Machinery Black and White Photography

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...

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...

Ian Gittler’s Motor Art series-photographs of century-old engine parts, gears, sparkplugs, and brand tags-offers respite from the digital fetishism, overexp...

James Lahey is a Canadian artist living in Toronto, ON where he maintains his studio. He completed his BFA at York University in 1984 with studies in Art and Architecture in Italy (1...

Movement on Metal is part of a series of graphic, industrial, black and white photographic images. All are limited editions and produced with infused archival inks on metal which means the image is permeated into the metal thereby becoming part of the material versus being merely printed on the surface. It can be inside or outside in all seasons for years with very little loss of resolution. A mounting system would be included. The finish is a metal black gallery wrap. What that means is, imagine a metal frame that the image rests on. It is an inch deep and presents the art in an elegant, museum quality fashion...

"Cables attached to the package containing the nuclear "devise" (bomb) to send electrical impulses back to instruments recording the results of the explosion, Nevada Test Site: 1350 ...

Photographie format 30*40cm de la série "Clocks and clouds" de Jean-Christophe Béchet, tirée par l'auteur lui-même par impression jet d'encre Fine art, avec de superbes nuances de no...

Signed Silver gelatin print Available in two sizes: 11 x 14 inches 16 x 20 inches Also available as an editioned archival pigment print in two larger sizes, please enquire for deta...

Signed in pencil on verso; Stamped with photographer's copyright on verso Gelatin Silver Print Paper: 16" x 20", Mat: 20" x 24"

Estate embossed and editioned on the recto and accompanied by an estate signed Certificate of Authenticity

Sepia toned silver gelatin print Edition of 45 Hand-signed by artist, dated, inscribed with title and stamped with photographer’s copyright ink stamp on reverse International sh...

This piece is currently on display at Art Angels Los Angeles. Available in the following sizes: 61 x 52 inches, Edition of 12 84 x 71 inches, Edition of 12 “When we shoot in the ...

Vantage Point Archival Pigment Print on 315gsm Hahnemühle Photo Rag Baryta Paper Each is signed, dated and numbered on the front. Edition Size: 12 Avai...

NICK KNIGHT (*1958, Great Britain) Harley, 1988 Hand-coated pigment print Sheet 142.5 x 209 cm (56 1/8 x 82 1/4 in.) Edition of 5, plus 2 AP; Ed. no. 3/5 ...

Ghost Bike, limited edition pigment ink photograph, signed and number Storytelling comes naturally for photographer Keith Carter whose East Texas roots have greatly influenced his p...

RENGER-PATSCH, Albert. Untitled 1925-30.Gelatin Silver print, 8 7/8 x 6 3/8";. Printed on Verso: Upper right hand corner: Stamped A. RENGER-PATSCH, Wamel-Dorf Ober Sest I.W.Bo...

Sometimes there is a hazy, almost tropical light that falls over the Bay Area. The moisture in the air falls on the landscape and makes it appear as a s...

This11x14" selenium toned silver gelatin print by noted American photographer George Tice is considered among the iconic American photographs of the 20th Century. Taken with an 8x10 ...

Albert Watson is a veteran of international fine art-, fashion- and commercial photography, a non-conformist intellectual and uncompromising creative force. The multitalented photogr...

Timothy White is a leading figure in contemporary photography. For over twenty years, White has been one of the most productive and sought after celebrity portrait photographers in the field. His archive is one of the most extensive in the world and includes Harrison Ford, Brad Pitt, Billy Joel, Julia Roberts, Keith Richards, Ray Charles, James Brown, Queen Latifah...

Edition of 5 Signed, titled and dated on artist label on print verso. From Salamone series Gum print. "In 1998 and 2001 I travelled around the province of Buenos Aires (Argentina)...

Signed, dated and numbered on front of print. Titled on back of print. Available in different sizes/edition numbers. Please contact the Weston Gallery f...

Signed and dated on front of the mount.. Stamped on back of the mount Portfolio Print No. 1 with number in pencil, from Abstractions Portfolio #2. Printed in 1980.

Image Size: 10 1/4 x 10 inches Frame Size: 20 x 24 inches Signed, titled and dated on verso

Quixote's Giants, Study 5, Campo de Criptana, La Mancha, Spain, 1996 Signed, dated and numbered on mount Signed, dated, inscribed with title and stamped with photographer's copyrigh...