Miniature Abstract Photography

The background of this photo is an homage to Ľudovít Winter the creator of the famous Spa Piešťany in Slovakia in the beginning of the 20th Century. A statue sitting on bank on a bri...

On the Periphery #18, an edition of 10, is part of the artist's "At The Center of Seeing" Series. This archival pigment print is printed on Epson Enhanced Matte paper. Image size is ...

'Sandstill no.4' From serries of abstract shapes formed by sand grain. Limited edition of 20. Photograph is printed on heavyweight fine art paper. Photograph is signed and stam...

Gelatin Silver Print, signed, titled, and dated on verso in pencil. Great Condition. Matted to 16x20"

"The higher you build your barriers the taller I become" The Berlin Wall, 1989 by legendary photo journalist, Leni Sinclair - a Kresge Foundation Eminent Artist (see The Guardian UK, Jan. 28, 2016) & legendary documenterian of 60's counter-cultural America. Archival inkjet print. Dimensions: 11 x 14 inches including borders. Hand signed, titled & dated in ink on the lower margins. Acquired directly from artist. Lot 180...

"Me & You" is a black & white framed silver gelatin collage photograph with images of nudes, insect, heart, key, and other abstract elements from artist Jenny Lynn's "Extrapolations"...

Life on Mars - 2022 Edition of 10, 40x30cm, Archival Fine Art Paper. Artist inventory E004. Signature label and Certificate. Not mounted. 'Life on Mars' series is part of my ...

This listing is for the unframed photograph. The Robin Rice Gallery proudly announces SUMMERTIME Salon 2019, an annual photography exhibit featuring gallery artists as well as a fe...

'Sandstill no. 6' 32x40cm limited edition of 20. Photograph is printed on heavyweight German Etching fine art paper. Photograph is signed and stamped by the artist from and back,...

"High Altitude" - Unique silver gelatin print (mixed process photogram). Made with ice, flowers, sand, glitter, and more. BRAND NEW, printed on Fomatone MG 133, a beautiful, slightly...

"Within Reach" - Unique silver gelatin print (mixed process photogram); Made with ice, flowers, sand, glitter, and more. BRAND NEW, printed on Fomatone MG 133, a beautiful, slightly textured chamois paper, in April 2023. [This one-of-a-kind black-and-white photograph is a slightly weird size, as it was made with a sheet of paper that had previously been cut for a test strip. The width is actually 8 1/16"] After falling into photography by way of eastern religions a lifetime ago, the latter quickly found its way into my work, and never left. I think of both my (covid-born) cameraless photographs and my film-based silver gelatin prints as subconscious self-portraits or spiritual landscapes...

Faded Memory (Oxana's 30th Birthday) - 2007 20x24cm, Edition of 10. Archival C-Print print, based on the Polaroid, Certificate and Signature label. Artist Inventory # 4791. Not...

This unique silver gelatin print was one of my early experiments with sand, as a photogram material (made just prior to teaching my first online photograms course, via Penumbra Found...

'Wind stretched daydream' 2022 Photographed in Richmond, London using a 4x5 large format camera. Printed on Fine art Hahnemuehle paper. 40x31cm ...

Untitled (Traintracks) - The last Picture Show - 2004 38x37cm. Edition of 5, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certificate. Arti...

Kentucky 7 by Aaron Siskind is an 11 x 14 inch silver gelatin print. The sheet size of this image is 11 x 14 inches, the image size is 9 5/16 x 12 5/16 inches. This photograph featur...

Brand New! Unique silver gelatin print (photogram made sans enlarger); Mixed process multiple exposure with ice, sand, flowers, and more. "Winds of Change" series. Printed in April 2...

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...

'Bubbles' London, United Kingdom 2020 Limited edition of 20.

This one-of-a-kind cameraless photograph is actually a baby photogram, initially made for a submission that requested specific small sized prints. All of my images are about what som...

'Sandstil no.5' 32x40cm limited edition of 20. Photograph is printed on heavyweight German Etching fine art paper. Photograph is signed and stamped by the artist from and back, w...

Ce tirage fait partie de l'exposition "Chasing Hallucinations". Il est aussi consultable dans le catalogue "Paréidolie" de La Galerie des Photographes. "Photography teaches us the ...

"Photography teaches us the difference between looking for things & looking at them" - J.T. Une ondulation, une vague ou un reflet particulier de la lumière, qui donnent vie à des formes abstraites, des visages humains ou des hallucinations... C’est au travers des paréidolies – inclinaison du cerveau humain à rapprocher des formes aléatoires à des formes existantes – que sont fixées la beauté...

Unique silver gelatin print (photogram made sans enlarger - with snow, ice, sand, flowers, and more). Cameraless ice-rubbing photogram. Alt process landscape print. I began making c...

"Sensitive Nerves System" Limited Edition - 10/10 - Mix Media. From Collection "New Age " 2021-2023 info about the Collection. The New Age series of works was created as a personal...

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...

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...

Algas 45-IV, 2022 by Paola Davila From the series Mareas Cyanotype on 300 gr cotton paper The piece is mounted on a circular aluminum sheet, on a 47 cm diameter transparent acrylic ...

Algas 45-XIX, 2022 by Paola Davila From the series Mareas Cyanotype on 300 gr cotton paper The piece is mounted on a circular aluminum sheet, on a 47 cm diameter transparent acrylic...

Life on Mars (My Desert Living Project) - Hatching Edition of 10, 40x30cm, Archival C-Print. Artist inventory E007. Signature label and Certificate. Not mounted. Life on Mars ...

Vintage Mint Condition Platinum Photograph Fabulous image in the true style of Uelsmann

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...

Untitled (Traintracks) - The last Picture Show - 2004 38x37cm. Edition of 5, plus 2 Artist Proofs. Digital C-Print, based on a Polaroid. Signature label and Certificate. Artist ...

'Bay boys' Dubrovnik, Croatia 2014 Limited edition of 20.

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...

Kaleidescope (Zuma Beach) - 2004 29x28cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #20434....

Blue Sky (Zuma Beach) - 2004 29x28cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #20432. No...

Seeside (Zuma Beach) - 2004 29x28cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #20430. Not...

Unique silver gelatin print (photogram made sans enlarger - with snow, ice, sand, flowers, and more). Cameraless ice-rubbing photogram. Alt process landscape print. I began making c...

Mirage (Zuma Beach) - 2004 29x28cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #20428. Not ...

Stillness (Zuma Beach) - 2004 29x28cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #20433. N...

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...

Unique silver gelatin print (Printed while working with a remote photograms student). Triple exposure with flowers, sand, and glitter. This 8x10 mixed process multiple exposure photogram was printed on Fomatone MG 133 - (The Chamois surface is quite beautiful, but doesn't translate super well digitally.) Before covid, I specialized in what I refer to as gelatin silver "spiritual landscapes...

Unique silver gelatin print (photogram made sans enlarger - with snow, ice, sand, flowers, and more). Cameraless ice-rubbing photogram. Alt process landscape print. I began making c...

Hand printed photograph by artist Print Date 2005 Mint Condition

Life on Mars (My Desert Living Project) 40x30cm, Edition 2/10. Archival Fine art Print. Artist inventory #E001. Signature label and Certificate. Not mounted. Life on Mars is...

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...

Life on Mars - 2022 - Hatching Edition of 10, 40x30cm, Archival C-Print. Artist inventory E006. Signature label and Certificate. Not mounted. 'Life on Mars' series is part of my Desert Living Project, which encompasses all aspects of organic living including growing your own organic food, self sustainability and regarding the...

'Smiltis' London, United Kingdom 2020 Limited edition of 10. Printed of heavy-weight fine art paper. COA included.

Periphery Blue, an edition of 10, is part of the artist's "At The Center of Seeing" Series. This archival pigment print is printed on Epson Enhanced Matte paper. Image size is 13" x...

A unique photogram from abstract alphabet drawings. A silver gelatin print toned in tea. About the Series: Gilliam began the series Life Lines in 20...

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...

This one-of-a-kind cameraless photograph is actually a baby photogram, initially made for a submission that requested specific small sized prints. All of my images are about what som...

Sennen is a new study, and the first in a series of works based around a loose grid of interlocking circular forms. This impression is #20 in an edition of 24. The work takes on some of the language of artists such as Sonia Delaunay and Sarah Morris, who both use flat geometric grids as the basis for many of their studies. I’ve taken that idea and built it up into something more complex and textured, that I hope is redolent of a landscape, or perhaps just a dreamlike imagining of a landscape, filtered as ever through the digital, and its ability to layer and distort form. Chuck Elliott (b. 1967, Camberwell, London) is a pioneer of digitally generated art. He claims to have used the first Apple Macintosh...

Unique silver gelatin print (photogram made sans enlarger). Triple exposure with flowers, sand, and glitter. This 8x10 mixed process multiple exposure photogram was printed on Fomatone MG 133 - (The Chamois surface is quite beautiful, but doesn't translate super well digitally.) [FYI - this print makes a great diptych with "Raindrops" and some of my other 8x10 offerings.] Before covid, I specialized in what I refer to as gelatin silver "spiritual landscapes...

Unique silver gelatin print (Printed while working with a remote photograms student). Triple exposure with flowers, sand, and glitter. This 8x10 mixed process multiple exposure photogram was printed on Fomatone MG 133 - (The Chamois surface is quite beautiful, but doesn't translate super well digitally.) [FYI - this print makes a great diptych with "Rosewater" and some of my other 8x10 offerings.] Before covid, I specialized in what I refer to as gelatin silver "spiritual landscapes...

This one-of-a-kind handmade darkroom print (along with 4 others that I'll be adding momentarily) marks the very beginning of yet a new 11x14 sub-series of "Fire & Ice." For now, I'm ...

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...