Stuart Möller

' It's In The Trees II ' signed limited edition Oversize print

2017

'Dark Wave I' by Stuart Möller Beautiful capture of a single wave at dusk. Seascape, abstract landscape. An exquisite SIGNED Limited Edition C Print. * Edition Size 10 only this ...

'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...

'Dark Wave I' by Stuart Möller Beautiful capture of a single wave at dusk. Seascape, abstract landscape. An exquisite SIGNED Limited Edition C Print. * Edition Size 25 only this ...

Composition With Pink by Stuart Möller 2010 limited edition to 20 only this size - signed & numbered by the artist A large pink door in Northern Italy. Go...

'Ice, Rock & Sea' Archival Pigment Print Amundsen Gulf sea ice coverage, June 2015. Satellite image showing sea ice edge in the Amundsen Gulf, between Victoria Island and mainland Canada. This Archival Pigment print is a LARGE 30 30" inches / 76 x 76 cm's (30x40" paper size) and printed on beautiful Hahnemühle photorag art paper. Gloriously vivid colours and fine detail - this abstract-like photograph is a breathtaking image of our word taken from above. Science Photo Archives, London. EDGE PRINTS...

'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...

Since its construction, Mitchell Funk has been chronicling the Twin Towers, of the World Trade Center. More specifically, he has been recording how light affects and transforms the two giant monoliths. Like us all, Mitchell was inspired by the formidable presence of the two buildings. Living in Brooklyn Heights with great views of lower Manhattan gave him a special advantage and opportunity to assemble some of the most iconic Twin Tower images ever taken. To Mitchell Funk, the Twin Towers, of the World Trade Center were the perfect synthesis of commerce and art. Most modern architecture is simply functional. Minoru Yamasaki's Twin Towers were in fact something quite radical. They were a steel and glass expression of Minimalism on the grandest scale in human history. Everything in the towers was stripped down to its essential quality with nothing extraneous added ….. except light. The way the buildings reflected light made them unique and inspired Mitchell to record them in color for 32 years. Although, the exterior was actually made of a very reflective blue/grey stainless steel the warm light of daybreak and sunset could change their color and transform them from buildings into and mystical monumental sculptures. With the help of the sun as a key player, Mitchell’s images of the Twin Towers progress from the mystical to the spiritual as they reflect the sun’s intense golden energy. Under these conditions, one could argue, that the Twin Tower housed the same type of divine energy as the adjacent churches. In the wake of the 9/11 tragedy, one could interpret Twin Tower sunset images differently. A sunset can be a symbol for the end of the day or simply The End. The 1969 image “Dead End” is a visual prognostication. The North Tower is under construction in the background and in the foreground, Mitchell has framed it between two street signs that read Dead End. In Mitchell’s Twin Tower photographs, he is not taking a tourist picture that says “here I am on the Brooklyn Heights Promenade...

' Palms Composition ' Oversize Limited Edition Signed Archival print 2013 by Stuart Möller edition of 15 only this size. unframed. A Summer evening scene of delicately pink lit palm trees. Stuart Möller's background is in fine art, with his images being contemplative, meditative observations. Stuart Möller ALL EDITION SIZES & Prices 10x12 25 $325 12x16 25 $595 20x16 25 $885 20x24 20 $1,100 30x20 15 $1,250 40x30 10 $1,495 60x40 5 $2,500 contemporary modernist religion religious atheism agnostic sea sun beach bikini...

'Calm Sea' by Stuart Möller A view of the sea at dusk in Sri Lanka during a rainstorm. A fabulously atmospheric image of the sea, and the seemingly blurred horizon between water an...

Listing includes framing with UV plexi, free shipping in the US, and 14-day return policy. Corinne Vionnet Mecca from the series "Photo Opportunities" 15 x 20 inch archival pigmen...

JUN AHN (*1981) Invisible Seascape #2 2010 HDR Ultra Chrome Archival Pigment Print Sheet 304.8 x 101.6 cm (120 x 40 in.) Edition of 3, plus 1 AP; Ed. no. 1/3 Framed to artist's speci...

JUN AHN (*1981) Invisible Scape, 2014 Archival pigment print, face mounted to Acrylic (Diasec) Brown flame stained and hardened wood frame Sheet 76,2 x 228,5 cm (30 x 90 in.) Edition of 5 plus 2 artist's proofs (#2/5) This photograph belongs to Jun Ahn's series 'Invisible Scape', which was shot between 2010 and 2014. South Korean Jun Ahn came to study in the US, where she graduated from the University of Southern California with a degree in art history in 2006, followed by two years of postgraduate study of photography at the Pratt Institute. While at the Pratt, she had her first work displayed as part of group gallery exhibitions, and began work on the "Self-Portrait" project, which to date is her most prominent series of photographs which she regards as “a performance without an audience”, an end of youth of sorts, and a coming to terms with the future. In 2009 and 2010 she was awarded the Dean’s Scholarship at New York’s Parsons The New School for Design, and in 2011 received both the Dean's and a departmental scholarship. During this time her work received its first major exhibitions, including a joint exhibition with Kazuna Taguchi at PS 122 in New York. Furthermore, Jun Ahn has been selected as one of BJP’s 20 Photographers To Watch in 2013. Parsons awarded her a Master of Fine Arts with honours in January 2012, after which she acquired a PhD in photography from Hongik University in Seoul...