Miniature Abstract Photography

Igor Vishnyakov is a Russian Postwar & Contemporary artist who was born in 1968 in Moscow. Igor spent his childhood in Africa and Southeast Asia. After returning to Moscow in the mid...

Limited Art Edition (No. 1–100), with the gelatin silver print Untitled (Elba, 1980), numbered and signed by Ralph Gibson. Edition of 100. Gelatin silver print, 11 x 14 in., in portf...

#00135 Hypericum mutillum, Unique photogram, gum bichromate, framed This image is a unique photogram and is printed using Rives BFK, gouache, gum arabic, kitakata and ink. Pricing...

Jeffrey Tamblyn Redemption and Retribution Archival Pigment Print on Hahnemuehle Baryta Rag Year: 2021 Size: 16x16 inches Edition: 50 Signed, dated and numbered by hand on label COA ...

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 A montage of still images shot and elaborated by means of her signature technique of using Polaroid formats with outdated and degraded film stock in natural light, with the resulting im ages rephotographed (by other means) enlarged and printed in such a way as to generate further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...

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...

Title: "Wild grace" Medium: Archival pigment print on premium matte photo paper Dimensions: 20 x 27 cm / 7.8 x 10.6 inches (unframed) Limited Edition Each photograph is printed o...

Christmas Traffic - American Christmas Tree Traffic at Night with Car Lights by Slim Aarons 16" x 16" print on 16" x 20" paper. Limited Edition Estat...

'Ultramarine hills' Ultramarine hills was photographed in Iran, 2016 with a combination of the special ultramarine colour filter. The idea of colour combination together with Iranian...

Sandstill No.3 London, United Kingdom 2021 From limited edition of 20. The photograph is signed front bottom right corner and comes with a certificate of authenticity, signed dat...

Valentin Samarine started doing abstract painting in the 60s, and abstract photography in the 70s. He moved fairly easily from one to the other. It is in a perfectly logical sense: ...

Early fascinations with photography and science have inspired Don Dudenbostel throughout his extensive career. As a young student interested in Science, Dudenbostel was always trying...

'Red boat' Printed on archival paper with museum-grade precision, this limited edition work balances mystery and simplicity. A photograph is carefully placed in a secure cardboard ...

Alyson Belcher's Final Season is a photographic meditation on the fragility and quiet resilience of life, shaped by personal experiences of loss and the witnessing of loved ones in d...

'Sky' is a colour field abstract artwork, focusing on the interplay of form and tone within a monochromatic composition. The deep blue hue creates a sense of depth and fluidity, emph...

Edition 25 Framed Chromaluxe A classic handbag from Chanel. Inside is a gun, a mobile phone, a lipstick and powder. A man with x-ray vision, NICK VEASEY creates art that shows what ...

'Ramunės' London, United Kingdom 2022 Limited edition of 20. Photograph printed on heavyweight fine art paper. Photograph is shipped fast and flat in secure thick cardboard packa...

A quiet interplay of light, shadow, and form, 'Reaching for the stars' captures a fleeting, dreamlike moment in surrealist composition. The softly illuminated hand reaches toward blu...

From June and Oris collection - Oris As he steps inside, the air thickens, pressing in like an unseen weight. The room hums with movement, bodies shifting, voices murmuring, the c...

Papercute No.3 explores the sculptural qualities of light and shadow through delicately folded paper. The composition evokes a sense of movement, with fluid, organic curves resemblin...

Candida Höfer (German, b. 1944) Semper Oper Dresden IV, 2023 Medium: C-print on photo paper Dimensions: 37.5 x 31.5 cm Edition of 20: Hand-signed and numbered, verso Condition: Mint

ABOUT After 30 years of only exhibiting fine art photography, the Robin Rice Gallery is pleased to present a group exhibition featuring a selection of her gallery photographers and t...

"Eclipsed in Time" suggests a moment of transition, obscurity, or transformation—much like an eclipse where something is temporarily veiled yet still present. The title reflects the ...

A figure emerges, partially obscured by a delicate veil, as if suspended between presence and disappearance. Veil of Time explores themes of impermanence, transformation, and the pas...

From June and Oris collection - June As she steps inside, day gives way to night. The air is thick with warmth, heavy with the scent of simmering broth. Hands move in quiet rhythm...

Into the dark (Deconstructivism) - 2020 - about the narrative potential of images. 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid, Artist Inventory 4600. Signat...

Breathing I (Deconstructing) - 2015 - about the narrative potential of images. 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid, Artist Inventory 15835. Signature...

By toning cyanotypes, using chemicals that turn the deep blue images to yellow, Craig's photographs fade and begin to disappear. Craig is curious about what happens when she stops the process at various stages, and when she lets the images ‘evaporate’ completely. Nothing lasts forever. Blue Gum trees, native to Australia, have survived for millennia by adapting and thriving in a climate where wildfires are common. Now invasive in many parts of the world, this 'gasoline tree' is a dangerous fire hazard, especially in the face of climate change, which is expected to make wildfires more common. White mat, framed behind glass in white wood frame, 14 x 17 inches Marie Craig’s photography considers objects that were once imbued with life but have since been abandoned. Juncture, Craig’s latest series, alludes to a turning point, the moment where a choice made profoundly alters the trajectory of what follows, whether evident at the time or not. She uses cyanotype, because in this early photographic process choice and chance factor equally into the outcome of each piece. Craig’s layered photographs...

This vintage silver gelatin print is signed and dated in pencil mount recto, and again mount verso. Printed in 1961 for inclusion in "Fifteen Photographs" (edition of 50). Mounted to...

Rebecca Skinner’s “Erosion #1” was photographed on the shoreline of Lake Champlain in Burlington, Vermont. The textural beauty is natures own art form. The 18 x 12 inch abstract blac...

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...

Alyson Belcher's Final Season is a photographic meditation on the fragility and quiet resilience of life, shaped by personal experiences of loss and the witnessing of loved ones in d...

'Bubbles' London, United Kingdom 2020 Limited edition of 20. Printed on Hahnemuhle photo rag baryta paper. Signed and stamped from and back using emboss and certificate of authen...

Signed, numbered and dated on mount recto. Signed, dated, numbered and titled with artist's copyright stamp on mount verso. Edition of 25 in size

Works of Fire When I look into the night sky I am awestruck by the darkness that is the universe. As the sparse light of the stars descends, I am entangled in a state of wonder, sea...

Pentti Sammallahti was born in 1950 in Helsinki, Finland. Sammallahti was surrounded by works from his grandmother, Hildur Larsson, who was a photographer in the early 1900s. Sammallahti has been photographing the world around him with a poetic eye since the age of eleven. At the age of nine, he visited "The Family of Man...

Limited Art Edition (No. 101–200), with the gelatin silver print Untitled (Sardegna, 1980), numbered and signed by Ralph Gibson. Edition of 100 Gelatin silver print, 11 x 14 in., in ...

Wood 1. is photography, signed in limited edition of 5. I admire the old craftsmanship and the result, even a fragment is preserved.

Pentti Sammallahti was born in 1950 in Helsinki, Finland. Sammallahti was surrounded by works from his grandmother, Hildur Larsson, who was a photographer in the early 1900s. Sammallahti has been photographing the world around him with a poetic eye since the age of eleven. At the age of nine, he visited "The Family of Man...

Sonata (Deconstructivism) - 2015 - about the narrative potential of images. 20x24cm, Edition of 10, digital C-Print, based on a Polaroid, Artist Inventory 20273. Signature label ...

Pentti Sammallahti was born in 1950 in Helsinki, Finland. Sammallahti was surrounded by works from his grandmother, Hildur Larsson, who was a photographer in the early 1900s. Sammallahti has been photographing the world around him with a poetic eye since the age of eleven. At the age of nine, he visited "The Family of Man...

Please be aware that the US recently imposed an import duty on photographs printed in the last 20 years which may apply if you are purchasing and importing this to the US. Edition of 15. Lightjet Print. Lisa Creagh graduated from Goldsmiths in 1994, and more recently, with a Masters in Photography from Brighton University. Between 1997 and 2001 she lived and worked as an artist in New York, teaching digital imaging and curating exhibitions. Upon her return she founded The Brighton Photo Fringe in 2003, a network of photographers, still running in conjunction with the Brighton Photo Biennial. As a producer and curator she has delivered large-scale photographic projects for international artists and delivered talks at various colleges. In 2006 she received critical acclaim for the originality and collaborative nature of ‘Tidy Street’ where she transformed a street in Brighton in to a series of light-boxes utilizing the windows of small terraced houses. Prior to her MA she was awarded two Arts Council England Individual Artists Awards. Her current ongoing project, ‘The Instant Garden’ was begun in 2008 and is inspired by Dutch Flower paintings...

Multidisciplinary visual artist Kim Frohsin created the arcane series, Reliquaries, from a variety of media—acrylic paint, glazes, ink, collage, pencils, and dry pigment—built upon pinhole photographs...

Original lobby card for the film "Desert Attack" (1958) featuring John Mills, Sylvia Syms, Anthony Quayle, and Harry Andrews. This vintage cinema memorabilia piece captures a dramati...

This floral photography has a dramatic sense of composition which recalls the careful arrangements of Dutch and Flemish still life paintings from the 17-18 century. Belgian photog...

Early fascinations with photography and science have inspired Don Dudenbostel throughout his extensive career. As a young student interested in Science, Dudenbostel was always trying...

Portfolio Garden 1, 6 photos From Germany to Portugal, from Portugal to Italy, the artist continues his research on light and its games, this time taking nature and trees as the the...

This floral landscape photo has a dramatic sense of composition which recalls the careful arrangements of Dutch and Flemish still life paintings from the 17-18 century. Belgian ph...

Original lobby card for the film "Desert Attack" (1958) featuring John Mills and Sylvia Syms. This vintage cinema memorabilia piece captures a tense scene between the characters port...

"My artwork is always in progress. There is not a goal. There is not a category for my work. It is all about enjoying the process of every moment. On a blank sheet of washi calli...

Time lapse photograph

Eastman Kodak HDPE polyester film viewing machine reel, signed open edition Kojun is an self-taught multimédia American artist born in 1977 based in Tokyo, Japan since 1999. Kojun p...

FLORA & FAUNA SERIES, c.1998, Fuji crystal archive paper. Hand-signed on verso. Photographer Jeffrey Rothstein focuses on different elements within Nature for his subject matter, ra...

An original hard copy of Andy Warhol's Brillo book. 11.25" h x 8.75" w. Wear consistent with age and use. Some wear at corners, as in the images. Andy Warhol, an American artist,...

Eastman Kodak HDPE polyester film viewing machine reel, signed open edition Kojun is an self-taught multimédia American artist born in 1977 based in Tokyo, Japan since 1999. Kojun p...

Early fascinations with photography and science have inspired Don Dudenbostel throughout his extensive career. As a young student interested in Science, Dudenbostel was always trying...

Morris Louis MoMa New York 1986: Rare 1980s Morris Louis press photographs featuring Morris Louis's Alpha Alpha & Albireo: Silver-gelatin prints: set of 2 individual works. Dimensi...

By toning cyanotypes, using chemicals that turn the deep blue images to yellow, Craig's photographs fade and begin to disappear. Craig is curious about what happens when she stops the process at various stages, and when she lets the images ‘evaporate’ completely. Nothing lasts forever. Ferns are some of the oldest plants on earth. Ferns embody resilience. Many forms have come and gone since they first appeared on the planet; 10,000 species exist today, in tropical, temperate and arctic regions. White mat, framed behind glass in white wood frame, 14 x 17 inches Marie Craig’s photography considers objects that were once imbued with life but have since been abandoned. Juncture, Craig’s latest series, alludes to a turning point, the moment where a choice made profoundly alters the trajectory of what follows, whether evident at the time or not. She uses cyanotype, because in this early photographic process choice and chance factor equally into the outcome of each piece. Craig’s layered photographs...

This photograph is printed on Japanese Paper. The price is for an unframed photograph. 11" X 14" Edition of 25. The Robin Rice Gallery is pleased to announce, 25 Years of Polaroi...

By toning cyanotypes, using chemicals that turn the deep blue images to yellow, Craig's photographs fade and begin to disappear. Craig is curious about what happens when she stops the process at various stages, and when she lets the images ‘evaporate’ completely. Nothing lasts forever. The Wollemi Pine, thought to be extinct, was known only from 200-million-year-old fossils until 1994, when the 100 ft trees were discovered living happily in the impenetrable forests of New South Wales. The personification of longevity and adaptability, this beautiful tree is critically endangered. White mat, framed behind glass in white wood frame, 14 x 17 inches Marie Craig’s photography considers objects that were once imbued with life but have since been abandoned. Juncture, Craig’s latest series, alludes to a turning point, the moment where a choice made profoundly alters the trajectory of what follows, whether evident at the time or not. She uses cyanotype, because in this early photographic process choice and chance factor equally into the outcome of each piece. Craig’s layered photographs...