Late 20th Century Abstract 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. ...

12 Photos (Graffiti and Stripes) - Large Scale Textural Photographs Series of detailed macro photos by Bill Clark (American, 20th Century). This set of photos shows several textured...

Las Brisas A villa in Las Brisas, Acapulco, February 1972 Gorgeous print measuring 72 x 48" inches / ca 182.88 x 121.9 cm’s paper size. Estate Stamped Collection Edition to 150 ...

Mark Citret, American, b. 1949. "Third Story Arches", Fort Point, 1998 Silver gelatin print hand signed and editioned 1/45 in pencil along lower edge. Published: "Along the Way" Mark Citret, Published Custom & Limited Editions, San Francisco, 1999. Plate #23. Dimensions: Image area measures 8.25"h x 6.25"w., Frame measures 17.5 x 14.5 Mark Citret was born in 1949 in Buffalo, New York, and grew up in San Francisco. He began photographing seriously in 1968 and received both his BA and MA in Art from San Francisco State University. He has worked on many photographic projects over the course of his career and continues to do so. From 1973 to 1975 he lived in and photographed Halcott Center, a farming valley in New York's Catskill Mountains. In the mid to late 1980s, he produced a large body of work with the working title of "Unnatural Wonders", which is his personal survey of architecture in the national parks. He spent four years, 1990 to 1993, photographing "Coastside Plant", a massive construction site in the southwest corner of San Francisco. Since he moved to his current home in 1986, he has been photographing the ever-changing play of ocean and sky from the cliff behind his house. Currently, he is in the midst of a multi-year commission from the University of California San Francisco, photographing the construction of their 43 acre Mission Bay life-sciences campus. He has taught photography at the University of California Berkeley Extension since 1982 and the University of California Santa Cruz Extension since 1988, and for organizations such as the Center for Photography at Woodstock, the Ansel Adams Gallery, and Santa Fe Workshops.He was included in the Weston Gallery exhibition NIGHT VISION: PHOTOGRAPHING IN THE DARK works by: Berenice Abbott, Wynn Bullock, Mark Citret, Harold Davis, Robert Frank, Ernst Haas, Chip Hooper, Rolfe Horn, Dale Johnson, Robb Johnson, Michael Kenna, André Kertész, Bob Kolbrener, Paul Kozal, Sally Mann and Jerry Uelsmann and PATTERNS IN ARCHITECTURE works by Ansel Adams, Brett Weston, Edward Weston, Oliver Gagliani, Pirkle Jones...

Coolidge Dam, Arizona Gelatin silver print, (1938), printed later, circa 1980 Unsigned A lifetime printing by Brett Weston, supervised by his father Edward Edition of 5 or 6 examples...

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...

Pioneering Color Photographer Mitchell Funk experiments with multiple in-camera exposures of the Chrysler Building, producing a triumph of color and design in motion. No less than t...

The photograph Toshio Shibata, #189 Yunoyani Village, Nigata Prefecture, 1989 by Japanese photographer Toshio Shibata is hand-signed (on recto) by the photographer. The 13" x 19" pri...

Untitled, Unique photograph. Center panel from larger scale installation. Shot in the 20X24 format. (this measures about 20X20 inches) Ellen Carey, American artist and photographer. Ellen Carey resides in Hartford, Connecticut, and teaches at the Hartford Art School. She holds a B.F.A. from the Kansas City Art Institute, Missouri, and an M.F.A. from State University of New York at Buffalo. Her photographs have been exhibited at numerous galleries and museums, including the International Center for Photography, New York and the Fogg Art Museum at Harvard University, Cambridge, Massachusetts. She has received many grants from her home state of Connecticut as well as the Massachusetts Council of the Arts, New Works Grant, New York State Federation for Artists Grant; and a National Endowment for the Arts Award. Her photographs are in the permanent collections of The Art Institute of Chicago; the Baltimore Museum of Art; Brooklyn Museum of Arts; Chase Manhattan Bank; Coca Cola Corporation; Fogg Art Museum; George Eastman House; International Center for Photography; and the Los Angeles County Museum of Art, among others. Abstract photography, sometimes called non-objective, experimental, conceptual or concrete photography, is a means of depicting a visual image that does not have an immediate association with the object world and that has been created through the use of photographic equipment, processes or materials. Some photographers pushed the boundaries of conventional imagery by incorporating the visions of surrealism or futurism into their work. Man Ray, Maurice Tabard, André Kertész, Curtis Moffat and Filippo Masoero were some of the best known artists who produced startling imagery that questioned both reality and perspective. Both during and after World War II photographers such as Minor White, Aaron Siskind, Henry Holmes Smith and Lotte Jacobi explored compositions of found objects in ways that demonstrated even our natural world has elements of abstraction embedded in it. Beginning in the late 1970s photographers stretched the limits of both scale and surface in what was then traditional photographic media that had to be developed in a darkroom. Inspired by the work of Moholy-Nagy, Susan Rankaitis first began embedding found images from scientific textbooks into large-scale photograms. By the 1990s a new wave of photographers were exploring the possibilities of using computers to create new ways of creating photographs. Photographers such as Thomas Ruff, Barbara Kasten, Tom Friedman, and Carel Balth were creating works that combined photography, sculpture, printmaking and computer-generated images. Any boundaries that remained between pure artists and pure photographers were eliminated by individuals who worked exclusively in photography but produced only computer-generated images. Among the most well-known of the early 21st century generation were Gaston Bertin...

"Polk" Large Scale Textural Photograph Detailed macro photo by Bill Clark (American, 20th Century). Clark has taken a photograph of heavily painted concrete. The paint is bold yello...

GERHARD RICHTER b. 1932 Born in Dresden 1932 (German) Title: Abstract Photo Abstraktes Foto, 1989 Technique: Hand Signed, Dated and Numbered Black an...

Signed and dated on the front of the mount. Limited edition of 35. Number 17 of 35. From the “Twenty Photographs, 1970-1977” Portfolio.

Shuli Sadé, Israeli (b. 1952) Pipe Bending (1995) Hand painted silver gelatin photo print Hand signed in pencil lower right, numbered 1/10 Framed: 23.25 X 29.25 sight, 15 x 19 inches Provenance: Estate of Gideon Gartner Shuli Sade (Shuli Sadeh Goshen) is an Israeli Postwar & Contemporary artist born in Israel in 1952. Shuli Sadé studied at the Bezalel Academy of Art, Jerusalem and the School of Visual Arts. Her work, which uses urban movement as a central theme, explores technology and its potential to impact still, moving, and two- and three-dimensional images. Sadé has lectured at the University of Pennsylvania School of Architecture, Parsons The New School for Design, and Barnard College. Her Sadé's cross-disciplinary artwork blends theory and practice with a focus on memory, space, and urbanism. Her work creates maps of urban memory, reflecting the DNA of a city. She mixes mediums including photography, video, augmented reality, site-specific installations, sculpture, and drawing. Her recent exhibitions include Upstream Downstream, a site-specific augmented reality installation, Riverside Park, NYC, part of Re: Growth, public art exhibition (2021), Fluid Formations, Gensler DC, (2019), Wild_Heterotopias, AR installation at the HighLineNine Galleries, and the High Line, (2019), Solid Red, Galeria Ethra, Mexico City, (2018) Day Dreams, AR installation at Montefiore Medical Center, the Bronx, NY (2017) and group shows including Timing is Everything, Mead Art Museum collection (2018), Making Time, AR installation Index Art Center, Newark, NJ (2019), Anniversario, Datasets, Galeria Ethra, Mexico City (2019) Israeli Modernism in the 1970s from the Collection, Haifa Museum of Art (2016). She had collaborated with Neural scientists at the Neurobiology of Cognition Laboratory, Center for Neural Science, New York University, and with architects and designers across the US. Sadé creates large-scale site-specific murals in the Corporate environment. She is an Israeli contemporary woman artist. Her recent artworks are permanently installed in Manhattan, Philadelphia, Boston, North Carolina., Miami, Mexico City, Jersey City, and more. Sadé received the Pollock Krasner Foundation Grant, (2014), the National Endowment for the Arts Fellowship (1991), New York Foundation for the Arts Emergency Grant (2001), Lower Manhattan Cultural Council Fund, NY- Israel Cultural Cooperation Commission Grant, AICF study grant, NY Art Development Committee grants. Her work is in private and public collections. Shuli Sade is a NY artist and architectural photographer. Sade studio photographed Renzo Piano renovations at the Morgan library, Norman Foster Hearst tower, Weiss Manfredi Nexus at Barnard College, Shiseido at Grey Art Gallery by Marble Fairbanks, Sade works on international commissions, Published in Metropolis magazine, Architectural Digest, Eating Architecture, MIT, Avroko Design, Regan books and others. She lives in NYC and works at her studio at Mana Contemporary, NJ. Her work is represented by Galleria Ethra in Mexico City. Select Exhibitions 2012 Reconfiguring Memory, (permanent installation), Center for Neural Science, New York University 2012 Conference of the Birds, CYNTHIA-REEVES Projects at Mana Contemporary, New Jersey 2011 Conceptualizing the Body Gaze, Masquerade, and Spectacle 2011 ENCODE/ DECODE: Work in Progress, The City of Herzliya Art Gallery, Herzliya, Israel 2009 H20 Film on Water, Brattleboro Museum, Bratleboro, NH 2009 Meeting/Place Cabri Gallery of Israeli Art, Kibbutz Cabri: Yigal Ozeri, Alex Kremer, Ofer Lellouche, Lea Nikel, Moshe Kupferman, Ori Reisman, Jan Rauchwerger, David Reeb, Shuli Sadeh, Yehiel Shemi, Marik Lechner, 2006 Illuminated Disjunction, Hungarian Cultural Center, New York, NY 2005 The Silence of the Sea, The National Maritime Museum, Haifa, Israel 2003 Sacred Drawings, Tibetan Healing International Conference, Washington DC 2003 Blueprints Reconfiguring Space, Art in General Gallery, New York, NY 2000 Light and its Opposite, Lemberger Museum of Photography, Tel-Hai, Galilee, Israel 2000 Bassam Abu Shakra Gallery, Um -El-Fahem, Israel 1999 Mythic Arrangements, Ehrenkrantz Eckstut & Kuhn Architects, Los Angeles, CA 1999 Women photographers reflecting women, Talli's Fine Arts Gallery, New York, NY 1999 Neil Folberg Vision Gallery, Jerusalem, Israel 1996 Fragments of Anxiety, Columbia University, Avery Hall, School of Architecture, New York, NY 1995 Agni Vidya- the Fire of Knowledge, City of Venice Biennale, Isola Certosa, Italy 1994 Imprint, A.I.R. Gallery, New York, NY 1993 Sculptors of the Next Century, Socrates Park, Long Island City, NY 1990 Galleria Principal, Altos de Chavon, Dominican Republic 1981 Feminine Objects, Tzavta Jerusalem P.V.V, Israel 1980 Biennale of Contemporary Art, Tel Hai 80, Israel 1980 Borders, Israel Museum of Contemporary Art, Jerusalem, Israel Igael Tumarkin, Shuli Sadeh, Michal Naaman, Yair Garbuz, Gad Ullman...

A stunning dune by famous Brett Weston. It's most probable that it was taken in Oceano California with a large format camera. Exceptional printed black and white silver gelatin phot...

Wabi-Sabi (Sidewinder) - 9 Original Polaroids - Unique Piece, 2005 DECONSTRUCTIVISM, 2000 - present. About the narrative potential of images. each Polaroid 7.8 x 7,7cm (image area) ...

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...

Pentti Sammallahti was born in 1950 in Helsinki, Finland. Sammallahti was surrounded by works from his grandmother, Hildur Larsson, who was a photographer in the early 1900s. Sammallahti has been photographing the world around him with a poetic eye since the age of eleven. At the age of nine, he visited "The Family of Man...

Pentti Sammallahti was born in 1950 in Helsinki, Finland. Sammallahti was surrounded by works from his grandmother, Hildur Larsson, who was a photographer in the early 1900s. Sammallahti has been photographing the world around him with a poetic eye since the age of eleven. At the age of nine, he visited "The Family of Man...

Pentti Sammallahti was born in 1950 in Helsinki, Finland. Sammallahti was surrounded by works from his grandmother, Hildur Larsson, who was a photographer in the early 1900s. Sammallahti has been photographing the world around him with a poetic eye since the age of eleven. At the age of nine, he visited "The Family of Man...

Franco Fontana (Italian, born 1933) Title: Varsavia, (Warsaw, Poland streetscape with buildings) 1977 Medium: dye-transfer Dimensions: Frame 28.5 x 20.5. Sight 20 x 13. Provenance: Monique Goldstrom Gallery Franco Fontana (Italian, 1933) is an Italian photographer. He is best known for his Minimalist abstract colour landscapes. He was influenced by Minimalism and Abstract Expressionism. Franco Fontana was born in 1933 in Modena. He started taking photographs in the 1950s when he was working as a decorator in a furniture showroom. In 1961 he joined a local amateur club in Modena. The experience would be a turning point in his career, and Fontana went on to have his first solo exhibition in 1965 at the Società Fotografica Subalpina, Turin and at the Galleria della Sala di Cultura in Modena in 1968. Since then he has participated in more than 400 group and solo exhibitions including the exhibit Lines, Spheres and Glyphs at Robert Klein Gallery with works by photographers: Franco Fontana, Mario Giacomelli, Ernst Haas, Gyorgy Kepes and Aaron Siskind. Franco Fontana is considered one of the most relevant photographers of our time, In 1963 he exhibited his work at the Biennale of Color in Vienna, and in 1968 he held his first solo exhibition in Modena. Fontana often pares landscapes down to their essential elements, producing flat, geometric compositions reminiscent of the color field abstract expressionist paintings of Mark Rothko Ad Reinhardt and Barnett Newman, by underexposing his transparencies. Contrasting blue skies with green or yellow grass and the rigid lines of buildings with the softness of puffy clouds, he makes color and texture his primary subjects. He has also shot in Polaroid film. His art has been acquired by some of the most important museums worldwide, including the Maison Européenne de la Photographie in Paris, MoMA in New York, Museum Ludwig in Cologne, Museum of Modern Art in Norman, Oklahoma, National Gallery in Beijing, Australian National Gallery in Melbourne, University of Texas in Austin, Stedelijk Museum in Amsterdam, Tokyo Metropolitan Museum, Israel Museum in Jerusalem, and Musée d’Art Moderne de la Ville in Paris. Fontana has photographed for advertising campaigns for brands such as Fiat, Volkswagen, Ferrovie dello Stato Italiane, Snam, Sony, Volvo, Versace, Canon, Kodak, Robe di Kappa, Swissair, and has been a magazine photographer for publications including Time, Life, Vogue (USA and France), Venerdì di Repubblica, Panorama, and with the Frankfurter Allgemeine Zeitung and The New York Times. Fontana's first book, Skyline, was published in 1978 in France by Contrejour and in Italy by Punto e Virgola with a text by Helmut Gernsheim. Fontana is the art director of the Toscana Foto Festival. He has received numerous awards, such as the 1989 Tokyo Photographer Society of Japan - The 150 Years of Photography - Photographer Award. Fontana is especially interested in the interplay of colours. His early innovations in colour photography in the 1960s were stylistically disruptive. According to art critic Giuliana Scimé, Fontana "destroyed all the structures, practices, and technical choices within the Italian tradition." Fontana uses 35mm cameras, and as noted by Iwan Zahar, deploys distant viewpoints with telephoto lenses to flatten contours in a landscape of crops and fields into bands of intense, saturated colour. This is an effect that Franco Lefèvre has described as 'dialectical landscapism'. Of his use of colour in his 2019 retrospective exhibition Sintesi ('Synthesis') at Fondazione Modena Arti Visive, curator Diana Baldon has observed; “His bold geometric compositions are characterised by shimmering colours, level perspectives and a geometric-formalist and minimal language, By adopting this approach during the 1960s, Fontana injected a new vitality into the field of creative colour photography for then multicolour was not in fashion in art photography., The way Fontana shoots, dematerializes the objects photographed, which loose three-dimensionality and realism to become part of an abstract drawing”. Aside from the rural landscape Fontana has applied his graphic sensibility to other subjects: city architecture, portraiture, fashion, still-life and the nude. He was included in the exhibition of the Helmut Newton Collection along with Brassaï, Diane Arbus, Franco Fontana, Horst P. Horst, Irving Penn, June Newton, Just Loomis, Man Ray, Mark Arbeit...

Untitled #72 (Abstract Photography) C-print — Unframed. Edition: 2/5 + 2 A/P This early work from Caldicott's acclaimed Tupperware series exemplifies his ability to breathe life in...

'Racing At Baden Baden' Spectators dine in the open air as the horses go by at Baden Baden racecourse, Germany, September 1978. In his words, he phot...

'Hotel Il San Pietro' Slim Aarons Estate Edition Guests at the Hotel Il San Pietro in Positano, Italy, August 1979. In his words, he photographed 'be...

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

The Deflated World, 1981 Cibachrome, this is the rare AP (Artists Proof) outside the edition of 10 Hand signed by artist and dated 20 × 24 in 50.8 × 61 cm Eve Sonneman (born in Chic...

"Old Room, New Room" - Minimalist Interior Photograph Minimalist photograph of a red wall with a tile floor by Shirley McWilliams (American, 20th ...

This is from a show at Sidney Janis Gallery and is from the estate of Joan Sonnabend. Eve Sonneman (born in Chicago on 1946) is an American photographer and artist. She did a series ...

Untitled #61 (Abstract Photography) C-print — Unframed. Edition: 3/5 + 2 A/P This early work from Caldicott's acclaimed Tupperware series exemplifies his ability to breathe life in...

Morocco 93 by Aaron Siskind presents an abstract image, a close up of a textured rock slab. Small dark square holes scatter across the rock. The subject is cropped, emphasizing the t...

Limited Art Edition (No. 101–200), with the gelatin silver print Untitled (Sardegna, 1980), numbered and signed by Ralph Gibson. Edition of 100 Gelatin silver print, 11 x 14 in., in ...

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...

Morris Louis MoMa New York 1986: Rare 1980s Morris Louis press photographs featuring Morris Louis's Alpha Alpha & Albireo: Silver-gelatin prints: set of 2 individual works. Dimensi...

Artist: Michael DeCamp, American (1928 - 2013) Title: Tantra Year: circa 1975 Medium: Photograph, signed and numbered in pencil Edition: 50 Image Size: 16 x 23.5 inches Size: 20 x 27...

C Print. Unframed. Richard Caldicott is most well known for this earlier work series which used Tupperware containers as the subject for his photographs. This work is edition 7/15. ...

Sorry for the reflection on the plexi. In the early 1980s, the Polaroid Foundation invited Hungarian-born painter and photographer György Kepes (1906-2001) to use the 20x24 Polaroid camera. The resulting carefully staged compositions summarize many of his artistic concerns, employing such objects as prisms, flowers, and graphic papers to manipulate the effects of light and form. György Kepes 1906-2001 was a Hungarian-born painter, photographer, designer, educator, and art theorist. After emigrating to the U.S. in 1937, he taught design at the New Bauhaus (later the School of Design, then Institute of Design, then Illinois Institute of Design or IIT) in Chicago. In 1967 He founded the Center for Advanced Visual Studies at the Massachusetts Institute of Technology (MIT) where he taught until his retirement in 1974. Kepes was born in Selyp, Hungary. His younger brother was Imre Kepes, ambassador in Argentina, father of András Kepes journalist, documentary filmmaker and author. At age 18, he enrolled at the Royal Academy of Fine Arts in Budapest, where he studied for four years with Istvan Csok, a Hungarian impressionist painter. In the same period, he was also influenced by the socialist avant-garde poet and painter Lajos Kassak. Kepes gave up painting temporarily and turned instead to filmmaking. In 1930, he settled in Berlin, where he worked as a publication, exhibition and stage designer. Around this time, he designed the dust jacket for Gestalt psychologist Rudolf Arnheim's famous book, Film als Kunst (Film as Art), one of the first published books on film theory. In Berlin, he was also invited to join the design studio of Laszlo Moholy-Nagy, the Hungarian photographer who had taught at the Dessau Bauhaus. When, in 1936, Moholy relocated his design studio to London, Kepes joined him there as well. Kepes was lured to Brooklyn College by Russian-born architect Serge Chermayeff, who had been appointed chair of the Art Department in 1942. There he taught graphic artists such as Saul Bass. In 1944, he published Language of Vision, an influential book about design and design education. In part, the book was important because it predated three other influential texts on the same subject: Paul Rand, Thoughts on Design (1946), László Moholy-Nagy, Vision in Motion (1947), and Rudolf Arnheim, Art and Visual Perception (1954). In 1947, Kepes accepted an invitation from the School of Architecture and Planning at MIT to initiate a program there in visual design, a division that later became the Center for Advanced Visual Studies (c1968). Some of the Center's early fellows included artists Otto Piene, Vassilakis Takis, Jack Burnham, Wen-Ying Tsai, Stan Vanderbeek, Maryanne Amacher, Joan Brigham, Lowry Burgess, Peter Campus, Muriel Cooper, Douglas Davis, Susan Gamble, Dieter Jung, Piotr Kowalski, Charlotte Moorman, Antoni Muntadas, Yvonne Rainer, Keiko Prince, Alan Sonfist, Aldo Tambellini, Joe Davis, Bill Seaman, Tamiko Thiel, Alejandro Sina, Don Ritter, Luc Courchesne, and Bill Parker...

Signed and dated on the front of the mount. Limited edition of 35. Number 14 of 35. From the “Twenty Photographs, 1970-1977” Portfolio.

This photograph was created by American artist and avid scuba diver Michael DeCamp. DeCamp's abstract photos have an enigmatic quality, and the interactions between shapes and colors...

Untitled #63 (Abstract Photography) C-print — Unframed. Edition: 2/5 + 2 A/P This early work from Caldicott's acclaimed Tupperware series exemplifies his ability to breathe life in...

This photograph is printed on Japanese Paper. The price is for an unframed photograph. 11" X 14" Edition of 25. The Robin Rice Gallery is pleased to announce, 25 Years of Polaroi...

Limited Art Edition (No. 1–100), with the gelatin silver print Untitled (Elba, 1980), numbered and signed by Ralph Gibson. Edition of 100. Gelatin silver print, 11 x 14 in., in portf...

This photograph is printed on Japanese Paper. The price is for an unframed photograph. 11" X 14" Edition of 25. The Robin Rice Gallery is pleased to announce, 25 Years of Polaroi...

Hand printed by the artist. Signed in pencil. Printed 1999 Framed in gun metal frame. Mint Condition

"A part" is a black & white framed archival pigment print (photograph) from a hand-etched photogram from artist Jenny Lynn's "Personal Myths" series. Includes images of nudes, glove...

As a progenitor of special effects photography and experimental photography in the late 1960s and early 1970s, Mitchell Funk employed a variety of non-digital techniques to achieve ...

Artist: Michael DeCamp, American (1928 - 2013) Title: Sunny Side Out Year: circa 1975 Medium: Photograph, signed and numbered in pencil Edition: 50 Image Si...

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

Pioneering Street Photographer Mitchell Funk exploits an upward angle of the Twin Towers at the World Trade Center. At the convergence of the two towers, a full moon appears wedged...

The Girl - Planet of the Apes 09 - 1999 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certificate. Artist Inventory No....

Clouds above the Moon - Planet of the Apes 04 - 1999 58x56cm, Edition of 10 plus 2 Artist Proofs. Analog C-Print, hand-printed by the artist, based on the Polaroid. Signature labe...

Waterhole - Planet of the Apes 05 - 1999 58x56cm, Edition of 10 plus 2 Artist Proofs. Analog C-Print, hand-printed by the artist, based on the Polaroid. Signature label and Certif...

Franco Fontana (Italian, born 1933) Title: Los Angeles, California 1979 Edition 6/15 Medium: dye-transfer Dimensions: Frame 21.5 x 29.25. Sight 13 x 19.5 Provenance: Monique Goldstrom Gallery Franco Fontana (Italian, 1933) is an Italian photographer. He is best known for his Minimalist abstract colour landscapes. He was influenced by Minimalism and Abstract Expressionism. Franco Fontana was born in 1933 in Modena. He started taking photographs in the 1950s when he was working as a decorator in a furniture showroom. In 1961 he joined a local amateur club in Modena. The experience would be a turning point in his career, and Fontana went on to have his first solo exhibition in 1965 at the Società Fotografica Subalpina, Turin and at the Galleria della Sala di Cultura in Modena in 1968. Since then he has participated in more than 400 group and solo exhibitions including the exhibit Lines, Spheres and Glyphs at Robert Klein Gallery with works by photographers: Franco Fontana, Mario Giacomelli, Ernst Haas, Gyorgy Kepes and Aaron Siskind. Franco Fontana is considered one of the most relevant photographers of our time, In 1963 he exhibited his work at the Biennale of Color in Vienna, and in 1968 he held his first solo exhibition in Modena. Fontana often pares landscapes down to their essential elements, producing flat, geometric compositions reminiscent of the color field abstract expressionist paintings of Mark Rothko Ad Reinhardt and Barnett Newman, by underexposing his transparencies. Contrasting blue skies with green or yellow grass and the rigid lines of buildings with the softness of puffy clouds, he makes color and texture his primary subjects. He has also shot in Polaroid film, Cibachrome, C Print and chromogenic prints. His art has been acquired by some of the most important museums worldwide, including the Maison Européenne de la Photographie in Paris, MoMA in New York, Museum Ludwig in Cologne, Museum of Modern Art in Norman, Oklahoma, National Gallery in Beijing, Australian National Gallery in Melbourne, University of Texas in Austin, Stedelijk Museum in Amsterdam, Tokyo Metropolitan Museum, Israel Museum in Jerusalem, and Musée d’Art Moderne de la Ville in Paris. Fontana has photographed for advertising campaigns for brands such as Fiat, Volkswagen, Ferrovie dello Stato Italiane, Snam, Sony, Volvo, Versace, Canon, Kodak, Robe di Kappa, Swissair, and has been a magazine photographer for publications including Time, Life, Vogue (USA and France), Venerdì di Repubblica, Panorama, and with the Frankfurter Allgemeine Zeitung and The New York Times. Fontana's first book, Skyline, was published in 1978 in France by Contrejour and in Italy by Punto e Virgola with a text by Helmut Gernsheim. Fontana is the art director of the Toscana Foto Festival. He has received numerous awards, such as the 1989 Tokyo Photographer Society of Japan - The 150 Years of Photography - Photographer Award. Fontana is especially interested in the interplay of colours. His early innovations in colour photography in the 1960s were stylistically disruptive. According to art critic Giuliana Scimé, Fontana "destroyed all the structures, practices, and technical choices within the Italian tradition." Fontana uses 35mm cameras, and as noted by Iwan Zahar, deploys distant viewpoints with telephoto lenses to flatten contours in a landscape of crops and fields into bands of intense, saturated colour. This is an effect that Franco Lefèvre has described as 'dialectical landscapism'. Of his use of colour in his 2019 retrospective exhibition Sintesi ('Synthesis') at Fondazione Modena Arti Visive, curator Diana Baldon has observed; “His bold geometric compositions are characterised by shimmering colours, level perspectives and a geometric-formalist and minimal language, By adopting this approach during the 1960s, Fontana injected a new vitality into the field of creative colour photography for then multicolour was not in fashion in art photography., The way Fontana shoots, dematerializes the objects photographed, which loose three-dimensionality and realism to become part of an abstract drawing”. Aside from the rural landscape Fontana has applied his graphic sensibility to other subjects: city architecture, portraiture, fashion, still-life and the nude. He was included in the exhibition of the Helmut Newton Collection along with Brassaï, Diane Arbus, Franco Fontana, Horst P. Horst, Irving Penn, June Newton, Just Loomis, Man Ray, Mark Arbeit...

Shipping should be around $1000. This is the quintessential image of a bygone era. Old Las Vegas is captured with glowing neon signs set against a dramatic desert sunset. Signed and ...

This photograph is printed on Japanese Paper. The price is for an unframed photograph. 11" X 14" Edition of 25. The Robin Rice Gallery is pleased to announce, 25 Years of Polaroi...

Inspired by the drama of chiaroscuro painting by Caravaggio, Mitchell Funk captures figures on the steps of Bryant Park in Manhattan. Unified by the late golden rays of the sun and t...

An abstract view of the classic Las Vegas Neon signs on Fremont Street at sunset. Bold reds, pinks, and blues work with the dramatic Nevada sunset. Th...

White Paint Splatters - Large Scale Textural Photograph Detailed macro photo by Bill Clark (American, 20th Century). Clark has taken a photograph of heavily painted concrete that ha...

Red and white gas station signs and parking signs form an abstract pattern in an early example of color photography from 50 years ago in 1972. Signed ...

Photo-respiration Yura #340, 1998 by Japanese artist Tokihiro Sato is a contemporary abstract photograph signed by the artist. Sato used a large-format camera for a long exposure ima...