Carmen de Vos

Boxing Elena

2014

Stefanie Schneider's Minis 'Runaway' (Haley and the Birds) - 2013 signed and signature brand on verso Lambda digital Color Photographs based on a Polaroid Polaroid sized open Editi...

2 Stefanie Schneider's Minis from the Beachshoot: The Diva and the Boy signed on front, not mounted Lambda digital Color Photographs based on original expired Polaroid photographs P...

Stefanie Schneider's Minis Blue Bridge (Stranger than Paradise), 1999 Signed and signature brand on verso. Lambda digital Color Photographs based on a Polaroid. Sandwiched in betwee...

'Amaluna's Day Off #22' [From the series Cirque du Soleil] 50x50cm, Edition 1/7, 2015 / 2018 Art print based on an expired Polaroid mounted on Dibond 0,2mm - 50x50cm - gloss coating...

Stefanie Schneider's Minis - The size of a Polaroid. Untitled #8 (Beachshoot), 2005. Lambda digital Color Photographs based on the Polaroid. Signed and signature brand on verso. ...

Stefanie Schneider's Minis 'Jules and Jim' (Reneé's Dream - 29 Palms, CA), 2007 signed and signature brand on verso Lambda digital Color Photographs base...

Archival Pigment Print Edition of 25 Frame size: 26.5 x 23 inches This photograph is a digital reproduction of an original 8 x 10" polaroid that was manipulated by hand. Add...

Kissing Priests image size: 8 x 10 inches Polaroid Transfer on 22 x 15 inch Rives BFK paper, unframed signed SM Beard in pencil on bottom right corn...

image size: 8 x 10 inches Portrait of Tennessee Williams Unique Polaroid Transfer on 22 x 15 inch Rives BFK paper, unframed signed SM Beard in penci...

'Harvest Dance' Limited edition archival photograph. Unframed, hand signed and numbered _________________ Late August, captured in the glow of the evening sun, my daughters join han...

Fernando Bayona, Out of the Blue: "The Dinner". Fine Art Inkjet Print Sizes: S: 25.6 x 20.8 in. / Ed. 3 M: 41.7 x 33 in. / Ed. 3 L: 53.1 x 41.7 in. / Ed. 2 + 1A.P In out of the ...

The first person to photograph the Huichol in their remote communities in the inaccessible canyons of the Western Sierra Madre was probably the Norwegian anthropologist, Carl Lumholtz. He ventured into their territory in 1895, shortly before the arrival of the French naturalist and ethnographer Léon Diguet, who was also a photographer. Like so many who were engaged with documenting Indigenous peoples across the Americas in those brutal years of expansion and settlement, Lumholtz believed that the disappearance of his subjects was inevitable: “the weaker must succumb to the stronger, and the Indians will ultimately all become Mexicans.” The photographs of the Huichol by Pablo Ortiz Monasterio—taken on some twenty trips over the past three decades—prove that Lumholtz was fortunately, terribly wrong. They reveal abundant evidence of cultural survival (what the Huichol call “la costumbre”), made possible by their extraordinary resistance to the religious, nationalist, and economic forces that have long assaulted—and that continue to assault—Indigenous communities everywhere. Though Ortiz Monasterio is also an outsider, he does not operate—like Lumholtz or Diguet—as an old-fashioned preservationist, nor is he confident in the superiority of Western culture, nor is his work only destined for museum vitrines...