David Jay

Hotel Bondi #2. Nude Photograph

2014

Bottle / Belém do Pará, 2015 by Guilherme Licurgo Archival Pigment Print Image size: 35 in. H x 23 in. W Limited Edition of 10 + 1 AP Other sizes are available. All Prices are quot...

CRY ME A RIVER BELÉM DO PARÁ, 2011 by Guilherme Licurgo Archival Pigment Print Image size: 35 in. H x 23 in. W Limited Edition of 10 + 1 AP 2011 Other ...

Half Angels Half Demons #12, 2005 by Mauricio Velez Black and White Photography Archival Pigment Print Image size: 40 in. H x 60 in. W Edition of 9 + 2AP Unframed "In a few photogr...

Don't Tell Mamma #17, 1994-2010 by Koray Erkaya From the series of Don't Tell Mamma Hahnemühle Photo Matt Fibre Duo 210 Paper Deckled Edge Image size: 24 in. H x 16 in. W (60 cm H x...

Don't Tell Mamma #5, 1994-2010 by Koray Erkaya From the series of Don't Tell Mamma Hahnemühle Photo Matt Fibre Duo 210 Paper Deckled Edge Image size: 16 in. H x 24 in. W (40 cm H x ...

Don't Tell Mamma #9, 1994-2010 by Koray Erkaya From the series of Don't Tell Mamma Hahnemühle Photo Matt Fibre Duo 210 Paper Deckled Edge Image size: 24 in. H x 16 in. W (60 cm H x ...

Villa Cetinale, Italy, May 2012 A moment at a storied property where centuries of history pile on Photographed by Jonathan Becker Contemporary 44" x 4...

AP 1/2, includes white frame. With his passion for formal technique and composition, internationally renowned photographer Nathan Coe’s works exude a deep reverence for the classics...

Albert WATSON (*1942, Scotland) Kate Moss Contact Sheet (horizontal), Marrakech, 1993 Archival pigment print Sheet 107 x 142 cm (42 1/8 x 55 7/8 in.) Edition of 10; plus 2 AP; AP1 pr...

Listing is for a FRAMED edition print. Edition 7 of 25 After 30 years on West 11th Street, The Robin Rice Gallery celebrates its first ever exhibition for Robin Rice. For decades, Robin has exhibited a wide variety of photographers at the gallery but never her own work. As the show’s title denotes, “It’s About Time.” The opening reception will be held on Wednesday, January 23rd from 6pm to 8pm. The exhibit runs through March 17, 2019. While her photography spans five decades and multiple continents, Rice maintains a cohesive, candid voice that carries throughout all of her work. Observing the world around her in a cinematic way, she possesses an uncanny ability to recognize and capture moments of beauty and the spontaneity of the human spirit. By evoking a wonderstruck sensibility, Rice expresses a deep-rooted love for both people and landscapes using her distinct bohemian style. In this salon-style retrospective, Rice uses an “old school” approach and shoots with her Nikon on Tri-X film. When creating her art, she insists, “the camera has a mind of its own.” The scenes captured in her photography are unedited and thus born purely from the magic of the in-camera composition. In the invitational image, “Tree Farm...

A black and white photographic print, with uniquely handmade puncture designs by the artist, set in a black shadow box frame. Print is also available in large size: 63'' x 50'' and i...

Print is also available in a small size : 50'' x 40'' and is priced at : $13,000. Each work is a one of a kind, unique piece that is hand punctured. The work also comes with a black floating frame. The new series “Punctured Ink” incorporates works from Nyari’s ongoing, portrait project titled “Ink Stories”. “Ink Stories”, which was introduced at Nyari’s very first solo gallery exhibit, consists of large-scale nude photographs that explore the concept of self-identity and female empowerment. The series joins six women together, each who have faced adversity, to demonstrate the creation of a strengthened self-image through tattoos. By highlighting the intricate woven threads of ink on each woman’s skin, Nyari proposes the idea that self-empowerment and reconciliation with one’s traumas can be linked to the act of greeting one’s “own skin” or inventing their own story. Nyari has now elevated these intimate photographs in her new Punctured Ink series through the process of puncturing botanical-like references into the surface of each image (thus making each one of a kind). Her inspiration to physically puncture the previously pristine photographic prints stemmed from a childhood memory that occurred while she was living in Finland: “I remembered my parents had this big pad of paper next to the home phone in Finland and I would use my mother’s sewing needles to poke patterns into the paper”. This nostalgic memory in combination with the longing to apply her physical, painterly abilities resulted in the choice to transform these photographs via puncturing the paper. Unlike painting or drawing on the surface of each print, the raised, brail like holes created leave a permanent result, just as a tattoo does on one’s skin. While the surface of an artwork, like skin, is typically preserved and or avoided, Nyari follows in the subject’s footsteps by purposely destroying the pristine surface in order to create a new narrative. The act taps into a long history of tribal scarification which signified a right of passage, permitting the individual to transcend their past traumas and transforming their evolved selves. This notion grounds all of her works. In addition, Nyari’s choice to puncture nature-based patterns into each portrait also has its own significance. She stated that when “talking about scarification and getting over trauma, to me, nature is one of the most healing and beautiful elements.” As Nyari is emphasizing through her photographs, when you add a personal story onto the skin, it is a whole new layer that often becomes biographical. It translates a story to the audience of one’s past, future and wishes. While this concept existed in her previous photographic series, now, through puncturing the surface of each, Nyari is adding another layer of permanence onto her works’ meaning, therefore becoming, as she calls it “ink cubed”. ———————————————————————————————————————————— Born in 1979 in Helsinki, and raised in Finland and Germany, Nyari came to New York City at the age of seventeen. While here, she studied at the School of Visual Arts where she not only began to model but found her passion for photography. Using inspiration from masters such as Helmut Newton and Cindy Sherman, Nyari’s work employs and explores the traditional ideal of beauty and gender to portray sexuality from a predominately female perspective. She utilizes technical elements such as gestures, nudity, the subject’s gaze, objects and more to link this connection of the empowered feminine identity. Her work has been exhibited in numerous galleries throughout the United States and Europe and through such exposure, she has received multiple prestigious awards including the first-place winner of the International Photography Awards in 2010, Beauty Pro Category. Her 225-page Monograph titled “Femme Fatale: Female Erotic...