Horizontal Abstract Photography

"Abandoned Tennis Court, Snellville, GA" is a drone photograph featuring colors of blue and green. This listing is for an unframed photograph. This photograph is available in additi...

Large scale photograph of mesmerizing monochromatic emerald surface abstraction, from a series of photographic observances capturing urban textures and color palettes Wallscape VII (Green Door) by Frank Schott 48 x 60 inches / 122cm x 152cm signed edition of 7 32 x 40 inches / 81cm x 102cm signed edition of 25 archival quality fine art pigment print limited art edition published by Edition EKTAlux artist signed + numbered certificate of authenticity ________________________ About the artist: Frank Schott grew up in Germany and attended the prestigious Academy of Arts in Cologne, studying under Professor Arno Jansen, who was an early influence. Moving to California in 1998, Schott's work has evolved to include the epic landscapes and deserts of the American West as well as architectural, conceptual and more formal environments from both home and his travels. Influenced by a number of photographic piers and precursors such as Candida Höfer, Andreas Gursky. Thomas Struth. Jeff Wall, Hiroshi Sugimoto, Steven Shore...

In a delicate smear of faded blues intermingled with the curves and lines of the pale colors of the skin, Alex Sher’s “Brushstroke” uncovers his phenomenal ability to capture the tr...

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 ...

From Eduardo Rezende’s new series Rilievo, this photograph treats the skin of architecture as a sculptural field. Curved partitions fold into one another, casting measured shadows th...

ABOUT THIS PIECE: Danish photographer Kim Høltermand photographed the Herning Art Museum in Jutland, Denmark. He is known for his moody, quiet photos that show public spaces before t...

"Autumn Magnolia No. 1" Abstract still life photograph of deep plum Magnolia petals and green leaves against a white sky background Photograph printed on Japanese Kozo paper infused ...

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 d...

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 ...

Guggenheim Museum - American Architecture Museum Black and White Photograph The recognisable Guggenheim Museum was designed by American architect Frank Lloyd Wright, and is now a UN...

Signed and editioned on front of print. Edition of 10. Made by Robert Weingarten in the artist, Jackson Pollock's studio.

'Cicatrices (5)' Limited edition archival photograph. Unframed, hand signed and numbered _________________ Scars of birthing in the unfolding leaf pattern of the giant graceful Agav...

an homage to Caspar David Friedrich, towering thunder clouds over the Mediterranean Sea, captured with a large format camera to allow epic scale photograph...

This is an exclusive handprinted limited edition cyanotype. This beautiful diptych is titled "Low Tide in Northern Waters", and depicts abstract flowing ocean ripples at low tide. ...

'10000 blue days' Mesr Desert, Iran 2016. Limited edition of 20.

from a series of works capturing conceptual signs in iconic landscapes captured with a large format camera to allow epic scale print sizes with incredible image details CLOUD STUD...

A passionate furious energy radiates in the ripples of red that overtake the reflection. Intense motion, stirring the water into an explosion of bubbles we encounter “The Trouble”. T...

Between the Trees 12, 2014 - Misty and Fog Natural Landscape in Ancient Woodland by Ellie Davies Between the Trees 12 is a stunning Digital C-Type Print on Fuji Maxima Matte paper, ...

Original black-and-white lobby card for the TV show "I Love Lucy" (1951) featuring Lucille Ball and Desi Arnaz. This vintage cinema memorabilia piece captures a charming domestic sce...

Though it resembles a giant abstract watercolor painting owing to its soft gradations and luminous quality, this is a form of photography called a cyano...

Deep Mirroring Forest 011 is a limited-edition photograph by German contemporary artist Bernhard Lang. This photograph is sold unframed as a print only. It is available in 5 dimens...

The galaxy like silver particles scattered on the giant black circle which floating in the square frame. That is a complexity of artist’s concept formation and culture practicing. In...

Baltic Ice, Kloogaranna 021 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 dime...

Is a project that debates through the photographic image, the importance that humans have assigned to ourselves, and proposes a reconciliation with the reality of our own insignifica...

Hong Kong Apartments II 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 sold unframed. Thi...

2020 Signed and numbered on label, verso Archival pigment print 40 x 52 inches, image (Edition of 3 + 2 APs) $5500 26 x 34 inches, image (Edition of 6 + 2 APs) $4500 14 x 18 inc...

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...

Streets of Kowloon Navy, 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...

Aerial Views, Tulip Fields 08 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 di...

Aerial Views, Tulip Fields 16 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 di...

Underwater nude photograph of a young woman processed in an abstract black and white symmetrical composition. Original gallery quality archival pigment print on archival paper sig...

A beautiful and sophisticated underwater photograph of a young naked woman swimming in the pool. This is a monochrome photograph close to black and white with reach aquatic tint. T...

ATARI Imperatore by Frank Schott from a series of photographic observances capturing urban textures and color palettes 30 x 46.25 inches / 76cm x 118cm edition of 25 signed 48 x ...

“Private Pool” is a part of Alex Sher’s popular series REFLECTIONS - underwater photographs that could be almost mistaken for abstract paintings as they bring up recollections of mas...

Wallscape II by Frank Schott from a series of photographic observances capturing urban textures and color palettes 48 x 60 inches / 122cm x 152cm edition of 7 signed 32 x 40 inches...

Shine Huang uses everyday objects to create mysterious and impressive images. Huang focuses on adapting historical photographic processes into contemporary art. Many of his images ar...

large scale photograph morphing into a mesmerizing abstract tapestry, a highly detailed aerial photograph, on closer observation morphing into an abstract pictorial tapestry of deser...

Stars 5, 2014 - Stars and Trees in Ancient English Woodland and Forest Landscape by Ellie Davies Stars 5 by Ellie Davies is a stunning Digital C-Type Print on Fuji Maxima Matte pape...

This is a new series available exclusively through gallery. This series is largely influenced by the abstract expressionist field paintings of the 40’s and 50’s with a nod to Gerhar...

Stars 15, 2015 - Stars and Trees in Ancient English Woodland Forest Landscape by Ellie Davies Stars 15 by Ellie Davies is a stunning Digital C-Type Print on Fuji Maxima Matte paper,...

“Anesthesia” is a part of Alex Sher’s popular series REFLECTIONS - underwater photographs that could be almost mistaken for abstract paintings as ...

Stars 10, 2015 - Stars and Trees in Ancient English Woodland Forest Landscape by Ellie Davies Stars 10 by Ellie Davies is a stunning Digital C-Type Print on Fuji Maxima Matte paper,...

Edition: 1/3 Work can be hung with either the WallCleat system (support bar supplied) or the screw-eye system if it needs support from wire or above. Available in 4-5 weeks turnaro...

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...

Marie Craig's 'Roiling’ is an original deep blue photograph of ocean waves partially obscured with fern leaves. This piece was created using...

"TV 1" is an atmospheric C-Type print by Samuel Hicks. It is available in this size of 16" x 20" in a Limited Edition of 25. The pale blue glow of the analogue television stands o...

Franco Fontana (Italian, born 1933) Title: Los Angeles, California 1979 Edition 6/15 Medium: dye-transfer Dimensions: Frame 21.5 x 29.25. Sight 13 x 19.5 Provenance: Monique Goldstrom Gallery Franco Fontana (Italian, 1933) is an Italian photographer. He is best known for his Minimalist abstract colour landscapes. He was influenced by Minimalism and Abstract Expressionism. Franco Fontana was born in 1933 in Modena. He started taking photographs in the 1950s when he was working as a decorator in a furniture showroom. In 1961 he joined a local amateur club in Modena. The experience would be a turning point in his career, and Fontana went on to have his first solo exhibition in 1965 at the Società Fotografica Subalpina, Turin and at the Galleria della Sala di Cultura in Modena in 1968. Since then he has participated in more than 400 group and solo exhibitions including the exhibit Lines, Spheres and Glyphs at Robert Klein Gallery with works by photographers: Franco Fontana, Mario Giacomelli, Ernst Haas, Gyorgy Kepes and Aaron Siskind. Franco Fontana is considered one of the most relevant photographers of our time, In 1963 he exhibited his work at the Biennale of Color in Vienna, and in 1968 he held his first solo exhibition in Modena. Fontana often pares landscapes down to their essential elements, producing flat, geometric compositions reminiscent of the color field abstract expressionist paintings of Mark Rothko Ad Reinhardt and Barnett Newman, by underexposing his transparencies. Contrasting blue skies with green or yellow grass and the rigid lines of buildings with the softness of puffy clouds, he makes color and texture his primary subjects. He has also shot in Polaroid film, Cibachrome, C Print and chromogenic prints. His art has been acquired by some of the most important museums worldwide, including the Maison Européenne de la Photographie in Paris, MoMA in New York, Museum Ludwig in Cologne, Museum of Modern Art in Norman, Oklahoma, National Gallery in Beijing, Australian National Gallery in Melbourne, University of Texas in Austin, Stedelijk Museum in Amsterdam, Tokyo Metropolitan Museum, Israel Museum in Jerusalem, and Musée d’Art Moderne de la Ville in Paris. Fontana has photographed for advertising campaigns for brands such as Fiat, Volkswagen, Ferrovie dello Stato Italiane, Snam, Sony, Volvo, Versace, Canon, Kodak, Robe di Kappa, Swissair, and has been a magazine photographer for publications including Time, Life, Vogue (USA and France), Venerdì di Repubblica, Panorama, and with the Frankfurter Allgemeine Zeitung and The New York Times. Fontana's first book, Skyline, was published in 1978 in France by Contrejour and in Italy by Punto e Virgola with a text by Helmut Gernsheim. Fontana is the art director of the Toscana Foto Festival. He has received numerous awards, such as the 1989 Tokyo Photographer Society of Japan - The 150 Years of Photography - Photographer Award. Fontana is especially interested in the interplay of colours. His early innovations in colour photography in the 1960s were stylistically disruptive. According to art critic Giuliana Scimé, Fontana "destroyed all the structures, practices, and technical choices within the Italian tradition." Fontana uses 35mm cameras, and as noted by Iwan Zahar, deploys distant viewpoints with telephoto lenses to flatten contours in a landscape of crops and fields into bands of intense, saturated colour. This is an effect that Franco Lefèvre has described as 'dialectical landscapism'. Of his use of colour in his 2019 retrospective exhibition Sintesi ('Synthesis') at Fondazione Modena Arti Visive, curator Diana Baldon has observed; “His bold geometric compositions are characterised by shimmering colours, level perspectives and a geometric-formalist and minimal language, By adopting this approach during the 1960s, Fontana injected a new vitality into the field of creative colour photography for then multicolour was not in fashion in art photography., The way Fontana shoots, dematerializes the objects photographed, which loose three-dimensionality and realism to become part of an abstract drawing”. Aside from the rural landscape Fontana has applied his graphic sensibility to other subjects: city architecture, portraiture, fashion, still-life and the nude. He was included in the exhibition of the Helmut Newton Collection along with Brassaï, Diane Arbus, Franco Fontana, Horst P. Horst, Irving Penn, June Newton, Just Loomis, Man Ray, Mark Arbeit...

“Surprise” is a part of Alex Sher’s popular series REFLECTIONS - underwater photographs that could be almost mistaken for abstract paintings as they bring up recollections of masterpieces by Picasso...

Encaustic Print – Encaustic printing employs the addition of heated beeswax, and occasionally pigment, to the prepared surface of a photographic print, giving the object a unique to...

Edward Burtynsky (b. 1955) is Canada's most successful photographer. Through masterful technique and frequently dizzying compositions, Burtynsky presents thought-provoking inquiries...

GERHARD RICHTER b. 1932 Born in Dresden 1932 (German) Title: Abstract Photo Abstraktes Foto, 1989 Technique: Hand Signed, Dated and Numbered Black an...

An edited underwater photograph of two naked young women wrapped in tulle. This photograph is a part of the series ‘Four Seasons’. We offer 20% discount for buyers purchasing all ...

27 x 44 in Edition of 9 EUR 3.500 35 x 57 in Edition of 9 EUR 5.500 48 x 71 in Edition of 9 EUR 7.100 Dye Sublimation on Aluminum 48 x 77 in Edition of 9 EUR 9.100 Dye Sublimation...

In a delicate smear of faded blues intermingled with the curves and lines of the pale colors of the skin, Alex Sher’s “Brushstroke” uncovers his phenomenal ability to capture the tr...

Kacper Kowalski began his career as a landscape photographer, far before the preeminence of drones or Google Earth, strapping himself into a gyrocopter and exploring his native Pola...

'Calm Sea' by Stuart Möller A view of the sea at dusk in Sri Lanka during a rainstorm. A fabulously atmospheric image of the sea, and the seemingly blurred horizon between water an...

Marie Craig's 'Knotweed’ is an original deep blue photograph of leaves and branches of the Japanese Knotweed plant. This piece was created using cyanotype, an early photographic proc...

28"x40" limited edition photograph, signed by the artist, edition # 1 of 5 fine art prints. Dark specs on an arid landscape, a meandering herd of cattle loosely form a line in this m...

Dondi White, Zephyr & Charlie Ahearn ‘Heroin Kills' Subway Art Photograph 1981. A rare, historic, early 1980s Bronx, New York graffiti photograph by Charlie Ahearn of Wild Style fame...

Daniel Mansur Abstract Landscape #24 Canvas Fine Art - Framed Archival Pigment Print