyan (a portrait of the renowned logician, mathematician and concert pianist Raymond Smullyan). Tao founded LAFCO in 2000. The Los Angeles Filmmakers Cooperative, is a bohemian collective of filmmakers and musicians who work out of a converted school bus. Through LAFCO, Tao has produced several films and helped dozens of filmmakers to make their first films and discover the wonders of digital media. His producing credits include the feature film Camjackers, which he also acted in and co-edited. Camjackers won the best editing award at the 44th Ann Arbor Film Festival. Tao is an accomplished flamenco guitar...

Norman Parkinson's iconic image of models wear a variety of hats on the roof of the Condé Nast building on Lexington Avenue, New York City. Published in American Vogue on 15th Octobe...

Stefanie Schneider Polaroid-sized unlimited Mini 'Angie' (Heavenly Falls) - 2016 - signed in front, not mounted. 1 Archival Color Photograph based on the Polaroid. Polaroid siz...

Pool Time (Suburbia) - 2004 40x50cm, Edition of 10, Archival C-Print based on a Polaroid, Signed on verso with Certificate, Artist inventory number: 1722. Not mounted. This pro...

Patti Smith taken in NYC during a 1975 Iran War protest by Lynn Goldsmith. Recently framed with non-glare museum glass, signed limited edition 16x20" print, edition #1/20 Lynn Go...

Portrait of singer Kate Bush by acclaimed photographer, Gered Mankowitz, taken in his London studio in 1978. Kate Bush has seen a huge resurgence since her s...

No one to run with - 2020 50x50cm, Edition of 7 plus 2 Artist Proofs, digital C-Print based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2020-914. No...

Through the looking Glass (Deconstructivism) - 2015 - about the narrative potential of images. 50x50cm, Edition of 10, digital C-Print, based on a Polaroid, Artist Inventory 2027...

The 19th July 2022 was the UK's hottest recorded day. When most were abandoning work for nearby cool spots or sun-drenched parks, Brighton-based photographer Andy Lo Pò...

Seen from the docked Lunar Module Spider, astronaut David Scott stands in an open hatch of the command module Gumdrop in space. The third mission in NASA’s...

Signed limited edition print of Debbie Harry of Blondie by Michael Brennan, taken at the studio on East 45th in Manhattan, New York, USA, Febru...

Dasha & Mari - Lady 30x30" inches oversize C print - numbered and stamped limited to 100 only. Sumptuous, sensual with erotic undertones, this is a beautiful fine art image from th...

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...

Photograph of a vintage fairground Chairoplane, lit up in a golden hue against the motion and beauty of the dark blue sky captures the magic of the 2022 Haddenham Steam Rally. Artwor...

Signed limited edition 16x20" print of Debbie Harry, lead singer of US band Blondie, photographed in London in 1977 by Brian Aris. Limited edition number 10...

Stevie in Bathub (29 Palms, CA) - 1999 58x56cm, Edition of 10 plus 2 Artist Proofs. Analog C-Print, hand-printed by the artist, printed on Fuji Crystal Archive, based on the Polar...

Saint-Tropez Boucherie A boucherie or butcher’s shop on Rue des Commercants in Saint-Tropez, on the French Riviera, August 1971. Slim Aarons Chromogenic C print Printed Later Sli...

Actor Girl II (Stage of Consciousness) - 2008 including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 192 pages, hardcover, published by Snap Collective, 2024....

Living in a Dream (Till Death do us Part) - 2005 20x20cm, Edition of 10, Archival C-Print print, based on the Polaroid. Certificate and Signature label, artist Inventory No. 9781. Not mounted. on offer is a piece from the movie "Till Death do us Part" Stefanie Schneider’s Till Death Do Us Part or “There is Only the Desert for You.” BY DREW HAMMOND Stefanie Schneider’s Til Death to Us Part is a love narrative that comprises three elements: 1. A montage of still images shot and elaborated by means of her signature technique of using Polaroid formats with outdated and degraded film stock in natural light, with the resulting im ages rephotographed (by other means) enlarged and printed in such a way as to generate further distortions of the image. 2. Dated Super 8 film footage without a sound track and developed by the artist. 3. Recorded off-screen narration of texts written by the actors or photographic subjects, and selected by the artist. At the outset, this method presupposes a tension between still and moving image; between the conventions about the juxtaposition of such images in a moving image presentation; and, and a further tension between the work’s juxtaposition of sound and image, and the conventional relationship between sound and image that occurs in the majority of films. But Till Death Do Us Part also conduces to an implied synthesis of still and moving image by the manner in which the artist edits or cuts the work. First, she imposes a rigorous criterion of selection, whether to render a section as a still or moving image. The predominance of still images is neither an arbitrary residue of her background as a still photographer—in fact she has years of background in film projects; nor is it a capricious reaction against moving picture convention that demands more moving images than stills. Instead, the number of still images has a direct thematic relation to the fabric of the love story in the following sense. Stills, by definition, have a very different relationship to time than do moving images. The unedited moving shot occurs in real time, and the edited moving shot, despite its artificial rendering of time, all too 2009often affords the viewer an even greater illusion of experiencing reality as it unfolds. It is self-evident that moving images overtly mimic the temporal dynamic of reality. Frozen in time—at least overtly—still photographic images pose a radical tension with real time. This tension is all the more heightened by their “real” content, by the recording aspect of their constitution. But precisely because they seem to suspend time, they more naturally evoke a sense of the past and of its inherent nostalgia. In this way, they are often more readily evocative of other states of experience of the real, if we properly include in the real our own experience of the past through memory, and its inherent emotions. This attribute of stills is the real criterion of their selection in Til Death Do Us Part where consistently, the artist associates them with desire, dream, memory, passion, and the ensemble of mental states that accompany a love relationship in its nascent, mature, and declining aspects. A SYNTHESIS OF MOVING AND STILL IMAGES BOTH FORMAL AND CONCEPTUAL It is noteworthy that, after a transition from a still image to a moving image, as soon as the viewer expects the movement to continue, there is a “logical” cut that we expect to result in another moving image, not only because of its mise en scène, but also because of its implicit respect of traditional rules of film editing, its planarity, its sight line, its treatment of 3D space—all these lead us to expect that the successive shot, as it is revealed, is bound to be another moving image. But contrary to our expectation, and in delayed reaction, we are startled to find that it is another still image. One effect of this technique is to reinforce the tension between still and moving image by means of surprise. But in another sense, the technique reminds us that, in film, the moving image is also a succession of stills that only generate an illusion of movement. Although it is a fact that here the artist employs Super 8 footage, in principle, even were the moving images shot with video, the fact would remain since video images are all reducible to a series of discrete still images no matter how “seamless” the transitions between them. Yet a third effect of the technique has to do with its temporal implication. Often art aspires to conflate or otherwise distort time. Here, instead, the juxtaposition poses a tension between two times: the “real time” of the moving image that is by definition associated with reality in its temporal aspect; and the “frozen time” of the still image associated with an altered sense of time in memory and fantasy of the object of desire—not to mention the unreal time of the sense of the monopolization of the gaze conventionally attributed to the photographic medium, but which here is associated as much with the yearning narrator as it is with the viewer. In this way, the work establishes and juxtaposes two times for two levels of consciousness, both for the narrator of the story and, implicitly, for the viewer: A) the immediate experience of reality, and B) the background of reflective effects of reality, such as dream, memory, fantasy, and their inherent compounding of past and present emotions. In addition, the piece advances in the direction of a Gesammtkunstwerk, but in a way that reconsiders this synaesthesia as a unified complex of genres—not only because it uses new media that did not exist when the idea was first enunciated in Wagner’s time, but also because it comprises elements that are not entirely of one artist’s making, but which are subsumed by the work overall. The totality remains the vision of one artist. In this sense, Till Death Do Us Part reveals a further tension between the central intelligence of the artist and the products of other individual participants. This tension is compounded to the degree that the characters’ attributes and narrated statements are part fiction and part reality, part themselves, and part their characters. But Stefanie Schneider is the one who assembles, organizes, and selects them all. THE RELATIONSHIP BETWEEN THIS IDEA (above) AND PHOTOGRAPHY This selective aspect of the work is an expansion of idea of the act of photography in which the artistic photographer selects that which is already there, and then, by distortion, definition or delimitation, compositional and lighting emphasis, and by a host of other techniques, subsumes that which is already there to transform it into an image of the artist’s contrivance, one that is no less of the artist’s making than a work in any other medium, but which is distinct from many traditional media (such as painting) in that it retains an evocation of the tension between what is already there and what is of the artist’s making. Should it fail to achieve this, it remains, to that degree, mere illustration to which aesthetic technique has been applied with greater or lesser skill. The way Til Death Do Us Part expands this basic principle of the photographic act, is to apply it to further existing elements, and, similarly, to transform them. These additional existing elements include written or improvised pieces narrated by their authors in a way that shifts between their own identities and the identities of fictional characters. Such characters derive partially from their own identities by making use of real or imagined memories, dreams, fears of the future, genuine impressions, and emotional responses to unexpected or even banal events. There is also music, with voice and instrumental accompaniment. The music slips between integration with the narrative voices and disjunction, between consistency and tension. At times it would direct the mood, and at other times it would disrupt. Despite that much of this material is made by others, it becomes, like the reality that is the raw material of an art photo, subsumed and transformed by the overall aesthetic act of the manner of its selection, distortion, organization, duration, and emotional effect. * * * David Lean was fond of saying that a love story is most effective in a squalid visual environment. In Til Death Do Us Part, the squalor of the American desert...

ICES Multicolor Set of Twelve Framed Artworks. A set of 12 pop art prints by Richard Heeps from his Great British Staycation series 'On-Sea'. Taken betw...

Cyd Fontaine (Lausanne, 1992) is a contemporary artist renowned for her captivating use of dreamy atmospheric gradients, which has helped her carve a distinctive niche in the world o...

The other side of love - 2020 20x25cm, Edition of 7 plus 2 Artist Proofs, digital C-Print based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2020-955...

'Heart and Soul' (Bombay Beach) - 2019 20x20cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on a Polaroid. Signature label with certificate. Artist inventory PL201...

Please note that as of 1st March 2025, the Slim Aarons Estate Stamped Collection aligned its pricing across the entire collection. Please bear in mind that all prints are produced t...

Martin’s innovative photographs are created from plants grown by himself in his garden and greenhouse in Cambridge. A keen horticulturist, he cultivates his own plants and flowers, t...

This is an exclusive handprinted limited edition cyanotype. Details: + Title: Vintage Pressed Flowers Nº4 + Year: 2022 + Edition Size: 20 + St...

'Sun Kissed Wendy', from Richard Heeps 'Man's Ruin' Series. This contemporary portrait is part of a sequence of artworks photographing Wendy at the Rockabilly Weekender, Viva Las Veg...

This is an exclusive limited edition black and white giclée print, on 100% cotton Hahnemühle Photo Rag Fine Art matte paper. This series of black and white photographs captures the ...

'Herefordshire House' by Christopher Simon Sykes An open window gives a view along a country lane in Herefordshire, from the home of filmmaker John Bulmer and sculptor Angela Connor...

So Still (Sidewinder), 2005 Edition 2/5, 128x130cm, Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the original Polaroid. Certificate and signat...

Stefanie Schneider Polaroid-sized unlimited Mini 'Waiting' (Sidewinder) - 2005 - signed in front, not mounted. 1 Archival Color Photograph based on the Polaroid. Polaroid sized ...

Linger - 2020 20x20cm, Edition of 7 plus 2 Artist Proofs, Archival C-Print based on the Polaroid. Signed on the back and with certificate. Artist inventory PL2020-879. Not mounte...

This is an exclusive limited edition black and white giclée print, on 100% cotton Hahnemühle Photo Rag Fine Art matte paper. This series of black and white photographs captures the ...

'Bandstand', captured on a visit to his grandparents at the British seaside in Eastbourne, this collection by Samuel Field is a beautiful reminder of days gone by. This artwork is a...

Series: The Ocean C Print Mounted on Dibond Perspex Face Available sizes and editions: 40" x 62", Edition of 6 + 2 AP Ancient and primal, the Ocean, our mother of mothers. The ori...

Swim-in-Pool Supply Co. This fun original artwork really shows Richard's unique eye as a photographer. Captured in Las Vegas in 2003 it is part of a series he took over a few years. ...

Innuendo, 2016, 50x50cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. Artist inventory PL2016-2001. No...

Ghost Rider Cowboy (Cyan), pop art photograph by Natasha Heidler. Natasha Heidler’s seductive images are a playful collection of contradictions. Ghostly outlines collide with vibran...

Wild Things (Till Death do us Part) - 2005, 20x20cm, Edition of 10, plus 2 Artist Proofs, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Invento...

Stamped with photographer's estate ink stamp, inscribed with title and numbered on reverse C-type print Available in two sizes: 20 x 16 inches, from an edition of 21 + 3 PPs 24 x 20...

Michael WOLF (1954 – 2019, Germany) Transparent City #62, 2007 C–print Sheet 182.9 x 233.7 cm (72 x 92 in.) Frame 190 x 240 x 5 cm (74 3/4 x 94 1/2 x...

Blinded - 2020 50x50cm, Edition of 7 plus 2 Artist Proofs, Archival C-Print based on the Polaroid. Signed on the back and with certificate. Artist inventory PL2020-916. Not mount...

Equilibrium - 2020 20x25cm, Edition of 7 plus 2 Artist Proofs, digital C-Print based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2020-948. Not mount...

'Come on' part of the series 'A girl called N.' - 2019, 20x20cm, Edition 4/7. Archival C-Print based on a Polaroid. Signature label and certificate. Artist inventory PL2019-51...

16" x 20", signed limited edition print of David Bowie, titled "Starman" by Masayoshi Sukita. This print is also available as a 30x40" signed limited edition print. “It’s very ha...

Heidler & Heeps Vinyl Collection Eight Piece Multicolor Installation. Acclaimed contemporary photographers, Richard Heeps and Natasha Heidler have collaborated to make this beautiful...

48 x 60 inches - edition of 5 Chromogenic Print – Unframed Signed by the artist - Certificate of Authenticity Free Shipping – Ask us foar custom framing options. As a world-renowned...

North Shore Motel, photography by Richard Heeps captured in the Salton Sea, California. A classic American faded roadside Motel, the mid-century architecture stands against with blue...

48 x 60 inches - edition of 5 Chromogenic Print – Unframed Signed by the artist - Certificate of Authenticity Free Shipping – Ask us foar custom framing options. As a world-renowned...

Chair, from Richard Heeps 'Ordinary Places', a series capturing Britain on the brink of change. It was Richard's first colour series and it achieved much success with an exhibition ...

Part of Richard Heeps 2013 'Wildwood Days' series, this captures one of the iconic Motel signs in the historic Doo-Wop town of Wildwood. This artwork is a limited edition of 25, glo...

Iconic and rare limited edition print direct from the negative, signed lower right hand margin and stamped with photographers own blind stamp. This is Number 8/25. Image measures 36 ...

Divine Nude No.21 is a limited-edition photograph by French contemporary artist Ronald Martinez. This photograph is sold unframed as a print only. It...

Please note that as of 1st March 2025, the Slim Aarons Estate Stamped Collection aligned its pricing across the entire collection. Please bear in mind that all prints are produced t...

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...

Cryo VIII is a limited-edition photograph by contemporary artist Luca Marziale. This photograph is sold unframed as a print only. It is available in 2 dimensions: *76.2 cm × 76.2 c...