Art by Medium: C Print

Los Angeles-based photographer Tyler Shields seeks “beauty in chaos,” capturing both young models and celebrities such as Lindsay Lohan and Mischa Barton. His polished editorial imag...

A man with x-ray vision, Nick Veasey creates art that shows what it is really like inside. Edition of 25 pieces, 2023. Accompanied with the catalog of the artist and the certificat...

Something (Till Death do us Part) - 2005 40x40cm, Edition of 10. Archival C- Print, based on the Polaroid. Certificate and signature label. Artist inventory number: 9445. Not mou...

Aerial Views, Tulip Fields 36 is a limited-edition photograph by German contemporary artist Bernhard Lang. This photograph is sold unframed as a print only. It is available in 4 di...

Los Angeles-based photographer Tyler Shields seeks “beauty in chaos,” capturing both young models and celebrities such as Lindsay Lohan and Mischa Barton. His polished editorial imag...

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 Invent...

Los Angeles-based photographer Tyler Shields seeks “beauty in chaos,” capturing both young models and celebrities such as Lindsay Lohan and Mischa Barton. His polished editorial imag...

Los Angeles-based photographer Tyler Shields seeks “beauty in chaos,” capturing both young models and celebrities such as Lindsay Lohan and Mischa Barton. His polished editorial imag...

Ice Cream Truck, vibrant street photography from the seaside town of Wildwood, from Richard Heeps Jersey Shore series. This artwork is a limited edition of 25 gloss photographic pri...

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

C-Print on canvas, edition of 30. Others sizes are available upon simple request Shipping of the artwork will be done in a tube or flat in a crate with or without American box frame....

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...

Craig y Don Pool, looking across the bay of Llandudno, Wales in the United Kingdom. Dreamy symmetry in shades of blue mesmerise your eyes in this photograph by Richard Heeps. This a...

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...

Los Angeles-based photographer Tyler Shields seeks “beauty in chaos,” capturing both young models and celebrities such as Lindsay Lohan and Mischa Barton. His polished editorial imag...

Dashboard Palm Trees (Sidewinder) 2005, 50x50cm, Edition 1/10 digital C-Print, based on a Polaroid. Signature label and Certificate. Artist Inventory No. 3031.01. Not mounted. The...

A Rendille girl in Kenya A return to Kenya. On this trip John took a different approach to lighting. Building makeshift studios from locally acquired white sheets held up by four ...

49 Via Dezza at Sunset, Italian architecture street photography from Richard Heeps series, A Short History of Milan. A Short History of Milan' began in November 2018 for a special p...

The dining room of the iconic Parry Lodge in Kanab, Utah, which once hosted movie stars of the Western films made in the area, their faces, cutouts from Life Magazine, adorn the wood...

Los Angeles-based photographer Tyler Shields seeks “beauty in chaos,” capturing both young models and celebrities such as Lindsay Lohan and Mischa Barton. His polished editorial imag...

White Trash Beautiful II (29 Palms, CA) - 1999 38x36cm, Edition of 30, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 598. Not moun...

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...

Los Angeles-based photographer Tyler Shields seeks “beauty in chaos,” capturing both young models and celebrities such as Lindsay Lohan and Mischa Barton. His polished editorial imag...

New York City Subway Car interior photograph by Richard Heeps. This atmospheric photograph of a New York City Subway Car captures the cinematic essence of riding the subway. The pers...

Little Darlings (Till Death do us Part) - 2005 38x37cm, Edition of 10, plus 2 artist proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label, artist Inve...

Wolfgang Tillmans (German, born 1968) Please Leave This One, 2003 Medium: C-print on Fujicolor paper Dimensions: 28.5 × 19 cm (sheet: 29.5 × 20 cm) Edition of 100: Hand-signed, numbe...

Chromogenic Print by David Drebin Price for UNFRAMED limited edition print Certificate of Authenticity signed by the artist Ask us for framing options Print size: 30 x 45 inches (76...

Sunset Lens is a limited edition giclée diptych that translates the atmosphere of a sunset into a refined geometric composition. Through soft gradients, repetition, and symmetrical s...

Gasoline II (Stranger than Paradise) 1999 - 3 pieces, each 50x50cm, installed 50x170cm including gaps. sold out Edition of 150, Artist Proof 4/5. Archival C-Prints, based on the ...

Digital C-print Stamped and numbered, verso 20 x 24 inches (Edition of 10) 30 x 40 inches (Edition of 5) 50 x 60 inches (Edition of 3) This photograph is offered by ClampArt, loc...

Harry's Corner, on the Wildwood Boardwalk, New Jersey. Taken in April 2013, it was first executed in Richards's darkroom in October 2020. Capturing the joy of the American seaside fa...

Oldsmobile and Sinful Barbie's, from Richard Heeps' 'Man's Ruin' Series. This artwork is part of a sequence capturing Wendy at the Rockabilly Weekender, Viva Las Vegas, these Barbie'...

Los Angeles-based photographer Tyler Shields seeks “beauty in chaos,” capturing both young models and celebrities such as Lindsay Lohan and Mischa Barton. His polished editorial imag...

Los Angeles-based photographer Tyler Shields seeks “beauty in chaos,” capturing both young models and celebrities such as Lindsay Lohan and Mischa Barton. His polished editorial imag...

“ Amazon “ giclee print On Hahnemuhle paper, edition 3 of 20 Artist Statement "I started by painting interiors, being interested in space and perspective through my studies. These s...

Anthony Bourdain was famous for traveling the globe and exploring the local cuisine in No Reservations and Parts Unknown. As soon as he returned home to New York, the celebrity chef ...

Los Angeles-based photographer Tyler Shields seeks “beauty in chaos,” capturing both young models and celebrities such as Lindsay Lohan and Mischa Barton. His polished editorial imag...

Untitled (Traintracks) - The last Picture Show - 2004 50x50cm. Edition of 5, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature label and Certificate. Artist...

'Hutong' photographed in China in 2013. Richard is well known for capturing places on the brink of change before they disappear and this is a classic example, the modernisation of Be...

Wind Power (California Badlands) - 2021 24x34cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 4595. Not mounte...

Thrills, the iconic Coney Island Wonder Wheel photograph by Richard Heeps. The bold typography of the architectural structure fills the Fuji Film frame combining Richard's signature ...

Blue (Deconstructivism) - 2015 - about the narrative potential of images. 40x50cm, Edition of 10, digital C-Print, based on the Polaroid, Artist Inventory 3962. Signature label ...

Miles ALDRIDGE (*1964, Great Britain) Dog Lady #2, 2009 Chromogenic print Image 101 x 152,5 cm (39 3/4 x 60 in.) Sheet 113 x 164.5 cm (44 1/2 x 64 3/4 in.) Ed...

Anthony Bourdain drinks a beer in a New York bar during a photoshoot with photographer Jake Chessum in 2008. The photo is printed on Fuji crystal archive paper Available in the foll...

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...

"A Few Days Before Sally Moved in With Leonard" - Hand Tinted Vintage Photograph Sensitive hand-tinted photograph by Santa Cruz-based artist Sa...

Los Angeles-based photographer Tyler Shields seeks “beauty in chaos,” capturing both young models and celebrities such as Lindsay Lohan and Mischa Barton. His polished editorial imag...

A classic American icon, the roadside giant "Muffler Man", captured on Richard Heeps' road trip between Mecca and the Salton Sea. Part of a series of pictures by Richard Heeps featur...

Baltic Ice, Kakumaee 003 is a limited-edition photograph by German contemporary artist Bernhard Lang. This photograph is sold unframed as a print only. It is available in 3 dimensi...

African Mines 001 is a limited-edition photograph by contemporary artist Bernhard Lang. This photograph is sold unframed as a print only. It is available in 3 dimensions: *90 × 72 ...

Part of Richard Heeps 'After the Gold Rush' Collection, taken in Ely, Nevada, you are not just looking at a filling station by the roadside, this is the original stagecoach station o...

Ice Cream Truck, vibrant street photography from the seaside town of Wildwood, from Richard Heeps Jersey Shore series. This artwork is a limited edition of 25 gloss photographic pri...

Los Angeles-based photographer Tyler Shields seeks “beauty in chaos,” capturing both young models and celebrities such as Lindsay Lohan and Mischa Barton. His polished editorial imag...

Jane Bond I (Heavenly Falls) - 2016 20x20cm, Edition of 10, Archival C-Print based on the Polaroid Certificate and signature label, Artist inventory number: 19502. Not mounted. ...

Stillness 4, 2021 - Misty Natural Landscape of Trees in Ancient English Woodland by Ellie Davies Stillness 4 is a Digital C-Type Print on Fuji Maxima Matte paper, available in this ...

Untitled (Sidewinder) 2005 - Edition 2/5, 57x56 cm. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the original Polaroid. Artist Inventory ...

Unbound (Wastelands) - 2003 Edition of 10, 38x36cm, Archival C-Print on Crystal Fuji Archive paper, matte surface, based on the Polaroid. Artist inventory Number 836. Signature ...

Little Darlings (Till Death do us Part) - 2005 38x37cm, Edition of 10, plus 2 artist proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inv...

Driving Range is a dynamic C-Type Matte Print by Contemporary photographer Chris Frazer Smith. This is the OVERSIZE print. It is available in this size of 40" x 53" C-Type Matte P...

Chromogenic Print by David Drebin Price for UNFRAMED limited edition print Certificate of Authenticity signed by the artist Ask us for framing options Print size: 30 x 45 inches (76...