Cindy Sherman

Untitled (Homage to Claude Cahun)

1975

Lorna Simpson is an American artist renowned as a pioneer of conceptual photography. Her artwork, regardless of medium, explores the interplay between hi...

In 1967, General Idea was founded in Toronto by AA Bronson (b. 1946), Felix Partz (1945-1994), and Jorge Zontal (1944-1994). Over the course of 25 years, they made a significant cont...

Nan Goldin (b. 1953) is unquestionably one of the most influential photographers of the 20th century. Goldin was the first to use the "slide show" format in a high-art setting. Beginning in the 1970's Goldin took candid shots of her lovers, friends and family characters often living on the margins of society in Boston and then New York City. "Butch in the Tub...

General Idea formed in 1967 in Toronto and over the next nearly 30 years, the trio made a remarkable contribution to post-modern art. With their subversive approach and interest in...

In 1967, General Idea was founded in Toronto by AA Bronson (b. 1946), Felix Partz (1945-1994), and Jorge Zontal (1944-1994). Over the course of 25 years, they made a significant contribution to postmodern and conceptual art in Canada and beyond. General Idea was both prolific and multi-disciplinary long before it became de rigueur. Together, they worked across photography, sculpture, painting, mail art, video, installation, multiples, and performance. The group also made a significant number of unconventional editioned works and was inspired by the idea of the anti-art object. Thematic continuity was a key element in General Idea's work. Early on they introduced talismans or logos that they would revisit and re-envision, including skulls, ziggurats, and poodles. They were particularly interested in (European) crests used for centuries to represent a city, district, or even a creative or professional guild. General Idea both appropriated and reinterpreted existing crests (often by replacing a lion with a poodle) as well as creating crests that were entirely of their own imagination. Between 1988 and 1989, General Idea created 8 chenille crests with some of their most iconic motifs. These crests recalled their traditional European antecedents and the aesthetics of high-school sports teams and varsity jackets. "Ouroboros" features General Idea's most famous mascot, the poodle, who mimics the lion's pose often seen in traditional European iconography. Entangled in the twists and curls of its tail, the poodle appears to be consuming the tip of it, embodying the full 'ouroboros' or circle of life. Completed in a menacing palette of black, forest green, and electric red, this design is a classic General Idea; subversive, zany, and mischievous. While these crests were intended to be an unlimited edition, according to the General Idea Editions catalog raisonné, less than 100...

In 1967, General Idea was founded in Toronto by AA Bronson (b. 1946), Felix Partz (1945-1994), and Jorge Zontal (1944-1994). Over the course of 25 years, they made a significant cont...

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,...

British actor Roger Moore poses with a gun as James Bond. Publicity shot from 1973, for his first Bond movie: Live and Let Die. It's the only time Bond used ...

Totem of Unmeasurable Memory, 1995 Assemblage of 7 vintage silver gelatin prints Lewis Koch lives in Madison, Wisconsin, USA. After completing undergradu...

Please ignore the glare on the glass. Rare, early, signed and dated (verso) 1987 vintage silver gelatin print. this is one of a kind and not editioned according to correspondence I have from his studio. this is one of three. one of them has a label from Triton gallery in NYC (on the others you can see where it was) Image size is 13 x 8.75 inches (33.02 x 22.23 cm.) paper is 14X11 inches David LaChapelle (born March 11, 1963) is an American commercial photographer, fine-art photographer, music video director, film director, and artist. He is best known for his photography, which often references art history and sometimes conveys social messages. His photographic style has been described as "hyper-real and slyly subversive" and as "kitsch pop surrealism." One 1996 article called him the "Fellini of photography," a phrase that continues to be applied to him. David LaChapelle's photography career began in the 1980's in New York City galleries. After attending the North Carolina School of Arts, he moved to New York where he enrolled at both the Art Students League and the School of Visual Arts. With shows at 303 GalleryLaChapelle which also exhibited artists such as Doug Aitken and Karen Kilimnik , Trabia McAffee and others, his work caught the eye of Andy Warhol and the editors of Interview Magazine, who offered him his first professional photography job. LaChapelle's friends during this period included Keith Haring and Jean-Michel Basquiat Working at Interview Magazine, LaChapelle quickly began photographing some of the most famous faces of the times. Before long, he was shooting for the top editorial publications of the world, and creating the most memorable advertising campaigns of a generation. LaChapelle cites a number of artists who have influenced his photography. In a 2009 interview, he mentioned the Baroque painters Andrea Pozzo and Caravaggio as two of his favorites.[23] Critics have noted that LaChapelle's work has been influenced by Salvador Dalí, Jeff Koons, Michelangelo, Cindy Sherman, and Andy Warhol. His striking images have appeared on and in between the covers of magazines such as Italian Vogue, French Vogue, Vanity Fair, GQ, Rolling Stone and i-D. In his twenty-year career in publishing, he has photographed personalities as diverse as Tupac Shakur, Madonna, Amanda Lepore, Eminem, Philip Johnson, Lance Armstrong...

These are vintage prints from the 1980's. The last photo shows a gallery or museum label from an accompanying piece (there were three sequence shots in this series) but is not on thi...

These are vintage prints from the 1980's. The last photo shows of a label from an accompanying piece (there were three sequence shots in this series) but is not on this piece. They l...