Michael Crouser

Barbed Wire

2012

Toned gelatin silver print Signed, titled, dated, and numbered, recto 14 x 11 inches, sheet (Edition of 25) 20 x 16 inches, sheet (Edition of 25) 24 x 20 inches, sheet (Edition of 15) 40 x 30 inches, sheet (Edition of 15) This photograph is offered by ClampArt, located in New York City. Michael Crouser's series, "Mountain Ranch," is a ten-year look at the disappearing world of cattle ranching...

Toned gelatin silver print Signed, titled, dated, and numbered, recto 14 x 11 inches, sheet (Edition of 25) 20 x 16 inches, sheet (Edition of 25) 24 x 20 inches, sheet (Edition of 15) 40 x 30 inches, sheet (Edition of 15) This photograph is offered by ClampArt, located in New York City. Michael Crouser's series, "Mountain Ranch," is a ten-year look at the disappearing world of cattle ranching...

Toned gelatin silver print Signed, titled, dated, and numbered, recto 14 x 11 inches, sheet (Edition of 25) 20 x 16 inches, sheet (Edition of 25) 24 x 20 inches, sheet (Edition of...

Toned gelatin silver print Signed, titled, dated, and numbered, recto 14 x 11 inches, sheet (Edition of 25) 20 x 16 inches, sheet (Edition of 25) 24 x 20 inches, sheet (Edition of...

"Barbed Wire" The Frequency, Giclee Print, Abstract Photography, Limited Ed. Creator: Hatice Besun Creation year: 2018 Dimension: 16 x 24” External Dimension( with white border) : H...

Ian Gittler’s Motor Art series-photographs of century-old engine parts, gears, sparkplugs, and brand tags-offers respite from the digital fetishism, overexposure and one-hundred-forty-character bursts of communication that seem to define our era. Gittler is no luddite, he loves his iPhone. But these images, often obscuring the objects beyond identification, take unsentimental pleasure in elements of weight, ground, volume and permanence that are more closely associated with a bygone heyday of industrialization. These photographs are about a tangible physical experience, about moving parts. Gittler’s expert printing-his ability to see the potential in a frame and employ the techniques necessary to articulate that vision on paper-brings the work to life. There’s wit in the brand iconography and a documentary component, but Gittler resists prescribing interpretations, saying subtext isn’t the point. His use of extremely shallow depth of field, intense contrast and exploded grain is muscular and poetic. But subtext is relevant. Although Robin Rice first approached Ian Gittler about his vector-based art on photo paper, the gallerist challenged him to create a series of photographs with that kind of machismo. As a native New Yorker who was marched through the halls of MOMA as a toddler, Gittler’s inspiration-his idea of macho-has less to do with cowboys and racecar drivers than with Franz Kline brushstrokes and modernist design. For Gittler, macho means the maximum amount of black ink that can lie across a sheet of photo paper. That kind of force. He narrowed his field of view for this series-often to a centimeter or two-in order to achieve a purely visual, visceral response. Gittler titled the work Motor Art in tribute to the 1934 Museum of Modern Art exhibit, Machine Art. Upon its sixtieth anniversary, Phillip Johnson wrote of the show (and of his own essay for its original opening), “The thrust was clear: anti-handicraft, industrial methods alone satisfied our age; Platonic dreams of perfection were the ideal.” Ian Gittler photographs, draws, writes, and makes music. He has created album covers for Willie Nelson, Roy Hargrove...

Listing is for UNFRAMED print. Inquire within for framing. Edition of 20 CURRENT EXHIBITION - runs through February 25, 2017. Any framed photographs purchased during the show will be after February 25th. If the exhibition piece is sold or the customer orders a different print size, the photograph is produced upon purchase. Please allow two weeks for production. Shipping time depends on method of shipping. Price is subject to availability. The Robin Rice Gallery reserves the right to adjust this price depending on the current exhibition of the photograph. ABOUT In this exhibition, Mindaugas Gabrenas invites us to reflect on the poetics of place through his lyrical and surrealist imagery. His hand-printed silver gelatin prints reveal abandoned regions, wild coasts and strange territories from Lithuania to Scotland to America. As a scientific innovator, he uses unique techniques and unconventional materials in order to create his whimsical, dream photos. In “Spinning The Wheel”, stars trace the sky in a curved motion and meet the water below creating a sense of the infinite. As Gabrenas explores and captures landscapes through very long exposures, he actually meditates and reflects on the world around him encouraging his viewers to imagine themselves within the landscapes and dream with him. In another image “Dream About an Empty House”, that was taken in Lithuania, we see a young girl from behind in a red polka dotted dress as she faces an abandoned home. Using his handmade camera he constructed by merging two cameras—a Kiev 88 and a Kodak Duaflex II. The viewfinder of the Duaflex serves as an additional filter on the lens of the Kiev 88, which is fixed to its body with several macro rings. Before shooting the film, he wraps it in black rye bread and waits several days for the mold to grow onto the film. The combination of these two techniques creates a sense of motion around the central figure. “Alternatives”, our invitational image, pulls us into Gabrenas’ world. The focused close-up and abstracted view of train tracks distorts a familiar shape into a strange and unusual form. The tracks lead you in the distance, a blurry city of New York. The ironic lack of human life in New York City conveys a mystifying sense of place. In “Something With a Head”, we’re taken to the Lithuanian seaside where silhouetted figures stand on sand dunes watching...

The Element ‘Gold, (Au) can only be made in the nuclear reactor of stars. It came to our planet when the Earth was first forming, as dust from catastrophic astronomical events –stars...