Yousuf Karsh

Black and White Silver Gelatin Photograph of Igor Stravinsky

1956

Black and white contemporary photograph by Houston, TX artist, Jim Reitz. This photograph depicts a street scene where a couple stands by an Obama mural. ...

Black and white silver gelatin photograph by Houston, TX artist Jim Reitz. The work features a broken crucifix sculpture found on the ground. Signed by artis...

Black and white silver gelatin photograph by Houston, TX artist Jim Reitz. The work features a man pushing a bike in a parking lot with the Houston city skyl...

Black and white contemporary photograph by Houston, TX artist Delilah Montoya. This conceptual photograph captures a young child with long, dark, curly hair, resembling that of Christ's, also wearing a white dress with a thick, patterned lining. The young subject also holds what appears to be a heart figure, also replicated as a graffiti on the wall. Signed and labeled at the back. Framed and matted in a black wooden frame. Dimensions Without Frame: H 23 in. x W 18 in. Artist Biography: Although she was born in Texas and lived in Nebraska into her twenties, photographer and printmaker Delilah Montoya has deep roots in northern New Mexico through her mother's family. Raised by her mother, Montoya observes that women have empowered her family for five generations. Montoya studied photography and printmaking at the University of New Mexico, where she received her bachelor's degree, master's degree, and master of fine arts. She works in a variety of two-dimensional photographic and printing processes as well as creating larger installations. The artist describes her approach as postmodernist and uses documentary strategies to interpret her own distinct vision. Politically, Montoya is committed to exploring issues of identity in terms of a Chicano cultural context:"In my own evolving ideology I question my identity as a Chicana in occupied America, and articulate the experience of the minority woman. I work to understand the depth of my spiritual, political, emotional and cultural icons, realizing that in exploring the topography of my conceptual homeland, Aztlan, I am searching for the configuration of my own vision. " (Montoya n.d.) Montoya is committed to the expression of Chicana experience and history, but she does not consider herself as a feminist. Indeed, Montoya rejects identification as a United States-style feminist because she believes that "Feminists don't give us solidarity. As a Chicana my issues are multifaceted, not just gender, but class, race. " The border, for Montoya, is a politically imposed construct, a part of a United States colonialist enterprise that was forced upon the Chicano community. It is the environment in which Chicano life and history unfolds. Montoya's work explores contemporary and historical issues, sometimes win a humorous twist. Her artist's book for the 1992 Chicano Codices exhibition organized by the Mexican Museum in San Francisco, Codex Delilah: a Journey From Mechica to Chicana (including text by poet Cecilio Garcia-Camarillo), traces the imaginary journey of Six Deer, a character who embodies the contact between indigenous and Spanish culture in her trip "pal norte" towards Aztlan, the "spiritual homeland of her ancestors." As she journeys to the north, the character also journeys forward in time, meeting important Chicanas from the past, including La Llorona...

This vintage silver gelatin print is Initialed and dated in pencil mount recto. Printed by Brett Weston in 1951 for the 50th Anniversary Portfolio.

This vintage silver gelatin photograph, printed in the late 1920s on Kodak Vitava Athena paper, is signed in pencil beneath the image with a typeset title centered in the lower margi...

This vintage silver gelatin print is signed in pencil on the front of the mount with title, date and numbering in pencil on the back of the mount.

This moody contact print from an 8x20-inch film negative is one of two known prints—the other residing in the artist's core archive. Signed and dated in pencil on the front of the mo...