Unframed Abstract Photography

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 ...

abstract photography, signed by the author, limited 3.

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...

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 A montage of still images shot and elaborated by means of her signature technique of using Polaroid formats with outdated and degraded film stock in natural light, with the resulting im ages rephotographed (by other means) enlarged and printed in such a way as to generate further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

WAVE II by Christian Stoll large scale abstract photograph of soothing mesmerizing fluid liquid waterscape 58 x 58 inches (147 x 147cm) edition of 7 signed 48 x 48 inches (122 ...

ABOUT THIS ARTIST: Igor Vitomirov has over 15 years experience of working in photography. He loves nature and people and expressing their interactions with different emotions. Igor's...

ABOUT THIS ARTIST: Igor Vitomirov has over 15 years experience of working in photography. He loves nature and people and expressing their interactions with different emotions. Igor's...

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

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 ...

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...

ABOUT THIS ARTIST: Igor Vitomirov has over 15 years experience of working in photography. He loves nature and people and expressing their interactions w...

Liberace II by Christian Stoll an epic scale photograph of mesmerizing texture details ( 60 x 48" / 152.25 x 122cm ) edition of 7 signed 40 x 32 inches / 122cm x 81.25cm edition o...

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...

ABOUT THIS ARTIST: Niko (aka c-nik) is a multidisciplinary artist, currently based on a pixel in a city that never sleeps, quietly working to create peace from chaos in surreal arcs ...

ABOUT THIS ARTIST: Igor Vitomirov has over 15 years experience of working in photography. He loves nature and people and expressing their interactions with different emotions. Igor's...

ABOUT THIS ARTIST: Andrew Zhao is a student of his experiences. Hailing from Washington to Suzhou, China to Washington again, his fascination with art blossomed under the quaint mini...

ABOUT THIS ARTIST: Niko (aka c-nik) is a multidisciplinary artist, currently based on a pixel in a city that never sleeps, quietly working to create peace from chaos in surreal arcs ...

Pillow II. photography belongs to a concept of three photographies done on a sole bank in a park. Will be signed.

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...

ABOUT THIS PIECE: Freeforms : Exploring form and color combinations in a series of freestanding paper foil sculptures. Using natural light I arranged foiled shapes in different posit...

ABOUT THIS ARTIST: Igor Vitomirov has over 15 years experience of working in photography. He loves nature and people and expressing their interactions w...

An underwater photograph of a naked young woman swimming in dense bubbles. Memories of the Russian model Katerina Potapkina. Original gallery quality archival pigment print on pape...

Jose Bassit Kepha, Catimbau Valley I, Brazil, 2012 Kepha series 72 x 48 inches Edition of 5 Archival Pigment Print UNFRAMED Ask us for framing options

' Rain II ' SIGNED Limited Edition Oversize print by Stuart Möller Beautiful large print of rain falling onto water. 30 x 20" inches / 76 x 51 cm paper size - signed and numbere...

Painted Concrete - Large Scale Textural Photograph Detailed macro photo by Bill Clark (American, 20th Century). Clark has taken a photograph of concr...

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,...

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,...

Original color lobby card for the film "The Pride and the Passion" (1957) featuring Cary Grant, Frank Sinatra, and Sophia Loren. This vintage cinema memorabilia piece captures a grou...

Original black-and-white lobby card for the film "Humoresque" (1946) featuring John Garfield and Oscar Levant. This vintage cinema memorabilia piece captures a somber moment between ...

Photography/ fine art print, limited 1/5, signed by the author.

Sunset Over Ocean is a unique cyanotype monotype on watercolor paper, blending the timeless beauty of ocean horizons with the clean, geometric serenity inspired by Desert Modernism. ...

From Eduardo Rezende’s Lavori in Corso series, this work contemplates the quiet intervals within construction—those suspended moments when form is still becoming. Shadow, texture, an...

"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...

David Burdeny Ephemera, Huangshan, China, 2017 Archival Pigment Print Signature Label Print only. Ask us for framing options.

This unique cyanotype monotype transforms organic, river-like forms into a serene field of flowing blues. Soft, undulating shapes echo water, canyon horizons, and desert calm, giving...

I like minimalism, this orange stripe I found occasionally, the picture is limited edition of 5 in the size. Signed by the author.

Angel Heart, USA 1987, Director: Alan Parker, Cast: Robert de Niro, Mickey Rourke, The lobby cards would have been displayed inside the cinemas at the time of the film's release. An...

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...

Tranquility by Ida Lansky is an abstract black and white photograph, composing of a bench against a backlit window. 9.5 x 7.5 in. Gelatin Silver Print Artist stamp on print verso I...

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...

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...

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

Angel Heart, USA 1987, Director: Alan Parker, Cast: Robert de Niro, Mickey Rourke, The lobby cards would have been displayed inside the cinemas at the time of the film's release. An...

An underwater photograph of a beautiful topless model wrapped in red tulle. Original gallery quality archival pigment print signed by the artist. Limited edition of 24. Print #2 Pa...

Bernd and Hilla Becher (German, 1931-2007 and 1934-2015) Preparation Plants (Aufbereitungsanlagen), 2009 Series: Image VI from Typologies Medium: Digital pigment print (Ditone) on ph...

Horizonte (Journey to the Center of the Earth) - 2019 Edition of 10. Photograph printed in Canson Barita Fiber Rag 340gr, based on a reclaimed Fuji Instant Film Negative (not mount...

Psychiatric Observation (Abstract Photography) Archival Pigment Print on Ilford Smooth Pearl paper. Unframed. Edition 6 + 2 AP - Edition 1/6 This new series titled Neurosis bring...

Listing is for UNFRAMED print. Inquire within for framing. Edition of 25. If the exhibition piece is sold or the customer orders a different print size, the photograph is produced upon purchase. Please allow two weeks for production. Shipping time depends on method of shipping. Price is subject to availability. The Robin Rice Gallery reserves the right to adjust this price depending on the current edition of the photograph. Ted Adams’ first solo show at the Robin Rice Gallery juxtaposes surrealism with the documentary art form. What differentiates Mr. Adams’ work from traditional photojournalism is his keen eye for capturing the irony in the events that unfold before our eyes. It is the found objects in everyday life to which Adams is most attuned. He creates a subtle mood and visual mystery that conveys meaning not only from the image itself but also through imagining what exists just beyond the frame. "I see photography as a way of cropping the world—selectively taking things out of context—which often results in stripping the meaning out of the original subject matter, or at least making the image open to interpretation. It’s the opposite of traditional photojournalism whose intention is to create ‘narrative’ and context rather than discard them." While he has exhibited artistic photography in a variety of genres, in the past five years he turned his artistic eye inward to reflect a more autobiographical tone. While some people compare his work to that of Robert Frank, Adams finds himself more and more influenced by Larry Clark whose career was built on pictures drawn from his own life and drug-addled friends rather than a specific documentary mission. The unique presentation of this collection of twenty-three silver gelatin prints enhances the voyeuristic sensibility of Mr. Adams’ work. Each photograph is jewel box in size, measuring 4" x 6" to invite the viewer in to make an intimate appraisal. The craftsmanship of the wide, dark wood frames hearkens back to late 19th-century Shaker design—yet the aesthetic is boldly contemporary, providing a strong backdrop to draw the viewer’s gaze directly to the subject matter. This artisanship extends to the printing where Adams exhibits his skills in traditional darkroom processes. He shoots mostly with Leica and Nikon 35mm film cameras...

This crystalline underwater nude photograph from the series "Four Seasons" captures the quiet of winter with cool blues ranging from icy cyan to deep midnight, contrasted against pri...

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...

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...

An underwater photograph of a red dress repeating the shape of the woman's body. Original gallery quality print signed by the artist. Digital archival pigment print on archival pap...

Unique. Paul Snell is an Australian artist who blurs the boundaries between photography and painting, creating contemplative works that replace constant image saturation with moment...

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 ...

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...

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...

Marie Craig's "Dilexit 4" is an original deep blue photograph of an old cathedral with superimposed leaves and branches. This piece was created using cyanotype, an early photographic...

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...

Dreamscape (Wastelands) - 2003 128x125cm, Edition 4/5. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the original Polaroid. Artist inventory ...

This is an archival pigment print depicting an abstracted still life printed on Hahnemuhle Photo Rag 308 gsm by artist Paul Cava. It is from the "Table Top" series, which is one of t...