Andy Warhol

Dolly Parton

1985

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...

This large format 20 x 24 Polaroid photograph is a self portrait of the photographer David Chack. This is a one-of-a- kind, " instant" color photograph. The process uses a multi-laye...

William Wegman's highly conceptual Dog - Cat interaction is depicted in this large-format Polaroid Polacolor print that features a double portrait - a Dog and a Cat - together but separate in their own defined space. Signed, titled, and dated to lower right ‘Church & Steeple William Wegman 93’. This work is unique. provenance: Wright Chicago, Fraenkel Gallery, San Francisco Acquired from the previous in 1993 by the original owner Thence by descent Best viewed with a top gallery light...

Joshua's Muse II from the series Joshua Tales 30x30cm, Edition of 7, 2017. Archival Color Print on Pearl photo paper, based on the original Polaroid. Signed on the back with Certificate. Not mounted. Whether in color and black and white, van Driessche’s photos marry the atmospheric qualities of integral and instant pack films with the sensuality of his models. The effect is often painterly, intimate, delicate. The softness and vulnerability of the nude feminine form is often juxtaposed with untamed landscapes or graphic urban architecture. Other photos in the series read like fine art paintings, with luminous colors and classic compositions. Van Driessche has traveled all over the world, taking photos wherever he goes. These days, he often schedules photo shoots with models when he travels, working with both professionals and amateurs. Despite being a perfectionist in his photography, van Driessche likes the unpredictable nature of expired film. He embraces its inherent perfections. He says it is thrilling when an instant photo develops before your eyes, and it happens to be exactly what you were hoping for. And equally frustrating when, for whatever reason, the photo just doesn’t work. He says that you have to be very sure of everything, the composition, the lighting, the poses, before pushing the button. Instant photography requires more thought and more patience than other forms of photography, but the rewards are worth the effort. His work has been widely featured, having appeared in Dreck Magazine, Tata Magazine, 100 Volume 1, Latent Magazine, Hylas Magazine, and Fine Art Photo Magazine. He has been interviewed by the on-line magazines Whataroll and Kaltblut and he recently participated in a group exhibition at the Brick Lane Gallery in London in March 2017. Van Driessche cites these photographers as his influences: Anton Corbjin, for his square format and black and white images; Helmut Newton for his nudes; Stephanie Schneider...

Untitled 2014, Edition of 10 plus 2 Artist Proofs, digital C-Print, based on an Polaroid 125i, 10.2 cm x 8.5cm Signed, embossed stamp and artist certificate. Not mounted. Xulong Z...

'Notre Dame 2' 2010, Edition of 10 plus 2 Artist Proofs, archival Pigment Print, based on a Polaroid 810 transfer process, 27.3x20cm, not mounted, Signed, embossed stamp and artis...

'Notre Dame 4' 2010, Edition of 10 plus 2 Artist Proofs, archival Pigment Print, based on a Polaroid 810 transfer process, 27.3x20cm, not mounted, Signed, embossed stamp and arti...

The Beef Sisters A Polaroid-based art series by Kris 'Curtiz' De Meester Kate - 2023 Original Polaroid, mixed media. 10.7 x 8.8 cm (total), 7.8 x 7.6 cm (image area). Signed in f...

The Beef Sisters A Polaroid-based art series by Kris 'Curtiz' De Meester May - 2023 Original Polaroid, mixed media. 10.7 x 8.8 cm (total), 7.8 x 7.6 cm (image area). Signed in fr...

The Beef Sisters A Polaroid-based art series by Kris 'Curtiz' De Meester Shosh - 2023 Original Polaroids, mixed media. 10.7 x 8.8 cm (total), 7.8 x 7.6 cm (image area). Signed in...