Horizontal Photography

Cyd Fontaine (Lausanne, 1992) is a contemporary artist renowned for her captivating use of dreamy atmospheric gradients, which has helped her carve a distinctive niche in the world o...

48 x 60 inches - edition of 5 Chromogenic Print – Unframed Signed by the artist - Certificate of Authenticity Free Shipping – Ask us foar custom framing options. As a world-renowned...

'Harvest Dance' Limited edition archival photograph. Unframed, hand signed and numbered _________________ Late August, captured in the glow of the evening sun, my daughters join han...

This vintage silver gelatin contact print is signed in pencil on the front of the mount, with Portfolio One stamp and numbering in red crayon on the back of the mount. This print com...

Archival pigment ink print, produced in a limited edition of 7 // Gallery ID: 21057 Fine art prints are produced to order on Hahnemühle Photo Rag Baryta. Each print is stamped on the...

ALESSANDRO PUCCINELLI MARE series Seascape - From the Mare series - Mounted and Framed Aviailable sizes: 27 x 40 inches Edition of 10 40 x 60 inches Edition of 5 47 x 71 inches Ed...

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 A montage of still images shot and elaborated by means of her signature technique of using Polaroid formats with outdated and degraded film stock in natural light, with the resulting im ages rephotographed (by other means) enlarged and printed in such a way as to generate further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...

Archival pigment ink print, produced in a limited edition of 7 // Gallery ID: 21218 Fine art prints are produced to order on Hahnemühle Photo Rag Baryta. Each print is stamped on the...

Our gallery has the most extensive art photography of New York City, due to our abiding love for the city. We present the work of different photographers, some of whom are emerging talents who have had their work published in noted magazines in Europe or the USA, others, who are recognized for their work in international photography competitions. ABOUT THIS PIECE: This is drawn from archive of an award winning photographer. The work is a C print -sold print...

Archival pigment ink print, produced in a limited edition of 7 // Gallery ID: 21204 Fine art prints are produced to order on Hahnemühle Photo Rag Baryta. Each print is stamped on the...

North Shore Motel Steps, mid-century architecture photography captured by Richard Heeps as part of his Salton Sea series. This artwork is a limited edition of 25 gloss photographic ...

Mesmerizing large scale photograph from artist's Seascape series, a body of works capturing the fleeting surfaces and monochromatic nature of oceanic water and dramatic cloudscapes ...

Acting Tough by BATIK signed limited edition POP ART print Paper Size Oversize 24 x 20" inches / 61 x 51 cm Signed & numbered by artist on front Archival Pigment print Limited t...

A man with x-ray vision, Nick Veasey creates art that shows what it is really like inside. Original artwork. C print, Chromaluxe. Signed and numbered out of 25. Accompanied with th...

Series: Dirty Side of Glamour Chromogenic Print on Kodak Endura Luster Paper All available sizes and editions: 22.5" x 30" 30" x 40" 45" x 60" 56" x 72" 63" x 84" Editions of 3 + 2 A...

"Cheetah Who Shops" by B C Parade American silent film actress Phyllis Gordon (1889 - 1964) window-shopping in Earls Court, London with her four-yea...

Mother India, photograph from Richard Heeps series 'The Ambassador's Window', a pilgrimage from Kerala in the South to Meerut in the North, the birthplace of his Grandfather. As boo...

signed by artist

Large format observation of a California Redwoods grove, capturing the colors and lush flora of the iconic biosphere in mesmerizing details Redwoods (2010) by Erik Pawassar is offer...

Title: Eddie Van Halen #11 Artist: Richard E. Aaron Estate Edition: Hand numbered with estate chop mark in the margin, signature stamp on verso, archiv...

An original 1920s silver gelatin print by famed photographer Tina Modotti, showing a mural fresco in the Secretariat of Education in Mexico City by artist Diego Rivera. Photo is sta...

Ohh Baby ! - Oversize Signed limited edition - Pop Art - Kate Moss by the London based contemporary pop art image creator and artist, BATIK. Measures 60 x 40" inches / 152 x 101 ...

Untitled Flower # 86 Hahnemuhle Photo Rag Matte Paper with Epson archival quality ink Edition of 25 Available sizes: 11" x 14” 20" x 24” 30" x 30” 30" x 40” 40" x 40" 48" x 48” 48" x...

Palm Beach Idyll, 1955 - Relaxing by Palm Trees in Palm Beach by Atlantic Ocean by Slim Aarons 16 x 16" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. ...

Signed limited edition fine art print of Patti Smith and Robert Mapplethorpe, taken in her kitchen in New York by celebrated photographer and filmmaker, Norman Seeff in 1969. This P...

CURRENT EXHIBITION - runs through June 25th, 2017. Any framed photographs purchased during the show will be available then. If the exhibition piece is sold or the customer orders a different print size, the photograph is produced upon purchase. Please allow two weeks for production. Shipping time depends on method of shipping. Price is subject to availability. The Robin Rice Gallery reserves the right to adjust this price depending on the current exhibition of the photograph. The Robin Rice Gallery announces a solo photography exhibition by Pete Kelly. The opening reception will be held May 3, 2017 with the show running through June 25, 2017. Pete Kelly’s latest show admirably showcases the lush greenness, diverse landscape, and ever-fleeting light of the British terrain. We are invited to join his excursions throughout the country as he brings light to the captivating, idiosyncratic characteristics of the land. He captures the oddities of the landscape; solitary figures bathing in sunlight, silhouette of a frolicking Great Dane in the mist, and subtle remnants of a bygone era. Kelly’s incredibly unique, picturesque editing style further mythologizes his subjects, he meddles with an air of mystery that defines the viewers experience. Kelly employs a mixture of a single image with layers of photographs of textures. The feel and look of the end result pay homage to English romanticist landscape painters such as J.M.W Turner and Constable. Kelly applies varnish and then uses Photographic Encaustic wax over the print. He encases the archival pigment print in beeswax and damar resin; tree sap in its purest form. These organic components have been found to have preserving qualities by ancient Egyptians, which replace the need for glass over the photograph. The impersonality of a raw digital file is alleviated through this process and makes the image a ‘one off. Combining modern photographic and printing technology with ancient crafting techniques, Kelly 
is the originator of art that is tactile, archival and organic. In one image entitled ‘Brabyns Autumn” examines man’s contemporaneously interruptive and complimentary relationship with the surrounding land, and zeros in on a serenity only manifested when man and nature successfully coexist. Small figures, animals, and dwellings found in the landscape are essential points of interest for Kelly. Using nature as a tool for fortifying scale and perspective, Kelly magnificently reinforces the grandiose essence of nature as opposed to the insignificant disposition of man. Kelly’s tiny...

The Road by Frank Schott country road outside of town, from a series of impressions captured in Marfa, Texas, longtime residence of minimalist artist Donald Judd 27 x 40 inches / ...

Is a project that debates through the photographic image, the importance that humans have assigned to ourselves, and proposes a reconciliation with the reality of our own insignifica...

Chromogenic print Signed, titled, dated, and numbered, verso 22.5 x 30 inches (Edition of 5 + 2 APs) 45 x 60 inches (Edition of 3 + 2 APs) This artwork is offered by ClampArt, loc...

In this hyper-detailed archival pigment print on watercolor paper, a white moth with black stripes and yellow circular markings on its wings is dramatic against a solid white backgro...

'Hotel Du Cap-Eden-Roc' by Slim Aarons ESTATE EDITION - numbered and emboss stamped on front. (edition size 150 only) Waterskiing from the Hotel Du Cap-Eden-Roc in Cap d'Antibes, ...

Chromogenic Print – Unframed Free Shipping – Ask us for custom framing options. 40 x 48 inches - edition of 5 48 x 60 inches - edition of 5 71 x 88.5 inches - edition of 5 "My ph...

Two Palms Study 1, Florida, USA - no. 11768 Palm trees on the beautiful beach in Florida, USA. Archival pigment ink print, edition of 7. Signed, titled, dated and numbered by artist....

'Porto Venere No.3' Lerici, Italy 2024 Limited edition of 20. Printed on Hahnemühle photo rag Baryta 308 Gsm fine art paper, these limited edition photographs are designed to with...

Pool At Las Hadas 1974 - Slim Aarons Estate Stamped Guests round the pool at Las Hadas, Manzanillo, Mexico, 1974. 48 x 72" inches / 122 x 183 cm pa...

' Seascape I ' Signed Limited Edition Oversize print by Stuart Christian Möller limited edition to 10 only this size - signed A view of the sea during a rainstorm. Gorgeous arc...

"Heavenly, Virtuous and Miracle" Hawaii, 2013 Available sizes: 20 x 30 in / Edition of 6 - $9,500 32 x 48 in / Edition of 6 - $13,500 40 x 60 in / Edition of 6 - $15,500 50 x 75 in ...

'Quiet Moment' by Ed Feingersh Actress Marilyn Monroe relaxes on a couch in her hotel room at the Ambassador Hotel on March 24, 1955 in New York City, New York. A beautiful and mor...

Gerald Berghammer - Color landscape panorama photography. Historic Stonehenge monument with large standing stones on a grassy field under a gray sky. Archival pigment ink print as p...

Photographer Michael James O'Brien documented with beautiful and unique images the final part of Matthew Barney's lyric opera cycle about a tragic love story set in romantic Budapest...

Miguel Winograd's work explores the relationship between people and their environment, narratives of social conflict, and the dense interconnections of the Colombian landscape. His w...

There is a cinematic style to this artwork, Lone Pine, taken in a former movie town in California, many Western films were made there. Taken outside Richard's iconic interior photogr...

One of the last known photographs of the remarkable Orca "Granny''. Granny (born c. 1911, presumed dead between October–December 2016), also known as J2, was an orca (killer whale). ...

'Barn Owl #3, St Louis, MO, 2012' is a limited-edition photograph by contemporary artist Brad Wilson from the ‘Affinity’ series which features studio portraits of wild animals. Thi...

Aerial Views, Tulip Fields 05 is a limited-edition photograph by German contemporary artist Bernhard Lang. Available dimensions and editions: - 60 x 75 cm: edition of 10 - 96 x 120 ...

Archival pigment ink print, produced in a limited edition of 7 // Gallery ID: 21068 Fine art prints are produced to order on Hahnemühle Photo Rag Baryta. Each print is stamped on the...

Norman Parkinson's iconic image of models wear a variety of hats on the roof of the Condé Nast building on Lexington Avenue, New York City. Published in American Vogue on 15th Octobe...

The Rolling Stones "Mick Feeding Goat" - Outtake from the famous photo shoot of The Rolling Stones for their Beggars Banquet album at Sarum Chase mansion, Hampstead, London, 1968, si...

Cyd Fontaine (Lausanne, 1992) is a contemporary artist renowned for her captivating use of dreamy atmospheric gradients, which has helped her carve a distinctive niche in the world o...

A woman sunbathing nude by Tom Darlington's pool in Carefree, Arizona, April 1967. Slim Aarons Sunbathing in Arizona Lambda Print More sizes available Slim Aarons Estate Edition 4...

large scale photogaph from a series of photographic observances capturing the antics of urban gardening and whimsical botanical art of topiaries' green minimalism TOPIARY II by Fran...

Jimmy Carter photograph Detroit, 1976: This timeless, silhouette-like photograph of President Jimmy Carter was captured by the legendary Detroit photo-journalist & counter cultu...

Biblioteca Gambalunga I Rimini, Italy 2022 In this photograph, a series of echoing doors serve as a portal into the interior of the Biblioteca Gambalunga in Rimini, Italy. One of ...

Barn with Birds, 2018 pigment print on watercolor paper, signed dated and numbered on face 13" X 16 1/4" edition #4/25 $1,500.00 21 x 27 inches framed - $1650 This Black and White ...

The way we were (Till Death do us Part) - 2005 48x58cm, Edition of 10, Archival C-Print print, based on the Polaroid Certificate and Signature label artist Inventory No. 9088. No...

Keep Your Cool - Backgammon Players Swimming Pool France by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. Keep Your Cool is a Lim...

"Shannon", Edition 1/10, 20x30cm, 2017, digital Print, printed on Velvet Watercolor, 310gsm, Bright White, Acid Free, Signature label and Certificate. Published in Tao Ruspoli's Mon...

Pete Kasprzak’s passion for city life is expressed in his dynamic urban artworks. Kasprzak’s artworks express energy and life with animated brush strokes. He adds dynamic movement an...

Title: Bruce Springsteen #7 Photo Artist: Richard E. Aaron Estate Edition: Hand numbered with estate chop mark in the margin, signature stamp on verso, archival pigment print on Hahn...

Matiz managed to create intimate portraits, in which Frida seemed happy to surrender to her lens. The result was dynamic portraits of Khalo, a wonderful example of both the photograp...