Art by Medium: C Print

'Utopian Foyer III', Italian Brutalist architecture photography by Richard Heeps' from his series 'A Short History of Milan'. There is a reoccurring linear, structural theme through...

Cosmos 47 by Karine Laval is a Limited Edition Chromogenic Print Cosmos 47 is available in this size of 16" x 20" from a Limited Edition of 9 prints Cosmos represents a new chapte...

Taking Turns (Till Death Do Us Part) - 2006 40x48cm,. Edition of 10, plus 2 Artist Proofs. Archival C-Print print, based on the Polaroid. Certificate and Signature label. Artist ...

Palm Springs Pool Side, photograph by Richard Heeps taken at Ballantines Movie Colony. This artwork captures the classic mid-century Palm Springs architecture set against saturated b...

4 x 5 inch contact print, on 8 x 10 inch sheet, edition 10 Cover image of the book "Tohshio Shibata: For Grey" Toshio Shibata is one of Japan's leading landscape photographers. B...

Series: Decadence Chromogenic Print on Kodak Endura Luster Paper Available Sizes: 22.5" x 30" Edition of 3 + 2 Artist Proofs 30" x 40" Edition of 3 + 2 Artist Proofs 54" x 72" E...

Washeteria - Looking In, vintage interior photograph from Richard Heeps series, A Short History of London. "I discovered this launderette while London was in lockdown during the pand...

News Stand, photograph from Richard Heeps series, 'A Short History of Milan' which began in November 2018 for a special project at the Affordable Art Fair Milan 2019 and the series i...

Sun 45, photograph from Richard Heeps' 'Dream in Colour' series. This stylish interior artwork is made up of deep and dark tones, with a flash of bright yellow. It was captured in a ...

Palm Springs Palm Trees (Californication) - 2023 50x49cm. Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist I...

RINKO KAWAUCHI (*1972, Japan) Untitled, from the series 'Illuminance' 2011 C–type print Sheet 103 x 103 cm (40 1/2 x 40 1/2 in.) Edition of 6; Ed. no. 3/6 framed Reminiscent of Japa...

Feathers (Stage of Consciousness) - 2007 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and signature label. Artist Inventory ...

Hanging Off Bed (Bobby Kendall), mid- to late 1960s/2022 Signed, dated, and numbered, verso Digital C-print 31 x 31 inches, image (Edition of 15) $4,500 22 x 22 inches, image (Ed...

Strata VI is a limited-edition diptych photograph by contemporary artist Luca Marziale. This photograph is sold unframed as a print only. It is available in 2 sizes: *76.2 cm × 152...

Available sizes: 37.5" x 30", Edition of 15 50" x 40", Edition of 10 60" x 48", Edition of 5 Narrative: Much like his brother Boz, Wayman presented my lens with such an intense glim...

Bonanza Café, iconic photograph from Richard Heeps Dream in Colour series, it was the cover artwork on his book Man's Ruin. The photo takes you back to small town Americana with the ...

Stahlwerk 014 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 dimensions: *80 × ...

C-Print on Argentic paper 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. Additio...

The Dancer (Stay), 2006, 37x36cm, Edition of 2/5, Lambda Print, based on a Stefanie Schneider expired Polaroid photograph Certificate and Signature label artist Inventory Nr. 5315.10...

‘Mafia Wife in Training’ Vanessa does housework. Photographed at the Georgian Terrace Hotel. 2018, 20x20cm, Edition 1/10, digital C-Print based on a Polaroid photographs, Certificate and Signature label, not mounted 'I have often found a companion in the camera, a partner that allows me a way to communicate how I see things in my mind. The element of chance, the imperfections, the saturated colors, all give each unique Polaroid a surreal, dreamy quality that I only experience otherwise in my dreams.’ Coming from a background as a model and actress, getting behind the camera feels like a natural step in the creative process for Caitlin Fowler...

Biblioteca Vaticana, Roma, 1996 C print 39.5 x 47.5 inches edition of 5 47.5 x 59 inches edition of 5 71 x 88.5 inches edition of 5 The photographer is based in Florence, and is...

The Bog Renaturated 010 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: *75...

Stars and Stripes Sam, photograph from Richard Heeps' On-Sea series. The historic Uncle Sam is brought to life in this surreal street photography with the Kodak film border. This ar...

Edition of 3 More sizes on request. 6 girls in swim dresses are sitting on the beach. Tyler Shields is an American Photographer, screenwriter, director an...

Silence Void (Stay) - 2006 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 2116. Not mounted. Stefanie...

Available sizes: 32" x 32", Edition of 15 40" x 40", Edition of 10 48" x 48", Edition of 5 Over 40,000 years ago, we began to depict animals in cave drawings. Throughout history, ma...

Circle Irrigation 02 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: *60 × ...

Oasis XIV (Sidewinder) - 2005 38x37cm, Edition of 10, plus 2 Artist Proofs, Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artist Inventory #30...

Silence and their words (Till Death do us Part) - 2007 20x24cm, Edition of 10, digital C-Print print, based on a Polaroid. Certificate and Signature label. Artist Inventory No. 8...

Buried (Stranger than Paradise) - 1999 Edition of 10, 58x56cm, Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on a Polaroid. Artist inventory Numb...

Strata IX is a limited-edition diptych photograph by contemporary artist Luca Marziale. This photograph is sold unframed as a print only. It is available in 2 sizes: *76.2 cm × 152...

Centric, Italian architecture street photography from Richard Heeps' series, A Short History of Milan. The composition resembles a modern, architectural mosaic, merging minimalism wi...

Aerial Views, Coal Mine 2 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 dimens...

Dancing to the rhythm of the Gods in Santiago de Cuba… Ochun reborn… James Sparshatt’s photographs of music and dance capture the emotion and intensity of people lost in the rhythm ...

Oxana (Stage of Consciousness) - 2007, 38x47cm, Edition of 2/30, digital C-Print based on a Polaroid. Signature label and Certificate. Artist Inventory # 3048.18. Not mounted. St...

Traces of Time (The Girl Behind the White Picket Fence) - 2013 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Signature label and certificate. Artist Inventory #13370. Not mounted. Offered is a piece from the movie: The Girl Behind the White Picket Fence. Written and directed by Stefanie Schneider A tale told with blemished and expired Polaroid film about the hopes and dreams of a newly orphaned girl after losing her parents who lived in the Californian desert in an old travel trailer. -filmed with Polaroid film stock and Super-8 footage, overlaid with poetic voice-over monologue - this feature film creates a dynamic kaleidoscope of words and pictures, a dreamy tale that channels Terrence Malick, Gus Van Sant, and pages torn from a lonely girl's journal. (Palms Springs life magazine / Caroline Ryder) Stefanie Schneider By Caroline Ryder Travel up a bumpy dirt road in Morongo Valley, the trail strewn with rocks, and you’ll come upon a gigantic 1950s trailer in pristine condition, ringed by a white picket fence, with cottontail rabbits hopping among neat little rose bushes that bloom in spite of the broiling desert heat. Inside the trailer are period accents—a vintage radio, vintage fridge, little crocheted doilies, and dusty gilt-framed photographs. It’s a surreal home-sweet-home, an Americana fantasy as imagined by German artist and experimental filmmaker Stefanie Schneider whose work is so inspired by the desert landscape, she made it her home in 2005. “There’s a completely different light here than in Germany, a beautiful light,” says Schneider, whose property in Morongo is dotted with vintage trailers. They surround her midcentury home and serve as sets for her photoshoots or as guest lodgings for her friends from Hollywood and Berlin. “But what I really love about the desert is the desolation,” she continues. “The sense of hope for something that might or might not come. It’s easy to see our dreams projected in the desert.” Famed for shooting trailer park chic fine art photographs exclusively on vintage Polaroid film, Schneider recently completed her most ambitious project to date—a feature film made entirely of Polaroid stills (4000 images in total), the story set around her magnificent 1950s trailer. The film, called “The Girl Behind The White Picket Fence” tells the story of a broken-hearted girl who lives in the trailer. Her name is Heather, and she is played by model Heather Megan Christie, girlfriend of actor Joaquin Phoenix, and former partner of Red Hot Chili Peppers singer Anthony Kiedis, with whom she has a son. Heather stars opposite Kyle Larson (who plays ‘Hank’), a real-life gypsy fisherman who catches crab in Alaska when he’s not surfing in Southern California. Neither of the two had ever acted before, and never in the history of movie-making has a director shot a film entirely on Polaroid film. “There was great difficulty shooting a film this way,” says Schneider, who, with her long straight hair, wide innocent eyes, and thick-framed glasses, conjures an art-house Gretel. “If I had used a regular camera I would have had 36 exposures per minute, much faster and easier than using the old Polaroid camera which takes a long time to shoot one frame. Also, sometimes it doesn’t shoot at the exact moment you think it’s going to—but that’s really great because then you miss the perfect moment…and often those are the best shots.” Individually, the Polaroid photographs that comprise 29 PALMS, CA stand alone, but together and in sequence, filmed with super 8 and 16mm film stock and overlaid with poetic voice-over monologues, they create a dynamic kaleidoscope of words and pictures, a dreamy tale that channels Terrence Malick. Gus Van Sant, and pages torn from a lonely girl’s journal. The idea to shoot a movie in this way came about in 2004 when Schneider was working with leading German director Mark Forster (Monster’s Ball, Finding Neverland, Quantum of Solace) on his film Stay. She had met Forster at director Wim Wender’s birthday party in Hollywood. A few years later, Forster asked Schneider to shoot Polaroids of scenes from Stay as he filmed; he used those photographs for dream and memory sequences in the movie. For the first time, Schneider saw her Polaroids strung together in sequence, moving with rhythm like a flipbook, in the context of a story. When Forster urged her to consider making a feature film using that technique, the seed of 29 PALMS, CA was sown. She mentioned the idea to her good friend German actor Udo Kier, who also gave the idea a big thumbs up, and agreed to play the part of a mysterious shaman in the film. Thanks to her strong reputation in the art world and her Hollywood connections, getting talented people on board was the easy part (for a while, Charlotte Gainsbourg was pegged to play the starring role, although she pulled out two weeks before shooting commenced because she was pregnant and not fit to travel to the desert.) The hard part was finding the perfect trailer—and bringing it to the desert. “This trailer almost killed us,” says Schneider’s partner Lance Waterman, who lives and works with Schneider in Morongo Valley. After finding it on eBay, the couple drove to Utah to pick it up, the plan being to tow it all the way back to the high desert themselves. Bad idea. “We were driving down a hill with this enormous trailer behind us when we realized that if we wanted to stop, there would be no way to do so without the trailer crushing us,” says Waterman. Adds Schneider: “Lance was even giving me instructions on how to jump out of the truck if we needed to.” Thankfully the road leveled and as soon as they were able to slow down and pull over, they called a professional towing company, which transported the trailer the remaining distance to Morongo Valley. Filming took place in Spring 2011 and 2012. Schneider recently submitted the film to major film festivals in Europe and the US, and it will be broadcast in 2013 by leading German television channel, Arte. While Schneider may come from a long tradition of photographers-turned-filmmakers—Stanley Kubrick started out as a photographer, as did Ken Russell (Tommy, Women in Love) and Larry Clark, who was a controversial fine art photographer before directing smash hit Kids—she does not see her future in Hollywood, directing blockbusters. Not necessarily. “I don’t think I want to make more films,” she says. “The actors were saying they would love to work with me again, and were asking if I would like to make other movies. But being on movie sets is far too stressful, and at least with this, I was in complete power of what was going on creatively. That said, if this gets a lot of acclaims…we can always think again. One should never say never.” Film features original soundtrack with songs by Adam Weiss, Daisy McCrackin, Billy Harvey, Sophie Huber, Zoe Bicat, Max Sharam, Cheyenne Randall...

Chromogenic Print – Unframed Free Shipping – Ask us foar custom framing options. 40 x 48 inches - edition of 5 48 x 60 inches - edition of 5 71 x 88.5 inches - edition of 5 "My p...

"Like all young animals, Lewis was a speed demon. And a mischievous little guy. He was getting into everything in the studio, completely unphased by the camera, lights, or my crew....

The blurring of time and space captured in time-lapse photography while the photographer is in motion has resulted in patterns and colours that here resemble a long coastal breaking ...

One Day I'll Fly (Stage of Consciousness) - 2008 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #6481 Not mo...

For the Mumuhuila hair indicates social status. Hairstyles, like necklaces, change throughout a lady’s adolescent and adult life. For an adult like Mynga, the number of dreadlock str...

_ _ ADA, from Richard Heeps series A Short History of Milan which began as a special project for the 2018 Affordable Art Fair Milan. It was well received and the artwork has become p...

ICES Lemon Yellow, bold pop art street photography from Richard Heeps' series, On-Sea. Created as an ode to Richard's childhood visits to his grandparents living on the Sussex coast...

Brigitte LUSTENBERGER (*1969, Switzerland) Unless it does not have to end, 2020 From the series 'An Apparition Of Memory' C-print 100 x 100 cm (39 3/8 x 39 3/8 in.) Edition of 5, pl...

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...

X-ray lenticular artwork Lenticular is a ribbed lens that refracts light from different angles. When sequential images are split behind the lenticular lens the image looks like it m...

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...

Almost Paradise (Wastelands) - 2003 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist inventory Number 894. Signature label and Certificate. Not mounted. For sale is a piece from the Wastelands series. Reality with the Tequila: Stefanie Schneider’s Fertile Wasteland by James Scarborough “How much more than enough for you for I for both of us darling?” (E. E. Cummings) Until he met her, his destiny was his own. Petty and inconsequential but still his own. He was cocksure and free, young and unaccountable, with dark hair and aquiline features. His expression was always pensive, a little troubled, but not of a maniacal sort. He was more bored than anything else. With a heart capable of violence. Until she met him, she was pretty but unappreciated. Her soul had registered no seismic activity. Dustbowl weary, she’d yet to see better days. A languorous body, a sweet face with eyes that could be kind if so inclined. Until she met him, she had not been inclined. It began when he met her. She was struck in an instant by his ennui. The sum of their meeting was greater than the imbroglios and chicaneries of their respective existences. He was struck by the blank slate look in her eyes. They walked, detached and focused on the immediate, obscenely unaware of pending change across a terrain of mountainous desert, their eyes downcast and world-weary, unable to account for the buoyant feeling in her heart. His hard-guy shtick went from potentiality to ruse. The gun was not a weapon but a prop, a way to pass time. Neither saw the dark clouds massing on the horizon. They found themselves alone in the expanses of time, unaware of the calamity that percolated even as they posed like school kids for the pictures. Happiness brimmed in that wild terrain. Maybe things were beginning to look up. That’s when the shooting started… Stefanie Schneider assumes that our experience of lived reality (buying groceries, having a relationship with someone, driving a car) does not correspond to the actual nature of lived reality itself, that what we think of as reality is more like a margarita without the tequila. Stefanie Schneider’s reality is reality with the tequila. She does not abolish concepts that orient us, cause and effect, time, plot, and storyline, she just plays with them. She invites us to play with them, too. She offers us a hybrid reality, more amorphous than that with a conventional subject, verb, and predicate. Open-ended, this hybrid reality does not resolve itself. It frustrates anyone with pedestrian expectations but once we inebriate those expectations away, her work exhilarates us and even the hangover is good. An exploration of how she undermines our expectation of what we assume to be our lived reality, the reasons why she under- mines our expectations, and the end result, as posited in this book, will show how she bursts open our apparatus of perception and acknowledges life’s fluidity, its density, its complexity. Its beauty. She undermines expectations of our experience of reality with odd, other-worldly images and with startling and unexpected compressions and expansions of time and narrative sequence. The landscape seems familiar enough, scenes from the Old West: broad panoramic vistas with rolling hills dotted with trees and chaparral, dusty prairies with trees and shrubs and craggy rocks, close-up shots of trees. But they’re not familiar. These mis-en-scenes radiate an unsettling Picasso Blue Period glow or the intense celestial blue of the cafe skies that Van Gogh painted in the south of France. Yellow starbursts punctuate images as if seen through the viewfinder of a flying saucer. At the same time, objects appear both vintage and futuristic, the landscape of a post-apocalyptic world. Landscapes change seemingly at random as do the seasons. Stefanie Schneider offers no indication of how time flows here, except that it conceivably turns in on itself and then goes its merry way. Time is a river whose source is a deep murky spring which blusters about with an occasional swirling eddy. That Stefanie Schneider thwarts an easy reading is obvious but why does she do this? Since she will not countenance anything linear, logical, or sequential, and because she does not relish anything concrete and specific, she has to roil things up a bit. Nor does she seem comfortable with a book of images that is settled, discrete, and accountable. Instead she wants to create a panoply of anxious moments...

Photographed on Richard's journey in India, a pilgrimage from Kerala in the South, to his Grandfather's birthplace Meerut in the North. Shot in Kerala in 2013 this gorgeous palm tree...

Breakdown (Bombay Beach) - 2019 50x50cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Signed on the back and with certificate. Artist inventory PL...

Plane close call - 2008 40x40cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certificate. Artist Inventory #4657. Not moun...

North Shore Motel Steps, mid-century architecture photography captured by Richard Heeps as part of his Salton Sea series. This artwork is a limited edition of 25 gloss photographic ...

Hans and Penelope (Immaculate Springs) - 1998 Edition of 5, plus 2 Artist Proofs. 58x185cm installed, 58x56cm each. 3 Analog C-Prints, hand-printed by the artist, based on the 3 ...

Jimi Hendrix Palm Trees (Californication) - 2016 106x160cm, Edition 3/10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Certificate and Signature label. Artis...

Series: Provocateur Chromogenic Print on Kodak Endura Luster Paper All available sizes & editions: 22.5" x 30" 30" x 40" 45" x 60" 56" x 72" 63" x 84" Editions of 3 + 2 Art...

Edition of 3 More sizes on request. A woman with a black hat and a black pullover. The lips are painted deep red. Tyler Shields is an American Photographer, screenwriter, director ...

Musei Vaticani XIV, Scala Simonetti 2011 39.5 x 47.5 inches edition of 5 47.5 x 59 inches edition of 5 71 x 88.5 inches edition of 5 Massimo Listri is based in Florence, and ...

'Telephone V' part of Richard Heeps 'Dream in Colour' Series. This cool Palm Springs interior photography combines a softened monochrome palette and a mid-century modern nostalgic v...

A lonely and deserted Place (The Girl behind the White Picket Fence) - 2013, 80x80cm, Edition 2/5. Analog C-Print, hand-printed by the artist on printed on Fuji Archive Paper, ba...

Stars 7, 2015 - Stars and Trees in Ancient English Woodland Forest Landscape by Ellie Davies Stars 7 by Ellie Davies is a stunning Digital C-Type Print on Fuji Maxima Matte paper, a...