Horizontal Color Photography

Untitled Story III is a photograph by French contemporary artist Camille Brasselet. This photograph is a limited edition of 15 copies, it is sold framed with a black shadow box wit...

Living in a Dream (Till Death do us Part) - 2005 20x20cm, Edition of 10, Archival C-Print print, based on the Polaroid. Certificate and Signature label, artist Inventory No. 9781. Not mounted. on offer is a piece from the movie "Till Death do us Part" Stefanie Schneider’s Till Death Do Us Part or “There is Only the Desert for You.” BY DREW HAMMOND Stefanie Schneider’s Til Death to Us Part is a love narrative that comprises three elements: 1. A montage of still images shot and elaborated by means of her signature technique of using Polaroid formats with outdated and degraded film stock in natural light, with the resulting im ages rephotographed (by other means) enlarged and printed in such a way as to generate further distortions of the image. 2. Dated Super 8 film footage without a sound track and developed by the artist. 3. Recorded off-screen narration of texts written by the actors or photographic subjects, and selected by the artist. At the outset, this method presupposes a tension between still and moving image; between the conventions about the juxtaposition of such images in a moving image presentation; and, and a further tension between the work’s juxtaposition of sound and image, and the conventional relationship between sound and image that occurs in the majority of films. But Till Death Do Us Part also conduces to an implied synthesis of still and moving image by the manner in which the artist edits or cuts the work. First, she imposes a rigorous criterion of selection, whether to render a section as a still or moving image. The predominance of still images is neither an arbitrary residue of her background as a still photographer—in fact she has years of background in film projects; nor is it a capricious reaction against moving picture convention that demands more moving images than stills. Instead, the number of still images has a direct thematic relation to the fabric of the love story in the following sense. Stills, by definition, have a very different relationship to time than do moving images. The unedited moving shot occurs in real time, and the edited moving shot, despite its artificial rendering of time, all too 2009often affords the viewer an even greater illusion of experiencing reality as it unfolds. It is self-evident that moving images overtly mimic the temporal dynamic of reality. Frozen in time—at least overtly—still photographic images pose a radical tension with real time. This tension is all the more heightened by their “real” content, by the recording aspect of their constitution. But precisely because they seem to suspend time, they more naturally evoke a sense of the past and of its inherent nostalgia. In this way, they are often more readily evocative of other states of experience of the real, if we properly include in the real our own experience of the past through memory, and its inherent emotions. This attribute of stills is the real criterion of their selection in Til Death Do Us Part where consistently, the artist associates them with desire, dream, memory, passion, and the ensemble of mental states that accompany a love relationship in its nascent, mature, and declining aspects. A SYNTHESIS OF MOVING AND STILL IMAGES BOTH FORMAL AND CONCEPTUAL It is noteworthy that, after a transition from a still image to a moving image, as soon as the viewer expects the movement to continue, there is a “logical” cut that we expect to result in another moving image, not only because of its mise en scène, but also because of its implicit respect of traditional rules of film editing, its planarity, its sight line, its treatment of 3D space—all these lead us to expect that the successive shot, as it is revealed, is bound to be another moving image. But contrary to our expectation, and in delayed reaction, we are startled to find that it is another still image. One effect of this technique is to reinforce the tension between still and moving image by means of surprise. But in another sense, the technique reminds us that, in film, the moving image is also a succession of stills that only generate an illusion of movement. Although it is a fact that here the artist employs Super 8 footage, in principle, even were the moving images shot with video, the fact would remain since video images are all reducible to a series of discrete still images no matter how “seamless” the transitions between them. Yet a third effect of the technique has to do with its temporal implication. Often art aspires to conflate or otherwise distort time. Here, instead, the juxtaposition poses a tension between two times: the “real time” of the moving image that is by definition associated with reality in its temporal aspect; and the “frozen time” of the still image associated with an altered sense of time in memory and fantasy of the object of desire—not to mention the unreal time of the sense of the monopolization of the gaze conventionally attributed to the photographic medium, but which here is associated as much with the yearning narrator as it is with the viewer. In this way, the work establishes and juxtaposes two times for two levels of consciousness, both for the narrator of the story and, implicitly, for the viewer: A) the immediate experience of reality, and B) the background of reflective effects of reality, such as dream, memory, fantasy, and their inherent compounding of past and present emotions. In addition, the piece advances in the direction of a Gesammtkunstwerk, but in a way that reconsiders this synaesthesia as a unified complex of genres—not only because it uses new media that did not exist when the idea was first enunciated in Wagner’s time, but also because it comprises elements that are not entirely of one artist’s making, but which are subsumed by the work overall. The totality remains the vision of one artist. In this sense, Till Death Do Us Part reveals a further tension between the central intelligence of the artist and the products of other individual participants. This tension is compounded to the degree that the characters’ attributes and narrated statements are part fiction and part reality, part themselves, and part their characters. But Stefanie Schneider is the one who assembles, organizes, and selects them all. THE RELATIONSHIP BETWEEN THIS IDEA (above) AND PHOTOGRAPHY This selective aspect of the work is an expansion of idea of the act of photography in which the artistic photographer selects that which is already there, and then, by distortion, definition or delimitation, compositional and lighting emphasis, and by a host of other techniques, subsumes that which is already there to transform it into an image of the artist’s contrivance, one that is no less of the artist’s making than a work in any other medium, but which is distinct from many traditional media (such as painting) in that it retains an evocation of the tension between what is already there and what is of the artist’s making. Should it fail to achieve this, it remains, to that degree, mere illustration to which aesthetic technique has been applied with greater or lesser skill. The way Til Death Do Us Part expands this basic principle of the photographic act, is to apply it to further existing elements, and, similarly, to transform them. These additional existing elements include written or improvised pieces narrated by their authors in a way that shifts between their own identities and the identities of fictional characters. Such characters derive partially from their own identities by making use of real or imagined memories, dreams, fears of the future, genuine impressions, and emotional responses to unexpected or even banal events. There is also music, with voice and instrumental accompaniment. The music slips between integration with the narrative voices and disjunction, between consistency and tension. At times it would direct the mood, and at other times it would disrupt. Despite that much of this material is made by others, it becomes, like the reality that is the raw material of an art photo, subsumed and transformed by the overall aesthetic act of the manner of its selection, distortion, organization, duration, and emotional effect. * * * David Lean was fond of saying that a love story is most effective in a squalid visual environment. In Til Death Do Us Part, the squalor of the American desert...

Slim Aarons Monte Carlo Beach Club 4 sizes available Slim Aarons Estate Edition This is the listing for 72 x 48 inches (at this size, this is a little soft, commensurate with the t...

Edition of 5 Mounted in Plexiglas Kai Schäfer is an acclaimed German photographer with a passion for vinyl records and iconic turntables. The World Record...

Untitled Story IV is a photograph by French contemporary artist Camille Brasselet. This photograph is sold unframed as a print only. It is availabl...

North Shore Motel, photography by Richard Heeps captured in the Salton Sea, California. A classic American faded roadside Motel, the mid-century architecture stands against with blue...

Additional sizes are available. Please inquire for more information on larger sizes. We offer fully archival professional framing for all prints for an additional cost. Framing is av...

"Knockout" Nude Photography 24 x 32 In Ed. 1/11 by StillVika Medium: Canson Platine 310GSM Print only. Ships rolled in tube. Amidst a chaotic world filled with dispiriting images...

an homage to the photo realism + pop art color palette of artist David Hockney Best Seats by Erik Pawassar 48 x 72 inches (122 x 183cm) signed edition of 7 27 x 40 inches (69 x 1...

The term "hijra" applies to a very diverse group of people in India who identify as third gender. They can range from a natural born hermaphrodite to a male cross dresser. Dating bac...

Color fine art long landscape photography. Archival pigment ink print as part of a limited edition of 5. All Gerald Berghammer prints are made to order in limited editions on Hahnemu...

Heidler & Heeps Vinyl Collection Eight Piece Multicolor Installation. Acclaimed contemporary photographers, Richard Heeps and Natasha Heidler have collaborated to make this beautiful...

Black and white fine art landscape photography. Archival pigment ink print as part of a limited edition of 7. All Gerald Berghammer prints are made to order in limited editions on Ha...

Archivio delle Indie II, Siviglia 1990 C-print Signed, titled, dated and numbered edition of 5 on artist's label on verso. 39.5 x 47.5 inches 47.5 x 59 inches 71 x 88.5 inches Fra...

Half Angels Half Demons #4, 2004 by Mauricio Velez Color Photography Archival Pigment Print Image size: 40 in. H x 60 in. W Edition of 9 + 2AP "In a few photographers like Mauricio...

Laocoon II Grimani Palace, Venice 2014 A masterful composition by renowned German photographer Reinhard Görner, Laocoon II captures the grandeur of Venetian architecture in exquisit...

Fine art 20x24" print of Gene Simmons of from rock band KISS on stage, Milan, Italy, 2008. Taken by acclaimed photographer, Denis O'Regan Printed to order on Hahnemühle Photo Rag 30...

'Sunday's Tulips (I)' 40 x 60" edition Limited edition archival photograph, hand signed and numbered. Unframed _________________ Gauzy afternoon light, the tulips are stretching soft...

“Prophetess” is a part of Alex Sher’s popular series Reflections - underwater photographs that could be almost mistaken for abstract paintings as they bring up recollections of maste...

"The Beauty of the Uncommon Tools" is from Tony Chirinos' project entitled, "The Precipice", - also released as a book project by Gnomic Book in 2021 - which serves as a photographic...

Sunbathers lounge on the white-painted terrace of Il Canille, built into the rocks of Pizzolungo overlooking the waters off the coast of the island of Capri, Italy, in August 1980. I...

Color fine art landscape photography. Archival pigment ink print as part of a limited edition of 7. All Gerald Berghammer prints are made to order in limited editions on Hahnemuehle ...

From the transformative to the ephemeral, the birth and death of a butterfly is reimagined in Roberta Fineberg's photo series inspired by the poetry of the 13th Century Persian poet...

All available sizes & editions for each size of this photograph: 21” x 26” Edition of 7 + 2 Artist Proofs 32” x 40" Edition of 7 + 2 Artist Proofs 44” x 55” Edition of 10 + 2 Artist ...

Summer Picnic 1990 by Slim Aarons Slim Aarons Limited Estate Edition A summer picnic at the Castle Pines yacht club in Colorado, 1990 unframed c type...

Miles ALDRIDGE (*1964, Great Britain) Actress #4, 2012 Chromogenic print Image 84,5 x 127 cm (33 1/4 x 50 in.) Sheet 96.5 x 139 cm (38 x 54 3/4 in.) Edition of 6, plus 2 AP; Ed. no. ...

New Model Army is a perfect pop art compilation of your favourite childhood toy. Blown up and brought to life, this artwork sparks your imagination just as ...

This cool picture has a classic Americana feel. Richard Heeps pictures beautifully capture parts of Las Vegas which are no longer there. This iconic 'Stardust' sign presented here al...

This large-scale architectural photograph by German artist Reinhard Görner depicts the The Long Room, an awe-inspiring vista into the Old Library at Trinity College in Dublin, Irelan...

Palm Springs Rodeo 1970 by Slim Aarons Slim Aarons Limited Estate Edition Spectators watch from the stand as a contestant rides a bucking horse at the Palm Springs Mounted Police ...

Bill HENSON (*1955, Australia) Untitled #16 - CB/KMC 8 SH 200 N13, 1998/1999/2000 Archival pigment print Sheet 127 x 180 cm (50 x 70 7/8 in.) Edition of 5...

A Vision you can't Capture #03 (29 Palms, CA) - 2007 A piece from the project: 29 Palms, CA 20x25cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original P...

Half Angels Half Demons #9, 2004 by Mauricio Velez Color Photography Archival Pigment Print Image size: 40 in. H x 60 in. W Edition of 9 + 2AP "In a few photographers like Mauricio...

Color fine art landscape photography. Archival pigment ink print as part of a limited edition of 7. All Gerald Berghammer prints are made to order in limited editions on Hahnemuehle ...

“The hovering installations featured in this ongoing series of photographs are inspired by self-organizing, "emergent" systems in nature such as termite mounds, swarming locusts, sch...

'Yellow Poppies' ('Mono No Aware' Series) Limited edition archival photograph. Unframed, hand signed and numbered _________________ Buds, blooms, and the fading glories of Icelandic ...

ABOUT THIS ARTIST: Merve Türkan and Ulaş Kesebir, are a self taught photography duo based in London. They have been working professionally since 2014 and in the end of the 2020 they ...

Aditya Dicky Singh Untitled Photograph on fine-art Hahnemuhle archival paper 44" x 65" unframed (112cm x 165cm) 2017 Edition 3/8 *Should you wish the photograph to be printed a...

Renée's Dream - The Boys (Days of Heaven). Part of the 29 Palms, CA project. - 2006 40x50cm, Edition of 10, plus 2 Artist Proofs, archival C-Print, based on the Polaroid. Signatur...

Through David Jay’s photography, context evaporates, and we as the viewer are left to engage the subjects, trade places, and for a moment, live behind their eyes. We recognize our sh...

Part of Richard Heeps 'Dream in Colour' Series, 'Nicely's Café' has a vibe of an American road trip, the classic diner interior has a cool cinematic feel. This artwork is a limited ...

Colony at Dawn, architecture photography by Richard Heeps for his 'Dream in Colour' series, this piece features the mid-century architecture of Ballantines Movie Colony, California, captured at dawn against the Palm Springs mountain landscape...

Part of Richard Heeps 2013 'Wildwood Days' series, this captures one of the iconic Motel signs in the historic Doo-Wop town of Wildwood. This artwork is a limited edition of 25, glo...

Elevated view looking down on sunbathers and parasols on the beach at La Scogliera beach in Positano, Italy, 1979. Slim Aarons Positano Beach 1979 (printed later) C print Estate st...

Cinematic sign porn from an American road trip photographed in Kanab. The area was often used as Western movie locations due to its scenic backdrop and...

Please note that as of 1st March 2025, the Slim Aarons Estate Stamped Collection aligned its pricing across the entire collection. Please bear in mind that all prints are produced t...

Francesca Woodman in Providence, Rhode Island (1976) photographed by George Lange. 11 x 14" archival pigment print 17 x 21 x 2" frame with UV plexgias Edition 2 of 10, signed and e...

Artist/Designer; Manufacturer: Massimo Vitali (Italian, b. 1944) Marking(s); notes: artist's stamp verso; ed. 50/120; 2006 Materials: offset lithograph Dimensions (H, W, D): 26.75"h,...

Oldsmobile and Sinful Barbie's, from Richard Heeps' 'Man's Ruin' Series. This artwork is part of a sequence capturing Wendy at the Rockabilly Weekender, Viva Las Vegas, these Barbie'...

In this evocative underwater photograph, a crimson dress billows like a delicate flower petal beneath the surface, creating a powerful contrast against a serene aqua backdrop. The mi...

Black and white fine art landscape photography. Single mystical tree in morning fog on madeira island in Portugal. Archival pigment ink print as part of a limited edition of 9. All G...

Pool Slide, from Richard Heeps Dream in Color series. This fun original artwork really shows Richard's unique eye as a photographer, creating this kitsch pop-art picture from an Amer...

Ensign Broderick I (Ensign Broderick record Shoot 'Blood Crush') - Bombay Beach, CA - 2019 100x120cm, Edition 3/5. Archival C-Print, based on the Polaroid. Signature label and Cer...

Through Jay’s photography, context evaporates, and we as the viewer are left to engage the subjects, trade places, and for a moment, live behind their eyes. David Jay's work gives a...

Color fine art long exposure seascape - landscape photography. Archival pigment ink print as part of a limited edition of 8. All Gerald Berghammer prints are made to order in limited...

Friends board a riva boat in Monte Carlo, Monaco, 1975. Very large print measuring 60 x 40" inches / ca 152 x 101.6 cm paper size. Estate Stamped...

Aliens - triptych - 1998 Edition of 5, plus 2 Artist Proofs. 48x59cm each, 48x190 installed including the gaps. analog C-Print, hand-printed by the artist on Fuji Crystal Archive P...

Hotel Chelsea, New York. Room 532, 2011 Photographs from the photography book entitled Hotel Chelsea (publisher pointed leaf press 2013). C-print archival Size: 20 H x 30 W in. Edit...