Conceptual Black and White Photography

Tacita Dean (British, born 1965) Aerial View of Teignmouth Electron, Cayman Brac 16th of September 1998, 2000 Medium: Gelatin silver print on paper Dimensions: 21 x 26 cm (8 1/4 x 10...

Further to Fly is a series of Wet Plate Collodion Photograms that continues in my practice of using drawings on mylar layered with light-sensitive materials in the darkroom to create...

Further to Fly is a series of Wet Plate Collodion Photograms that continues in my practice of using drawings on mylar layered with light-sensitive materials in the darkroom to create imagined landscapes. The illustrations used in the series are based on reference shots I took in Palm Springs...

Further to Fly is a series of Wet Plate Collodion Photograms that continues in my practice of using drawings on mylar layered with light-sensitive materials in the darkroom to create...

East of Lancaster, CA by Robbert Flick is a 16 x 20 in silver gelatin print. This print features 49 small images of black and white landscapes presented in a grid. Each image measures 1 5/8 x 2 1/8 inches. This print is from Robbert Flick's Sequential Views series from his America Roads Portfolio. It is signed, titled and dated by Robbert Flick. Robbert Flick, Professor Emeritus, is a Southern California artist who uses photography as his primary medium. He has been exhibiting his photographs for over 50 years and his work has been shown and collected by numerous private and public venues both nationally and internationally. He is the recipient of multiple fellowships and in 2001 was the recipient of a Guggenheim Fellowship in Creative Arts. The retrospective Robbert Flick: Trajectorieswas shown at the Los Angeles County Museum of Art in 2004 accompanied by a comprehensive exhibition catalog co-published by LACMA and Steidl. In 2016 Nazraeli Press published “Robbert Flick LA Diary”. He is represented by ROSE Gallery in Santa Monica and Robert Mann...

Braunschweig 1, Laser cut archival pigment ink print, signed, numbered, framed Ideas of home and dislocation have always been compelling to me as the child of immigrant parents who...

Blomberg 1, Laser cut archival pigment ink print, signed, numbered, framed Ideas of home and dislocation have always been compelling to me as the child of immigrant parents who arri...

Miroslav Tichý (*1926, Czech Republic) Untitled, MT Inv. No 2-059 Unknown, ca. 1970-1990 Silver Gelatin Print Sheet 19,6 x 12,5 cm (7 3/4 x 4 7/8 in.) Unique Print only Tichý, practically reinventing photography from scratch, reconstitutes pictorialism along with it, and not as a distortion of the medium but as something like its essence. What counts for him is not only the image - just one moment in the photographic process - but also the chemical activity of the materials, which is never entirely stable or complete, and the delimitation of the results via cropping and framing. Marginal and exceptionally voyeuristic, in his methods Tichý could be described as an “art brut photographer” yet he is also marked by classical influences. Though his images are produced with poor-quality equipment and carelessly shot, they offer an idiosyncratic and almost hallucinatory vision of a fantastical, eroticised reality. With his endless return to the same subject and the volume and regularity of his production, Tichý’s work draws many parallels to certain practices of conceptual art during the same period. – Art, Black and White...

Miroslav Tichý (*1926, Czech Republic) Untitled, MT Inv. No 3-8-185 Unknown, ca. 1970-1990 Silver Gelatin Print Sheet 14,9 x 10,4 cm (5 7/8 x 4 1/8 in.) Unique Print only Tichý, practically reinventing photography from scratch, reconstitutes pictorialism along with it, and not as a distortion of the medium but as something like its essence. What counts for him is not only the image - just one moment in the photographic process - but also the chemical activity of the materials, which is never entirely stable or complete, and the delimitation of the results via cropping and framing. Marginal and exceptionally voyeuristic, in his methods Tichý could be described as an “art brut photographer” yet he is also marked by classical influences. Though his images are produced with poor-quality equipment and carelessly shot, they offer an idiosyncratic and almost hallucinatory vision of a fantastical, eroticised reality. With his endless return to the same subject and the volume and regularity of his production, Tichý’s work draws many parallels to certain practices of conceptual art during the same period. – Art, Black and White...

Miroslav Tichý (*1926, Czech Republic) Untitled, MT Inv. No 3-8-431 Unknown, ca. 1970-1990 Silver Gelatin Print Sheet 15 x 9,8 cm (5 7/8 x 3 7/8 in.) Unique Print only Tichý, pra...

Miroslav Tichý (*1926, Czech Republic) Untitled, MT Inv. No 7-8-73 Unknown, ca. 1970-1990 Silver Gelatin Print Sheet 29,3 x 19,7 cm (11 1/2 x 7 3/4 in.) Unique Print only Tichý, practically reinventing photography from scratch, reconstitutes pictorialism along with it, and not as a distortion of the medium but as something like its essence. What counts for him is not only the image - just one moment in the photographic process - but also the chemical activity of the materials, which is never entirely stable or complete, and the delimitation of the results via cropping and framing. Marginal and exceptionally voyeuristic, in his methods Tichý could be described as an “art brut photographer” yet he is also marked by classical influences. Though his images are produced with poor-quality equipment and carelessly shot, they offer an idiosyncratic and almost hallucinatory vision of a fantastical, eroticised reality. With his endless return to the same subject and the volume and regularity of his production, Tichý’s work draws many parallels to certain practices of conceptual art during the same period. – Art, Black and White...

Miroslav Tichý (*1926, Czech Republic) Untitled, MT Inv. No 2-070 Unknown, ca. 1970-1990 Silver Gelatin Print Sheet 18,1 x 13,2 cm (7 1/8 x 5 1/4 in.) Unique Print only Tichý, practically reinventing photography from scratch, reconstitutes pictorialism along with it, and not as a distortion of the medium but as something like its essence. What counts for him is not only the image - just one moment in the photographic process - but also the chemical activity of the materials, which is never entirely stable or complete, and the delimitation of the results via cropping and framing. Marginal and exceptionally voyeuristic, in his methods Tichý could be described as an “art brut photographer” yet he is also marked by classical influences. Though his images are produced with poor-quality equipment and carelessly shot, they offer an idiosyncratic and almost hallucinatory vision of a fantastical, eroticised reality. With his endless return to the same subject and the volume and regularity of his production, Tichý’s work draws many parallels to certain practices of conceptual art during the same period. – Art, Black and White...

Miroslav Tichý (*1926, Czech Republic) Untitled, MT Inv. No 7-11-31 Unknown, ca. 1970-1990 Silver Gelatin Print Sheet 18 x 13 cm (7 1/8 x 5 1/8 in.) Unique Print only Tichý, prac...

Miroslav Tichý (*1926, Czech Republic) Untitled, MT Inv. No 10-1-96 Unknown, ca. 1970-1990 Silver Gelatin Print Sheet 17,9 x 11,2 cm (7 x 4 3/8 in.) Unique Print only Tichý, prac...

Miroslav Tichý (*1926, Czech Republic) Untitled, MT Inv. No 3-8-236 Unknown, ca. 1970-1990 Silver Gelatin Print Sheet 16,8 x 11,8 cm (6 5/8 x 4 5/8 in.) Unique Print only Tichý, practically reinventing photography from scratch, reconstitutes pictorialism along with it, and not as a distortion of the medium but as something like its essence. What counts for him is not only the image - just one moment in the photographic process - but also the chemical activity of the materials, which is never entirely stable or complete, and the delimitation of the results via cropping and framing. Marginal and exceptionally voyeuristic, in his methods Tichý could be described as an “art brut photographer” yet he is also marked by classical influences. Though his images are produced with poor-quality equipment and carelessly shot, they offer an idiosyncratic and almost hallucinatory vision of a fantastical, eroticised reality. With his endless return to the same subject and the volume and regularity of his production, Tichý’s work draws many parallels to certain practices of conceptual art during the same period. – Art, Black and White...

Miroslav Tichý (*1926, Czech Republic) Untitled, MT Inv. No 7-5-64 Unknown, ca. 1970-1990 Silver Gelatin Print Sheet 18 x 11,7 cm (7 1/8 x 4 5/8 in.) Unique Print only Tichý, pra...

Miroslav Tichý (*1926, Czech Republic) Untitled, MT Inv. No 7-3-74 Unknown, ca. 1970-1990 Silver Gelatin Print Sheet 29,7 x 22,5 cm (11 3/4 x 8 7/8 in.) Unique Print only Tichý, practically reinventing photography from scratch, reconstitutes pictorialism along with it, and not as a distortion of the medium but as something like its essence. What counts for him is not only the image - just one moment in the photographic process - but also the chemical activity of the materials, which is never entirely stable or complete, and the delimitation of the results via cropping and framing. Marginal and exceptionally voyeuristic, in his methods Tichý could be described as an “art brut photographer” yet he is also marked by classical influences. Though his images are produced with poor-quality equipment and carelessly shot, they offer an idiosyncratic and almost hallucinatory vision of a fantastical, eroticised reality. With his endless return to the same subject and the volume and regularity of his production, Tichý’s work draws many parallels to certain practices of conceptual art during the same period. – Art, Black and White...

Miroslav Tichý (*1926, Czech Republic) Untitled, MT Inv. No 7-10-51 Unknown, ca. 1970-1990 Silver Gelatin Print Sheet 16 x 8,4 cm (6 1/4 x 3 1/4 in.) Unique Print only Tichý, pra...

Miroslav Tichý (*1926, Czech Republic) Untitled, MT Inv. No. 11-1-170 Unknown, ca. 1970-1990 Silver Gelatin Print Sheet 19,2 x 11,6 cm (7 1/2 x 4 5/8 in.) Unique Print only Tichý...

In this rich self portrait, Savannah Spirit takes the tradition of black and white female nude photography, and turns the gaze back on itself. In this series, the muse is the artist,...

In this rich self portrait, Savannah Spirit takes the tradition of black and white female nude photography, and turns the gaze back on itself. In this series, the muse is the artist,...

Invacuo Project #18, 2016 by Koray Erkaya From the series of Invacuo Project Hahnemühle Photo Matt Fibre Duo 210 Image size: 16 in. H x 24 in. W (40 cm H x 24 cm W) Edition of 10 Work is also available framed at an additional cost. All sizes signed, titled, dated, and numbered on artist label verso All Prices are quoted as "initial price". Please note that prices and availability may change due to current sales. _____________________ JAZZ AND GAS Joyful humour characteristic of the pro-democracy environmentalist Gezi Park protests in June 2013. People of all ages, students, writers, artists, actors, musicians, LGBT activists, Anti-Capitalist Muslims, Marxists, Anarchists, Kurdish and Turkish nationalists were peacefully together in the heart of modern Istanbul: Taksim Square. Then the police attacked with tear gas and their usual equipment. But if they use uneven brutal force, then we use uneven intelligence and creativity: “We are fair: Their gas is fresh air.” Such sarcastic slogans multiplied echoing the positive, hopeful, unyielding and determined character of the our jazz like plural harmony. If Sultanahmet Square is the heart of Classical Istanbul with its Byzantine and Ottoman heritage, Taksim Square represents the modern city: the central statue representing the national liberation war and the formation of the Turkish Republic, Gezi Park, Ataturk Cultural Centre, big hotels, and the historic Istiklal (Independence) Street. Eyes shed tears not only because we laughed due to high quality satirical slogans but also because of the harmful gas and the deaths of several youngsters. Numerous citizens lost an eye or arm. Thanks to international media coverage, the inspiring Gezi Park resistance (or “June Movement”) in Turkey drew attention all over the world -while the pro-government media kept silent. Whether on purpose or not, tear gas –and its canisters at close range- took several lives. Don’t let anybody fool you: Tear gas may kill. And it did. Though “as a nation” we had been used to gas in previous demonstrations, one point was unique: The whole city was gassed. Babies, old people and citizens with asthma suffered in their homes. Before the police attack, maybe most of the young protesters were “merely” environmentalists without a major political orientation. Tear gas brutality transformed most of them into political activists. Since that June, our lungs, souls and future have been full of that gas. Tear gas has been used not only in Turkey but in many other countries as well –since the 1990s. We tend to think that “Every soul shall taste it,” –sounding like a statement from a holy book. The situation is unacceptable: A child on the way to get bread for breakfast may die –in fact be killed by the police using tear gas without proper concern and care. Tear gas is a chemical weapon. It’s vital to comprehend that. The marketing is well-phrased but misleading: “Made from fruit and vegetables, wholly organic.” But when it is used at close range, its metal canister becomes a bullet. Fifty years ago, in late 1960s, 90 countries signed a petition against the usage of tear gas. Our country signed the 1997 Convention on Chemical Weapons, which states that tear gas is considered to be a chemical weapon when it is used in closed places, at close range or in a crowd. Despite this, it has been used time and again in Brasil, Chile, Egypt, Germany, Gaza, Iraq, Ireland, Israel, Panama, the Philippines, South Korea, UK, USA, and Vietnam. The Association of Turkish Medical Doctors and the Initiative Against Tear Gas have been working and reacting diligently on this issue. “But the label says it’s harmless,” say some. But the firms that produce gas bombs put labels according to the demands of governments. Are you Shocked? Global trade has priority over humanitarian concern. But why this introduction? Don’t we all know all these things? We certainly do, but the “agenda” changes so fast that our knowledge does not find time to unite with our action in order to change the ongoing chain of events. Enter arts. With the mission of contributing to collective memory, Artist Koray Erkaya creatively documents experience. In his new photographic art series, Erkaya revolts against individual and social de-sensitivisation. In order to address the memory and to increase awareness, he uses “gas” against everyone –without discrimination. He tests his models with gas in the specifically prepared labyrinth made of mirrors. But of course, the gas he uses is not one of the types of tear gas labeled OC, CS or CN. In any case, the violence the people suffer is not limited to the content of the gas. When he started his voyage to display the violence, loneliness, nakedness, helplessness, spiritual and physical isolation of women, children, gays, transsexuals -all the humiliated people under some form of gas, Erkaya began working with models from various nations in Istanbul. Now he is on his way to show that this issue is a problem for all who live on the same planet. When we see ourselves in the eyes of the models in the mirrors...

Vintage 50's Barbie with vintage accessories and set. Narrative depicts title - the end of the affair. Metallic print produced on metal. Black and white Photography. Ltd Ed.

Invacuo Project #19, 2016 by Koray Erkaya From the series of Invacuo Project Hahnemühle Photo Matt Fibre Duo 210 Image size: 16 in. H x 24 in. W (40 cm H x 24 cm W) Edition of 10 Work is also available framed at an additional cost. All sizes signed, titled, dated, and numbered on artist label verso All Prices are quoted as "initial price". Please note that prices and availability may change due to current sales. _____________________ JAZZ AND GAS Joyful humour characteristic of the pro-democracy environmentalist Gezi Park protests in June 2013. People of all ages, students, writers, artists, actors, musicians, LGBT activists, Anti-Capitalist Muslims, Marxists, Anarchists, Kurdish and Turkish nationalists were peacefully together in the heart of modern Istanbul: Taksim Square. Then the police attacked with tear gas and their usual equipment. But if they use uneven brutal force, then we use uneven intelligence and creativity: “We are fair: Their gas is fresh air.” Such sarcastic slogans multiplied echoing the positive, hopeful, unyielding and determined character of the our jazz like plural harmony. If Sultanahmet Square is the heart of Classical Istanbul with its Byzantine and Ottoman heritage, Taksim Square represents the modern city: the central statue representing the national liberation war and the formation of the Turkish Republic, Gezi Park, Ataturk Cultural Centre, big hotels, and the historic Istiklal (Independence) Street. Eyes shed tears not only because we laughed due to high quality satirical slogans but also because of the harmful gas and the deaths of several youngsters. Numerous citizens lost an eye or arm. Thanks to international media coverage, the inspiring Gezi Park resistance (or “June Movement”) in Turkey drew attention all over the world -while the pro-government media kept silent. Whether on purpose or not, tear gas –and its canisters at close range- took several lives. Don’t let anybody fool you: Tear gas may kill. And it did. Though “as a nation” we had been used to gas in previous demonstrations, one point was unique: The whole city was gassed. Babies, old people and citizens with asthma suffered in their homes. Before the police attack, maybe most of the young protesters were “merely” environmentalists without a major political orientation. Tear gas brutality transformed most of them into political activists. Since that June, our lungs, souls and future have been full of that gas. Tear gas has been used not only in Turkey but in many other countries as well –since the 1990s. We tend to think that “Every soul shall taste it,” –sounding like a statement from a holy book. The situation is unacceptable: A child on the way to get bread for breakfast may die –in fact be killed by the police using tear gas without proper concern and care. Tear gas is a chemical weapon. It’s vital to comprehend that. The marketing is well-phrased but misleading: “Made from fruit and vegetables, wholly organic.” But when it is used at close range, its metal canister becomes a bullet. Fifty years ago, in late 1960s, 90 countries signed a petition against the usage of tear gas. Our country signed the 1997 Convention on Chemical Weapons, which states that tear gas is considered to be a chemical weapon when it is used in closed places, at close range or in a crowd. Despite this, it has been used time and again in Brasil, Chile, Egypt, Germany, Gaza, Iraq, Ireland, Israel, Panama, the Philippines, South Korea, UK, USA, and Vietnam. The Association of Turkish Medical Doctors and the Initiative Against Tear Gas have been working and reacting diligently on this issue. “But the label says it’s harmless,” say some. But the firms that produce gas bombs put labels according to the demands of governments. Are you Shocked? Global trade has priority over humanitarian concern. But why this introduction? Don’t we all know all these things? We certainly do, but the “agenda” changes so fast that our knowledge does not find time to unite with our action in order to change the ongoing chain of events. Enter arts. With the mission of contributing to collective memory, Artist Koray Erkaya creatively documents experience. In his new photographic art series, Erkaya revolts against individual and social de-sensitivisation. In order to address the memory and to increase awareness, he uses “gas” against everyone –without discrimination. He tests his models with gas in the specifically prepared labyrinth made of mirrors. But of course, the gas he uses is not one of the types of tear gas labeled OC, CS or CN. In any case, the violence the people suffer is not limited to the content of the gas. When he started his voyage to display the violence, loneliness, nakedness, helplessness, spiritual and physical isolation of women, children, gays, transsexuals -all the humiliated people under some form of gas, Erkaya began working with models from various nations in Istanbul. Now he is on his way to show that this issue is a problem for all who live on the same planet. When we see ourselves in the eyes of the models in the mirrors...

Vintage 50's Barbie with vintage accessories and set. Narrative depicts title - the end of the affair. Metallic print produced on metal. Black and white Photography. Ltd Ed.

Beuys' Exhibition is an original b/w photograph representing the indoor of the Marino Gallery (in Mignanelli Square, Rome) where Joseph Beuys' exhibition was held in the Eighty's. Th...

Vintage 50's Barbie with vintage accessories and set. Narrative depicts title - the end of the affair. Metallic print produced on metal. Black and white Photography. Ltd Ed.

Jennifer Greenburg challenges social norms and the nature of vernacular photographs in her series Revising History. Interjecting herself in mid-century images from the 1940’s – 60’s,...

Jennifer Greenburg challenges social norms and the nature of vernacular photographs in her series Revising History. Interjecting herself in mid-century images from the 1940’s – 60’s,...

Jennifer Greenburg challenges social norms and the nature of vernacular photographs in her series Revising History. Interjecting herself in mid-century images from the 1940’s – 60’s,...

Jennifer Greenburg challenges social norms and the nature of vernacular photographs in her series Revising History. Interjecting herself in mid-century images from the 1940’s – 60’s,...

Jennifer Greenburg challenges social norms and the nature of vernacular photographs in her series Revising History. Interjecting herself in mid-century images from the 1940’s – 60’s,...

Jennifer Greenburg challenges social norms and the nature of vernacular photographs in her series Revising History. Interjecting herself in mid-century images from the 1940’s – 60’s,...

Jennifer Greenburg challenges social norms and the nature of vernacular photographs in her series Revising History. Interjecting herself in mid-century images from the 1940’s – 60’s,...

Jennifer Greenburg challenges social norms and the nature of vernacular photographs in her series Revising History. Interjecting herself in mid-century images from the 1940’s – 60’s,...

Jennifer Greenburg challenges social norms and the nature of vernacular photographs in her series Revising History. Interjecting herself in mid-century images from the 1940’s – 60’s,...

Jennifer Greenburg challenges social norms and the nature of vernacular photographs in her series Revising History. Interjecting herself in mid-century images from the 1940’s – 60’s,...

Jennifer Greenburg challenges social norms and the nature of vernacular photographs in her series Revising History. Interjecting herself in mid-century images from the 1940’s – 60’s,...

Jennifer Greenburg challenges social norms and the nature of vernacular photographs in her series Revising History. Interjecting herself in mid-century images from the 1940’s – 60’s,...

7000 Querce (7000 Oaks) is an original b/w photograph representing the indoor of the Marino Gallery (in Mignanelli Square, Rome) where Joseph Beuys' exhibition was held in the Eighty...

Jennifer Greenburg challenges social norms and the nature of vernacular photographs in her series Revising History. Interjecting herself in mid-century images from the 1940’s – 60’s,...

Jennifer Greenburg challenges social norms and the nature of vernacular photographs in her series Revising History. Interjecting herself in mid-century images from the 1940’s – 60’s,...

Jennifer Greenburg challenges social norms and the nature of vernacular photographs in her series Revising History. Interjecting herself in mid-century images from the 1940’s – 60’s,...