Horizontal Photography

Series: Suspense Chromogenic Print on Kodak Endura Luster Paper All available sizes and editions: 24" x 30" 32" x 40" 48" x 60" 57" x 72" 67" x 84" Editions of 3 + 2 Artist Proofs T...

In this contemporary, hyper-detailed archival pigment print on watercolor paper, a cream and ivory moth with golden brown stripes on its wings is dramatic against a solid white backg...

11 x 14" vintage silver gelatin photograph of African American Dancer/ Company Founder Donald McKayle leading his company in class, 1962. Comes ...

The pale gray-green of this pair of monotypes calls to mind the celadon glaze of Japanese pottery. Each was made using freshly-cut branches from eucalyptus trees which grow in the w...

11 x 14" vintage silver gelatin photograph of dancer/choreographer Louis Falco in a costume designed and constructed by artist Robert Indiana for the starring role in 'Timewright', 1...

Luca Artioli has always been fascinated by Roman Statues. As a child, he wandered through the Imperial Forum creating dialogues between them. For young Luca the statues were alive. T...

'Towboat At Hotel Du Cap-Eden-Roc' A motorboat used to tow waterskiers, moored at the Hotel du Cap-Eden-Roc in Antibes on the French Riviera, August 1969. 40 x 30" inches / 101 x 7...

'Evening Poppies' ('Mono No Aware' Series) Limited edition archival photograph. Unframed, hand signed and numbered _________________ Buds, blooms, and the fading glories of Icelandi...

California Dusk by Frank Schott from a series of photographs capturing the Golden State's vast desert landscapes 27 x 40 inches / 68cm x 102cm edition of 25 signed 48 x 72 inches...

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 A montage of still images shot and elaborated by means of her signature technique of using Polaroid formats with outdated and degraded film stock in natural light, with the resulting im ages rephotographed (by other means) enlarged and printed in such a way as to generate further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

Gold Mine, pop art typography photograph by Richard Heeps. With reference to the Wild West a popular theme in Richard's artwork. This artwork is a limited edition of 25, gloss photo...

Saint Tropez Boucherie, August 1971 - Nude Women Portrait French Riviera Fashion by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. ...

11 x 14" vintage silver gelatin photograph of famed American Ballet Theatre choreographer Michael Smuin with dancers Ted Kivitt, Cynthia Gregory and Ivan Nagy...

Lariat Motel, photograph from Richard Heeps Dream in Colour series. The neon in this classic Americana roadside sign glows in the evening light. It was captured in its original site ...

Warm Gradient Lights is a vibrant Giclée print that explores the emotional resonance of color through soft, seamless transitions of pink, peach, lavender, and coral tones. This abstr...

ABOUT THIS ARTIST: Photographer Dewey Nicks was born in St. Louis, Missouri. Nicks studied photography at the Art Center College of Design in Pasadena. He has been a professional fas...

Spring Break, 1950s - Bonita Springs Palm Beach Florida Students Spring Break by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped C-Print. Edition of 150. Printed Later. ...

Wind Power (California Badlands) - 2021 24x34cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 4595. Not mounte...

Silver gelatin print The present work is hand signed with the artist's copyright, dated 1983, and titled on the back. It is numbered 3 of an edition of only 10. On October 3, 1983, Madonna headlined a memorial concert in honor of Michael Stewart, a graffiti artist in the midst of the AIDS crisis who became a victim of police brutality. Madonna was only 24 years old in 1983, but had already signed her first record deal and was on the cusp of superstardom. In 1984, the year after Madonna appeared in Kroll's shoot, she would release chart hits Like A Virgin, Material Girl and Crazy For You, cementing her place as an international star. This photograph was taken by renowned photographer and editor Eric Kroll backstage at Danceteria - a gritty and popular after hours club and concert venue on West 21st Street in Manhattan, operating out of the first three floors in an old industrial 12-story building. The visible text "ACCUTUNKTIONA TO THE POINT!" and "UNK" are actual, gritty wall graffiti from the venue, adding to the candid nature of the shot. Eric Kroll is a notable photographer, best known for his many fetish subjects, and for documenting America’s seediest spots and denizens, sharing a certain aesthetic with fellow photographers Larry Clark and Richard Kern...

This is an exclusive handprinted limited edition cyanotype. "Greek Beach Bliss" is a cyanotype of a woman's feet in the fresh water of a sandy beach shore...

David Montgomery is a celebrated award-winning international photographer. Heralded by Q Magazine in their special edition on psychedelia as having produced some of the most iconic ...

Martin & Sinatra, 1961 - Portrait of Dean Martin and Frank Sinatra Jazz singers of the day Dean Martin and Frank Sinatra walk in the breeze towards their next show... 16" x 20" pri...

Washeteria - Looking In, vintage interior photograph from Richard Heeps series, A Short History of London. "I discovered this launderette while London was in lockdown during the pand...

THIS PIECE IS AVAILABLE FRAMED. Please reach out to the gallery for more information. ABOUT THIS PIECE: Let's not pretend that we don't enjoy 80's music. ABOUT THIS ARTIST: Floyd ...

Seton Smith (American, b. 1955) Auditorium and Corse, 1989 Black and white photograph, cibachrome print with steel frame 39 3/4 x 56 1/2 x 1 in. Tom Cugliani Gallery Label Verso Seton Smith (b. Newark, New Jersey, 1955) has been working as an artist for over 30 years. After studying photography and art history at the Museum School and the Massachusetts College of Art in Boston, she has split her time between Paris and New York. She has made public projects, and installations, but focused primarily on photography, exploring the psychological and social aspects of objects and architecture. She then turned her attention to the vernacular architecture of America, particularly houses. Most recently she photographed earth mounds at the Hopewell site in southern Ohio, and the Elizabeth Cady Stanton...

'Telephone VII' part of Richard Heeps 'Dream in Colour' Series. This cool Palm Springs interior photography featuring a vintage telephone on a nightstand combines gorgeous pastel c...

This is a contemporary black and white photograph of Wild Mustangs 24x 40 Edition of 12. Signed by artist. Printed on archival paper using only archival ink. Framing available. Inq...

The Laurel Forest of La Gomera Study 1, Spain - no. 21262 Color white fine landscape photography. Digital pigment ink print as part of a limited edition of 7. All Gerald Berghammer...

Rajasthan Shadows, Rajasthan, India, 2009 - Steve McCurry (Colour Photography) Signed and affixed with photographer's edition label and numbered on reverse Digital c-type print Print...

Palm Springs Poolside, photograph from Richard Heeps, Dream in Colour series. Classic mid-century Palm Springs architecture, featuring cool blue skies and swimming pool with accents...

large scale original photograph of vintage TV set with iconic western movie in American wild west landscape Cowboy TV by Frank Schott 30 x 40...

"Pink Feet, Christian Lacroix Haute Couture Show, Paris, Spring/Summer 2007" by Gérard Uféras is a color photograph that focuses on detail, rhythm, and repetition within the context ...

Jimi Hendrix “Classic Color” 1967 by Gered Mankovitz Available is the following sizes, signed and numbered by Gered Mankowitz. 16x20” - Edition 50 20x24" - Edition 50 30x40” - Edit...

Highway, California, 2016 by Jo Crowther is a 16" x 20" Archival Inkjet Print from a Limited Edition of 12 in this size. A view of the Californian desert sunset is viewed through th...

"Gatekeeper" An ephemeral capture of a truly enduring animal, this iconic black and white image is an ode to the American bison. Exceptional Creatures is a limited edition print s...

Dominique TEUFEN (*1975, Switzerland) Between, from the series 'Rays of Light', 2019 Hahnemühle Fine Art Baryta Sheet 80 x 120 cm (31 1/2 x 47 1/4 in.) Frame 91 x 130 x 4 cm (35 7/8...

Recognized as a pioneer of nature photography in Brazil, Araquém Alcântara (b. 1951) has, for over five decades, built a monumental visual legacy that celebrates and defends the coun...

LA Parking by Frank Schott a burst of red in an urban landscape of striking minimalism from a series of photographs capturing the mid century modern architecture and architectural el...

This is an exclusive handprinted limited edition cyanotype. This diptych is titled "Japanese Zen Pond Ripples", and shows ripples of water from a calming pond. Details: + Title: Ja...

Titled and dated with artists reference number and stamped on the back of the mount. Printed and signed by Cole Weston.

ABOUT THIS ARTIST: Merve Türkan and Ulaş Kesebir, are a self taught photography duo based in London. They have been working professionally since 2014 and in the end of the 2020 they ...

Four Sisters and a Brother - diptych - 2020 - 25x65cm, Edition of 7, plus 2 Artist Proofs. Photograph printed in Canson Barita Fiber Rag 340gr, based ...

Large scale photograph of mesmerizing monochromatic emerald surface abstraction, from a series of photographic observances capturing urban textures and color palettes Wallscape VII (Green Door) by Frank Schott 48 x 60 inches / 122cm x 152cm signed edition of 7 32 x 40 inches / 81cm x 102cm signed edition of 25 archival quality fine art pigment print limited art edition published by Edition EKTAlux artist signed + numbered certificate of authenticity ________________________ About the artist: Frank Schott grew up in Germany and attended the prestigious Academy of Arts in Cologne, studying under Professor Arno Jansen, who was an early influence. Moving to California in 1998, Schott's work has evolved to include the epic landscapes and deserts of the American West as well as architectural, conceptual and more formal environments from both home and his travels. Influenced by a number of photographic piers and precursors such as Candida Höfer, Andreas Gursky. Thomas Struth. Jeff Wall, Hiroshi Sugimoto, Steven Shore...

This series of cyanotype triptychs showcases the beauty of nature scenes, including stunning beaches and oceans, as well as the intricate textures of water, forests, and skies. These...

"Marilyn Candid Moment" by Ed Feingersh NEW YORK - MARCH 1955: Actress Marilyn Monroe reads the book "To the Actor: On the Technique of Acting" by Michael Chekhov in a quiet moment at the Ambassador...

SEASCAPE I Diptych ( framed ) by Frank Schott from a series of photographic works capturing the sea blue color palette of the ocean 2 Panels 86.75 x 58 inches / 220.35cm x 147.3cm ...

Black and White Fine Art Long Exposure Waterscape - Landscape Photography. Amazing landscape photo with beautiful lighting of mountains with lake at sunrise. Archival pigment ink pri...

Ed Feingersh photographed Marilyn Monroe for Redbook magazine in March 1955 for a story which would follow Monroe through her daily routine, the photography to be candid and shot wit...

This series of cyanotype triptychs showcases the beauty of nature scenes, including stunning beaches and oceans, as well as the intricate textures of water, forests, and skies. These triptychs are large pieces that feature lush blues, making them an impressive addition to any beautifully designed space. Each triptych is printed by hand and carefully crafted to capture the unique essence of these natural environments, with a focus on the interplay of light and shadows, and the subtle nuances of tone and texture. The beach and ocean scenes depict the dynamic beauty of waves crashing against the shore, with the cyanotype process lending a dreamy, ethereal quality to the images. Similarly, the forest and wood scenes...

Paul Newman - Black and White Silver Gelatin Print Photograph American Actor American actor Paul Newman is photographed at a dinner with a cigarette just brought to his lips. It is ...

Osvaldo Salas, widely recognized as one of the world’s great press photographers, was born in Havana, Cuba in 1914. At the age of fourteen, he left Havan...

Ying Chen has a recurring dream: scenery consisting of cloud filled Sky, fields of grass, and a body of water. In this foggy but colorful dream, the sky is cloudy, yet everything is ...

Beach Scape 02, 2017 Archival pigment print mounted on plexiglas 28 × 64 in 71.1 × 162.6 cm Edition of 6 This art work is part of Igal`s beach series. In ...

Skylark (Stranger than Paradise) - 1997 43x59cm, Edition 3/5. Analog C-Print, hand-printed by the artist, based on the Polaroid. Signature Label and Certificate. Artist Inventory...

11 x 14" vintage silver gelatin photograph of Bejart Ballet dancer Jorge Donn, 1979. Signed by Jack Mitchell on the print verso. Comes directly from the Jac...

Lost in a sea of rich saturation of dark and light blue colors, a feminine form gracefully traverses the expanse of the water. Alex Sher’s “Anesthesia” invites us into an abstracted ...

Oldsmobile and Sinful Barbie's, from Richard Heeps' 'Man's Ruin' Series. This artwork is part of a sequence capturing Wendy at the Rockabilly Weekender, Viva Las Vegas, these Barbie'...

Jades, Norfolk, photograph from Richard Heeps On-Sea series. The series captures the essence of the Great British 'Staycation'. Richard has captured iconic signs around the world, wi...

Unique piece in this size More sizes and an Essay from Lyle Rexer about this series on request. Joachim Schmeisser’s work rescues photography from the centuries-old straightjacket ...

This early 1970s photograph, captured by society photographer Slim Aarons, features former fashion model Helen Dzo Dzo Kaptur (in white lace), Nelda Linsk (in yellow), wife of art de...