Jamey Stillings

Cerro Dominador concentrated solar plant, Atacama Desert, Chile, 16 July, 2017

2022

Transmission lines, Atacama Desert, Chile, 17 July, 2017, limited edition, Ariel color photograph, limited edition, signed ATACAMA: Renewable Energy and Mining in the High Desert of...

El Romero photovoltaic plant, Atacama Desert, Chile, 14 July, limited edition, Ariel color photograph, limited edition, signed ATACAMA: Renewable Energy and Mining in the High Deser...

#40758, 1 September, Ariel color photograph, limited edition, signed. ATACAMA: Renewable Energy and Mining in the High Desert of Chile CHANGING PERSPECTIVES: Renewable Energy and t...

#39386, 29 August, Ariel color photograph, limited edition, signed ATACAMA: Renewable Energy and Mining in the High Desert of Chile CHANGING PERSPECTIVES: Renewable Energy and the ...

#38256, 28 August, Ariel color photograph, limited edition, signed ATACAMA: Renewable Energy and Mining in the High Desert of Chile CHANGING PERSPECTIVES: Renewable Energy and the ...

Riverside, limited edition photograph, archival ink, signed and numbered Reviewing the photographs of Julie Blackmon, critic Leah Ollman of the Los Angeles Times wrote: “Each frame is an absorbing, meticulously orchestrated slice of ethnographic theater … that abounds with tender humor but also shrewdly subtle satire.” Blackmon is a native of Springfield, MO, and her photographs are inspired by her experience of growing up the oldest of nine children—including five sisters—in what she calls “a generic American town in the middle of the U.S.” In college, Blackmon was introduced to the work of artists Sally Mann, Diane Arbus, and Helen Levitt, and she describes herself as “obsessed” with their images. “When my three children were small,” she recalls, “we moved into an old house with a darkroom in the basement. Like any mother, I wanted to take pictures of my kids. But I didn’t want to be just the ‘mother photographer.’ I wanted my work to be more: more penetrating, more artful, more striking, more thoughtful, more a reflection of the times. “Over the next few years, I progressed from making documentary black and white photographs of my life and the lives of my sisters to creating colorful, fictitious images that offered a more fantastical look at everyday life. My work became more conceptual, as I began to realize that I was not obligated to capture “reality” exactly, but that I could work more like a painter or a filmmaker, actively shaping the images I was creating. This realization—that fiction can often capture the truth more memorably than reality—was a major shift in how I saw the world around me, and it transformed my work.” “It’s thrilling to see the most common aspects of everyday life as potential stories or themes for a photograph. It changes how you see things: suddenly, a Starbucks employee on a smoke break, or an outmoded beauty shop catering to an elderly clientele, can spark a memorable image. As Nora...

Untitled (Nr. 4564) Photography 44" x 36" Edition of 12 by Ben Cope & Rowan Daly Unframed - ships rolled in a tube Ben Cope + Rowan Daly Off the Grid Off the Grid is the culmina...

Untitled (Nr. 4564) Photography 24" x 18" Edition of 20 by Ben Cope & Rowan Daly Unframed - ships rolled in a tube Ben Cope + Rowan Daly Off the Grid Off the Grid is the culmina...

print, The photo was done during a last tennis afternoon, limited to 5, signed.

Archival Pigment Print Rainbow over Central Havana All available sizes & editions for each size of this photograph: 30" x 40” - Edition of 5 + 2 Artist Proofs 40" X 50"- Edition of...

Archival Pigment Print Ruins of Six Flags Amusement park, New Orleans All available sizes & editions for each size of this photograph: 40" x 30” - Edition of 5 + 2 Artist Proofs 50...

Archival Pigment Print Pronghorn Antelope, Niobrara County, Wyoming, 2013 A herd of wild antelope, which in wintertime can number into the hundreds, roams the high plains that stret...