Oversized Color Photography

Domestic Vacations: The Dutch proverb "a Jan Steen household" originated in the 17th century and is used today to refer to a home in disarray, full of rowdy children and boisterous f...

Domestic Vacations: The Dutch proverb "a Jan Steen household" originated in the 17th century and is used today to refer to a home in disarray, full of rowdy children and boisterous f...

Suburbia (Suburbia) - 2004 Edition of 5, 60x80cm each, 200x170cm installed. 6 analog C-Prints, hand-printed by the artist on Fuji Crystal Archive Paper, matte surface, based on 6 o...

Untitled VII, by Mauricio Velez From the series Half Angels Half Demons Archival Pigment Print Medium size: 60 in. H x 40 in. W Edition of 9 + 2AP Unframed Other sizes are availabl...

Terminal Station/Rusell Federal Building, 2019 by Ying Chen From the series "Lost In Transition". Archival pigment print Image size: 80 in. H x 60 in. W Edit...

Alabama Street, 2019 by Ying Chen From the series "Lost In Transition". Archival pigment print Image size: 80 in. H x 60 in. W Edition of 5 + 1AP Unframed The artwork employs collage to fuse the ornate features of traditional architecture with stark modernist geometry. This duality within the piece highlights the city's journey through time, symbolizing the transformation from its historic roots to its contemporary identity. The interplay of shapes and the layering of eras challenge the viewer to consider the narrative of change and continuity in the city's evolution, emphasizing that in the midst of progress, fragments of the past persist, creating a rich tapestry of history and modernity. _____________ Ying Chen was born in Tokyo, Japan, to Chinese parents living in Japan. She grew up and spent her early childhood in Japan until the age of seven, then spent her youth in China. Now Chen has graduated from SCAD with her bachelor's degree and is currently enrolled in the SCAD graduate photo department. Since 2018, her focus has been on photo collages. Using a collection of photos...

Vanilla Sky by Frank Schott a series of images capturing the epique infinety of White Sands 48 x 72 inches / 122cm x 183cm edition of 7 signed 27 x...

PROJECT 12:31 [ HOUSE ] by Frank Schott long exposure light drawings using motion graphics of scientific scans to recreate the human form 48" x 69" / 122cm x 175cm edition of 7 ...

Fabulous American landscape photography of a rural school house. from small hand signed edition of 20 Large Chromogenic print on Kodak Professional Paper The sheets are approximatel...

AILA Blue, from the Heidler & Heeps Tape Collection - The B Sides. The Heidler & Heeps collaborations are creative representations of Natasha Heidler and Richard Heeps’, personal pas...

Fun pop art typography, a total 'Sign Porn' fix, captured on an American road trip in Nevada. This artwork features in Richard Heeps' sold out book 'Man's Ruin' and an edition of thi...

'Transport Buffs,' an authentic Slim Aarons Estate Edition photograph, captures an opulent scene from the summer of 1976 in the Monte Carlo harbour. The image depicts Roy J Craven and Prince Pouilnac engaged in conversation on a luxury yacht. Adorning the deck of the yacht are a helicopter and two motor boats, adding color, structure and grandeur of the scene. The duo reclines on a semi-circular seating area at the yacht's stern, featuring bright orange and white stripes, enhancing the vibrant luxury of this iconic moment. 'Transport Buffs' Monte Carlo Harbor Chromogenic Lambda print Printed Later Slim Aarons Estate Edition Complimentary dealer shipping to your framer, worldwide. Stamped and hand numbered by the Slim Aarons Estate. Certificate of Authenticity included. Collector will get the next number in the edition 72 x 48 inches $4900 60 x 40 inches $3950 40 x 30 inches $3350 30 x 20 inches $3000 Complimentary dealer shipping to your framer, worldwide. Over the course of a career lasting half a century, Slim Aarons (1916-2006) portrayed high society, aristocracy, authors, artists, business icons, the celebrated and their milieu. In doing so, he captured a golden age of wealth, privilege, beauty and leisure that occurred alongside—but quite separate from—the cultural and political backdrop of the second half of the Twentieth Century. Photograph is unframed Slide show includes a close-up of the Slim Aarons estate's stamp. Collector will get the next number in the edition * We are pleased to offer the entire archive of the Slim Aarons Estate, offering the official Slim Aarons Estate Edition (only offered in this edition of 150). * Undercurrent Projects, New York, is proud to represent Aarons' full collection of negatives and transparencies. Housed at Getty Images Hulton Archive in London, The Slim Aarons Estate has released the limited Estate edition as a Lambda print, which is a modern c-type prints. They have chosen Lambda prints for their sharpness, clarity, colour saturation and quality, compared to archival inkjet prints. Lambda printing gives true continuous tone. Internal: This Slim Aarons Seascape Photograph is set in Vintage Monte Carlo, and fits the following curatorial categories: Vintage Harbor, Vintage Yachts, ocean, France, 70's Monte Carlo, seascape, red and white stripes, Vintage beach, vintage glamour, vintage summer, watercraft, summer 1976, Monte Carlo harbour, Roy J Craven, Prince Pouilnac, luxury yacht, helicopter on yacht, motor boats, orange and white striped seating...

The artists computer-generated paintings merge craftsmanship and technology, creating an eclectic and unique style. Through her art, she aims to illuminate the world. Tcherassi's wo...

David Jay's work gives a unique and intimate perspective on how we define beauty. A confrontation between the perception of beauty and the transitory nature of existence, Jay’s subje...

The artist's computer-generated paintings merge craftsmanship and technology, creating an eclectic and unique style. Through her art, she aims to illuminate the world. Tcherassi's w...

This is a 39.5 x 59 inches archival giclée black and white print on archival exhibition paper. It is part of a limited edition of 6 plus 2 AP. Signed and numbered in the back. An edition of 10 and an edition of 20, smaller in size, are also available. This photograph is part of J. L. Fievet’s CV series, shot during the early months of 2020, during which New York City was in total lock down because of the Covid-19 emergency. Fievet spent day in and day out roaming the streets, documenting the breathtaking change that transformed the city. Fievet’s iconic photographs tried to seize the stark contrast between the surreal aspect of NYC empty streets with the resiliance of New Yorkers who kept pursuing normalcy within a unique situation. This joyful portrait...

Thunderbird by Frank Schott large format photograph of iconic mid century motel neon sign 48 x 60 inches (122 x 152cm) edition of 7 signed 32 x 40 in...

Atlanta High Museum, 2019 by Ying Chen From the series "Lost In Transition". Archival pigment print Image size: 80 in. H x 60 in. W Edition of 5 + 1AP Unfr...

The Dance (Wastelands), Edition 1/5, 128x125 cm, 2003. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on a Polaroid, mounted on Aluminum with matte...

Doug Rickard (American b.1968) Limited Edition Archival Pigment Print. Features the work titled; A New American Picture - Detroit. Signed on verso and numbered 4/5. Work: 26 in. x 41 1/2 in. Frame: 26 1/2 in. x 42 in. Doug Rickard’s A New American Picture offers a startling and fresh perspective on American street photography. All of the images are appropriated from Google Street View; over a period of two years, Rickard took advantage of the technology platform’s comprehensive image archive to virtually drive the unseen and overlooked roads of America, bleak places that are forgotten, economically devastated, and abandoned. With an informed and deliberate eye, Rickard finds and decodes these previously photographed scenes of urban and rural decay. A New American Picture depicts American street scenes, located using the internet platform Google Street View. Over a four-year period, Rickard took advantage of Google’s massive image archive to virtually explore the roads of America looking for forgotten, economically devastated, and largely abandoned places. After locating and composing scenes of urban and rural decay, Rickard re-photographed the images on his computer screen with a tripod- mounted camera, freeing the image from its technological origins and re-presenting them on a new documentary plane. The low-resolution images that Rickard favors have a dissolved, painterly effect, and are occasionally populated with figures who acknowledge the camera, but whose faces are blurred, masking their identity. The photographs are thus imbued with an added surrealism and anonymity, which reinforces the isolation of the subjects and emphasizes the effects of an increasingly stratified American social structure. Rickard’s work evokes a connection to the tradition of American street photography, with knowing references to Walker Evans, Robert Frank and Stephen Shore. He both follows and advances that tradition, with a documentary strategy that acknowledges an increasingly technological world—a world in which a camera mounted on a moving car can generate evidence of the people and places it is leaving behind. Collectively, these images present a photographic portrait of the socially disenfranchised and economically powerless, those living an inversion of the American Dream.Doug Rickard (born 1968) is an American artist and photographer. He uses technologies such as Google Street View and YouTube to find images, which he then photographs on his computer monitor. His photography has been published in books, exhibited in galleries and held in the permanent collection of the San Francisco Museum of Modern Art. Rickard is best known for his book A New American Picture (2010). He is founder and publisher of the website on contemporary photography, American Suburb X, and the website These Americans which publishes some of his collection of found photographs. This work features a black, African American man in the foreground walking in a bleak neighborhood in Detroit, Michigan. Rickard was born in San Jose, California and brought up in Los Gatos in the San Francisco Bay Area. His father was a prominent pastor and many family members were preachers and missionaries, with a "very Reaganesque, patriotic view of America", a country "special and unique". Rickard studied United States history—slavery, civil rights—and sociology, at University of California, San Diego, and "lost his faith in this family vision. His adult view of America was a land not just of great achievement but also of massive injustice." At age 12 he witnessed his father having a secret extramarital affair, that years later in 1988 he confessed to his congregation. Rickard says this experience prompted him "to look for the fault lines in the American dream." He lives in Shingle Springs, near Sacramento, California. For his series A New American Picture, Rickard "wanted to look at the state of the country in these areas where opportunity is non-existent and where everything is broken down", where "the American dream was shattered or impossible to achieve". It is said that this work comments on United States politics, poverty, racial equality and the socioeconomic climate, class; the use of technology in art, privacy, surveillance, and the large quantity of images on the web. He cites as influences the photobooks American Photographs (1938) by Walker Evans, The Americans (1958) by Robert Frank, Uncommon Places (1982) by Stephen Shore and American Night (2003) by Paul Graham. The work was first exhibited as part of Anonymes: Unnamed American in Photography and Film, curated by David Campany and Diane Dufour at Le Bal, Paris, in 2010. To mark that occasion Rickard produced the first edition of the book, with the publisher White Press. Its first American museum show was at New York's Museum of Modern Art. Select Publications: Aperture Remix. New York: Aperture, 2012. A series of books made in homage to another Aperture publication, each in an edition of 5 copies. Rickard's was a response to Uncommon Places by Stephen Shore. The other publications were by Rinko Kawauchi, Vik Muniz, Alec Soth, Taiyo Onorato & Nico Krebs, Martin Parr, Viviane Sassen, Penelope Umbrico and James Welling. Produced in conjunction with the exhibition Aperture Remix. A New American Picture. Nazraeli Press Six by Six, set 4 v. 5. Portland, OR: Nazraeli, 2012. Edition of 100 copies. The other volumes are by Robert and Kerstin Adams, Edward Burtynsky, Kenro Izu, Catherine Opie and Issei Suda. Staking Claim: a California Invitational. San Francisco: Modernbook, 2013. Photographs by Rickard as well as Matthew Brandt, Susan Burnstine, Eric William Carroll, John Chiara, Chris Engman, Robbert Flick, Todd Hido, Siri Kaur, Mona Kuhn, Matt Lipps, David Maisel, Klea McKenna, Mark Ruwedel, Paul Schiek and Christina Seely. Catalogue of an exhibition held at the Museum of Photographic Arts, San Diego, CA. Select Exhibitions: Solo exhibition 2012: Yossi Milo Gallery, New York, October–November 2012. Group Exhibitions 2010: Anonymes: L’Amérique sans nom: Photographie et Cinéma (Anonymous: Unnamed America in Photography and Film), Le Bal, Paris, September–December 2010. A thematic exhibition with works by Rickard as well as Jeff Wall, Walker Evans, Chauncey Hare, Lewis Baltz, Standish Lawder, Sharon Lockhart...

pink cadillac by Frank Schott 60 x 48 inches ( 152 x 122 cm ) edition of 7 signed archival fine art pigment print signed & numbered by artist on certi...

Series: Hydrid Souls Archival Pigment Print Edition of 2 + 2 AP Available Size: 47.24" x 40.94" 55.11" x 47.63" 62.99" x 62.99" Born in Istanbul in 1978, Ali Alışır started his g...

Untitled VI, VII, XI and IX, Polyptych from the series Half Angels Half Demons Individual size: 60 in. H x 40 in. W Overall size: 60 in. H x 160 in. W Edition of 9 + 2AP Other siz...

'Nomad, New York', artwork by Richard Heeps featuring a time-lapse of the iconic art deco Empire State building in the mist. Photographed in New York City in 2017, he executed this i...

Signed large scale original photograph of the Mediterranean marble quarries in Carrara, Italy, iconic material source of classic Italian art and architec...

Wonder Valley (29 Palms, CA) - 2008 125x154cm, Edition 2/5, analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on a Polaroid, artist inventory numbe...

Large-scale photographer Troy House celebrates people’s primordial attraction to the beach. He travels the world capturing iconic, breathtaking scenes – oft...

Mesmerizing abstract color play of muted tones and surreal shapes, from a series of still life works created entirely in camera Caleidoscope I by Christian Stoll 66 x 48 inches (16...

Heidler & Heeps Vinyl Collection Twenty Piece Multi-Color Installation. Acclaimed contemporary photographers, Richard Heeps and Natasha Heidler have collaborated to make this beautif...

Field of Dreams (Sidewinder), 4 analog test strips combined to make a unique piece, 203x82cm. Edition 1/1, signed. Analog C-Prints, hand-printed by the artist on Crystal Fuji Archiv...

Paris Culture Vultures from the Paris In Colour Series 1956-61 By Peter Cornelius Giant oversize 152 x 101 cm / 60 x 40 inches paper size Printed 202...

large scale original photograph with "frameless" glass face mounting from a series of conceptual motivational messages on classic Americana billboard signs in the iconic landscape of...

Liberace I by Christian Stoll an epic scale photograph of mesmerizing texture details ( 60 x 48" / 152.25 x 122cm ) edition of 7 signed 40 x 32 inches / 122cm x 81.25cm edition of...

Marco Pittori creates vibrant artworks that pay homage to the mesmerizing images of Brad Elterman and the mythic culture of 1970’s Hollywood. By using li...

Part of Grossman’s acclaimed "Bookscapes" photo series, this hyperreal bookshelf composition celebrates the sport of GOLF featuring legendary players pop icons, and notable golf cour...

This piece of art is made of 3003 stamps. In Stamp Mosaics different narrative strands are linked. The individual postage stamps represent important historical events as well as por...

Bat For Lashes (Natasha Khan) in Brighton, January 2009 MOJO Magazine feature Photo by Kevin Westenburg Unframed Signed and numbered by the artist. Edition of 3 only at this size OTHER SIZES AVAILABLE : Size 1. 16 x 20" Signed and numbered edition of 25. cost $ 2,500 Size 2. 20 x 24" Signed and numbered edition of 25. cost $ 2,950 Size 3. 24 x 30" Signed and numbered edition of 25. cost $ 3,375 Size 4. 30 x 40" Signed and numbered edition of 10 (+2 a/p). cost $ 5,605 Size 5. 40 x 60" Signed and numbered edition of 3 (1 a/p). cost $ 18,500 About the artist: Kevin Westenberg is famed for his creation of provocative and electrifying images of world-class musicians, artists and movie stars for over 25 years. His technique of lighting, colour and composition has helped to produce his own unique visual style. Shortly after receiving an Architecture degree he moved to London where he’s been based since 1983. Westenberg is self-taught and learned his trade working for the UK inkies “New Musical Express” and “Melody Maker” mainly throughout the late 80’s and 90’s documenting amongst others all the UK ‘Britpop’ bands. The breakthrough came in 1993-1994 with the release of Sting’s Ten Summoner’s Tales and Mary J Blige’s Share My World. These two album covers changed the perception of the work worldwide and thus began a run of 20 years of commissions and choice opportunities. For the last 25 years, his musical heritage includes portraits of Radiohead, Thom Yorke, Coldplay, White Stripes, Jane's Addiction, Sting, Bjork, Nirvana, Jeff Buckley, Luther Vandross, Nine Inch Nails, Stone Roses, The Pixies, Paul Weller, Rufus Wainwright, Michael Stipe, U2, Mary J. Blige, R.E.M., Black Sabbath, Massive Attack, BB King, The Rolling Stones, PJ Harvey, Marilyn Manson, Pete Doherty, Oasis, Soundgarden, Jake Bugg, and Bon Jovi among many others. Also included are 100’s of albums, singles, magazine & book covers from around the world. He’s also been chosen as official photographer for the LIVE 8 Hyde Park event in 2005 and for Led Zeppelin reunion concert at the 02 Arena, London. The work & interest also include a wide range of artists portraits beyond the music world. David Lynch, Paul Auster, The Coen Brothers, Rupert Friend, Sir Tom Stoppard, Orla Kiely...

"The artists computer-generated paintings merge craftsmanship and technology, creating an eclectic and unique style. Through her art, she aims to illuminate the world. Tcherassi's w...

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

Inspired by 17th-century Dutch and Flemish paintings of domestic life, Julie Blackmon photographs carefully orchestrated tableaus that feature members of her own family and are imbue...

Fabulous American landscape photography of a rural landscape scene. from small hand signed edition of 20 Large Chromogenic print on Kodak Professional Paper The sheets are approxima...

Fabulous American landscape photography of a rural school house. from small hand signed edition of 20 Large Chromogenic print on Kodak Professional Paper The sheets are approximatel...

Letham House (Stay) - 2006 Edition of 10, 6 pieces 82x80cm each, installed 174x260cm. 6 archival C-Prints, based on 6 Polaroids. Certificate and Signature label. Artist Inventor...

Liberty Multi-Colour Mosaic, from the Heidler & Heeps American Stamp Collection, these historic postage stamps are given a twenty-first century pop art...

Leaving II (Sidewinder) - 2005 60x110cm, Edition of 10. Archival C-Print based on the Polaroid. Signature label and Certificate. Artist Inventory No. 3436. Not mounted. 2005 SIDEWINDER - Director / Artist / Camera / Editing - starring JD Rudometkin, Stefanie Schneider, music by JD Rudometkin private history turned into an intimate mythology of elemental fantasies where reality is perceived through a veil of psychedelic memories and unconscious projections. such is a collection of passions and dreams, an uncanny diary of ephemeral narratives and mental intensities in Stefanie Schneider’s painterly photographs where subjectivity of an ontological doubt uses a poetics of pastische as a vehicle for an intertextual journey towards the truth and the authenticity of primary emotions. here time is immersed in a nostalgic suspense of oneiric dimension, a sort of ambiguous coma of silence and comfort, and open space embraces a psychotic landscape of solitude and accidental pleasure. fetishisized surface of extreme feelings gives a stage for an unsolicited promise of unconditional love and unlimited freedom, a promise framed by sensual tension between fulfillment and expectation. (Adam Budak, Kunsthaus Graz, Oct 2005) Sidewinder There’s blood on the dress that hangs in the Airstream trailer outside 29 palms. With the pistol in her sweat palm touching at his temple. Tell me what god’s gonna do for me and you now Stevie’s saying while Brother John Baptiste looks there across to where her cat seems weak and fed. All the good that comes to me from my believing man, I wanna hear about it said to me like that. Just the way you breathed it like you did 10 minutes ago when I was wrapped so well around your head. Silence then. A baby screams his mother out in the dessert night who wakes so late. Orion is a belt John Baptiste looks at through the torn-screen trailer window. There, touching his calf are vipers crawling now across her feet between his knees in front of her he kneeling for his life and they are full of venom with their broken fangs. A gun at head, where even his breath, so short, is preaching. He’s in a wheat field. John Baptiste. Counting birds on telephone wires hung low in afternoon where his mother’s call cannot now reach him. There she stands a weeping willow with the sidewinder underneath the trailer step a drop of blood upon her ankle with the bullet through its head. A scar follows sweat palm to wrist. Torn Stevie. Scars from the weapon to her toes an accidental act of God her father said. On Vaness at California 16 years ago but who’s counting 6 bullets for the barrel wait beside the temple. The long white shaft of tissue hemmed together gods tattoo along her ribs, hip to breast. She wants to fuck the preacher in her trailer with his bible on the alter front row Stevie asks forgiveness holy father from the car that shook her bones apart. John Baptiste asks to pray before she leads his temple head...

Mesmerizing abstract color play of muted tones and surreal shapes, from a series of still life works created entirely in camera Caleidoscope II by Christian Stoll 67 x 48 inches (1...

Buckingham Palace Garden Party England 1985 by Homer Sykes oversize 60x40 inches / 152 x 101 cm paper size signed limited edition print edition of 5 only this size printed 2022 Certificate of authenticity provided Note Other sizes available Homer Sykes Sykes's father, Homer Warwick Sykes, was a Canadian-born American of English extraction who worked for the China National Aviation Corporation in Shanghai; his mother, Helen Grimmitt, was Canadian-born and raised in Hong Kong. The couple were married in August 1947, but in June 1948, in an early stage of his wife's pregnancy, Homer was killed in an accident at Lunghua airfield. Helen returned to her family home in Vancouver, and the son was born three weeks later, in 1949.[1][2] When the boy's mother remarried in 1954, the family moved to England.[3] Homer was a keen photographer as a teenager, with a darkroom both at home and at boarding school. In 1968 he started a three-year course at the London College of Printing (LCP),[1][3] while sharing a house in St John's Wood.[4] In the summer vacation during his first year, he went to New York, and was impressed by the work of current photographers – Cartier-Bresson, Davidson, Friedlander, Frank, Uzzle and Winogrand – that he saw at the Museum of Modern Art.[3] Solo exhibitions "Traditional British Calendar Customs", Arnolfini Gallery (Bristol), 1977;[14] Side Gallery (Newcastle), 31 August – 25 September 1977.[15] "Shanghai Odyssey", Open Eye Gallery (Liverpool), 24 May – 20 June 2003.[14][16] Festival of Photography and Contemporary Art (Biella), 2005.[14] "On the Road Again", Hereford Town Hall (Hereford Photography Festival), 2002.[17] "Green Man and Friends, photographs from the 1970s", WPS (Hastings), 2009.[18] "England 1970–1980", Maison de la photographie Robert Doisneau (Gentilly, Paris), 27 June – 12 October 2014.[10][11][19][20] "My Britain 1970–1980", Les Douches la Galerie, Paris. 5 September – 31 October 2015.[21][22][23] "Once a Year – Homer Sykes", Lucy Bell Gallery, St Leonards-on-Sea, May–June 2021[24] Other exhibitions "Personal Views 1850–1970", British Council touring exhibition, 1970.[3] "Traditional Country Customs" (with work by Benjamin Stone), ICA (London), 1971.[3][14] "Young British Photographers", Museum of Modern Art (Oxford), 1971.[14] Exhibition of photographs by Stone and Sykes of festivals, customs and pageants, Southampton and Birmingham, 1973.[7] "Reportage Fotografen", Museum des 20. Jahrhunderts (Vienna), 1978.[14] "Il Regno Unito si diverte". British Council, Milan, 1981. With Chris Steele-Perkins and Patrick Ward.[25] "The Other Britain", National Theatre (London), and touring in Britain, 1982.[26] "A British Eye on the World", Museum of Modern Art (Rio de Janeiro), 1986.[14] "Viva, une agence photographique", Jeu de Paume (Paris), 2007.[27][28] "How We Are: Photographing Britain." Tate Britain (London), 2007.[29][30] "No Such Thing as Society: Photography in Britain 1968–1987", Aberystwyth Arts Centre; Tullie House (Carlisle); Ujazdów Castle (Warsaw).[31] "Unpopular culture." De La Warr Pavilion (Bexhill), 2008.[32] "The Other Britain Revisited: Photographs from New Society", Victoria and Albert Museum, 2010.[26] "Goodbye London: Radical art and politics in the seventies", Neue Gesellschaft für Bildende Kunst (Berlin), 26 June – 15 August 2010. With Stuart Brisley, Victor Burgin, David Hall, Margaret Harrison, Derek Jarman...

Afternoon Daze (Till Death do us Part) - 2005 38x36cm each, 38x120 installed, Edition of 10 plus 2 Artist Proofs. 3 Digital C-Prints, based on 3 Polaroids. Signature label and Ce...

In the Range of Light III (Wastelands) - 2003 Edition 4/5, 6 pieces, each 57x56cm, installed 119x181cm, 6 Analog C-Prints, hand-printed by the artist on Fuji Crystal Archive Paper,...

Fashion books

Is a project that debates through the photographic image, the importance that humans have assigned to ourselves, and proposes a reconciliation with the reality of our own insignifica...

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

Meeting in front of Church (Sidewinder) - 2007 Edition 2/5, each 30x37cm, installed 30x160cm. 4 analog C-Prints, hand-printed by the artist, based on the 4 oirginal Polaroids. Ce...

The washing lines and bright colours of a backstreet in New Delhi – Cawston won the BJP Nikon Endframe Award in 2009. His prize was funding for a dream project and he chose to travel...

Streets of Kowloon Gold, part of Richard Heeps series photographing on the streets of Hong Kong in Kowloon in 2016 this stunning abstract piece is so striking in a room. The whole 20...

'Room No. 503' (Strange Love) - 2010 128x125cm, Edition of 5, analog C-Print printed on Fuji Archive Paper, hand-printed by the artist based on the Polaroid, signature label and ...

The Royal Ascot Car Park Picnic England 1985 by Homer Sykes oversize 60x40 inches / 152 x 101 cm paper size signed limited edition print edition of 5 only this size printed 2022 Certificate of authenticity provided Note Other sizes available Homer Sykes Sykes's father, Homer Warwick Sykes, was a Canadian-born American of English extraction who worked for the China National Aviation Corporation in Shanghai; his mother, Helen Grimmitt, was Canadian-born and raised in Hong Kong. The couple were married in August 1947, but in June 1948, in an early stage of his wife's pregnancy, Homer was killed in an accident at Lunghua airfield. Helen returned to her family home in Vancouver, and the son was born three weeks later, in 1949.[1][2] When the boy's mother remarried in 1954, the family moved to England.[3] Homer was a keen photographer as a teenager, with a darkroom both at home and at boarding school. In 1968 he started a three-year course at the London College of Printing (LCP),[1][3] while sharing a house in St John's Wood.[4] In the summer vacation during his first year, he went to New York, and was impressed by the work of current photographers – Cartier-Bresson, Davidson, Friedlander, Frank, Uzzle and Winogrand – that he saw at the Museum of Modern Art.[3] Solo exhibitions "Traditional British Calendar Customs", Arnolfini Gallery (Bristol), 1977;[14] Side Gallery (Newcastle), 31 August – 25 September 1977.[15] "Shanghai Odyssey", Open Eye Gallery (Liverpool), 24 May – 20 June 2003.[14][16] Festival of Photography and Contemporary Art (Biella), 2005.[14] "On the Road Again", Hereford Town Hall (Hereford Photography Festival), 2002.[17] "Green Man and Friends, photographs from the 1970s", WPS (Hastings), 2009.[18] "England 1970–1980", Maison de la photographie Robert Doisneau (Gentilly, Paris), 27 June – 12 October 2014.[10][11][19][20] "My Britain 1970–1980", Les Douches la Galerie, Paris. 5 September – 31 October 2015.[21][22][23] "Once a Year – Homer Sykes", Lucy Bell Gallery, St Leonards-on-Sea, May–June 2021[24] Other exhibitions "Personal Views 1850–1970", British Council touring exhibition, 1970.[3] "Traditional Country Customs" (with work by Benjamin Stone), ICA (London), 1971.[3][14] "Young British Photographers", Museum of Modern Art (Oxford), 1971.[14] Exhibition of photographs by Stone and Sykes of festivals, customs and pageants, Southampton and Birmingham, 1973.[7] "Reportage Fotografen", Museum des 20. Jahrhunderts (Vienna), 1978.[14] "Il Regno Unito si diverte". British Council, Milan, 1981. With Chris Steele-Perkins and Patrick Ward.[25] "The Other Britain", National Theatre (London), and touring in Britain, 1982.[26] "A British Eye on the World", Museum of Modern Art (Rio de Janeiro), 1986.[14] "Viva, une agence photographique", Jeu de Paume (Paris), 2007.[27][28] "How We Are: Photographing Britain." Tate Britain (London), 2007.[29][30] "No Such Thing as Society: Photography in Britain 1968–1987", Aberystwyth Arts Centre; Tullie House (Carlisle); Ujazdów Castle (Warsaw).[31] "Unpopular culture." De La Warr Pavilion (Bexhill), 2008.[32] "The Other Britain Revisited: Photographs from New Society", Victoria and Albert Museum, 2010.[26] "Goodbye London: Radical art and politics in the seventies", Neue Gesellschaft für Bildende Kunst (Berlin), 26 June – 15 August 2010. With Stuart Brisley, Victor Burgin, David Hall, Margaret Harrison, Derek Jarman...

Is a project that debates through the photographic image, the importance that humans have assigned to ourselves, and proposes a reconciliation with the reality of our own insignifica...