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David Yarrow
Enough is Enough - Cindy Crawford

2020

Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request

About the Item

Digital Pigment Print on Archival 315gsm Hahnemuhle Photo Rag Baryta Paper ENOUGH IS ENOUGH Montana, USA - 2020 This Work was sourced directly from the artist. This photograph was a spontaneous behind the scenes shot taken early one winter morning high up in Canyonlands National Park, Utah. The cowboys we had on set were simply keeping warm, not playing to the camera. When I looked at my camera files later, I realised that we had something very strong and our galleries were very keen for the work to be released and shown to the public in America and Europe. This was never our intent, and it is the first time this situation has arisen in ten years. The grandeur of the American West is well known and well photographed. In our minds, stunning landscapes should complement the shot, not be the shot. Layered narratives have become core to my style, we like to make a frame sweat. This image is certainly a validation of that approach. 99% of my released work is printed in monochrome, but this print works better in colour. I looked back at some of the other work we have released in colour and they all have one thing in common; my shots with tigers, orangutans and now this image all have the colour orange in them. Orange is not a normal colour in my work, but when it features, a colour print is often preferable. A black and white print simply doesn’t cope well with orange. On this occasion, the orange flames from the fire are such a core component of the story that to print this in monochrome would dumb down the narrative. I am all for the reductive qualities of monochrome, but we always want to tell the best possible story. There is a lot going on in this image and we know it emotionally connects with those in America drawn to the lore of the West. Available Sizes (Framed Size) Large: 71” x 98” Standard: 52” x 70” Available Editions Large: Edition of 20 Standard: Edition of 20 About David Yarrow David Yarrow was born in Glasgow, Scotland in 1966. He took up photography at an early age and as a 20-year-old found himself working as a photographer for The London Times on the pitch at the World Cup Final in Mexico City. On that day, David took the famous picture of Diego Maradona holding the World Cup and, as a result, was subsequently asked to cover the Olympics and numerous other sporting events. Many years later David established himself as a fine art photographer by documenting the natural world from new perspectives and the last nine years have been career-defining. David’s evocative and immersive photography of life on earth is most distinctive and has earned him an ever-growing following amongst art collectors. His large monochrome images made in Los Angeles are on display in leading galleries and museums across Europe and North America. He is now recognised as one of the best-selling fine art photographers in the world and his limited edition works regularly sell at high prices at Sotheby’s and other auction houses.
  • Creator:
    David Yarrow (1966, Scottish)
  • Creation Year:
    2020
  • Dimensions:
    Height: 52 in (132.08 cm)Width: 70 in (177.8 cm)Depth: 2 in (5.08 cm)
  • Medium:
  • Movement & Style:
  • Period:
  • Condition:
  • Gallery Location:
    Greenwich, CT
  • Reference Number:
    Seller: YarD.8218.M1stDibs: LU177829664632

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Digital Pigment Print on Archival 315gsm Hahnemuhle Photo Rag Baryta Paper DEAD MAN'S CHEST Anguilla, Caribbean 2022 This work was sourced directly from the artist. I hope this image is identified as having some of my trademarks. Every inch of the frame sweats and every person within the frame firmly stakes claim to his or her presence. I was greedy in the amount of information I wanted in the picture and for it to come off, I needed luck as well as strong communication with everyone on set. It has the cinematic feel that I often strive for and I think in time I will look back very fondly on that evening. At the moment it is all a little fresh and the subject matter is sufficiently adrift from my normal work that it is difficult to find context. But my sense is that it is a special photograph. The goal was to attain compositional harmony amidst the chaos of the beach landing, which was not that easy an objective as this landing was for real. This raw and rocky coastline in Anguilla is no studio. In retrospect it is remarkable that not only are the faces of the six male pirates in the landing party all in view but they also show collective endeavour. They had enough to think about dealing with the boat in the tide and maybe the truth is that they weren’t in role at all. Whilst getting soaked, out of my right eye I was checking the barrel in the sea, as I didn’t want to lose it behind the boat. There was quite a bit of multi-tasking going on in that one minute. Keeping a watch on two Rastafarian friends on the rocks was a further dimension. It was quite late in the day and by that time, I couldn't be too sure of their footing given their activities during the day. Josie Canseco...
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Digital Pigment Print on Archival 315gsm Hahnemuhle Photo Rag Baryta Paper DEAD MAN'S CHEST Anguilla, Caribbean 2022 The work has been sourced directly from the artist I hope this image is identified as having some of my trademarks. Every inch of the frame sweats and every person within the frame firmly stakes claim to his or her presence. I was greedy in the amount of information I wanted in the picture and for it to come off, I needed luck as well as strong communication with everyone on set. It has the cinematic feel that I often strive for and I think in time I will look back very fondly on that evening. At the moment it is all a little fresh and the subject matter is sufficiently adrift from my normal work that it is difficult to find context. But my sense is that it is a special photograph. The goal was to attain compositional harmony amidst the chaos of the beach landing, which was not that easy an objective as this landing was for real. This raw and rocky coastline in Anguilla is no studio. In retrospect it is remarkable that not only are the faces of the six male pirates in the landing party all in view but they also show collective endeavour. They had enough to think about dealing with the boat in the tide and maybe the truth is that they weren’t in role at all. Whilst getting soaked, out of my right eye I was checking the barrel in the sea, as I didn’t want to lose it behind the boat. There was quite a bit of multi-tasking going on in that one minute. Keeping a watch on two Rastafarian friends on the rocks was a further dimension. It was quite late in the day and by that time, I couldn't be too sure of their footing given their activities during the day. Josie Canseco...
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