C Print Abstract Photography

Stillness (Zuma Beach) - 2004 48x47cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #20433. N...

Kaleidescope (Zuma Beach) - 2004 48x47cm, 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 48x47cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #20432. No...

Mirage (Zuma Beach) - 2004 48x47cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #20428. Not ...

Born 1959, Geneva, Switzerland Vanna Karamaounas aka Iseult Labote – Lives and works in Geneva and Berlin. Born in Geneva of mixed Greek and Swiss heritage, Labote studied art his...

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...

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...

Born 1959, Geneva, Switzerland Vanna Karamaounas aka Iseult Labote – Lives and works in Geneva and Berlin. Born in Geneva of mixed Greek and Swiss heritage, Labote studied art his...

Born 1959, Geneva, Switzerland Vanna Karamaounas aka Iseult Labote – Lives and works in Geneva and Berlin. Born in Geneva of mixed Greek and Swiss heritage, Labote studied art his...

Born 1959, Geneva, Switzerland Vanna Karamaounas aka Iseult Labote – Lives and works in Geneva and Berlin. Born in Geneva of mixed Greek and Swiss heritage, Labote studied art his...

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...

Mika Rottenberg Hand, 2008 C-print 27 x 20 inches (image and sheet) 28 x 21 inches (frame) Unsigned

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 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 unique cyanotype that takes its inspiration from the mid-century modern shapes. It's made by layering paper cutouts and different exposures using uv-...

Untitled (Paradise) - 1999 50x50cm. Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certificate. Artist Inventory No. 20451. N...

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-...

Midnight Sun (Life on Mars) - 2022 Edition of 10, 40x17cm, Archival C-Print. Artist inventory E020. Signature label and Certificate. Not mounted. ...

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 ...

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...

Blue Space Dark - Mindscreen 09 (Night on Earth) - 1999 58x56cm, Edition of 10. Analog C-Print, hand-printed by the artist, based on the Polaroid. Signature label and Certificate....

2006 Signed and numbered in ink, verso Chromogenic print (Edition of 100) 8 x 10 inches (20.3 x 25.4 cm) This work is offered by CLAMP in New York City.

Strangers (Deconstructive) - 2022 Edition of 10, 49x48cm. Archival C-Print, based on the Polaroid. Artist inventory number: 18894. Signature label and certificate. Not mounted. ...

The Silence (Deconstructivism) - 2020 - about the narrative potential of images. 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid, Artist Inventory 1903. Signatur...

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-...

TERRY EVANS (American b. 1944) "Terraced Plowing," September 4, 1990, Color photograph (chromogenic print, C Print) on photo paper, dated and hand signed...

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...

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 d...

Soft Geometry # 13f (Abstract Photography) Photographic C Prints, printed on Canson Platinè fiber Rag 310g - Unframed "Edition of 6 + 2Ap Turnaround...

Hallway I (Suburbia) - 2004 40x40cm, Edition of 5, analog C-Print based, hand-printed by the artist on Fuji Crystal Archive papter, matte surface, based on the Polaroid. Signature...

Comosis Collage 4A52.1.4 – Composition no 7E2 Yellow (Abstract Photography) Photographic C Prints, printed on Canson Platinè fiber Rag 310g - Unframed "Edition of 6 + 2Ap Turnaro...

Cosmosis Collage 2B CK6A422 (Abstract Photography) Photographic C Prints, printed on Canson Platinè fiber Rag 310g - Unframed "Edition of 6 + 2Ap Turnaround time 2-3 weeks, print...

Cosmosis Collages 34A577BC no 126 Red (Abstract Photography) Photographic C Prints, printed on Canson Platinè fiber Rag 310g - Unframed "Edition of 6 + 2Ap Turnaround time 2-3 we...

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...

Soft Geometry # 13D (Abstract Photography) Photographic C Prints, printed on Canson Platinè fiber Rag 310g - Unframed "Edition of 6 + 2Ap Turnaround...

Cosmosis Collage 4A53.1.2 – Composition no 7C2 Blue (Abstract Photography) Photographic C Prints, printed on Canson Platinè fiber Rag 310g - Unframed "Edition of 6 + 2Ap Turnarou...

Soft Geometry # 8C (Abstract Photography) Photographic C Prints, printed on Canson Platinè fiber Rag 310g - Unframed "Edition of 6 + 2Ap Turnaround t...

Soft Geometry # 8B (Abstract Photography) Photographic C Prints, printed on Canson Platinè fiber Rag 310g - Unframed "Edition of 6 + 2Ap Turnaround time 2-3 weeks, printed on de...

Soft Geometry # 11C (Abstract Photography) Photographic C Prints, printed on Canson Platinè fiber Rag 310g - Unframed "Edition of 6 + 2Ap Turnaround time 2-3 weeks, printed on d...

Soft Geometry # 11B (Abstract Photography) Photographic C Prints, printed on Canson Platinè fiber Rag 310g - Unframed "Edition of 6 + 2Ap Turnaround...

Soft Geometry # 13f (Abstract Photography) Photographic C Prints, printed on Canson Platinè fiber Rag 310g - Unframed "Edition of 6 + 2Ap Turnaround time 2-3 weeks, printed on d...

Soft Geometry # 13c (Abstract Photography) Photographic C Prints, printed on Canson Platinè fiber Rag 310g - Unframed "Edition of 6 + 2Ap Turnaround...

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-...

Color Kinesthesia 2A9, Purple - pink (Abstract Photography) Photographic C Prints, printed on Canson Platinè fiber Rag 310g - Unframed "Edition of 6 + 2Ap Turnaround time 2-3 wee...

Cosmosis Collages 24A577C no 123 Pink (Abstract Photography) Photographic C Prints, printed on Canson Platinè fiber Rag 310g - Unframed "Edition of 6 + 2Ap Turnaround time 2-3 we...

Universals Foldouts 07022012 Grey (Abstract Photography) Photographic C Prints, printed on Canson Platinè fiber Rag 310g - Unframed "Edition of 6 + 2Ap. Turnaround time 2-3 weeks...

Cosmosis Collages 4A57F Comp no 85 Blue black (Abstract Photography) Photographic C Prints, printed on Canson Platinè fiber Rag 310g - Unframed "Edition of 6 + 2Ap Turnaround ti...

Cosmosis Collages 4A577E3 Comp no 70 (Abstract Photography) Photographic C Prints, printed on Canson Platinè fiber Rag 310g - Unframed "Edition of 6 + 2Ap Turnaround time 2-3 we...

Cosmosis Collages 4A579E – Composition no 84 - Red and grey (Abstract Photography) Photographic C Prints, printed on Canson Platinè fiber Rag 310g - Unframed "Edition of 6 + 2Ap ...

Cosmosis Collage 4A5.1 – Composition no 210.4 Blue (Abstract Photography) Photographic C Prints, printed on Canson Platinè fiber Rag 310g - Unframed "Edition of 6 + 2Ap Turnaroun...

Cosmosis Collage 427.4A7 – Composition no 2C4 Blue (Abstract Photography) Photographic C Prints, printed on Canson Platinè fiber Rag 310g - Unframed "Edition of 6 + 2Ap Turnaroun...

Cosmosis Collage 2B CK6A422 (Abstract Photography) Photographic C Prints, printed on Canson Platinè fiber Rag 310g - Unframed "Edition of 6 + 2Ap Turnaround time 2-3 weeks, print...

Universals Foldouts 07022012 Red (Abstract Photography) Photographic C Prints, printed on Canson Platinè fiber Rag 310g - Unframed "Edition of 6 + 2Ap. Turnaround time 2-3 weeks,...

Universals Foldouts 07022012 Pink (Abstract Photography) Photographic C Prints, printed on Canson Platinè fiber Rag 310g - Unframed "Edition of 6 + 2Ap. Turnaround time 2-3 weeks...

Universals Foldouts 07022012 Blue (Abstract Photography) Photographic C Prints, printed on Canson Platinè fiber Rag 310g - Unframed "Edition of 6 + 2Ap. Turnaround time 2-3 weeks...

Color Kinesthesia 4A52, Turquoise (Abstract Photography) Photographic C Prints, printed on Canson Platinè fiber Rag 310g - Unframed "Edition of 6 + 2Ap Turnaround time 2-3 weeks,...

Color Kinesthesia 5B27 Vert (Abstract Photography) Photographic C Prints, printed on Canson Platinè fiber Rag 310g - Unframed "Edition of 3 + 2Ap Turnaround time 2-3 weeks, print...

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-...