Archival Paper Abstract Photography

WALLSCAPE V by Frank Schott from a series of photographic observances capturing urban textures and wallscape color palettes 40 x 32 inches / 102cm x 81cm edition of 25 signed 60 x...

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

'Yellow is the Dawning of May' Limited edition (1 of 25) archival photograph, hand signed and numbered. Unframed _________________ Illuminated among painted pools of early summer lig...

Stefanie Schneider's work was used for Marc Forster's movie 'Stay'. Featuring Ewan McGregor, Naomi Watts, and Ryan Gosling. Naomi and Ryan were both portraying artists and Stefanie's...

Eternity (Deconstructivism) - 2020 - about the narrative potential of images. 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid, Artist Inven...

Nazanin Moghbeli is a Persian American artist with training in Persian calligraphy, miniature painting, and music. The abstracted calligraphy text in her "Words from My Mother" seri...

large scale monochromatic abstract observation of mesmerizing atmospheric color palette, from Raymond Meier's series Renderings Sky (Rendings 04) by Ray...

Liberace I 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 of...

"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 ...

large format photograph of sun reflections on pool water surface, mesmerizing light reflections of glistening sunlight on turquoise aquamarine water surface, an homage to the iconic ...

Dreamscape (Wastelands), 2003 20x20cm 
Edition of 10, plus 2 Artist Proofs. 
 Archival C-Print, based on the original Polaroid. 
Certificate and Signature label. 
 Artist inventor...

mesmerizing light reflections of glistening sunlight on turquoise aquamarine water surface, an homage to the iconic pool reflections paintings by artist David Hockney 40 x 32 inches...

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...

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...

'Spring Rain' ('Mono No Aware' Series) 40 x 60" edition Limited edition archival photograph, hand signed and numbered. Unframed _________________ The cherry blossoms burst from naked...

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...

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...

Large scale original art photography from a series of dramatic cloud atlas and abstract sky scapes observations above the Pacific Ocean Cloud Study VII by Frank Schott 75 x 58 inc...

LA Parking by Frank Schott a burst of red in an urban landscape of striking minimalism from a series of photographs capturing the mid century modern architecture and architectural el...

Ghost Story - 2021 Archival Print based on an original Polaroid on Hahnemuhle photo rag paper. 25x20cm, Edition of 10 plus 2 Artist Proofs. Signature label and certificate. Not ...

In this contemporary botanical photograph, flowers, butterflies, and doves are layered and combined in an abstracted composition. Shades of violet and blue stand out brightly against...

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...

Sukan has set out to identify alternative sites of public display and common space within the banal recesses of the everyday world. Collecting and adopting the sketch pads and papers...

Blue Bird is a quiet study in reflection, shadow, and stillness. A mountain ridge dissolves into deep black, its form mirrored in a soft, spectral blue. The image, flipped and near a...

" "Crosshatch" is a classic example of my abstract PhotoLuminism technique. When light travels, the human eye cannot see its trails, but the camera can. Capturing images that are int...

'The Optimism of Spring' ('Mono No Aware' Series) 40 x 60" edition Limited edition archival photograph, hand signed and numbered. Unframed _________________ The cherry blossoms burst...

Planes VII - 2008 50x50cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certificate. Artist Inventory #4650. Not mounted. ...

Untitled (Paradise) - 1999, 98x97cm. Edition 3/10. Archival C-Print, based on the original Polaroid. Signature label and Certificate. Artist Inventory No. 20451. Not mounted. ...

'Sunday's Tulips (I)' 40 x 60" edition Limited edition archival photograph, hand signed and numbered. Unframed _________________ Gauzy afternoon light, the tulips are stretching soft...

An homage to Caspar David Friedrich, towering thunder clouds over the Pacific Ocean, from a series of dramatic cloud atlas observations and abstract skyscapes above the winter sea, c...

large scale photography of mesmerizing color compositions of liquid cloudscape painting in water, hypnotizing abstract liquidscapes from the body of works titled 'Hemisphere' Hemisp...

'Spring Couplet' ('Mono No Aware' Series) 40 x 60" edition Limited edition archival photograph, hand signed and numbered. Unframed _________________ The dance of the cherry blossoms ...

An homage to Caspar David Friedrich, towering thunder clouds over the Pacific Ocean, from a series of dramatic cloud atlas observations and abstract skyscapes above the winter sea, c...

Untitled (Paradise) - 1999 20x20cm. Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certificate. Artist Inventory No. 19888. N...

Abstract #1 (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 mou...

'Lily in Charcoal no.2' 2023 From raw energy to sublime. 'Lily in Charcoal No.2' is an expression piece combining an abstract charcoal drawing with a...

Print. Signed, limited edition of 5. The picture should represent a face.

WALLSCAPE V by Frank Schott from a series of photographic observances capturing urban textures and wallscape color palettes 60 x 48 inches / 122cm x 182cm edition of 7 signed 3...

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

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...

Wave I by Christian Stoll a mesmerizing photographic rendering of blue acquatic surface 58 x 58 inches (147 x 147cm) edition of 7 signed 48 x 48 inches (122 x 122cm) edition of 7 s...

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

Lost in a sea of rich saturation of dark and light blue colors, a feminine form gracefully traverses the expanse of the water. Alex Sher’s “Anesthesia” invites us into an abstracted ...

Shades of Pale (Wallscape) by Frank Schott from a series of photographic observances capturing urban textures and color palettes 29 x 40 inches / 74cm x 102cm edition of 25 si...

Wallscape VI by Frank Schott from a series of photographic observances capturing urban textures and palimpsest color palettes 32 x 40 inches / 81cm x 102cm edition of 25 signed 48...

Summer (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 mounted)...

Journey to the center of the earth (Journey to the Center of the Earth) - 2019 Edition of 10. Photograph printed in Canson Barita ...

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

Zupan combines images from old masters, alchemical prints, contemporary artists, and bits from magazines and newspapers to create overlapping, intersecting worlds of transparencies a...

Carlos Betancourt About the Ephemeral and Memory 04, 2013 Pigmented inkjet on paper 64 x 44 inches Edition of 10 For more than three decades, Carlos Betancourt has built a body of w...

Carlos Betancourt About the Ephemeral and Memory 16, 2013 Pigmented inkjet on paper 64 x 44 inches Edition of 10 For more than three decades, Carlos Betancourt has built a body of w...

Future city 2 Large scale photograph by Michael Banks - Archival Pigment print on fiber based paper ( Hahnemühle Photo RAG Baryta 315 gsm ) Limited Editions of 5 , signed + numbere...

Blue 2- Limited Editions of 5 , signed + numbered by artist, with certificate of authenticity Large scale photograph by Michael Banks - Archival Pigm...

Mesmerizing abstract color play of muted tones and surreal shapes, from a series of still life works created entirely in camera Caleidoscope II by Christian Stoll 67 x 48 inches (1...

Extra Large Art Limited Edition Modern Color Architecture Photography Print, Museum Quality This Modern minimalist photograph explores layered pastel architecture through clean vert...

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 "Flora" series, which is one of three...

Carlos Betancourt The Unexpected Beauty of the Unknown, 20222-2024 Pigmented inkjet print on fine art paper 58 x 43 inches Edition of 3 For more than three decades, Carlos Betancour...

Blue (Deconstructivism) - 2015 - about the narrative potential of images. 40x50cm, Edition of 10, digital C-Print, based on the Polaroid, Artist Inventory 3962. Signature label ...

Ink 1 - Large scale photograph by Michael Banks Archival Pigment print on fiber based paper ( Hahnemühle Photo RAG Baryta 315 gsm ) Limited Editions of 5 , signed + numbered by ar...

CREATURE II by Christian Stoll from a series of still life photographs capturing fantastical creatures made of found objects and organic materials 28 x 40 inches (71 x 102cm) editi...