Art by Medium: C Print

Edition of 12. All items are shipped as a print only and come unframed. Jo Crowther was born in York in 1963, and a childhood of much travelling resulted in her attending 14 differ...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition M (Edition of 6) 35.4 x 23.6 inches (90 x 60 cm) - Edition L (Edition of 6) 47.2 x 31.5 inches (120 x 80 cm) - Edition XL (Edition of 3) 88.8 x 58.8 inches (225 x 150 cm) PUR - Price Upon Request -------------- Since 1979 Christian Rothmann had more than 40 solo and 80 group exhibitions worldwide. Christian Rothmann had guest lectures, residencies, art fairs and biennials in Europe, Japan, USA, Australia and Korea. Christian Rothmann (born 1954 in Kędzierzyn, Poland ) is a painter, photographer, and graphic artist.⁠ ⁠ In 1976 he first studied at the “Hochschule für Gestaltung” in Offenbach, Germany and moved to Berlin in 1977, where he graduated in 1983 at the “Hochschule der Künste”. From 1983 to 1995 he taught at the university as a lecturer and as an artist with a focus on screenprinting and American art history. To date, a versatile body of work has been created, which includes not only paintings but also long-standing photo projects, videos, and public art.⁠ ⁠ Guest lectures, teaching assignments, scholarships and exhibitions regularly lead Rothmann to travel home and abroad.⁠ ------------------------ Rothmann's Robots These creatures date back to another era, and they connect the past and the future. They were found by Christian Rothmann, a Berlin artist, collector and traveler through time and the world: In shops in Germany and Japan, Israel and America, his keen eye picks out objects cast aside by previous generations, but which lend themselves to his own work. In a similar way, he came across a stash of historic toy robots of varied provenance collected by a Berlin gallery owner many years ago. Most of them were screwed and riveted together in the 1960s and 70s by Metal House, a Japanese company that still exists today. In systematically photographing these humanoids made of tin - and later plastic - Rothmann is paraphrasing the idea of appropriation art. Unknown names designed and made the toys, which some five decades on, Rothmann depicts and emblematizes in his extensive photo sequence. In their photographs of Selim Varol's vast toy collection, his German colleagues Daniel and Geo Fuchs captured both the stereotypical and individual in plastic figures that imitate superheroes which were and still are generally manufactured somewhere in Asia. Christian Rothmann looks his robots deep in their artificially stylized, painted or corrugated eyes - or more aptly, their eye slits - and although each has a certain degree of individuality, the little figures remain unknown to us; they project nothing and are not alter egos. Rothmann trains his lens on their faces and expressions, and thus, his portraits are born. Up extremely close, dust, dents, and rust become visible. In other words, what we see is time-traces of time that has passed since the figures were made, or during their period in a Berlin attic, and - considering that he robots date back to Rothmann's childhood - time lived by the photographer and recipients of his pictures. But unlike dolls, these mechanical robots bear no reference to the ideal of beauty at the time of their manufacture, and their features are in no way modeled on a concrete child's face. In this art project the robots appear as figures without a context, photographed face-on, cropped in front of a neutral background and reduced to their qualities of form. But beyond the reproduction and documentation a game with surfaces is going on; our view lingers on the outer skin of the object, or on the layer over it. The inside - which can be found beneath - is to an extent metaphysical, occurring inside the observer's mind. Only rarely is there anything to see behind the robot's helmet. When an occasional human face does peer out, it turns the figure into a robot-like protective casing for an astronaut of the future. If we really stop and think about modern toys, let's say those produced from the mid 20th century, when Disney and Marvel films were already stimulating a massive appetite for merchandising, the question must be: do such fantasy and hybrid creatures belong, does something like artificial intelligence already belong to the broader community of humans and animals? It is already a decade or two since the wave of Tamagotchis washed in from Japan, moved children to feed and entertain their newly born electronic chicks in the way they would a real pet, or to run the risk of seeing them die. It was a new form of artificial life, but the relationship between people and machines becomes problematic when the machines or humanoid robots have excellent fine motor skills and artificial intelligence and sensitivity on a par with, or even greater than that of humans. Luckily we have not reached that point yet, even if Hollywood adaptations would have us believe we are not far away. Rothmann's robots are initially sweet toys, and each toy is known to have a different effect on children and adults. They are conceived by (adult) designers as a means of translating or retelling history or reality through miniature animals, knights, and soldiers. In the case of monsters, mythical creatures, and robots, it is more about creating visions of the future and parallel worlds. Certainly, since the success of fantasy books and films such as Lord of the Rings or The Hobbit, we see the potential for vast enthusiasm for such parallel worlds. Successful computer and online games such as World of Warcraft...

Available Sizes: 37.5" x 30" Edition of 15 50" x 40" Edition of 10 60" x 48" Edition of 5 Over 40,000 years ago, we began to depict animals in cave drawings. Throughout history, man...

Carol Beckwith, (American, b. 1945), Maasai Portrait Chromogenic print on paper, from Beckwith's book "Maasai" (1980), Hand signed in pencil, dated and titled with name of sitter ...

Half Light 2, 2016 - Fall Leaves by Lake in English Forest Woodland Landscape by Ellie Davies Half light 2 by Ellie Davies is a stunning Digital C-Type Print of Fuji Maxima Matte pa...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition M (Edition of 6) 35.4 x 23.6 inches (90 x 60 cm) - Edition L (Edition of 6) 47.2 x 31.5 inches (120 x 80 cm) - Edition XL (Edition of 3) 88.8 x 58.8 inches (225 x 150 cm) PUR - Price Upon Request -------------- Since 1979 Christian Rothmann had more than 40 solo and 80 group exhibitions worldwide. Christian Rothmann had guest lectures, residencies, art fairs and biennials in Europe, Japan, USA, Australia and Korea. Christian Rothmann (born 1954 in Kędzierzyn, Poland ) is a painter, photographer, and graphic artist.⁠ ⁠ In 1976 he first studied at the “Hochschule für Gestaltung” in Offenbach, Germany and moved to Berlin in 1977, where he graduated in 1983 at the “Hochschule der Künste”. From 1983 to 1995 he taught at the university as a lecturer and as an artist with a focus on screenprinting and American art history. To date, a versatile body of work has been created, which includes not only paintings but also long-standing photo projects, videos, and public art.⁠ ⁠ Guest lectures, teaching assignments, scholarships and exhibitions regularly lead Rothmann to travel home and abroad.⁠ ------------------------ Rothmann's Robots These creatures date back to another era, and they connect the past and the future. They were found by Christian Rothmann, a Berlin artist, collector and traveler through time and the world: In shops in Germany and Japan, Israel and America, his keen eye picks out objects cast aside by previous generations, but which lend themselves to his own work. In a similar way, he came across a stash of historic toy robots of varied provenance collected by a Berlin gallery owner many years ago. Most of them were screwed and riveted together in the 1960s and 70s by Metal House, a Japanese company that still exists today. In systematically photographing these humanoids made of tin - and later plastic - Rothmann is paraphrasing the idea of appropriation art. Unknown names designed and made the toys, which some five decades on, Rothmann depicts and emblematizes in his extensive photo sequence. In their photographs of Selim Varol's vast toy collection, his German colleagues Daniel and Geo Fuchs captured both the stereotypical and individual in plastic figures that imitate superheroes which were and still are generally manufactured somewhere in Asia. Christian Rothmann looks his robots deep in their artificially stylized, painted or corrugated eyes - or more aptly, their eye slits - and although each has a certain degree of individuality, the little figures remain unknown to us; they project nothing and are not alter egos. Rothmann trains his lens on their faces and expressions, and thus, his portraits are born. Up extremely close, dust, dents, and rust become visible. In other words, what we see is time-traces of time that has passed since the figures were made, or during their period in a Berlin attic, and - considering that he robots date back to Rothmann's childhood - time lived by the photographer and recipients of his pictures. But unlike dolls, these mechanical robots bear no reference to the ideal of beauty at the time of their manufacture, and their features are in no way modeled on a concrete child's face. In this art project the robots appear as figures without a context, photographed face-on, cropped in front of a neutral background and reduced to their qualities of form. But beyond the reproduction and documentation a game with surfaces is going on; our view lingers on the outer skin of the object, or on the layer over it. The inside - which can be found beneath - is to an extent metaphysical, occurring inside the observer's mind. Only rarely is there anything to see behind the robot's helmet. When an occasional human face does peer out, it turns the figure into a robot-like protective casing for an astronaut of the future. If we really stop and think about modern toys, let's say those produced from the mid 20th century, when Disney and Marvel films were already stimulating a massive appetite for merchandising, the question must be: do such fantasy and hybrid creatures belong, does something like artificial intelligence already belong to the broader community of humans and animals? It is already a decade or two since the wave of Tamagotchis washed in from Japan, moved children to feed and entertain their newly born electronic chicks in the way they would a real pet, or to run the risk of seeing them die. It was a new form of artificial life, but the relationship between people and machines becomes problematic when the machines or humanoid robots have excellent fine motor skills and artificial intelligence and sensitivity on a par with, or even greater than that of humans. Luckily we have not reached that point yet, even if Hollywood adaptations would have us believe we are not far away. Rothmann's robots are initially sweet toys, and each toy is known to have a different effect on children and adults. They are conceived by (adult) designers as a means of translating or retelling history or reality through miniature animals, knights, and soldiers. In the case of monsters, mythical creatures, and robots, it is more about creating visions of the future and parallel worlds. Certainly, since the success of fantasy books and films such as Lord of the Rings or The Hobbit, we see the potential for vast enthusiasm for such parallel worlds. Successful computer and online games such as World of Warcraft...

Half Light 1, 2016 - Season Fall Leaves in English Forest Woodland Landscape by Ellie Davies Half Light 1 by Ellie Davies is a stunning Digital C-Type Print on Fuji Maxima Matte pap...

40 x 48 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...

Museum quality fine art print of Beyonce by photographer Markus Klinko. Shot in 2003 for the back cover of the album, Dangerously In Love This print is available in the following s...

Serpentine - 2018 40x50cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Signed on the back and with certificate. Artist inventory PL2018-1095. Not...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition ...

Between the Trees 1, 2014 - Mist and Fog Natural Landscape in Ancient Woodland by Ellie Davies Between the Trees 1 by Ellie Davies is a stunning Digital C-Type Print on Fuji Maxima ...

I met this young Himba girl near to a place called Etengwa in the far north of Namibia. We trekked a few kilometres in the midday heat, over a rocky hill to a small village within wh...

"The moment Hot Shot arrived on set, I was reminded of the way time stops when a bull enters the room. He was a fierce beauty to behold and a rare glimpse at the chilling juxtapositi...

Slim Aarons Desert House Party, 1970. (printed later) C print Estate stamped and numbered edition of 150 with Certificate of authenticity A poolside party at a desert house, desig...

Slim Aarons Catching The Sun In Cortina 1976 (printed later) C print Estate stamped and numbered edition of 150 with Certificate of authenticity Giuliana Gerolinetto, Maria Cristi...

In the far north of Namibia as you head towards the border with Angola at Epupa Falls, barely visible tracks radiate off the main dirt road into bush and disappear across sandy, dry ...

All prints are produced to order. Lead times between 5-10 days. Due to currency fluctuations prices may change. Please contact the gallery for more information about this print or...

The small settlement of Otjitando in Namibia’s Kaokoland doesn’t seem far off the main gravel road on the map. In reality it is a hellish journey that requires regular running in fro...

Curtain Billowing over Bobby Kendall 1960s/2022 Estate stamped and numbered on label, verso Digital C-print 31 x 31 inches, image (Edition of 15) $4,500 22 x 22 inches, image (Ed...

16" x 20", signed limited edition print of David Bowie, titled "Watch That Man II" by Masayoshi Sukita. Taken at RCA Studios, New York, 1973. This stunning image was used in the new...

Ayoni and her child – a smiling Turkana mother. John uses simple natural light and builds primitive makeshift studios from locally acquired white sheets! The suffuse light allows h...

Museum quality fine art print of Iman by photographer Markus Klinko taken in New York, 2004 This print is available in the following sizes, signed and numbered by Markus Klinko 24" ...

MILES ALDRIDGE (*1964, Great Britain) Bold Gold #2 2006 Chromogenic print Large: 110.5 × 152.5 cm (43 1/2 x 60 in.) Edition of 10 plus 2 AP; 10/10 (from a sold out edition) Small...

Please bear in mind that all prints are produced to order and lead times are expected between 15-20 days. Converse, Doodle is a dynamic C-Type print, sold in this size in an Edition...

Maria Passarotti graduated in 2000 with a BFA from the Cooper Union for the Advancement of Science and Art in New York. Her most recent photographs are inspired by the intersection o...

Brigitte LUSTENBERGER (*1969, Switzerland) Are you here or just a memory, 2023 From the series 'An Apparition Of Memory' C-print 100 x 87 cm (39 3/8 x 34 1/4 in.) Edition of 5, plus ...

Louise Marler Keys To Success C-print on metallic white stock mounted on wood 2022 Size: 7x7x0.5in Edition: 25 Signed and numbered by hand Stamped Ready to hang COA provided Ref.: 924802-1413 Louise Marler’s photo-based Mixed Media art, is iconic visual vocabulary. Au-thentic style has led to exhibits, art collections and events which integrate his-tory, education, and entertainment. Raised in a family that collected, sold and repaired typewriters. These and other analog, vintage machines are part of her personal history and led naturally to becoming part of the subject matter of her visual expression. Louise Marleris inspired by Americana and also influenced by pop art and technology. “I developed my unique art style in a Santa Monica Airport (former mechanic) hanger turned art studio. I currently live and work in St. Louis where antique row meets the most progressive art culture, as well as Joshua Tree, California, where I created the first Type Inn.” Louise Marler’s work is featured in the documentary film, “The Typewriter in the 21st Century,” and TV shows including “Two and a Half Men,” “Curb Your Enthusiasm,” “The Mentalist,” “Criminal Minds,” “Jane the Virgin,” “Dear White People,” “Lucifer,” “Arrested Development,” “Love Victor, and “A Black Lady Sketch.” typewriter queen, la marler, typewriter art, typewriter artist, Typewriter, Typewriters midcentury, modern art, typewriter life, typewriter community, typewriter collection...

Signed limited edition print by Ed Caraeff of Jimi Hendrix setting fire to his Fender Stratocaster guitar while performing at the Monterey Internat...

The bright colours of a cafe in a poor district of Salvador in Brazil. – The Spaces in Between series developed out of visits to Naples in Italy and Havana in Cuba, two cities whose ...

An abandoned swimming pool in Havana. Shot on colour negative with a large format camera. – The Spaces in Between series developed out of visits to Naples in Italy and Havana in Cub...

The large circular earplugs worn by this stunning Rendille warrior are made of plastic and sometimes bone. In past times, and very occasionally today, you might see the same plugs ma...

Type-C print Signed, titled, dated, and numbered, verso 20 x 24 inches (Edition of 10) 30 x 36 inches (Edition of 5) 40 x 48 inches (Edition of 5) This artwork is offered by Clam...

The Gentleman Caller (Nick Simpson Sepia Victorian Styled Theatrical Photograph) 12 x 16 inches, 21 x 26 inches framed in unique, vintage frame, anti-reflective glass, 8 ply off-white mat board. C-type archival print, edition of 7 This antique style figurative photograph was created by London based photographer, Nick Simpson, in 2013. This scene depicts 4 characters in period dress including a blindfolded man touching a woman's leg as two others peek on. Simpson's aesthetic is enhanced by his playfulness and nostalgia for the Victorian era. Simpson includes a slight patina around the sepia toned photograph's edge to accentuate its antique inspired quality. The Duratran print is paired with a dark wood frame. About the work: London based artist, Nick Simpson, is celebrated for his fictional series entitled The Bumforth Man Collection. The series consists of archival prints inspired by a mythical story concerning a quantity of glass photographic plates discovered in an old oak chest on the Bumforth Manor estate in rural England, the family home of the Gascoigne-Simpson's for over nine generations. These plates, which had laid gathering dust for over a hundred years, were supposedly the work of Simpson’s great grandfather, Samuel Heracles Gascoigne-Simpson, a disciple of William Henry Fox Talbot, commonly considered to be the father of photography. To bring this story to life, Simpson starts by building a set, authentically styled and dressed to re-create the Victorian photographic salons of the late 1900s. This becomes the stage upon which he places his eclectic choice of models and actors, all following his original tight narrative to create a richly detailed tableau. The scene is then captured in a single sitting using an original 1867 'Petzval' lens mounted on a mahogany plate camera...

Palazzo di Ostankino, Mosca, 2015 Chromogenic print Edition of 5 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...

The Realization Photo by Markus Klinko Limited Edition signed by the artist C Print Produced from the original transparency Certificate of authenticity supplied Paper size 20×2...

Edition of 10 plus 2 AP.

On The Floor Photo by Markus Klinko Limited Estate Edition C Print Produced from the original transparency Certificate of authenticity supplied Paper size 20×24 inches/ 51 x 61 ...

Jen's love of photography began as a child, when her grandfather, a photographer, gave her a camera. However, it wasn't until she graduated from UC Berkeley that photography became a...

My Girl (Till Death do us Part) - 2005 48x46cm, Edition of 10, plus 2 Artist Proofs, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #92...

Edward Burtynsky (b. 1955) is Canada's most successful photographer. Through masterful technique and frequently dizzying compositions, Burtynsky presents thought-provoking inquiries...

The Beatles having fun at Cliveden House whilst taking a break from filming the 1965 comedy, Help! Taken by Robert Whitaker. All limited edition print...

Museum quality fine art print of Beyonce by photographer Markus Klinko. Shot in 2003 for the cover of the album, Dangerously In Love This print is available in the following sizes,...

Mother India, photograph from Richard Heeps series 'The Ambassador's Window', a pilgrimage from Kerala in the South to Meerut in the North, the birthplace of his Grandfather. As boo...

Jerry Hall at Montego Bay, Jamaica wearing Juvena makeup with fashion by Walter Albini and Saint Laurent Rive Gauche, 1975 Jerry Hall in Jamaica, 1975 C print Estate stamped and num...

A beautiful colour C type print of a herd of Cows Sunbathing on a beach with numerous kites flying in the backround. Picture taken in Tarifa, Spain. National Geographic Award Winn...

A villa in Las Brisas, Acapulco, February 1972. Complimentary dealer shipping to your framer, worldwide. Undercurrent Projects is proud to offer this vibrant photograph, printed by...

The green baize of an old pool table awaiting a buyer amidst the deep red of a storeroom. – The Spaces in Between series developed out of visits to Naples in...

Italian artist and actress Domiziana Giordano, Italian author Francesca Sanvitale (1928 - 2011), Dino Trappetti and Umberto Terrelli dining al fresco on a terrace overlooking the wat...

Poolside Pairs 1970 (printed later) C print Estate stamped and numbered edition of 150 with Certificate of authenticity Caption: Former fashion model Helen Dzo Dzo Kaptur (in white...

English singer, songwriter and actress Marianne Faithfull, photographed at The Salisbury pub in London, 1964. Available in the following sizes. All prints signed and numbered by Ger...

Edition # 1/10 This is the framed price listed. The photograph is also available unframed in the two additional sizes listed. Heal disguises her contemporary characters in a fict...

"Iridian is a living masterpiece. His extraordinary colors—unique among all ducks—symbolize a centuries-old tale of love and fidelity. Originating in East Asia, mandarin ducks are re...

White Cosmo, Photo, The Tappen House, Little Compton, RI (Rhode Island). Hand signed and numbered. small edition of 15, This one is marked proof. (these are on Kodak professional pap...

Between the Lines - The Getaway (The Last Picture Show) - 1999 50x50cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Artist Inventory #694. Signature label and Certificate. Not mounted. Stefanie Schneider's photographs evoke scintillating moments suspended between daydreams and waking reality. Each scene, captured in the southwestern United States, radiates a surreal enchantment. The artist's role appears minimal yet pivotal, providing the decisive impulse that sets the imagery into motion. The figures in her photographs remain as elusive as the motivations behind their actions, and the narratives woven through her sequences are tantalizingly open to interpretation. Atmospheric disturbances in Schneider's work emerge as the result of a deliberate narrative arrangement, compelling viewers to navigate between visual mementos and the gaps in memory they conjure. Yet, her artistry is no less purposeful in its engagement with medium. Despite the inherent unpredictability of expired Polaroid film, Schneider wields it with calculated intent. The photo-chemical self-developing process, altered by age and decay, transforms the initial exposure into something alien yet mesmerizing. This dysfunction is a cornerstone of MIND SCREEN, a multi-part work that explores the fragility of reality, authenticity, and comprehension. Schneider juxtaposes this brittleness with a magical realism steeped in chimeras, crafting dreamlike sequences that resist definitive narratives. She entrusts viewers with the responsibility of piecing together presumed storylines, refusing to offer a manual for interpretation. Instead, her work draws us into a realm where the unreal reigns—shimmering scenes that evoke the mirage of a road movie, a moment of violence, or a tragic self-sacrifice. Film genres are invoked and subverted in a single breath: Paris, Texas by Wim Wenders is reimagined through a rose-tinted lens, Thelma...

Mouche at Praia do Vau, Portugal wearing a Nina Ricci swimsuit. British Vogue magazine, January 1973. Mouche at Praia do Vau, Portugal for Vogue, January 1973 Printed later C print ...

Award winning photographer presents stunning art photography of New York, New York. This photo is part of series in architectural, cityscape photography showcasing the magnificen...

The Hideout - The Getaway (The Last Picture Show) - 1999 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist Inventory #724. Signature label and Certificate. Not mounted. Stefanie Schneider's photographs evoke scintillating moments suspended between daydreams and waking reality. Each scene, captured in the southwestern United States, radiates a surreal enchantment. The artist's role appears minimal yet pivotal, providing the decisive impulse that sets the imagery into motion. The figures in her photographs remain as elusive as the motivations behind their actions, and the narratives woven through her sequences are tantalizingly open to interpretation. Atmospheric disturbances in Schneider's work emerge as the result of a deliberate narrative arrangement, compelling viewers to navigate between visual mementos and the gaps in memory they conjure. Yet, her artistry is no less purposeful in its engagement with medium. Despite the inherent unpredictability of expired Polaroid film, Schneider wields it with calculated intent. The photo-chemical self-developing process, altered by age and decay, transforms the initial exposure into something alien yet mesmerizing. This dysfunction is a cornerstone of MIND SCREEN, a multi-part work that explores the fragility of reality, authenticity, and comprehension. Schneider juxtaposes this brittleness with a magical realism steeped in chimeras, crafting dreamlike sequences that resist definitive narratives. She entrusts viewers with the responsibility of piecing together presumed storylines, refusing to offer a manual for interpretation. Instead, her work draws us into a realm where the unreal reigns—shimmering scenes that evoke the mirage of a road movie, a moment of violence, or a tragic self-sacrifice. Film genres are invoked and subverted in a single breath: Paris, Texas by Wim Wenders is reimagined through a rose-tinted lens, Thelma...

"Dairy cows are the quintessential animals of the American farm. Because we are so familiar with this particular breed and see them frequently grazing along roadside pastures, painte...

Skiers on the slopes at the Sugarbush Resort, Vermont, USA, April 1960. Slim Aarons Skiers At Sugarbush 1960 C print (Printed later) Estate signature stamped and hand numbered editi...