Horizontal Photography

Prom, Holidaysburg High School PA, 1994 Signed, titled, and dated in pencil, verso (Total edition of 5) Vintage gelatin silver print 16 x 20 inches, she...

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 A montage of still images shot and elaborated by means of her signature technique of using Polaroid formats with outdated and degraded film stock in natural light, with the resulting im ages rephotographed (by other means) enlarged and printed in such a way as to generate further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

Series: Girls Night Out Silhouette Chromogenic Print on Kodak Endura Luster Paper All available sizes and editions: 15" x 20" 22.5" x 30" 30" x 40" 45" x 60" 56" x 72" 63" x 84" Ed...

"""Thunder of the Plains"" Three bison walk with stoic intent next to a river in Yellowstone National Park Three bison walk next to the Firehole River in the Winter in Yellowstone ...

A Scene of the Film Au revoir les Enfants is a vintage black and white photograph realized in the 1987. Good conditions.

Palms Beach by Stuart Möller Limited Numbered and Signed Edition A morning shot of a costal beach front surrounded with Palm trees. 30 x 40" inches / 76 x 101 cm paper size Archi...

"Air Jordan" is an acrylic photomosaic artwork by Destro. The first release in a series mosaic works called "Icons". Destro has created large prints which are made up of many hundre...

"""Sun & Moon"" Incredible color image of two king penguins standing face to face Stunning color photograph of two king penguins in the Falkland Islands facing one another in a per...

"Lapis at Dusk" Young Mundari boy looking at the camera and holding a stick among the long-horned cattle in the cattle camp on the banks of the Nile In these scenes of life from South Sudan, experience the surreal, roving camps of the Mundari...

Edition of 7 more sizes on request A scenery like a painting. Some lions enjoying the evening on a rock. Joachim Schmeisser is represented by leading Galleries worldwide. His photo...

'Save the Salt' refers to the mission of caring for the unique environment of the Salt Lake. This picture instantly has a cool Americana feel. The Control Tower and the chequered fla...

large format abstract photograph of water color clouds and horizon from a series of photographic works capturing the sea blue color palette of the ocean SEASCAPE XVIII Diptych by F...

Victor Arimondi (1942-2001). Portrait, ca. 1975. Period print measures 9 x 12 inches. Artist studio stamp on verso. Victor Arimondi (November 8, 1942 – July 24, 2001) was an Italian American photographer and model who lived and worked in Europe before moving to the United States in the late 1970s. His early fashion photography, his portraits of Grace Jones and other artists, and his male nudes photographed in New York and San Francisco captured the pre-AIDS culture of the 1970s and early 1980s. Arimondi's nudes were collected in several books, including David Leddick's award-winning[1] The Male Nude, (New York: Taschen 1998, 2005 and 2015). The photographer's later work documented homeless individuals in San Francisco's Tenderloin neighborhood and the toll of the AIDS epidemic on the city. His photographs, featured in several posthumous exhibitions, also are in the collections of Sweden's museum of modern art, Moderna Museet, and San Francisco's GLBT Historical Society. Biography Arimondi was born Vittorio Maria Tevitti to his unwed mother, Alessandra Calligaris, in Bologna, Italy on November 8, 1942. His mother struggled financially, which left an impression on her only child. In 1948, she temporarily left him at a children's boarding school and orphanage in Italy to move to Sweden for a job. There she met and married Bruno Arimondi, who adopted her son. The family returned to Naples, Italy in 1952 where Victor graduated from high school.[1] In 1960, Arimondi returned to Sweden to study at the University College of Arts, Crafts and Design in Stockholm, although he did not graduate. Meanwhile, he worked at several blue collar jobs, including as a mailman, before he gave up on traditional full-time work to pursue what he considered more essential— a life of creative expression. He created costume-like clothing for himself and friends and at age 19 became a fashion model. Even as a teenager, the Italian born photographer who spent his 20s and 30s primarily based in Sweden, noted that he preferred fantasy to the trials of real life.[1] That conflict, and his passion for beauty as well as his sexual energy, were major factors in his life and his work.[2] From 1965 through 1972 Arimondi worked as model in London, Milan, Germany, New York and Stockholm, appearing in catalogs and fashion magazines including Vogue , Harper's Bazaar and Esquire and on the runway in several Valentino fashion shows. In 1972 he decided to try working on the other side of the lens as a photographer to better express his creativity.[2] Arimondi moved to New York in 1979 and continued to build his photography portfolio. Portrait of Bearded Man, New York City, 1979 Two years later, in 1981, he moved to San Francisco where he lived and worked for twenty years until his death of AIDS at age 58 on July 24, 2001. The year he moved to San Francisco, Arimondi opened a photo gallery in the Haight-Ashbury neighborhood for a short time. When he struggled financially, he gave up on trying to earn a living through commercial fashion photography and closed the gallery.[3] Arimondi returned to modeling for the financial benefits, though he did so on less of an international scale than in his early years. He continued to create photographic portraits of the denizens of the San Francisco gay and arts cultures, to shoot male nudes and publish his work in magazines, and he began to compose and photograph evocative still lifes using his own photographic images. Many of them touched on the death of dozens of his former photography models from AIDS. Arimondi was in the midst of a new photography project that brought together his background as a fashion photographer and his more recent social documentary work when he died several months after he learned he was HIV-positive.[4] The project featured his former colleague, haute couture cover model Ivy Nicholson,[5] who he found living homeless in San Francisco. Several of the haunting portraits he took of her were later included in a noted group exhibit at SF Camerawork. Art Arimondi's early photography in the 1970s in Stockholm included portraits of the stars of Sweden's fashion, theater and dance worlds. His first two photography exhibits were in Stockholm and met with mixed reviews. But as he matured as a photographer and tapped into his fashion world contacts, Arimondi landed a number of commercial fashion jobs, including shooting for the Italian designer Salvatore Ferragamo S.p.A.'s I.Magnin department store ad that ran in Vogue. Marlboro Man Nude, New York City,1980. He also shot other artists and models for his own portfolio, including Grace Jones, the Norwegian actress, Liv Ullmann, and the American writer, Norman Mailer. Arimondi's aesthetic vision was focused on fantasy and drama, and he prided himself on pushing limits.[6] Although less well-known than his San Francisco contemporary...

Baltic Ice, Kakumaee 003 is a limited-edition photograph by German contemporary artist Bernhard Lang. This photograph is sold unframed as a print only. It is available in 3 dimensi...

RISAKU SUZUKI (*1963, Japan) Water Mirror 17, WM-788, 787 (diptych) 2017 Chromogenic print (2x) Sheet 120 x 155 cm (47 1/4 x 61 in.) Edition of 5; Ed. no. 2/5 Framed ‘Water Mirror’i...

Surf Wagon, St. Petersburg Beach by Al Satterwhite is a black and white photograph featuring a group of teenagers sitting on top of a car filled with surfboards. Archival Pigment P...

Jack Hayhow Title: John Moulton Barn Photographic Print on fine Paper Year: 2020 Size: 24x36 inches Description: Available in multiple sizes - please inqu...

'Fern Forest II' is an Archival Inkjet Print by photographer Morgan Silk. It is available in this size of 17" x 24" in a limited edition of 25. 'Fern Forest II' is the second prin...

48 × 60 in. (120 × 150 cm) Edition of 5 Chromogenic Print Unframed Certificate of Authenticity signed by the artist Framing options are available upon request. Other available size...

American Myth Archival pigment print on fine art paper, signed, titled, dated and numbered by the artist on verso "BJ and Richeille Formento and Formento come out of a hybrid lineag...

This is a contemporary photograph of an American Bald Eagle 36x48 Edition of 12. Signed and numbered. Printed on archival paper and using archival inks. Framing available. Inquire ...

Waterskiing at the Hotel du Cap, Eden Roc by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. "Waterskiing at the Hotel du Cap, Eden...

Picture Frame Westminster Bridge by Arthur Steel WESTMINSTER BRIDGE LONDON 1969 All prints are hand signed limited editions, no further prints ...

I love you (Till Death do us Part) - 2007 - 20x24cm, Edition of 10, digital C-Print print, based on a Polaroid. Certificate and Signature label, artist Inventory No. 8661, not ...

Baltic Ice II, Paernu 007 is a limited-edition photograph by German contemporary artist Bernhard Lang. This photograph is sold unframed as a print only. It is available in 4 dimens...

Bitchin', part of Richard Heeps 'Man's Ruin' Series. This cool 'Bitchin' decal was shot at 4am at the Hemsby Rock 'n' Roll Weekender. This artwork is a limited edition of 25, gloss ...

THE COLOR OF WATER Lake Michigan blue sits at the pastel confluence of green, grey and cyan on the nearby shoreline. In truth, the color of the lake is as transitory as Chicago weather. The shade of blue is widely determined by the reflection of the sky above and the organic material and sediment carried below. I recently learned that invasive mussel species have slowly transformed the lake from green to bluer over the past two decades. I often return to the water’s edge to document the color of a given day. Susan Isaacson...

Blank Tape Side A, from the Heidler & Heeps Tape Collection - The B Sides. The Heidler & Heeps collaborations are creative representations of Natasha Heidler and Richard Heeps’, pers...

40x60 inches (100 x 150 cm) Edition of 15 Archival Pigment Print Unframed Certificate of Authenticity Signed by the artist Ask us for framing options. Björn Persson is an internat...

Hand Signed by Lynn Goldsmith Limited Edition of 20 ...

Joan Didion in front of her Daytona Yellow Stingray Corvette, 1968, Time magazine TIME commissioned this portrait of author Joan Didion photographed...

Titled with artist's reference number on back of mount. Stamped, 'Edward Weston printed by' and signed by Cole Weston on back of mount. Inscribed. Printed from the original negative now housed at the Center for Creative Photography...

Wild Texas Longhorns Colored Photography Longhorn Fine Art Prints ABOUT THIS PIECE: Size: 36x24 This series was captured on a local Texas ranch, where the land stretches wide and t...

The Clash 1983 - Dave Hogan Signed Limited Edition English punk band The Clash in a New York taxicab, 1983. Left to right: Paul Simonon, Pete Howard, Joe Strummer (1952 - 2002) and ...

Pompei Opera 03, Italy, 48x60in, Unframed 48 × 60 in. (120 × 150 cm) Edition of 5 Chromogenic Print Unframed Certificate of Authenticity signed by the artist Framing options are av...

Julius Shulman Case Study House #22. Pool. C print 16 x 20 inches Shulman's studio stamp and signature on verso. Signed by Julius Shulman with Certificate of Authenticity authoriz...

A curve in a s steep path in woods that disappear into morning mist. These are the foggy woods in the hills of Oakland, across the bay from San Francisco. This is a photograph print...

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 ...

Jagger And Warhol - Limited Edition Mick Rock Estate Print Mick Jagger and Andy Warhol being photographed at a restaurant. (photo Mick Rock). All prints are numbered by the Estate...

"Wild Heart" A dark horse with a brilliant blaze of white on his forehead gallops freely against the backdrop of the Atlantic Ocean. Representative of the unparalleled, untamed es...

Signed, limited edition print of Oasis, Liam and Noel Gallagher by Jill Furmanovsky. Taken on stage performing at Slane Castle in 1995 as the support for REM. Signed and numbered a...

Bookscape including biographies on soccer legends such as Messi, Mbappe, Pele, Beckham and more. Just in time for the World Cup.

Chromogenic print Signed and numbered, verso 11 x 14 inches (Edition of 5) 16 x 20 inches (Edition of 5) This photograph is offered by ClampArt, located in New York City. Please no...

A black-and-white cityscape photograph In the photographer's Cities series features a view of the East River in Lower Manhattan in summertime. Shot at dusk from a small boat on the E...

Series: The Americana Collection Archival Pigment Print Unframed Sizes: 32" x 40" - $7,500.00 48" x 60" - $11,000.00 60" x 75" - $14,750.00 Framed Sizes: 39" x 47" - $9,250.00 55" ...

Andy Warhol (1928-1987) Tina Turner 1985 Unique gelatin silver print Size: 8 x 10 in (20.3 x 25.4 cm) Frame size: 16 x 17.5 in (40.6 x 44.4 cm) Authenticated by the Authentication ...

Men, photograph by Richard Heeps, from his Jersey Shore series. Taken in Wildwood, the historic Doo-Wop Town of New Jersey, this kitsch signage is perfect Pop Art and is typical of R...

Richard Heeps Dream in Color 'Pool Installation'. A set of nine individual artworks, vibrant yet serene they take you on a journey through California & Nevada through the eyes of the...

Aditya Dicky Singh Untitled Infrared photograph on fine-art Hahnemuhle archival paper 36" x 53" unframed (135cm x 91cm) 2016 Edition 3/10 *Should you wish the photograph to be ...

The Cow Edition of 25 signed and numbered by the artist A cow on the top of the hills in the Bavarian Alps. Every year the cows are taken to the pastures on the mountain pastures w...

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 1660 winter landscape photograph, captured by society photographer Slim Aarons, features an individual skiing at Sugarbush, a mountain resort in Vermont, April 1960. This is an...

Blue abstract photograph from Richard Heeps' series Trading Paint. Richard Heeps has a history of photographing Drag Racing in the UK, America and Europe. Trading Paint is a term tha...

"Drift 11" Landscape Photography 30" x 40" Edition 1/5 by Rowan Daly Digital print on Ultra Smooth Fine Art Paper Signed and numbered by the artist Comes with COA issued by the artist Unframed - ships rolled in a tube DRIFT Behind the scenes of the nation, our lone navigator reflects on the grandeur of a land both ethereal and familiar. Not unlike the archetypal tumbleweed, the wayfaring drifter goes where the wind takes him. Through the highways and secret byways of a mythic American landscape, this iconic series encourages us to ask ourselves just who we are, and who we aim to be. Rowan Daly Rowan Daly is a Los Angeles based photographer with a BA in Political Science from the University of North Florida...

"Velvet Crest" The smooth coat and bridle are highlighted in this profile portrait of a delicately arched horse's neck. The print series Equus: Light & Form focuses on the details...

SUSANNAH HAYS approaches her photographic practice as a philosopher experiences poetic material renderings of our phenomenological world. Investigating tangible objects, each of her ...

Bill HENSON (*1955, Australia) Untitled #16 - AH SH4 N13, 2009/2010 Archival pigment print Sheet 127 x 180 cm (50 x 70 7/8 in.) Edition of 5, plus 2 AP's;...

48 × 60 in. (120 × 150 cm) Edition of 5 Chromogenic Print Unframed Certificate of Authenticity signed by the artist Framing options are available upon request. Other available size...

Series: Diamond Dust All available sizes & editions for each size of this photograph: 25" X 60"- Edition of 10 "Diamond Dust is a glittering material that is applied to paper an...

Man Ray (Emmanuel Radnitsky, called) Hollywood : Mr and Mrs Woodman, 1970 Original gelatin silver print Handsigned on the back Authenticated with the artist stamp "Epreuve originale...