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Medium: Pigment
David Burdeny - Amore, Paris, France, Photography 2016, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
59” x 73.5” Edition of 5
While the spaces the...
Category
2010s Contemporary Pigment Color Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
David Burdeny - Angel Arms Rabbit Ears, Havana, Cuba, 2014, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
What makes Burdeny’s Cuba series different fro...
Category
2010s Contemporary Pigment Color Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, C Prin...
David Burdeny - Avenue de Champs Elysees, Paris, Photography 2016, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
59” x 73.5” Edition of 5
While the spaces the...
Category
2010s Contemporary Pigment Color Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
David Burdeny - Abandoned Villa, Toscana, Italy, Photography 2012, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
While the spaces themselves are ornate and tra...
Category
2010s Contemporary Pigment Color Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
David Burdeny - Saltern Study 17, Great Salt Lake, UT, 2015, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
59” x 73.5” Edition of 5
The tension between u...
Category
2010s Contemporary Pigment Color Photography
Materials
Pigment, Pigment
David Burdeny - Campo San Barnaba, Venice, Italy, 2010, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
21” x 21" Edition of 4
32” x 32" Edition of 10
44” x 44” Edition of 7
While the spaces themselves are ornate and tra...
Category
Early 2000s Contemporary Pigment Color Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
David Burdeny - Palazzo Ducall, Mantova, Italy, Photography 2016, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
59” x 73.5” Edition of 5
While ...
Category
2010s Contemporary Pigment Color Photography
Materials
Paper, Digital Pigment, Archival Pigment, Pigment, Digital, Pigment, Pho...
David Burdeny - Ca’Rezzonico II, Venice, Italy, Photography 2012, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
21” x 32" Edition of 4
32” x 48" Edition of 7
44” x 66” Edition of 10
While the spaces themselves are ornate and tra...
Category
2010s Contemporary Pigment Color Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
David Burdeny - Castello, Tuscany, Italy, Photography 2012, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
13" x 16" Edition 3 of 4
21” x 26" Edition 3 of 4
32” x 40" Edition of 7
44” x 55” Edition of 10
59" x 73.5" Edition ...
Category
2010s Contemporary Pigment Color Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
David Burdeny - Carnon-Plage, France, Photography 2012, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
13” x 21" Edition of 4
21” x 35" Edition 5 of 7
32” x 53” Edition 6 of 7
44" x 73" Edition 8 of 10
While the spaces ...
Category
2010s Contemporary Pigment Color Photography
Materials
Paper, Digital Pigment, Archival Pigment, Pigment, Digital, Pigment, Pho...
David Burdeny - Blue Coast 01, Realmonte, Agrigento, Sicily, 2016, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
59” x 73.5” Edition of 5
While the spaces the...
Category
2010s Contemporary Pigment Color Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
David Burdeny - Taganskaya Metro Station, Moscow, Russia, 2015, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
59” x 73.5” Edition of 5
Burdeny’s Russia imag...
Category
2010s Contemporary Pigment Color Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, C Prin...
David Burdeny - Library, Parma, Italy, Photography 2016, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
59” x 73.5” Edition of 5
While ...
Category
2010s Contemporary Pigment Color Photography
Materials
Paper, Digital Pigment, Archival Pigment, Pigment, Digital, Pigment, Pho...
David Burdeny-Blue Drawing Room, Catherine Palace, Pushkin, 2018, Printed After
Located in Greenwich, CT
Title: Blue Drawing Room. Catherine Palace. Pushkin, Russia
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” ...
Category
2010s Contemporary Pigment Color Photography
Materials
Digital Pigment, Paper, Archival Pigment, Pigment, Inkjet, Digital, C Pr...
David Burdeny - Library, Napels, Italy, Italy, Photography 2016, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
59” x 73.5” Edition of 5
While the spaces them...
Category
2010s Contemporary Pigment Color Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
David Burdeny-Amber Room, Catherine Palace, Pushkin, Russia, 2015, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
59” x 73.5” Edition of 5
Burdeny’s Russia imag...
Category
21st Century and Contemporary Contemporary Pigment Color Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, C Prin...
David Burdeny - Record Room, Havana, Cuba, Photography 2016, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
What makes Burdeny’s Cuba series different fro...
Category
2010s Contemporary Pigment Color Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
David Burdeny - Cava Bianco IV, Carrara, IT, Photography 2018, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
59” x 73.5” Edition of 5
The raw immediacy and lived experience of taking a photograph matters as much to me as how I compose the frame. It is my private personal connection to these places and the emotional or intellectual intrigue that grips me through the process that I hoperesonates in the print. I seek to capture the mood and promise, silence and solitude in that extended moment of awareness. In my earlier architectural practice and now my photography career, I'm fascinated by the opportunity to invest symbols and narrative into built form or see the metaphor in a material space. I have an abiding interest in thresholds and liminal spaces-places that seem somehow a bridge between the concrete and the ephemeral, elevated above time, hallowed. The sublime resides even in an ordinary space. And while the wondrous capabilities of the digital process permits an extraordinary level of clarity, detail and sensuality to be ingrained into an image, I like to
think that there is a mystery at the heart of all my photographs, an appeal for the viewer to keep looking and see more.Salt–Plottings, Fields and ExtractsIn 1858, Gaspard-Felix Tournachon -known with a flourish as ‘Nadar’ -mounted a wet-plate camera to a giant gas-powered balloon becoming the first to take photography aerial. Jules Verne called Nadar “an Icarus with replaceable wings.” As it had been in the classical era, the spirit of the age was once more animated by the potential for height. But the noted caricaturist Honore Daumier -typically the century’s most incisive social chronicler -doubted that there was anything aesthetically beneficial to be gained from such a lofty perspective. Daumier’s famously satirical lithograph, Nadar Raising Photography to the Height of Art, was intended as a mockery of aerial photography’s artistic pretense and as a warning against its surveillance purpose. Daumier’s print shows Nadar rising high above Paris with his camera pointed down and every building below target-marked by the word “PHOTOGRAPHIE”. Already, the utility of panoptic vision was thought to trump its sublime allure or transcendental opportunity. And it would take another 50 years before this fundamentally new visual perspective would upend artistic representation of space.That tension between utilitarian purpose and artistic inspiration is the unexpectedly compelling strength of David Burdeny’s mesmerizing series of aerial abstractions called Salt. His large-format and luminously intriguing photographs of salterns occupy the hazy border zonebetween the prosaic and the poetic. In our hyper-connected age of GPS, Google maps and instant information, the instinctual reaction to these scenes might first be to determine the where and the why of them -their ground-level location or biological/environmental fact. To see first the service roads and draining ditches or to puzzle out how the chemical balance in the salt ponds creates these particular blooms of colour. Such readings serve to root vision in the commonplace and the established order -the here and now -and downgrade the sublimity in the aerial experience. But Burdeny’s Salt photographs aim to be more evocative and exalted than pedestrian. They seek to elevate our experience of the world in more ways than one.From the startof his fine art photography career -certainly aided by his earlier architectural practice -Burdeny has always had a deft appreciation for the artistic potential of pure space and how it can be purposefully structured to appeal to the senses. He has become a
master of the photographic moment made in service of a sublime sensibility. His early black-and-white long-exposure work created a minimalist monumentality out of spare landscapes that felt privately spiritual and seemed to exist outside time. And thestark awesome force of the icebergs in his North/South series crackled with a similar terrifying majesty as the Romantic poets and artists of the nineteenth century regarded them. Even the docents sitting alone and attentively in the Hermitage in Burdeny’s recent Bright Future series seem to be keenly aware of the profound privilege of sensuous perception. What Salt adds to this conversation is its cunning use of the artistic heritage and sublime intrigue of abstract art to further Burdeny’s interest inliminal spaces. In their use of amorphous shapes, elongated fields of colour and vertical, jagged and sinuous lines, Burdeny’s images suggest the painterly expressiveness of Rothko, Still, Newman, Diebenkorn and late career Willem de Kooning. The effect is less intentional than it is available -Modernism’s abstracted reordering of the visual landscape (which essentially got going in pre-WWI Paris...
Category
Early 2000s Contemporary Pigment Color Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Galleria Colonna, Rome, Italy, Photography 2016, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
59” x 73.5” Edition of 5
While the spaces them...
Category
2010s Contemporary Pigment Color Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
David Burdeny - Yusopf Theatre (Czar Box), Russia, 2018, Printed After
Located in Greenwich, CT
Title: Yusopf Theatre (Czar Box), St Petersburg, Russia
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edit...
Category
2010s Contemporary Pigment Color Photography
Materials
Digital Pigment, Paper, Archival Pigment, Pigment, Inkjet, Digital, C Pr...
David Burdeny - Ballet School, Havana, Cuba, Photography 2014, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
What makes Burdeny’s Cuba serie...
Category
2010s Contemporary Pigment Color Photography
Materials
Digital Pigment, Paper, Archival Pigment, Pigment, Inkjet, Digital, Pigm...
David Burdeny - Nocturne (Lioness), Maasai Mara, Kenya, 2018, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
27” x 48" Edition of 7
37” x 66" Edition of 10
48” x 85” Edition of 5
This project Before Ever After was less about ...
Category
2010s Contemporary Pigment Color Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
David Burdeny - One Love, Serengeti, Africa, Photography 2018, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
12" x 20" Edition of 8
22” x 34" Edition of 8
32” x 48” Edition of 10
This project Before Ever After was less about...
Category
2010s Contemporary Pigment Color Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
David Burdeny - Yusopf Theatre Curtain, Russia, Photography 2015, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
59” x 73.5” Edition of 5
Burdeny’s Russia imag...
Category
2010s Contemporary Pigment Color Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, C Prin...
Winter Red, Catherine Palace, Pushkin, Russia, Photography 2015, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
59” x 73.5” Edition of 5
Burdeny’s Russia imag...
Category
2010s Contemporary Pigment Color Photography
Materials
Digital Pigment, Paper, Archival Pigment, Pigment, Inkjet, Digital, C Pr...
David Burdeny - Gimnasio de Boxeo, Havana, Cuba, 2014, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
What makes Burdeny’s Cuba serie...
Category
2010s Contemporary Pigment Color Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
David Burdeny - Lion Cubs Under Acacia Tree, Maasai Mara, 2018, Printed After
Located in Greenwich, CT
Title: Lion Cubs Under Acacia Tree, Maasai Mara, Kenya
All available sizes & editions for each size of this photograph:
27” x 48" Edition of 7
37” x 66" Edition of 10
48” x 85” Edit...
Category
2010s Contemporary Pigment Color Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Pigmen...
David Burdeny - Blue Ponds 02, Shark Bay, Western Australia, 2015, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
59” x 73.5” Edition of 5
The te...
Category
2010s Contemporary Pigment Color Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Reading Room, Napoli, Italy, Photography 2016, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
59” x 73.5” Edition of 5
While the spaces them...
Category
2010s Contemporary Pigment Color Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
David Burdeny - Interior Restoration Havana, Cuba, 2014, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
What makes Burdeny’s Cuba serie...
Category
2010s Contemporary Pigment Color Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
David Burdeny - Reggia di Venaria Reale, Torino, Italy, 2016, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
59” x 73.5” Edition of 5
While ...
Category
2010s Contemporary Pigment Color Photography
Materials
Paper, Digital Pigment, Archival Pigment, Pigment, Digital, Pigment, Pho...
David Burdeny - Cava Bianco VII, Carrara, IT, Photography 2018, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
59” x 73.5” Edition of 5
The raw immediacy and lived experience of taking a photograph matters as much to me as how I compose the frame. It is my private personal connection to these places and the emotional or intellectual intrigue that grips me through the process that I hoperesonates in the print. I seek to capture the mood and promise, silence and solitude in that extended moment of awareness. In my earlier architectural practice and now my photography career, I'm fascinated by the opportunity to invest symbols and narrative into built form or see the metaphor in a material space. I have an abiding interest in thresholds and liminal spaces-places that seem somehow a bridge between the concrete and the ephemeral, elevated above time, hallowed. The sublime resides even in an ordinary space. And while the wondrous capabilities of the digital process permits an extraordinary level of clarity, detail and sensuality to be ingrained into an image, I like to
think that there is a mystery at the heart of all my photographs, an appeal for the viewer to keep looking and see more.Salt–Plottings, Fields and ExtractsIn 1858, Gaspard-Felix Tournachon -known with a flourish as ‘Nadar’ -mounted a wet-plate camera to a giant gas-powered balloon becoming the first to take photography aerial. Jules Verne called Nadar “an Icarus with replaceable wings.” As it had been in the classical era, the spirit of the age was once more animated by the potential for height. But the noted caricaturist Honore Daumier -typically the century’s most incisive social chronicler -doubted that there was anything aesthetically beneficial to be gained from such a lofty perspective. Daumier’s famously satirical lithograph, Nadar Raising Photography to the Height of Art, was intended as a mockery of aerial photography’s artistic pretense and as a warning against its surveillance purpose. Daumier’s print shows Nadar rising high above Paris with his camera pointed down and every building below target-marked by the word “PHOTOGRAPHIE”. Already, the utility of panoptic vision was thought to trump its sublime allure or transcendental opportunity. And it would take another 50 years before this fundamentally new visual perspective would upend artistic representation of space.That tension between utilitarian purpose and artistic inspiration is the unexpectedly compelling strength of David Burdeny’s mesmerizing series of aerial abstractions called Salt. His large-format and luminously intriguing photographs of salterns occupy the hazy border zonebetween the prosaic and the poetic. In our hyper-connected age of GPS, Google maps and instant information, the instinctual reaction to these scenes might first be to determine the where and the why of them -their ground-level location or biological/environmental fact. To see first the service roads and draining ditches or to puzzle out how the chemical balance in the salt ponds creates these particular blooms of colour. Such readings serve to root vision in the commonplace and the established order -the here and now -and downgrade the sublimity in the aerial experience. But Burdeny’s Salt photographs aim to be more evocative and exalted than pedestrian. They seek to elevate our experience of the world in more ways than one.From the startof his fine art photography career -certainly aided by his earlier architectural practice -Burdeny has always had a deft appreciation for the artistic potential of pure space and how it can be purposefully structured to appeal to the senses. He has become a
master of the photographic moment made in service of a sublime sensibility. His early black-and-white long-exposure work created a minimalist monumentality out of spare landscapes that felt privately spiritual and seemed to exist outside time. And thestark awesome force of the icebergs in his North/South series crackled with a similar terrifying majesty as the Romantic poets and artists of the nineteenth century regarded them. Even the docents sitting alone and attentively in the Hermitage in Burdeny’s recent Bright Future series seem to be keenly aware of the profound privilege of sensuous perception. What Salt adds to this conversation is its cunning use of the artistic heritage and sublime intrigue of abstract art to further Burdeny’s interest inliminal spaces. In their use of amorphous shapes, elongated fields of colour and vertical, jagged and sinuous lines, Burdeny’s images suggest the painterly expressiveness of Rothko, Still, Newman, Diebenkorn and late career Willem de Kooning. The effect is less intentional than it is available -Modernism’s abstracted reordering of the visual landscape (which essentially got going in pre-WWI Paris...
Category
2010s Contemporary Pigment Color Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Rialto Bridge, Venice, Italy, Photography 2009, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
13” x 13" Edition of 15
21” x 21" Edition of 7
32” x 40” Edition of 7
44" x 55" Edition of 7
While the spaces themse...
Category
Early 2000s Contemporary Pigment Color Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
David Burdeny - Wall with Birdcage, Havana, Cuba, 2014, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
What makes Burdeny’s Cuba serie...
Category
2010s Contemporary Pigment Color Photography
Materials
Digital Pigment, Paper, Archival Pigment, Pigment, Inkjet, Digital, C Pr...
David Burdeny - Old Havana (Horse), Havana, Cuba, 2014, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
What makes Burdeny’s Cuba serie...
Category
2010s Contemporary Pigment Color Photography
Materials
Digital Pigment, Paper, Archival Pigment, Pigment, Inkjet, Digital, Pigm...
Palace Square, St Petersburg, Russia, Photography 2015, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
59” x 73.5” Edition of 5
Burdeny’s Russia imag...
Category
2010s Contemporary Pigment Color Photography
Materials
Digital Pigment, Paper, Archival Pigment, Pigment, Inkjet, Digital, C Pr...
David Burdeny - Saltern Study 12, Great Salt Lake, UT, 2015, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
59” x 73.5” Edition of 5
The te...
Category
2010s Contemporary Pigment Color Photography
Materials
Pigment, Pigment
David Burdeny - Saltern Study 16, Great Salt Lake, UT, 2015, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55" Edition of 10
59” x 73.5” Edition of 5
The t...
Category
2010s Contemporary Pigment Color Photography
Materials
Pigment, Pigment
David Burdeny - Saltern Study 15, Great Salt Lake, UT, 2015, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
59” x 73.5” Edition of 5
The tension between u...
Category
2010s Contemporary Pigment Color Photography
Materials
Pigment, Pigment
David Burdeny - Photosynthetic 2, Great Salt Lake, UT, 2017, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 21" Edition of 7
32” x 32" Edition of 7
44” x 44” Edition of 10
59” x 59” Edition of 5
The tens...
Category
2010s Contemporary Pigment Color Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
Sportivnaya Station, St Petersburg, Russia, Photography 2015, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
59” x 73.5” Edition of 5
Burdeny’s Russia imag...
Category
2010s Contemporary Pigment Color Photography
Materials
Digital Pigment, Paper, Archival Pigment, Pigment, Inkjet, Digital, C Pr...
David Burdeny - Red Wall, Peterhof, Russia, Photography 2015, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
59” x 73.5” Edition of 5
Burdeny’s Russia imag...
Category
2010s Contemporary Pigment Color Photography
Materials
Digital Pigment, Paper, Archival Pigment, Pigment, Inkjet, Digital, Pigm...
David Burdeny - Parralex, Great Salt Lake, UT, Photography 2017, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
59” x 73.5” Edition of 5
The te...
Category
2010s Contemporary Pigment Color Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Villa Farnese, Caprarola, Italy, Photography 2016, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
59” x 73.5” Edition of 5
While ...
Category
2010s Contemporary Pigment Color Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
David Burdeny - Drawing Room, Havana, Cuba, Photography 2014, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
What makes Burdeny’s Cuba serie...
Category
2010s Contemporary Pigment Color Photography
Materials
Digital Pigment, Paper, Archival Pigment, Pigment, Inkjet, Digital, Pigm...
David Burdeny - Red Chairs, Havana, Cuba, Photography 2014, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
What makes Burdeny’s Cuba serie...
Category
2010s Contemporary Pigment Color Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
David Burdeny - Saltern Study 19, Great Salt Lake, UT, 2015, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
59” x 73.5” Edition of 5
The ten...
Category
2010s Contemporary Pigment Color Photography
Materials
Pigment, Pigment
David Burdeny - Ca' Rezzonico, Venice, Italy, Photography 2012, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
13" x 16" Edition of 4
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
59" x 73....
Category
2010s Contemporary Pigment Color Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
David Burdeny - Cava Bianco VI, Carrara, IT, Photography 2018, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
59” x 73.5” Edition of 5
The raw immediacy and lived experience of taking a photograph matters as much to me as how I compose the frame. It is my private personal connection to these places and the emotional or intellectual intrigue that grips me through the process that I hoperesonates in the print. I seek to capture the mood and promise, silence and solitude in that extended moment of awareness. In my earlier architectural practice and now my photography career, I'm fascinated by the opportunity to invest symbols and narrative into built form or see the metaphor in a material space. I have an abiding interest in thresholds and liminal spaces-places that seem somehow a bridge between the concrete and the ephemeral, elevated above time, hallowed. The sublime resides even in an ordinary space. And while the wondrous capabilities of the digital process permits an extraordinary level of clarity, detail and sensuality to be ingrained into an image, I like to
think that there is a mystery at the heart of all my photographs, an appeal for the viewer to keep looking and see more.Salt–Plottings, Fields and ExtractsIn 1858, Gaspard-Felix Tournachon -known with a flourish as ‘Nadar’ -mounted a wet-plate camera to a giant gas-powered balloon becoming the first to take photography aerial. Jules Verne called Nadar “an Icarus with replaceable wings.” As it had been in the classical era, the spirit of the age was once more animated by the potential for height. But the noted caricaturist Honore Daumier -typically the century’s most incisive social chronicler -doubted that there was anything aesthetically beneficial to be gained from such a lofty perspective. Daumier’s famously satirical lithograph, Nadar Raising Photography to the Height of Art, was intended as a mockery of aerial photography’s artistic pretense and as a warning against its surveillance purpose. Daumier’s print shows Nadar rising high above Paris with his camera pointed down and every building below target-marked by the word “PHOTOGRAPHIE”. Already, the utility of panoptic vision was thought to trump its sublime allure or transcendental opportunity. And it would take another 50 years before this fundamentally new visual perspective would upend artistic representation of space.That tension between utilitarian purpose and artistic inspiration is the unexpectedly compelling strength of David Burdeny’s mesmerizing series of aerial abstractions called Salt. His large-format and luminously intriguing photographs of salterns occupy the hazy border zonebetween the prosaic and the poetic. In our hyper-connected age of GPS, Google maps and instant information, the instinctual reaction to these scenes might first be to determine the where and the why of them -their ground-level location or biological/environmental fact. To see first the service roads and draining ditches or to puzzle out how the chemical balance in the salt ponds creates these particular blooms of colour. Such readings serve to root vision in the commonplace and the established order -the here and now -and downgrade the sublimity in the aerial experience. But Burdeny’s Salt photographs aim to be more evocative and exalted than pedestrian. They seek to elevate our experience of the world in more ways than one.From the startof his fine art photography career -certainly aided by his earlier architectural practice -Burdeny has always had a deft appreciation for the artistic potential of pure space and how it can be purposefully structured to appeal to the senses. He has become a
master of the photographic moment made in service of a sublime sensibility. His early black-and-white long-exposure work created a minimalist monumentality out of spare landscapes that felt privately spiritual and seemed to exist outside time. And thestark awesome force of the icebergs in his North/South series crackled with a similar terrifying majesty as the Romantic poets and artists of the nineteenth century regarded them. Even the docents sitting alone and attentively in the Hermitage in Burdeny’s recent Bright Future series seem to be keenly aware of the profound privilege of sensuous perception. What Salt adds to this conversation is its cunning use of the artistic heritage and sublime intrigue of abstract art to further Burdeny’s interest inliminal spaces. In their use of amorphous shapes, elongated fields of colour and vertical, jagged and sinuous lines, Burdeny’s images suggest the painterly expressiveness of Rothko, Still, Newman, Diebenkorn and late career Willem de Kooning. The effect is less intentional than it is available -Modernism’s abstracted reordering of the visual landscape (which essentially got going in pre-WWI Paris...
Category
2010s Contemporary Pigment Color Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Cava Bianco II, Carrara, IT, Photography 2018, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
59” x 73.5” Edition of 5
The raw immediacy and lived experience of taking a photograph matters as much to me as how I compose the frame. It is my private personal connection to these places and the emotional or intellectual intrigue that grips me through the process that I hoperesonates in the print. I seek to capture the mood and promise, silence and solitude in that extended moment of awareness. In my earlier architectural practice and now my photography career, I'm fascinated by the opportunity to invest symbols and narrative into built form or see the metaphor in a material space. I have an abiding interest in thresholds and liminal spaces-places that seem somehow a bridge between the concrete and the ephemeral, elevated above time, hallowed. The sublime resides even in an ordinary space. And while the wondrous capabilities of the digital process permits an extraordinary level of clarity, detail and sensuality to be ingrained into an image, I like to
think that there is a mystery at the heart of all my photographs, an appeal for the viewer to keep looking and see more.Salt–Plottings, Fields and ExtractsIn 1858, Gaspard-Felix Tournachon -known with a flourish as ‘Nadar’ -mounted a wet-plate camera to a giant gas-powered balloon becoming the first to take photography aerial. Jules Verne called Nadar “an Icarus with replaceable wings.” As it had been in the classical era, the spirit of the age was once more animated by the potential for height. But the noted caricaturist Honore Daumier -typically the century’s most incisive social chronicler -doubted that there was anything aesthetically beneficial to be gained from such a lofty perspective. Daumier’s famously satirical lithograph, Nadar Raising Photography to the Height of Art, was intended as a mockery of aerial photography’s artistic pretense and as a warning against its surveillance purpose. Daumier’s print shows Nadar rising high above Paris with his camera pointed down and every building below target-marked by the word “PHOTOGRAPHIE”. Already, the utility of panoptic vision was thought to trump its sublime allure or transcendental opportunity. And it would take another 50 years before this fundamentally new visual perspective would upend artistic representation of space.That tension between utilitarian purpose and artistic inspiration is the unexpectedly compelling strength of David Burdeny’s mesmerizing series of aerial abstractions called Salt. His large-format and luminously intriguing photographs of salterns occupy the hazy border zonebetween the prosaic and the poetic. In our hyper-connected age of GPS, Google maps and instant information, the instinctual reaction to these scenes might first be to determine the where and the why of them -their ground-level location or biological/environmental fact. To see first the service roads and draining ditches or to puzzle out how the chemical balance in the salt ponds creates these particular blooms of colour. Such readings serve to root vision in the commonplace and the established order -the here and now -and downgrade the sublimity in the aerial experience. But Burdeny’s Salt photographs aim to be more evocative and exalted than pedestrian. They seek to elevate our experience of the world in more ways than one.From the startof his fine art photography career -certainly aided by his earlier architectural practice -Burdeny has always had a deft appreciation for the artistic potential of pure space and how it can be purposefully structured to appeal to the senses. He has become a
master of the photographic moment made in service of a sublime sensibility. His early black-and-white long-exposure work created a minimalist monumentality out of spare landscapes that felt privately spiritual and seemed to exist outside time. And thestark awesome force of the icebergs in his North/South series crackled with a similar terrifying majesty as the Romantic poets and artists of the nineteenth century regarded them. Even the docents sitting alone and attentively in the Hermitage in Burdeny’s recent Bright Future series seem to be keenly aware of the profound privilege of sensuous perception. What Salt adds to this conversation is its cunning use of the artistic heritage and sublime intrigue of abstract art to further Burdeny’s interest inliminal spaces. In their use of amorphous shapes, elongated fields of colour and vertical, jagged and sinuous lines, Burdeny’s images suggest the painterly expressiveness of Rothko, Still, Newman, Diebenkorn and late career Willem de Kooning. The effect is less intentional than it is available -Modernism’s abstracted reordering of the visual landscape (which essentially got going in pre-WWI Paris...
Category
2010s Contemporary Pigment Color Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny-Biblioteca Angelica, Rome, Italy, Photography 2016, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
59” x 73.5” Edition of 5
While ...
Category
2010s Contemporary Pigment Color Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
David Burdeny - Saltern Study 18, Great Salt Lake, UT, 2015, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
59” x 73.5” Edition of 5
The te...
Category
2010s Contemporary Pigment Color Photography
Materials
Pigment, Pigment
David Burdeny - Saltern Study 06, Great Salt Lake, UT, 2015, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 21" Edition of 7
32” x 32" Edition of 7
44” x 44” Edition of 10
59” x 59” Edition of 5
The tens...
Category
2010s Contemporary Pigment Color Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Blue Quadrilateral , Great Salt Lake, UT, 2017, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
59” x 73.5” Edition of 5
The te...
Category
2010s Contemporary Pigment Color Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Photosynthetic 1, Great Salt Lake, UT, 2017, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 21" Edition of 7
32” x 32" Edition of 7
44” x 44” Edition of 10
59” x 59” Edition of 5
The tens...
Category
2010s Contemporary Pigment Color Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Piano Player, Havana, Cuba, Photography 2014, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
What makes Burdeny’s Cuba serie...
Category
2010s Contemporary Pigment Color Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
David Burdeny - Piazza del Duomo, Milano, Italy, Photography 2016, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
21” x 21" Edition of 7
32” x 32" Edition of 7
44” x 44” Edition of 10
59" x 59" Edition of 5
While the spaces themse...
Category
2010s Contemporary Pigment Color Photography
Materials
Paper, Digital Pigment, Archival Pigment, Pigment, Digital, Pigment, Pho...
David Burdeny - Cava Bianco V, Carrara, IT, Photography 2018, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
59” x 73.5” Edition of 5
The raw immediacy and lived experience of taking a photograph matters as much to me as how I compose the frame. It is my private personal connection to these places and the emotional or intellectual intrigue that grips me through the process that I hoperesonates in the print. I seek to capture the mood and promise, silence and solitude in that extended moment of awareness. In my earlier architectural practice and now my photography career, I'm fascinated by the opportunity to invest symbols and narrative into built form or see the metaphor in a material space. I have an abiding interest in thresholds and liminal spaces-places that seem somehow a bridge between the concrete and the ephemeral, elevated above time, hallowed. The sublime resides even in an ordinary space. And while the wondrous capabilities of the digital process permits an extraordinary level of clarity, detail and sensuality to be ingrained into an image, I like to
think that there is a mystery at the heart of all my photographs, an appeal for the viewer to keep looking and see more.Salt–Plottings, Fields and ExtractsIn 1858, Gaspard-Felix Tournachon -known with a flourish as ‘Nadar’ -mounted a wet-plate camera to a giant gas-powered balloon becoming the first to take photography aerial. Jules Verne called Nadar “an Icarus with replaceable wings.” As it had been in the classical era, the spirit of the age was once more animated by the potential for height. But the noted caricaturist Honore Daumier -typically the century’s most incisive social chronicler -doubted that there was anything aesthetically beneficial to be gained from such a lofty perspective. Daumier’s famously satirical lithograph, Nadar Raising Photography to the Height of Art, was intended as a mockery of aerial photography’s artistic pretense and as a warning against its surveillance purpose. Daumier’s print shows Nadar rising high above Paris with his camera pointed down and every building below target-marked by the word “PHOTOGRAPHIE”. Already, the utility of panoptic vision was thought to trump its sublime allure or transcendental opportunity. And it would take another 50 years before this fundamentally new visual perspective would upend artistic representation of space.That tension between utilitarian purpose and artistic inspiration is the unexpectedly compelling strength of David Burdeny’s mesmerizing series of aerial abstractions called Salt. His large-format and luminously intriguing photographs of salterns occupy the hazy border zonebetween the prosaic and the poetic. In our hyper-connected age of GPS, Google maps and instant information, the instinctual reaction to these scenes might first be to determine the where and the why of them -their ground-level location or biological/environmental fact. To see first the service roads and draining ditches or to puzzle out how the chemical balance in the salt ponds creates these particular blooms of colour. Such readings serve to root vision in the commonplace and the established order -the here and now -and downgrade the sublimity in the aerial experience. But Burdeny’s Salt photographs aim to be more evocative and exalted than pedestrian. They seek to elevate our experience of the world in more ways than one.From the startof his fine art photography career -certainly aided by his earlier architectural practice -Burdeny has always had a deft appreciation for the artistic potential of pure space and how it can be purposefully structured to appeal to the senses. He has become a
master of the photographic moment made in service of a sublime sensibility. His early black-and-white long-exposure work created a minimalist monumentality out of spare landscapes that felt privately spiritual and seemed to exist outside time. And thestark awesome force of the icebergs in his North/South series crackled with a similar terrifying majesty as the Romantic poets and artists of the nineteenth century regarded them. Even the docents sitting alone and attentively in the Hermitage in Burdeny’s recent Bright Future series seem to be keenly aware of the profound privilege of sensuous perception. What Salt adds to this conversation is its cunning use of the artistic heritage and sublime intrigue of abstract art to further Burdeny’s interest inliminal spaces. In their use of amorphous shapes, elongated fields of colour and vertical, jagged and sinuous lines, Burdeny’s images suggest the painterly expressiveness of Rothko, Still, Newman, Diebenkorn and late career Willem de Kooning. The effect is less intentional than it is available -Modernism’s abstracted reordering of the visual landscape (which essentially got going in pre-WWI Paris...
Category
2010s Contemporary Pigment Color Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
Pigment color photography for sale on 1stDibs.
Find a wide variety of authentic Pigment color photography available on 1stDibs. While artists have worked in this medium across a range of time periods, art made with this material during the 21st Century is especially popular. If you’re looking to add color photography created with this material to introduce a provocative pop of color and texture to an otherwise neutral space in your home, the works available on 1stDibs include elements of blue, purple, orange, red and other colors. There are many well-known artists whose body of work includes ceramic sculptures. Popular artists on 1stDibs associated with pieces like this include David Burdeny, Tyler Shields, Diana Bloomfield, and Ali Alışır. Frequently made by artists working in the Contemporary, all of these pieces for sale are unique and many will draw the attention of guests in your home. Not every interior allows for large Pigment color photography, so small editions measuring 0.1 inches across are also available
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