Photography

Untitled XII, Ain’t Got No Troubles series, is a limited-edition photograph by contemporary artist Matthieu Venot. This photograph is sold unframed as a print only. It is available ...

Uwe Ommer wanted to try a series that revealed less of the body using different wet veils in bright colors to create this sensual effect.This series of photographs were taken for a E...

Girl Nude (29 Palms, CA) - 1999 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid, Signature label and Certificate. Artist inventory Number ...

Galatea 6 is a vibrant C-Type Print on Fujiflex Paper in a Limited Edition of 9 + 2 Artist Proof with Dimensions of 100cm x 100cm. Galatea looks off-camera in this photograph, her v...

Male Nude (29 Palms,CA) - 2008 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #293 Not mounted. Stefanie S...

Unique piece in this size More sizes and an Essay from Lyle Rexer about this series on request. Joachim Schmeisser’s work rescues photography from the centuries-old straightjacket ...

'Waiting II' (Sidewinder) - 2004 80x80cm, Edition of 5, analog C-Print, hand-printed by the artist, based on the Polaroid, Certificate and Signature label. artist Inventory # 303...

Galatea 7 is a vibrant C-Type Print on Fujiflex Paper in an Edition of 9 + 2 Artist Proof. The print is sized at 100cm x 150cm and is sold unframed. Galatea stretches out on a bed o...

Stevie in Bathtub (29 Palms, CA) - 1999 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Signature label and Certificate. Artist in...

Museum quality fine art print of Cai by photographer Markus Klinko in 2000 in New York. This print is available in the following sizes, signed and numbered by Markus Klinko 24" high...

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

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...

Type II Tutti Frutti, from the Heidler & Heeps Tape Collection - The B Sides. The Heidler & Heeps collaborations are creative representations of Natasha Heidler and Richard Heeps’, p...

Unique piece More sizes and an Essay from Lyle Rexer about this series on request. Joachim Schmeisser’s work rescues photography from the centuries-old straightjacket of realism to...

Galatea 5 is a stunning C-Print on Fujiflex paper with dimensions of 40" x 60". This is print 9 from the Limited Edition of 9 + 2 Artist Proofs. Captured in a seductive pose, Gala...

Original large format still life photograph from Linda Rosewall's botany study series "Flora Italiana", an intensely beautiful body of works exploring t...

ABOUT THIS PIECE: My first job out of school was on a trading floor playing a never ending game of probabilities. Days and nights filled with nodes, signals, decision trees, path-dependent outcomes and calculated probabilities in every flavor I could never have imagined. I spent eight years of my life in a two-block radius around 52nd and Park working on the kind of hopeless problems nobody in history had ever successfully solved; instead of helping me understand the world better like I thought I would in my naivete, my time there instead taught me the romance of the idea that some things are more beautiful if left never understood. That there was a peace in understanding there would be no answer. This series of surfer “movement studies” is a playful reminiscence of this part of my past, an ode to a formative period of my life overlaid on my San Diegan coastal upbringing. There are few things I have experienced in my life that are as pure and total in its disconnection with the world as sitting on a bar of foam on the great rippled plane of our oceans. It is my career’s antithesis. This humorous, almost interactive scribbling of pseudo-mathematical lines and nodes laying out all the nameless surfer’s possibilities represents this tension that continues to define me. ABOUT THIS ARTIST: Albert Hong...

Original large format still life photograph from Linda Rosewall's botany study series "Flora Italiana", an intensively beautiful body of works exploring the botanical splendor of the natural world and vibrant color palette of Italian origin flowers with highly detailed captures. Flora Italiana ( Papavero Arancio Piene ) bright orange poppy flower petals 40 x 30 inches (102 x 76cm) signed edition of 25 64 x 48 inches (162 x 122cm) signed edition of 7 archival fine art pigment print signed & numbered by artist on label custom/larger sizes are available on request ___________________ About the artist Linda Rosewall’s artistic path was cemented during her childhood. She was inspired by her farther, an accomplished musician and composer who raised his six children as a performing family act. The experience of traveling the United States and Canada in a small airplane piloted by her father provided the opportunity for Linda to capture these moments on her small Kodak Instamatic Camera. At the age of 18, she enrolled at Columbia College of Fine Arts Chicago. During her studies, Linda apprenticed under photographer Norman Bilisko and later worked with Dennis Manarchy...

In this contemporary, hyper-detailed archival pigment print on watercolor paper, a yellow moth with light brown and reddish coral markings is dramatic against a clean, solid white ba...

'Telephone II' from Richard Heeps 'Dream in Colour' Series, this cool interiors picture combines bold colours of yellow, black and white, and has a dreamy nostalgic aesthetic. This...

'Harvest Dance' Limited edition archival photograph. Unframed, hand signed and numbered _________________ Late August, captured in the glow of the evening sun, my daughters join han...

'Radha Pink' (29 Palms, CA) - 1999 38x36cm, Edition of 30, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #6...

Tricksy (Beachshoot) - 2005 featuring Radha Mitchell 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Arti...

Chrome Tutti Frutti, from the Heidler & Heeps Tape Collection - The B Sides. The Heidler & Heeps collaborations are creative representations of Natasha Heidler and Richard Heeps’, pe...

ICES, by Richard Heeps, photographed at the British Seaside at the end of summer 2020. This artwork is about evoking memories of the simple joy of days by the beach. The mustard yell...

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...

Digital C-print Signed, dated, and numbered, verso 15 x 15 inches, image (Edition of 25) 22 x 22 inches, image (Edition of 15) 31 x 31 inches, image (Edition of 15) This artwork is offered by ClampArt, located in New York City. A stylistic precursor of such artists as Pierre et Gilles and David LaChapelle, James Bidgood revolutionized gay male...

Available Sizes: 24" x 24" $6,000.00 Edition of 15 30" x 30" $7,000.00 Edition of 20 45" x 45" $11,000.00 Edition of 7 Printing is done on Exhibition Photo Baryta 310gsm paper. ...

Digital C-print Stamped and numbered, verso 24 x 20 inches (Edition of 10) 40 x 30 inches (Edition of 5) 60 x 50 inches (Edition of 3) This photograph is offered by ClampArt, located in New York City. Please note that prices increase as editions sell. Luke Smalley was an American artist known for his photographic work, which pairs a coolly minimalist aesthetic with a retro nostalgia. Images from his early in his career were inspired by fitness manuals and yearbooks c. 1910. This is not surprising since Smalley graduated with a degree in sports medicine from Pepperdine University and worked for a number of years as a model and personal trainer. Smalley shot the bulk of his photographs in his home state of Pennsylvania, using real high school athletes as models. “Exercise at Home” is Luke Smalley’s second major body of work. Shot in and around the tiny Pennsylvania town the artist called home, Smalley revisits themes of adolescent growing pains acted out under the guise of earnest athleticism. Teenagers engage in simple yet strange competitions meant to establish their standings amongst one another. Two youths practice boating safety...

Unique piece in this size More sizes and an Essay from Lyle Rexer about this series on request. Joachim Schmeisser’s work rescues photography from the centuries-old straightjacket ...

Gary Goldberg Finding the Universe in Oaxaca, Orange and Yellow with Gray Arch, 2018 Archival pigmented print 19 x 13 inches Edition of 10 Gary Goldberg has been photographing the u...

Radha Mind Screen (29 Palms, CA) - 2016 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory ...

Pink Bardot Triptych - Hand Signed Limited Edition Archival Pigment Print A beautifully crafted pop art composite of the French sex symbol and French Cinema icon that is Brigitte ...

Unique piece in this size More sizes and an Essay from Lyle Rexer about this series on request. Joachim Schmeisser’s work rescues photography from the centuries-old straightjacket ...

Unique piece More sizes and an Essay from Lyle Rexer about this series on request. Joachim Schmeisser’s work rescues photography from the centuries-old straightjacket of realism to...

Gary Goldberg Finding the Universe in Oaxaca, Orange with Blue Bands, 2018 Archival pigmented print 19 x 13 inches Edition of 10 Gary Goldberg has been photographing the unique qual...

Vivienne VII (Desert Nudes) - 2016 - 20x20cm, Edition of 10, plus 2 Artist Proofs. digital C-Print, based on a Polaroid. Certificate and Signature l...

Bowling Alley is a dynamic C-Type Matte Print by Contemporary photographer Chris Frazer Smith. It is available in this size in an Edition of 25, and is s...

Fishermen's Mission, Fleetwood, British vintage interior with a nautical theme, photograph from Richard Heeps' series, Ordinary Places. Ordinary Places was Richard's first colour co...

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...

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...

Untitled (Stage of Consciousness) - 2008 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #6328 Not mounted. ...

The global hunger for raw materials such as oil and coal, metals, gravel, sand and other resources is growing unabated. We dig holes in the ground to tap into the Earth's natural res...

Brooklyn Bridge - Henry's Memory Sequence (Stay) - 2006 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory # 249...

Santa Maria delle Grazie, religious icon church architecture interior photograph from Richard Heeps series A Short History of Milan. A Short History of Milan' began in November 20...

Unique piece More sizes and an Essay from Lyle Rexer about this series on request. Joachim Schmeisser’s work rescues photography from the centuries-old straightjacket of realism to...

“Tramp Stamp 2” Nude Photography 24" x 30" inch Edition 1/12 by Brian Ziff Giclee (Archival Ink) Print on Canson Platine Fibre Rag Signed and numbered by the artist Comes with COA s...

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 ...

Radha doing her Nails by the Pool (29 Palms, CA) - 1999 126x125cm, Edition of 5, analog C-Print, hand-printed by the artist, based on a Polaroid, Certificate and Signature label,...

This photograph captures the timeless beauty of an aged 18th-century Italian fresco painting. The artwork features potted orange trees, their vibrant green foliage and citrus fruits ...

'Orange Poppies No.2' Analogue colour floral photography. London, United Kingdom 2024. Limited edition of 20. Printed on the finest archival Hahnemühle Photo Rag paper, these lim...

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...

'Delitto A Hollywood', from Richard Heeps series, 'A Short History of Milan', featuring a traditional Italian street book kiosk. A Short History of Milan began in November 2018 for...

The artist's computer-generated paintings merge craftsmanship and technology, creating an eclectic and unique style. Through her art, she aims to illuminate the world. Tcherassi's w...

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...

Santa Maria delle Grazie, religious icon church architecture interior photograph from Richard Heeps series A Short History of Milan. A Short History of Milan' began in November 20...

The subject is the conflation of woman and home. In the previous “Anonymous Women: Draped” photographic series, a lone woman is hidden in a vignette within the drapery, where she per...

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 ...

"Sexy Miami Futuristic Cocktail Lounge" is a series of photographs by Ryan Rivadeneyra inspired by the Art Deco colors of Miami that show beautiful objects and textures arranged meti...

'Out of Service', cool, stylish and gorgeous colours in this stunning cinematic interiors shot taken in the Doo-Wop Town Wildwood, New Jersey. This artwork is a limited edition of 2...