C Print Abstract Photography

Stahlwerk 006 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 dimensions: *90 × ...

Aerial Views, Tulip Fields 14 is a limited-edition photograph by German contemporary artist Bernhard Lang. This photograph is a limited edition of 10 copies, it is sold framed with...

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 different exposures using uv-...

This is an exclusive handprinted limited edition cyanotype. "Infinity Pool" is a sophisticated image that captures the water reflections shimmering over ...

Stars 7, 2015 - Stars and Trees in Ancient English Woodland Forest Landscape by Ellie Davies Stars 7 by Ellie Davies is a stunning Digital C-Type Print on Fuji Maxima Matte paper, a...

Edition: 1/3 Paul Snell is an Australian artist who blurs the boundaries between photography and painting, creating contemplative works that replace constant image saturation with m...

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...

Aerial Views, Tulip Fields 14 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...

In Kings Road (2022) Mona Kuhn lyrically reconsiders the realms of time and space within the architectural elements of the Schindler House in Los Angeles. Built by Austrian architect Rudolph M. Schindler in 1922, the house was both a social and design experiment and an avant-garde hub for intellectuals and artists in the 1920s and ’30s. Fundamentals (2022) Kings Road: A Rudolph Schindler House 45" x 60" / 114cm x 152cm / edition of 3 30" x 40" / 76cm x 102cm /edition of 12 limited edition photograph printed under artist supervision + accompanied by signed artist certificate: artist signature label (8x10") signed/editioned/dated/titled by the artist + stamped for authenticity label is placed centered on verso of the mounted print __________________ About the artist Acclaimed for her contemporary depictions, Kuhn is considered a leading artist in the world of figurative discourse. Throughout a career spanning more than twenty years, the underlying theme of her work is her reflection on humanity’s longing for spiritual connection and solidarity. As she solidified her photographic style, Kuhn created a notable approach to the nude by developing friendships with her subjects, and employing a range of playful visual strategies that use natural light and minimalist settings to evoke a sublime sense of comfort between the human figure and its environment. Her work is natural, restful, and a reinterpretation of the nude in the canon of contemporary art. For the past two decades, the Los-Angeles based artist's works have been shown steadily, revealing an astonishing consistency in technique, of subject and of purpose. In 2001, Kuhn’s photographs were first seen by an influential audience during the exhibition at Charles Cowles Gallery in Chelsea, New York. Kuhn’s distinct aesthetic has propelled her as one of the most collectible contemporary art photographers—her work is in private and public collections worldwide and she is represented by galleries across the United States, Europe and Asia. Kuhn was born in São Paulo, Brazil, in 1969, of German descent. In 1989, Kuhn moved to the US and earned her BA from The Ohio State University, before furthering her studies at the San Francisco Art Institute. She is currently an independent scholar at The Getty Research Institute in Los Angeles. Occasionally, Mona teaches at UCLA and the Art Center College of Design in Pasadena. Kuhn’s first monograph, Photographs, was debuted by Steidl in 2004; followed by Evidence (2007), Native (2010), Bordeaux Series (2011), Private (2014), and She Disappeared into Complete Silence (2018/19). In addition, Stanley/Barker Editions published Kuhn's Bushes & Succulents in 2018. In 2021, Thames & Hudson published a career retrospective titled Works. Kuhn's most recent publication Kings Road (2022) with Steidl accompanies a multi-dimensional museum traveling exhibition shown in Europe and the US. Mona Kuhn’s work is in private and public collections worldwide, including The J. Paul Getty Museum, Los Angeles County Museum of Art, The Hammer Museum, Perez Art Museum Miami, Museum of Fine Arts, Houston, and the Kiyosato Museum in Japan. Kuhn's work has been exhibited at The Louvre Museum and Le Bal in Paris; The Whitechapel Gallery and Royal Academy of Arts in London; Musée de l’Elysée in Switzerland; Leopold Museum in Vienna Austria, The Polygon Gallery in Vancouver Canada, Taipei Fine Arts Museum in Taiwan and Australian Centre for Photography...

Blue Space Dark - Mindscreen 09 (Night on Earth) - 1999 58x56cm, Edition of 10, plus 2 Artist Proofs. Analog C-Print, hand-printed by the artist, based on the original Polaroid. ...

Purple Yellow Light (Journey to the Center of the Earth) - 2019 100x82cm, Edition of 5 plus 2 Artist Proofs. Photograph printed in Canson Barita Fiber Rag 340gr, based on the recl...

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...

Candida Höfer (German, b. 1944) Teatro Degollado Guadalajara III, 2015 Medium: C-Print Dimensions: 38 x 47 cm Edition of 100: Hand-signed on label, verso Condition: Excellent

Bleed # 202390 (Abstract Photography) Chromogenic Print Face-mounted 3mm Matte Plexiglas - Unframed. Backed with Dibond and C-channel hanging system + keyhole option. Edition: 1/3...

Deep Mirroring Forest 005 is a limited-edition photograph by German contemporary artist Bernhard Lang. This photograph is sold unframed as a print only. It is available in 6 dimens...

Please bear in mind that all prints are produced to order and lead times are between 15-20 days. Hong Kong Apartments II is a dynamic C-Type Matte Print by Contemporary photographer...

Aerial Views, Tulip Fields 10 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...

Type-C print Signed, titled, dated, and numbered, verso 20 x 20 inches (Edition of 10) 30 x 30 inches (Edition of 5) 40 x 40 inches (Edition of 5) This artwork is offered by Clam...

Last Frame (29 palms, CA) - 2008 48x47cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certificate. Artist Inventory #4655. ...

Through the Veil (Oxana's 30th Birthday) - 2007 20x65cm including the white frame. Edition of 10, plus 2 Artist Proofs. Archival C-Print print, based on the original Polaroid. C...

Aerial Views, Tulip Fields 37 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 di...

Stars 1, 2014 - Stars and Trees in Ancient English Woodland and Forest Landscape by Ellie Davies Stars 1 by Ellie Davies is a stunning Digital C-Type Print on Fuji Maxima Matte pape...

Aerial Views, Tulip Fields 36 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 di...

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...

Rapture (29 Palms, CA) - 2022 48x46cm, Edition of 10, plus 2 Artist Proofs. Archival Print, based on the Polaroid. Artist inventory Number 218829. Signature label and Certificate...

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. ...

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

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...

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...

Please bear in mind that all prints are produced to order and lead times are between 15-20 days. TV1 is a stunning C-Type Print by contemporary photographer Samuel Hicks. It is avai...

This is a new series of photography of land art depicting Earth and its land forms taken from the air. This series of aerial photography captures Earth's beauty in its natural, diver...

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...

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...

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, ...

Aerial Views, Tulip Fields 05 is a limited-edition photograph by German contemporary artist Bernhard Lang. Available dimensions and editions: - 60 x 75 cm: edition of 10 - 96 x 120 ...

Aerial Views, Tulip Fields 27 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 di...

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...

The artist was inspired by the symbology of the one dollar bill, and especially by the image of the pyramid on this bill, which is considered an Illuminati symbol. As this is the mo...

Stars 3, 2014 - Stars and Trees in Ancient English Woodland and Forest Landscape by Ellie Davies Stars 3 by Ellie Davies is a stunning Digital C-Type Print on Fuji Maxima Matte pape...

Versilia 05 is a limited-edition photograph by contemporary artist Bernhard Lang. This photograph is sold unframed as a print only. It is available in 3 dimensions: *60 cm × 79 cm ...

Baltic Ice, Kakumaee 004 is a limited-edition photograph by German contemporary artist Bernhard Lang. This photograph is a limited edition of 8 copies, it is sold framed. Dimension...

Candida Höfer (German, b. 1944) University Library Hamburg A, 2000/02 Medium: Set of 2 c-prints, mounted on Forex Dimensions: each 61 x 61 cm (24 x 24) Edition of 45: Hand-signed and...

The Bog Renaturated 010 is a limited-edition photograph by contemporary artist Bernhard Lang. This photograph is sold unframed as a print only. It is available in 3 dimensions: *75...

Deep Mirroring Forest 007 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...

Baltic Ice, Kakumaee 004 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 dimensi...

Baltic Ice, Peipsi Jaerv 016 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 dim...

Baltic Ice II, Paernu 007 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 dimens...

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...

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...

Aerial Views, Tulip Fields 01 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 di...

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 ...

Lumina # 202210 (Abstract Photography) Chromogenic Print Face-mounted 4.5mm Matte Plexiglas Box - Unframed. Edition: 1/3 Backed with Dibond and C-channel hanging system + keyhole op...

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 ...

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 different exposures using uv-...

Lumina # 202211 (Abstract Photography) Chromogenic Print Face-mounted 4.5mm Matte Plexiglas Box - Unframed. Edition: 2/3 Available in 4-5 weeks turnaround. Backed with Dibond and C-...

​Represented by George Billis Gallery, NYC & LA -- Charney writes of her process: “For many years, I'd been trying to combine painting and photography with very contrived results. O...

Temporal Perception 92 (Diptych) (Abstract photography) Archival C-Print — Unframed. Edition: 1/12 Available in 2 weeks turnaround. Sold as a diptych. Each element size is: 45 x 30"...

Baltic Ice, Peipsi Jaerv 013 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 dim...

Type-C print Signed, titled, dated, and numbered, verso 20 x 20 inches (Edition of 10) 30 x 30 inches (Edition of 5) 40 x 40 inches (Edition of 5) This artwork is offered by Clam...

Temporal Perception 361 (Diptych) (Abstract photography) Archival C-Print — Unframed. Edition: 1/12 Available in 2 weeks turnaround. Sold as a diptych. Each element size is: 45 x 30...