Photographic Paper Abstract Photography

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 ...

An Open Edition Print by National Geographic Photographer Keith Ladzinski from his “Cities” collection. Evening traffic streaking over London’s iconic Tower Bridge.

An Open Edition Print by National Geographic Photographer Keith Ladzinski from his “Cities” collection. Bokeh shaping the lines and structure of the illuminated George Washington ...

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

An Open Edition Print by National Geographic Photographer Keith Ladzinski from his “Cities” collection. This photograph captures the iconic Eiffel Tower shrouded in light mist on ...

An Open Edition Print by National Geographic Photographer Keith Ladzinski from his “Cities” collection. Streaked traffic flowing across London’s Tower Bridge

An Open Edition Print by National Geographic Photographer Keith Ladzinski from his “Cities” collection. A long exposure of twirled supports along a building in Munich, Germany

An Open Edition Print by National Geographic Photographer Keith Ladzinski from his “Cities” collection. Peering through ripply 19th century glass of Vatican City, Italy

An Open Edition Print by National Geographic Photographer Keith Ladzinski from his “Cities” collection. Rainy day reflections along the back streets of Rome, Italy.

An Open Edition Print by National Geographic Photographer Keith Ladzinski from his “Cities” collection. Gloomy twilight over the Verrazzano-Narrows Bridge, New York City

An Open Edition Print by National Geographic Photographer Keith Ladzinski from his “Cities” collection. Twilight traffic over the Brooklyn Bridge, NYC

An Open Edition Print by National Geographic Photographer Keith Ladzinski from his “Cities” collection. Streaks from cars along a busy street next to the iconic Coliseum, a conver...

Keever’s landscapes are paint and ink that he pours into a 200-gallon tank and then photographs.

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...

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...

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

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...

This extra large montage of photographs is mounted onto aluminum from Ken Gonzales-Day's dysmorphologies series. Photo paper mounted to aluminum. Ken Gonzales-Day's interdisciplinary and conceptually grounded projects consider the history of photography, the construction of race, and the limits of representational systems ranging from the lynching photograph to museum display. The Searching for California Hang Trees series offered a critical look at the legacies of landscape photography in the West while his most recent project considers the sculptural depiction of race. Profiled began as an exploration of the influence of eighteenth century "scientific" thought on twenty-first century institutions ranging from the museum to the prison and extended to the sculpture and portrait bust collections of several major museums including: The J. Paul Getty Museum; The Field Museum, Chicago; The Museum of Man, San Diego; L'École des beaux-arts,Paris. The Bode Museum, Berlin, Park Sanssouci, Potsdam; The National Museum of Natural History, Paris; The Yale Center for British Art, New Haven; among others. Gonzales-Day lives in Los Angeles and is Chair of the Art Department at Scripps College. Much of Gonzales-Day's work considers the larger political and social representational histories of the Mexican-American experience. His early work draws on the constructed photo methods of artists like Jeff Wall, Cindy Sherman, or Gregory Crewdson. For example, in Bone Grass Boy (1996), Gonzales-Day casts himself as all the central characters in a staged photonovella set during the Mexican American War. In a later series entitled Erased Lynchings (2004-2006), Gonzales-Day explores the history of lynching in the American West by appropriating and digitally altering an archive of 19th and 20th century postcards that depict Mexican and Mexican-American lynchings. In 2012, Gonzales-Day received the Creative Capital Award in the discipline of Visual Arts. In 2014, he created his project titled Run Up which pairs together recreated images of lynchings from the 1920s and images of police brutality from Ferguson and Los Angeles. The title, Run Up, stems from the term for an illegal lynching. Court-ordered executions were called hangings while hate crimes were referred to as "run-ups". Along with his artwork, Gonzales-Day has authored two monographs. His first, Profiled, deals with the works of Malvina Hoffman...

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....

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...

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...

I began making photograms with alternate light sources in 2020, due to having an unfinished darkroom at the time of the shutdown. (Fortunately, the wet side was nearly complete just prior and I had a ton of old European sized Forte in my paper safe to experiment with). "Into the Ether" was my first in-depth body of cameraless work, which was completed at the end of the year. All of my images are essentially subconscious self-portraits which reveal themselves during my printing processes (that applies to both film-based prints and unique darkroom darkroom prints made without the use of a camera). This award-winning series took shape while in the height of covid-based isolation. However, making the work led to my now current occupation, as I now specialize in experimental photograms and teach some of my processes. "Flower Implosion" was one of my first sparkler exposures involving moving water; Made with flowers and water, this triple exposed sparkler-o-gram debuted via an online exhibition...

I began making photograms with alternate light sources in 2020, due to having an unfinished darkroom at the time of the shutdown. (Fortunately, the wet side was nearly complete just ...

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...

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...

A photograph on fine art Baryta paper mounted to Dibond and floated in a black wood frame with a UV 70 Glass. A limited edition of 10 in total plus artist proofs. About the Artist:...

Large Scale Limited edition color photograph, 40"x60" depicting an abstract waterscape with a lavender sky. This contemporary landscape photograph has has a painterly feel; the artist has captured a rising cusp of a wave with blue and cool white, against a violet and pink sky. The photographer Danny...

This is the unique silver gelatin print that started it all... In March 2020, most of the dry side of my darkroom was still in pieces, taking over my living room, as I had not yet fo...

Rebecca Swanson, Graphic Blossom IV, Limited Edition Photograph, 15x15, with a white frame. Framed size 36x36. This stunning image is filled fuschia and a vibrant yellow colors. This is an edition of 10. Also available in 20x20 Rebecca Swanson’s work is inspired from her childhood in Ohio, growing up with her mother, an avid gardener, and her grandmother, an accomplished china painter. Her work is cultivated by the natural world, with its universal fragility and beauty we share with all plants and flowers. She “paints” with her camera, blending the abstract forms of nature with subtle colors to build intimate portraits of perfect, individual blooms. Her utopia is New York City with its parks, waterfronts, and botanical gardens. Rebecca studied drawing, painting, photography, and sculpture at the Cleveland Institute of Art and moved to New York to work as a textile designer. Rebecca has been exhibiting since 1995 in renown locations including the New York City Leica Gallery. Her photographs can be found in corporate collections including Banana Republic, St. Regis, Marriott and Omni hotels and in hospitals throughout the country. She has photographed gardens...

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...

Not one to shy away from human representation, Pia Clodi’s more portraiture-like works continually offer the sitter an air of anonymity, and as such the viewer has the opportunity t...

Blue Ribbon - Still Life Black and White Photographic Print Framed Not one to shy away from human representation, Pia Clodi’s more portraiture-like works continually offer the sitte...

Untitled (Traintracks) - The last Picture Show - 2004 50x50cm. Edition of 5, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature label and Certificate. Artist...

Pareidolia is the psychological phenomenon of observing faces in inanimate objects. In his ‘Frozen Faces Series,’ artist David Barnett plays with this phenomenon to create a series of abstract portraits out of snow. In ‘Fish Face...

Large Scale Limited edition color photograph, 40"x60" depicting an abstract waterscape that has a painterly feel. Below a golden yellow sky, a wave is pulled back to shore, with lines of rose pink, deep blue, turquoise and warm white. The photographer Danny Weiss...

SOPHIA MILLIGAN 'Birthing (4)' Limited Edition Original Photograph _________________ Scars of birthing in the unfolding leaf pattern of the giant graceful Agave. The sensual contrad...

'Cicatrices (6)' Limited edition archival photograph. Unframed, hand signed and numbered _________________ Scars of birthing in the unfolding leaf pattern of the giant graceful Agav...

This one-of-a-kind alt process landscape (photogram) was actually just made during my recent artist residency, which concluded in September; I was 4 unique silver gelatin prints into...

Captain Nelson (29 Palms, CA) - 2007 37x49x3.5cm, Edition 1/5. Artist Inventory No 4033.01. Analog C-Print, Hand-printed by the artist, mounted on a wooden box with matte UV-Prot...

Large-Scale Limited edition color photograph, 40"x60" depicting an abstract waterscape that has a painterly feel, from Danny Wiess' Still Water series 4,#1. In this photograph with a vertical composition, a tranquil ocean horizon divides the picture plane symmetrically: with fuchsia pink, orange, golden yellow and light blue sky on top, and cerulean and sapphire blues of the water in the bottom. The photographer Danny Weiss...

Unique silver gelatin print (photogram made sans enlarger); from my "From the Ashes" series. My first covid-born cameraless series, inspired due to having an unfinished darkroom at t...

One-of-a-kind handmade print (photogram made sans enlarger). One of my early photograms, made in 2020; I began making alt process photograms in June 2020, due to having an unfinished...

Large Scale Limited edition color vertical photograph, 60" x 40" depicting an abstract waterscape that has a painterly feel. In this photograph, a a large cresting wave is backlit by rose pink and golden yellow sky, the wave reflects the orange, coral and rose pinks amongst the cerulean and sapphire blues of the water. The photographer Danny Weiss...

In this photograph, a rose pink and golden yellow sunset reflects off the surface of a calm shimmering ocean, refracting yellows and oranges amongst the cerulean and sapphire blue of the water. Large Scale Limited edition color photograph, 40"x60" depicting an abstract waterscape that has a painterly feel. The photographer Danny Weiss...

Unique silver gelatin print; Mixed process triple exposure with flowers, glitter, sand, and water. Made by hand in my home darkroom. "Metamorphosis" series. I began making photogram...

One-of-a-kind silver gelatin print (11x14"); Comes window matted. Mixed process multiple exposure with flowers, glitter, and wax. From my award-winning "Metamorphosis" series. (This ...

I began making photograms with alternate light sources in June 2020, due to having an unfinished darkroom at the time of the shutdown. This one-of-a-kind handmade black-and-white pri...

Ripped (Deconstructivism) - 2020 - about the narrative potential of images. 40x40cm, Edition of 10, Archival C-Print, based on the Polaroid, Artist Inventory 4600. Signature lab...

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

Untitled (Traintracks) - The Last Picture Show - 2004 20x20cm. Edition of 5, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certificate. Arti...

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 Sc...

Dawn (Deconstructivism) - 2015 - about the narrative potential of images. 20x24cm, Edition of 10, digital C-Print, based on a Polaroid, Artist Inventory 20272. Signature label a...

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...

This piece is an original artwork by Jason Chen titled "Two-Thirds". It is made of archival pigment prints from the artist's photography that he cuts and weaves together by hand. The piece measures 16”h x 12”w and ships framed in the pictured 19”h x 15”w frame. In 2012, Jason Chen shifted his long-running focus on dry plate tintypes to a new process: photo weaving. Chen began using two separate images of the same person, then wove them together in a process exploring time, movement, process, and mutation. He has exhibited works in the series one by one over the years, but in Fragments, his 2015 solo exhibition at Paradigm Gallery, a full collection of these works were on display together for the first time. Bio // Jason Chen is originally from Guangzhou, China. He received his BFA in Animation from the University of Arts in 2008. Jason is a Philadelphia-based photographer specializing in Fashion, Editorial, and Alternative Process Photography...

Explosion - Limited edition pigment print , 2014 - Limited Editions of 20 Signed + numbered by artist with certificate of authenticity. Archival pigment print available sizes ( Image size , the white margin is not counted) : 42.33 x 63,5 cm / 16.66" x 25" - Edition of 20 67.73 x 101.6 cm / 26.66" x 40" - Edition of 15 This print that is being offered is a high-quality Archival Pigment print, which has been printed on fiber-based paper. The paper used is Hahnemühle Photo Rag® Baryta 315 gsm, which is a premium quality paper that is acid-free and lignin-free. This ensures that the print will remain in pristine condition for years to come. The Hahnemühle Photo Rag® Baryta paper is a museum-quality paper that is highly resistant to aging. It is a popular alternative to analogue baryta paper, which is known for its ability to produce rich, deep blacks and vibrant colors. The Hahnemühle Photo Rag® Baryta paper is no different, as it produces stunningly vivid and lifelike prints. Overall, this Archival Pigment print is a stunning piece of art that is sure to impress. The combination of high-quality paper and inks ensures that the print will remain in pristine condition for many years, making it a great investment for any art collector or enthusiast. Sam Thomas...

Large Scale Limited edition color photograph, 40"x60" depicting an abstract waterscape that has a painterly feel. In this photograph, the artist has captured a cresting wave, amids...

Large Scale Limited edition black and white photograph, 40"x60" depicting an abstract waterscape of a wave in motion that has a painterly feel. In this black and white photograph, the artist has captured rich, dark tones, of the water contrasted against the clouds and foaming rush of the waves. The photographer Danny Weiss...