Horizontal Photography

This early-1980s photograph, taken by society photographer Slim Aarons, features Italian mountain climber and explorer Count Guido Monzino (1928-1988) rowing on the waters of Lake Co...

ABOUT THIS ARTIST: Liz Von Hoene is an award winning fashion photographer and director known for her immaculate concept driven images that strike the right balance between sophistica...

Light, shadow, and reflection reduce an ordinary surface to its essential forms. A painted line becomes a quiet geometric gesture, while architectural reflections dissolve the bounda...

Edition of 3 More sizes on request. 6 girls in swim dresses are sitting on the beach. Tyler Shields is an American Photographer, screenwriter, director an...

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

Pevero Golf Corse The Pevero Golf Course, Costa Smeralda, Sardinia, 1978. Paper Size 24x20 inches / 60 x 50 cm Estate Stamped Collection Edition to 150 Photo by Slim Aarons ...

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 A montage of still images shot and elaborated by means of her signature technique of using Polaroid formats with outdated and degraded film stock in natural light, with the resulting im ages rephotographed (by other means) enlarged and printed in such a way as to generate further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

Signed, titled, and dated in ink on print margin. American street photographer Don Donaghy (1936 - 2008 b. Philadelphia, Pennsylvania), was a fourth-generation native of Philadelp,h...

ABOUT THIS PIECE: Beauty, elegance and fierce attitude defines Elena’s eye-catching work. She is known for her high impact colorful portraits. Her style is permeated with the passion f...

On the Road, reimagines classic Richard Heeps artworks presented with full film rebate almost like a blown up contact sheet. There is a cinematic style to this artwork, 'Lone Pine',...

ABOUT THIS PIECE: This photo is from Kimberly's "personal moments of happiness" series. LA based photographer Kimberly Genevieve is known for her use of color and interesting croppin...

TIE Fighter Beatles by B A T I K Pop art work featuring the Fab Four Paul McCartney , George Harrison, Ringo Starr and John Lennon running away from Star Wars TIE fighters chasing...

This vintage contact print is signed and dated in pencil on the front of the mount. It is accompanied by a letter from Erica Weston, Brett Weston’s daughter, confirming that the prin...

Stay On Target - Hand Signed Limited Edition Archival Pigment Print This piece is a modern reworking of the infamous scene in North By North West by ...

Three Boys on a Swing, Pitt St. N.Y. by Walter Rosenblum is a black and white photograph documenting three children playing on a swing set in a city park. Gelatin Silver Print 10.5 ...

Palm Springs Pool Side, photograph by Richard Heeps taken at Ballantines Movie Colony. This artwork captures the classic mid-century Palm Springs architecture set against saturated b...

"A horse rears up, silhouetted against the darkening sky and rock formations A horse rears up in the distance between two tall rock formations at dusk and i...

Dancer/Choreographer Barton Mumaw performing 'Fetish' at Jacob's Pillow Massachusetts, where Jack photographed at the invitation of founder Ted Shawn. Photog...

Signed limited edition print by Ed Caraeff of Jimi Hendrix setting fire to his Fender Stratocaster guitar while performing at the Monterey Internat...

Underwater black and white nude photograph of a model diving in a swimming pool Original gallery quality print signed by the artist. Digital archival pigment print on archival pa...

"Fabric of Youth" A young Rendille woman named Adato watches over the deserted salt flats of the Chalbi Desert. She is a beacon of hope for the future of her tribe. This image is ...

4" x 5" Unframed Closed Edition Photograph MAGNUM Photography Hand Signed by Elliot Landy

Part of Richard Heeps 'Man's Ruin' Series, and the sequence of artworks 'Wendy Flamin' Eyeball', 'Wendy Resting' & 'Oldsmobile and Sinful Barbie's' shot at the Rockabilly Weekender, ...

This early 1970s photograph, captured by society photographer Slim Aarons, features the Harbour Island in the Bahamas. This is an estate-stamped and hand-numbered edition of 150 wit...

Feathers (Stage of Consciousness) - 2007 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and signature label. Artist Inventory ...

This is a contemporary photograph of an African Lion. 36x48 Edition of 12. Signed by Shane. Printed on archival paper and using archival inks Framing available. Inquire for rates. ...

Wave - Signed limited edition archival pigment print, Edition of 5 Breaking wave on the Spanish coast Can be paired with " Wave 2 " . This is an Archival Pigment print on fiber bas...

Dahlia 6, 2013 - Sunburst Egg Yolk Yellow Decorative Dahlia Oversize Print by Philip Gatward Dahlia 6 is a rich and luxurious Archival Inkjet Print by contemporary photographer Phil...

'Sunday's Tulips (III)' 40 x 60" edition Limited edition archival photograph, hand signed and numbered. Unframed _________________ Gauzy afternoon light, the tulips are stretching so...

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...

Aerial light series use remote light sources to illuminate sublime landscape scenes with long-exposure photography. Tom Hegen provides with his aerial photo...

Framed dimensions: 18h x 24w inches. Edition 2 of 10. David Emmite says of his work... My work seeks to ask questions about human relationships with technology, nature, and each ot...

Car, Downtown Car Park, Dallas, Texas is a stunning C-Type Print by contemporary photographer Samuel Hicks. It is available in in this size in an Edition of ...

Group by Propylaea is a gelatin silver print from On the Acropolis, a portfolio of 25 photographs by Tod Papageorge made on the Athenian Acropolis in the summers of 1983 and 1984. Th...

Available sizes: 30" x 37.5", Edition of 15 40" x 50", Edition of 10 48" x 60", Edition of 5 Over 40,000 years ago, we began to depict animals in cave drawings. Throughout history, ...

ABOUT THIS PIECE: "My photographs are a personal collection of moments that reveal my most genuine and beautiful depictions in the world around us. Preserving precious moments in tim...

"""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...

ALESSANDRO PUCCINELLI MARE/CHAOSMOS series Seascape - From the MARE/CHAOSMOS series - Mounted and Framed Framed size: 32x45 inches (including a white border) Image size: 27x40 inche...

Pink Dancers Mexico 20 x 45 in / Edition of 6 - $4,500 Also available: 32 x 73 in / Edition of 6 - $12,500 39 x 90 in / Edition of 6 - $17,500 Archival Pigment Print printed on Hahnemühle Photo Rag Paper Prices listed do not include framing. Please contact gallery for framed pricing. The soft haze of dusk, I waded out into the Ría Lagartos in Mexico and trained my lens on a trio of flamingos. Their long necks curved as they peered into the shallows stained pink by the setting sun, searching for the brine shrimp that gives them their bright, coral coloring. Ría Lagartos translates to Alligator River, although this incredibly rich estuary is neither a river nor does it have a single alligator. Instead, it is a sweeping, coastal wetland home to crocodiles and flocks of flamingos. Cristina Mittermeier Biography: A virtuous mind and voice in conservation photography and one of the most influential female photographers in the world, Cristina Mittermeier began her career as a Marine Biologist working in her native Mexico. For the past twenty-five years, she has dedicated herself to inspiring a global audience to care about the delicate balance between human well-being and healthy ecosystems. Cristina's work has exhibited at the Oceanographic Museum of Monaco, The Miller Gallery in Cincinnati, The Paul Nicklen Gallery in New York, Xposure in the UAE , Art Basel Miami, Terras de Salitre/Mar de Mares Festival in Santiago, The Museum of Plastic Pop...

36 Views of Mt. Fuji Archival pigment print on fine art paper, signed, titled, dated and numbered by the artist on verso "In winter of 2018 through spring of 2019, we returned to Ja...

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...

THIS PIECE IS AVAILABLE FRAMED. Please reach out to the gallery for additional information. ABOUT THIS ARTIST: Desert born and raised, fashion photographer Natasha Wilson...

Ivan Ivanovich Yendogurov (1861-1898) "Landscape with river", Oil on panel. Signed lower right I. Yendogurov. Size 18 x 36 cm, Size in frame 32 x 40 cm. Excellent condition. "Landsc...

Untitled, from Women are Beautiful Portfolio, by Garry Winogrand is a black and white gelatin silver print of two women in matching outfits, walking through a park with people staring as they pass by. Edition of 80 Signed, numbered and misc. notations by Garry Winogrand Gelatin silver print Paper size: 11 x 14 in., Image size: 8 3/4 x 13 in. Printed 1981 From the Women are Beautiful Portfolio Garry Winogrand was an American photographer from New York. He is known for his extensive documentation of American life.. Winogrand was the recipient of the various Guggenheim Fellowships and a National Endowment for the Arts Fellowship. His work is included in the George Eastman Museum, Museum of Modern Art, the Whitney Museum of American Art and the Center for Creative Photography...

Fabien Mara Kate Moss / Chloe, 1990 Silver gelatin print 70 x 100 cm Edition of 17 Signed, numbered, and dated Fabien Mara lives and works in Paris. (French). His body of work m...

Los Leone by Slim Aarons Los Leones, the home of Catherine and Pero Feric at Pointe Milou on the northern coast of Saint-Barthelemy in the Caribbean, March 1991. (Photo by Slim Aaro...

These are from the 1990s printed at Muse X and never framed. they are unsigned and unnumbered but from a very small edition. they are quite beautiful. Victor Raphael was born in Los ...

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...

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...

Elektronik Blue, pop art from the Heidler & Heeps Tape Collection The Heidler & Heeps collaborations are creative representations of Natasha Heidler and Richard Heeps’, personal pas...

This is part of a series of abstract art photography, capturing nature, flora, fauna in an abstract, brightly styled, exuberance. This abstract ...

© Michael Putland Bob, Mick and Pete Bob Marley, Mick Jagger and Peter Tosh backstage after Rolling Stones concert at the Palladium Theatre, New York 1978 Bob Marley, Mick Jagger,...

Type II Pink, from the Heidler & Heeps Tape Collection - The B Sides. The Heidler & Heeps collaborations are creative representations of Natasha Heidler and Ri...

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

Untitled Flower # 30 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...

Utopian Foyer from Richard Heeps series A Short History of Milan, which began as a special project for the 2018 Affordable Art Fair Milan. It was well received and the artwork has be...

"""The Great Escape"" Band of wild horses running along the shore on Sable Island See Sable Island like never before in this aerial image featuring a band of wild horses running ov...

Palms Beach By Stuart Möller A morning shot of a costal beach front surrounded with Palm trees. 20 x 30" inches / 51 x 76 cm paper size Archival pigment print Unframed (framing av...

Fairytales, triptych - 2004 Polaroid - 3 Unique Pieces 1/1, 7.8 x 7,7cm (image area) each 10.7 x 8.7 cm ( including white Polaroid frame). Signed on verso. Unframed. Stefanie Sc...

Bonanza Café, iconic photograph from Richard Heeps Dream in Colour series, it was the cover artwork on his book Man's Ruin. The photo takes you back to small town Americana with the ...