Anne Senstad

Cosmosis Collage 427.4A7 – Composition no 2C4 Blue (Abstract Photography)

2018

Color Kinesthesia 5B27 Vert (Abstract Photography) Photographic C Prints, printed on Canson Platinè fiber Rag 310g - Unframed "Edition of 3 + 2Ap Turnaround time 2-3 weeks, print...

Soft Geometry # 13c (Abstract Photography) Photographic C Prints, printed on Canson Platinè fiber Rag 310g - Unframed "Edition of 6 + 2Ap Turnaround...

Soft Geometry # 11B (Abstract Photography) Photographic C Prints, printed on Canson Platinè fiber Rag 310g - Unframed "Edition of 6 + 2Ap Turnaround...

Sonoptic Parallels # 16 (Abstract Photography) Photographic C Prints, printed on Canson Platinè fiber Rag 310g - Unframed "Edition of 6 + 2Ap Turnaround time 2-3 weeks, printed o...

Cosmosis Collages 4A57F Comp no 85 Blue black (Abstract Photography) Photographic C Prints, printed on Canson Platinè fiber Rag 310g - Unframed "Edition of 6 + 2Ap Turnaround ti...

Universals Foldouts 07022012 Pink (Abstract Photography) Photographic C Prints, printed on Canson Platinè fiber Rag 310g - Unframed "Edition of 6 + 2Ap. Turnaround time 2-3 weeks...

Shot in Kowloon in 2016 this stunning abstract piece is so striking in a room. The whole 2016 Hong Kong collection has this reoccurring linear pattern. As a photographer Richard is a...

This is an exclusive handprinted unique cyanotype that takes its inspiration from mid-century modern shapes. It's made by layering paper cutouts and different exposures using uv-ligh...

Artist Unknown. From Muse X Editions. An (now defunct) LA based innovative publisher of limited-edition prints, Muse X has launched its first group of prints and is just beginning to make itself known to artists, curators, dealers and collectors. Among works just off the press are otherworldly landscapes by Barbara Kasten and Oliver Wasow, a sizzling sunset by Peter Alexander, abstract compositions by Pauline Stella Sanchez and Jennifer Steinkamp...

This is an exclusive handprinted unique cyanotype that takes its inspiration from the mid-century modern shapes. It's made by layering paper cutouts and different exposures using uv-...

Henry and the Jelly Fish (Stay) with Ryan Gosling - 2006 128x125cm, Edition of 5 plus 2 Artist Proofs. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the original Polaroid. Signature label and certificate. Artist Inventory Number 5501. Not mounted. ------------------------------------------------ A piece of art from the movie 'Stay' by Stefanie Schneider Stefanie created the art for both main actors Naomi Watts and Ryan Gosling in the movie 'Stay' directed by Marc Forster. She also created the art for several dream sequences and the end credit sequence for the movie. “I never remember the details of a Stefanie Schneider image, just the whole. She treads a third path between reality and dream that connects the two and truly sparks my artistic, visual freedom.” (Marc Forster) Torsten Scheid, “Fotografie, Kunst, Kino. Revisited.”, FilmDienst 3/2006, page 11-13

 Photography Art Cinema. Revisited Stay expands a traditional connection through new facets Interwoven between the media of photography and film is a veritable mesh-work of technical, motific, metaphorical and personal interrelationships. Extending from photo-film which, as in La Jetée by Chris Marker (France, 1962) is a montage of single, unmoving photographs all the way to the portrayal of photographic motifs in Hollywood cinema―most recently in Memento (USA, 2000) and One hour photo (USA, 2002)―is the range of filmic-photographic interactions on the one hand, and from the adaption of modes of cinematic production to the imitation of film stills on the other. For instance, with the legendary Untitled Film Stills (1978) of the American artist Cindy Sherman, who later made her debut as a film director with Office Killer (USA, 1997) and thereby, like many others, changed sides: Wim Wenders, Robert Frank and Larry Clark are doubtlessly the most successful of these photographic-filmic border crossers. This brief survey provides only a vague indication of the dimensions of this intermedial field, which in fact extends much further and is constantly being cultivated. Also as a motif in film, photography has experienced a historical transformation: Photographers were once considered to be technicians who mastered a craft but never achieved the status of artists. Photographer-figures were caught in the allure of beautiful appearance, incapable of penetrating to the actual essence of things. Such depth was reserved for literature or painting. When photography in film touched upon the sphere of art, then most often as its contrasting model, as the metaphor for a superficial access to the world. Coming to mind are Fred Astaire as a singing fashion photographer in Stanley Donen’s musical film Funny Face (USA, 1957), or the restless lifestyle-photographer in Michelangelo Antonioni’s genre-classic Blow up (GB, 1966). For the doubting Thomas, only that exists which can be photographed. He ultimately enters the world of fantasy and thereby the field of art only unwillingly, when he becomes entangled in the world of his images. The last of his detail-enlargements shows only the photographic grain and has lost all connection to reality. The photograph looks as if it had been painted by Bill, the painter who is both friend and antagonist to the protagonist.

 Photography as Art It was first around the end of the last century that numerous filmmakers discovered photography as a genuine art form. In The Bridges of Madison County (USA, 1995) a sensitive Clint Eastwood stands, camera in hand, on the threshold of artistic status, and in Smoke (USA, 1994) a tobacco merchant ripens into a philosopher through his involvement in photography. Finally, in John Water’s parody of the art market, Pecker (USA, 1998), a provincial tom-fool is hyped into celebrated stardom amid the New York art scene because of his blurred snapshots. This film about a postmodern Kaspar Hauser in photographic art (with clear parallels to Richard Billingham...

Type-c print on Ilford Ilfoflex Archival Super Gloss, 2004. Signed, dated, titled, and numbered 2/2 on verso. In the series ‘Weights & Measures’ (2003) Andrew George turns his lens ...