Art by Medium: Photographic Paper

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...

Fashion Show, 1963, Harlem, USA by Leonard Freed, is an 11” x 14” gelatin silver print, which appears in the photographer's seminal Black in White America book. The photograph is sta...

Victor Arimondi (1942-2001). Portrait, ca. 1975. Period print measures 9 x 12 inches. Artist studio stamp on verso. Victor Arimondi (November 8, 1942 – July 24, 2001) was an Italian American photographer and model who lived and worked in Europe before moving to the United States in the late 1970s. His early fashion photography, his portraits of Grace Jones and other artists, and his male nudes photographed in New York and San Francisco captured the pre-AIDS culture of the 1970s and early 1980s. Arimondi's nudes were collected in several books, including David Leddick's award-winning[1] The Male Nude, (New York: Taschen 1998, 2005 and 2015). The photographer's later work documented homeless individuals in San Francisco's Tenderloin neighborhood and the toll of the AIDS epidemic on the city. His photographs, featured in several posthumous exhibitions, also are in the collections of Sweden's museum of modern art, Moderna Museet, and San Francisco's GLBT Historical Society. Biography Arimondi was born Vittorio Maria Tevitti to his unwed mother, Alessandra Calligaris, in Bologna, Italy on November 8, 1942. His mother struggled financially, which left an impression on her only child. In 1948, she temporarily left him at a children's boarding school and orphanage in Italy to move to Sweden for a job. There she met and married Bruno Arimondi, who adopted her son. The family returned to Naples, Italy in 1952 where Victor graduated from high school.[1] In 1960, Arimondi returned to Sweden to study at the University College of Arts, Crafts and Design in Stockholm, although he did not graduate. Meanwhile, he worked at several blue collar jobs, including as a mailman, before he gave up on traditional full-time work to pursue what he considered more essential— a life of creative expression. He created costume-like clothing for himself and friends and at age 19 became a fashion model. Even as a teenager, the Italian born photographer who spent his 20s and 30s primarily based in Sweden, noted that he preferred fantasy to the trials of real life.[1] That conflict, and his passion for beauty as well as his sexual energy, were major factors in his life and his work.[2] From 1965 through 1972 Arimondi worked as model in London, Milan, Germany, New York and Stockholm, appearing in catalogs and fashion magazines including Vogue , Harper's Bazaar and Esquire and on the runway in several Valentino fashion shows. In 1972 he decided to try working on the other side of the lens as a photographer to better express his creativity.[2] Arimondi moved to New York in 1979 and continued to build his photography portfolio. Portrait of Bearded Man, New York City, 1979 Two years later, in 1981, he moved to San Francisco where he lived and worked for twenty years until his death of AIDS at age 58 on July 24, 2001. The year he moved to San Francisco, Arimondi opened a photo gallery in the Haight-Ashbury neighborhood for a short time. When he struggled financially, he gave up on trying to earn a living through commercial fashion photography and closed the gallery.[3] Arimondi returned to modeling for the financial benefits, though he did so on less of an international scale than in his early years. He continued to create photographic portraits of the denizens of the San Francisco gay and arts cultures, to shoot male nudes and publish his work in magazines, and he began to compose and photograph evocative still lifes using his own photographic images. Many of them touched on the death of dozens of his former photography models from AIDS. Arimondi was in the midst of a new photography project that brought together his background as a fashion photographer and his more recent social documentary work when he died several months after he learned he was HIV-positive.[4] The project featured his former colleague, haute couture cover model Ivy Nicholson,[5] who he found living homeless in San Francisco. Several of the haunting portraits he took of her were later included in a noted group exhibit at SF Camerawork. Art Arimondi's early photography in the 1970s in Stockholm included portraits of the stars of Sweden's fashion, theater and dance worlds. His first two photography exhibits were in Stockholm and met with mixed reviews. But as he matured as a photographer and tapped into his fashion world contacts, Arimondi landed a number of commercial fashion jobs, including shooting for the Italian designer Salvatore Ferragamo S.p.A.'s I.Magnin department store ad that ran in Vogue. Marlboro Man Nude, New York City,1980. He also shot other artists and models for his own portfolio, including Grace Jones, the Norwegian actress, Liv Ullmann, and the American writer, Norman Mailer. Arimondi's aesthetic vision was focused on fantasy and drama, and he prided himself on pushing limits.[6] Although less well-known than his San Francisco contemporary...

ABOUT THIS ARTIST: Merve Türkan and Ulaş Kesebir, are a self taught photography duo based in London. They have been working professionally since 2014 and in the end of the 2020 they ...

Dreams and fantasies from the past and present are portrayed by Léa Bon’s subjects, which she uses as her own personal dolls. Léa Bon work is a profound exploration of dreams and fa...

Wanderlust Goes South, vintage book spines photograph from Richard Heeps' Norfolk series. Browsing second hand book shops on holidays by the seaside is always a joy, you never know w...

The Bog 003 is a limited-edition photograph by contemporary artist Bernhard Lang. It is a Fine Art Print on Hahnemüle Paper. This photograph is sold unframed as a print only. It is...

'Bay of Poets' Lerici, Italy 2023 Limited edition of 20 Photograph shot using mid-century large format film camera Linhof. Printed on archival Hahnemühle Photo Rag Baryta paper....

'Spring Couplet' ('Mono No Aware' Series) 40 x 60" edition Limited edition archival photograph, hand signed and numbered. Unframed _________________ The dance of the cherry blossoms ...

Foyer VIII, 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 becom...

"Elegance" Black & White Photograph 24" x 24" in Ltd. Ed of 15 by Olha Stepanian Printed on Epson Professional Paper Signed and numbered by the artist Comes with COA issued by t...

Large scale photograph of PRADA MARFA, a permanently installed pop architectural land art project sculpture by artists Elmgreen and Dragset, inaug...

Large scale photograph of elegant interior view of the French revolutionary ballroom in the Villa Napoleone in Elba, Tuscany. Napoleon Bonaparte II (2025) by Frank Schott 27 x 40 i...

Mesmerizing large scale photograph from the artist's Seascape series, a body of works capturing the tactile surfaces and monochromatic nature of oceanic water and cloudscapes Seasca...

Delve into the provocative world of Larry Clark with this exclusive collection of three striking photographs, featuring outtakes scenes from Supreme photoshoots. Each photograph, mea...

'Bay of Poets' Lerici, Italy 2023 Limited edition of 10. Photograph shot using mid-century large format film camera Linhof. Printed on archival Hahnemühle Photo Rag Baryta paper...

Sea Drive, 1967 by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. Please note that as part of the Estate's Premium Collection, th...

ABOUT THIS PIECE: Color is the foundation of my work. My circles start as a mood or idea that eventually evolves into a colored circle. I am curious how different colours interact wh...

Liminal lingers in the in-between, where a form is neither fully opening nor fully fading, but suspended at the threshold. A single bloom becomes a small theatre of transformation: r...

Motel Desert Shores, photograph from Richard Heeps Salton Sea series. This picture has the a vibe of a Southern California American road trip, the colours are so seductive, the palm ...

Jersey Views (Stay) - 2006 Edition of 10, 10 pieces 98x96cm each, installed 210x555cm. 10 archival C-Prints, based on the 10 Polaroids. Certificate and Signature label. Artist I...

Ballet dancers in red with sky blue stripe in 'Toss Up' from multidisciplinary visual artist Kim Frohsin, who created the series, 'Dancers and Athletes', from a variety of media—acry...

ABOUT THIS PIECE: "My photographs are a personal collection of moments that reveal my most genuine and beautiful depictions in the world around us. Preserving precious moments in tim...

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...

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...

Listing includes framing with UV plexi and a 14 day return policy. This is available for pick up framed at Los Angeles gallery at no additional charge. For transport the US and internationally, please inquire for more details. Kate Moss by Glen Luchford...

Fun pop art typography, a total 'Sign Porn' fix, captured on an American road trip in Nevada. This artwork features in Richard Heeps' sold out book 'Man...

Bookscape including biographies on soccer legends such as Messi, Mbappe, Pele, Beckham and more. Just in time for the World Cup.

Untitled (9/11) - 2001 Edition of 5, 38x37cm. Archival C-Print, on Archive Fuji Chrystal Paper, based on the Polaroid. Artist inventory number: 1539. Signature label and certifi...

The City of Women from the serie Lollipop. Edition: 10 ex "Victoria Lykholot, an artist and lecturer from Ukraine. After graduating from the Faculty of Philosophy in 2007. For seve...

Gaia 19 by Jaume Llorens Bach Gaia 19 is a 18cm x 24cm Black-and-White print on Premio Kozo 180gsm White Paper by Awagami Factory This size in a Limited Edition of 10 + 2 Artist's ...

Heidler & Heeps Vinyl Collection Fifteen Piece Rainbow Installation. Acclaimed contemporary photographers, Richard Heeps and Natasha Heidler have collaborated to make this beautifull...

California Dusk by Frank Schott from a series of photographs capturing the Golden State's vast desert landscapes 27 x 40 inches / 68cm x 102cm edition of 25 signed 48 x 72 inches...

ABOUT THIS PIECE: French photographer Ludwig Favre continues his series on empty architectural spaces at La Sorbonne. Our curators recommend the work large format and framed in simpl...

From a series of whimsical conceptual motivational messages on classic Americana billboard signs in iconic landscapes of the American West BACK IN 10 by Frank Schott 58 x 77.33 inc...

Photograph of a Glass Composition by Balzaretti is a black and white vintage photo realized by an anonymous artist in the mid-20th Century. Good conditions except for some minor fox...

ABOUT THIS PIECE: Blurring the lines between reality and abstraction Luca searches for rich textures, patiently waiting for the subtle moment when the soft lighting or harsh contrast...

Henry watching Athena Dance (128x126cm) & Sam, Interior Hospital (37x36cm) (Stay), diptych, 2006, Artist Proof 1/2, analog C-Print, hand-printed by the artist, based on the Polaroid...

Barbados Bliss by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped C-Print. Edition of 150. Printed Later. Barbados Bliss is a Limited Edition Estate Stamped Digital C-Ty...

Hatay is a visual artist, a healer and a former Rock and Roll photojournalist. Born in Scotland of a Hungarian physicist/inventor and an English art dealer, she grew up in an intern...

Vintage b/w photograph realized by Henri Cartier-Bresson in 1958. Copyright: Magnum Photos and Agenzia Contrasto. Excellent condition.

Vintage b/w photograph realized by Eve Arnold in 1960. Copyright: Magnum Photos and Agenzia Contrasto. Excellent condition.

ABOUT THIS PIECE: Let's not pretend that we don't enjoy 80's music. ABOUT THIS ARTIST: Floyd P. Stanley is an LA based photographer creating product shot photographs of mixed tapes....

'White Bloom' London, United Kingdom 2024. It is a still life black and white film photograph, made with a large format 4x5 Linhof camera. The photograph is signed front and back ...

THIS PIECE IS AVAILABLE FRAMED. Please reach out to the gallery for more information. ABOUT THIS ARTIST: Floyd P. Stanley is an LA based photographer creating product shot photogra...

Heidler & Heeps Dice Series Sixteen Piece Multicolor 'Twos' Square Installation. The number Two Dice, a symbol of balance and harmony, is repeated creating ...

VI 04-22 is a limited-edition photograph by French contemporary artist Riccardo Varini. This photograph is sold unframed as a print only. It is available in only one size: *30 × 45...

THIS PIECE IS AVAILABLE FRAMED. Please reach out to the gallery for additional information. ABOUT THIS PIECE: French photographer Ludwig Favre recently road tripped to California. ...

Pete Kasprzak’s passion for city life is expressed in his dynamic urban artworks. Kasprzak’s artworks express energy and life with animated brush strokes. He adds dynamic movement an...

THIS PIECE IS AVAILABLE FRAMED. Please reach out to the gallery for additional information. ABOUT THIS PIECE: French photographer Ludwig Favre recently road tripped to California. ...

Skate, New York, 2013 by Franck Bohbot is a 30" x 40" C-Type Matte print from a Limited Edition of 5. As part of Franck Bohbot's nightlife series on New York's iconic Coney Island,...

Richard Heeps series A Short History of Milan began as a special project for the 2018 Affordable Art Fair Milan. It was well received and the artwork has become popular with art buye...

An original signed archival pigment print on Hahnemühle Photo Rag® Baryta 315 gsm paper by Scottish artist Ian Sanderson (1951- 2020) titled ‘Ben 2 ‘ who was captured on film in 1989...

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...

Streets of Kowloon Gold, part of Richard Heeps series photographing on the streets of Hong Kong in Kowloon in 2016 this stunning abstract piece is so striking in a room. The whole 20...

Basketball, Clapham I is a stunning C-Type Print by contemporary photographer Samuel Hicks. It is in an Edition of 25 in this size, and sold unframed. A singular basketball player ...

A Cowboy silhouette, captured in Kanab, the home of many Western Movies. This artwork is typical of one of Richard's signatures, a surreal twist using composition to play with realit...

Foyer VIII, 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 becom...

Vintage b/w photograph realized by Dennis Stock in 1950. Copyright: Magnum Photos and Agenzia Contrasto. Excellent condition.

Signed large scale photograph of the Mediterranean marble quarries in Carrara, Italy, iconic material source of classic Italian art and architecture, captured with a large format camera to allow epic scale print sizes with incredible image details Marmo di Carrara...