21st Century and Contemporary Color Photography

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...

Stefanie Schneider's work was used for Marc Forster's movie 'Stay'. Featuring Ewan McGregor, Naomi Watts and Ryan Gosling. Naomi and Ryan were both portraying artists and Stefanie's ...

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...

The blue room is a photograph by French contemporary artist Camille Brasselet. This photograph is sold unframed as a print only. It is available in 2 dimensions: *50 cm × 75 cm (19...

Listing includes free shipping in the US and a 14-day return policy. All prints are made to order and will arrive in mint condition directly from Will Adler's studio in Santa Barbara. Will Adler Malibu, 2009 16 x 24 inch archival pigment print Edition 3 of 8 Signed on adhesive certificate Other sizes are available from the same edition. 30" wide, 40" wide, and 50" wide. Please inquire for pricing. Artist Biography - Will Adler is a 38 year old west coast photographer known for his distinctive take on the surf world. Adler's laid back, light infused images, (as often of women surfers as men) convey the spirit and atmosphere of place as much as the action of the sport and have earned him a cult following in surfing and photography circles. For his summer show at Danziger Gallery, Adler is showing pictures from Hawaii, California, and Montauk shot for himself and for magazines such as Juxtapoz, Neon, Surfer, WAX, and The New Yorker, His commercial clients have included Quiksilver, Patagonia, Nike, and Hixsept. The 2014 summer show at Danziger Gallery was curated by Tom Adler...

Washeteria - Looking In, vintage interior photograph from Richard Heeps series, A Short History of London. "I discovered this launderette while London was in lockdown during the pand...

Signed and editioned on front of print. From the "Portraits Without People" series. Edition of 10.

Tulip regenerations, 2012 by Zoltan Gerliczki From the series Still Life Archival pigment print on fine art paper Image size: 31.5 in H x 25.5 in W. Edition of 6 + 2AP Unframed As a...

The bodegones are a pictorial interpretation based on a research project of the famous chef Juan Carlos Franco, on old food recipes of different periods in history. The photographer ...

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

In this series, Zilberberg creates animal montages as an expression of self-therapy. As an urbanite, functioning day-to-day in a fast-paced, built environment can be emotionally unse...

First Steps (Burned) - Self Portrait - 1999 20x20cm, Edition 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Signature label and Certificate. Artist I...

"Shannon", Edition 1/10, 20x30cm, 2017, digital Print, printed on Velvet Watercolor, 310gsm, Bright White, Acid Free, Signature label and Certificate. Published in Tao Ruspoli's Mon...

H 14-15 is a limited-edition photograph by French contemporary artist Riccardo Varini. This photograph is sold unframed as a print only. It is available in two sizes: *45 × 30 cm (...

The angel is a being that religion has bequeathed us as a sign of purity, innocence, and goodness, from the same source, we have been sold to the devil as the form that represents ev...

Untitled 07 (Saigon) - 2003 Edition of 5, plus 2 Artist Proofs. 58x56cm. Analog C-Print, hand-printed by the artist, based on the Polaroid. Artist inventory Number 475. Not mou...

This pin-up image is rooted in time-honored photographic celebrations of statuesque feminine beauty. It also provides a contemporary aesthetic to portray the subject as confident and...

The Games we played (Till Death do us Part) - 2005 20x20cm, Edition of 10, plus 2 artist proofs. Archival C-Print print, based on the Polaroid. Certificate and Signature label, a...

'Red Body' is a colour field abstract artwork, focusing on the interplay of form and tone within a monochromatic composition. The deep blue hue creates a sense of depth and fluidity,...

Homestead (Till Death do us Part) - 2016 40x40cm, Edition of 10. Archival C- Print, based on the Polaroid. Certificate and signature label. Artist inventory number: 9707. Not mou...

Abstract #1 (Journey to the Center of the Earth) - 2019 Edition of 10. Photograph printed in Canson Barita Fiber Rag 340gr, based on a reclaimed Fuji Instant Film Negative (not mou...

Anne Sager (American, 1930-2024), Group of Two Architectural Compositions, Chromogenic Print, apparently unsigned, metal frames. Image: 9.5" H x 8" W; frame: 17.25" H x 14.25" W x .7...

Limited Edition of 2,500 copies, numbered and signed by David LaChapelle Edition of 2,500 Hardcover in clamshell box, 13.6 x 19.7 in., 43.43 lb, 698 pages

Banished (The Girl behind the White Picket Fence) 60x75cm, Edition 1/5, analog C-Print, hand-printed and enlarged by the artist, based an expired Polaroid. Certificate and Signat...

Jose Sierra work is deeply influenced by themes of self-representation and a homoerotic gaze. Through his unique aesthetic, he creates abject staged environments that challenge tradi...

Car Wash (Stranger than Paradise) - 1999 20x20cm, Edition of 10, plus 2 Artist Proofs. 
 Archival C-Print, based on the original Polaroid. 
 Certificate and Signature label. 
 A...

SEASCAPE I ( framed ) by Frank Schott from a series of photographic works capturing the sea blue color palette of the ocean 30 x 40 inches / 76cm x 102cm edition of 25 artist signed...

Effetto Serra is a limited-edition photograph by British contemporary artist Gina Soden. This photograph is a limited edition of 15 copies, it is sold framed with a classic white fr...

Mesmerizing large scale photograph from artist's Seascape series, a body of works capturing the tactile surfaces and monochromatic nature of oceanic water and cloudscapes Seascape I...

Palm Springs Palm Trees XI (Californication) - 2019 40x40cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory Number 22...

Faiber Oct 1999 by Celso Castro-Daza Photography photo collage intervened by the artist with bland ink mounted on archival paper. Sheet size: 27.5 in. H x 19.5 in. W Unframed One of...

Ghost Rider Cowboy (Purple), pop art photograph by Natasha Heidler. Natasha Heidler’s seductive images are a playful collection of contradictions. Ghostly outlines collide with vibr...

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...

Untitled Flower # 98 Hahnemuhle Photo Rag Matte Paper with Epson archival quality ink Edition of 25 Available sizes: 11" x 14” 20" x 24” 30" x 30” 30" x 40” 40" x 40" 48" x 48” 48" x...

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

Girls (Till Death do us Part) - 2016 40x40cm, Edition of 10. Archival C- Print, based on the Polaroid. Certificate and signature label. Artist inventory number: 9435. Not mounted...

A brief and urgent Message (Ensign Broderick record Shoot 'Blood Crush') - Bombay Beach, CA - 2019 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polar...

Untitled IX, Firework series, is a limited-edition photograph by contemporary artist Matthieu Venot. This photograph is sold unframed as a print only. It is available in 3 dimension...

Atomic Yellow - Oversize Signed limited edition - Pop Art - Brigitte Bardot by the London based contemporary pop art image creator and artist, BATIK. Measures approximately 16 x 1...

Photographer Roberta Fineberg captures an afternoon sun shower near the Piazza Navona in Rome. A figure holds a pink umbrella in sunlight appearing in between buildings in a narrow R...

Modena by Frank Schott 48 x 64 inches / 122cm x 163cm edition of 7 signed 30 x 40 inches / 76cm x 102cm edition of 25 signed archival quality fine art pigment print limited art ed...

"David Bowie Heathen" by Markus Klinko David Bowie Heathens album cover, 2002, framed in an orange wood frame with anti glare Perspex. (photo by Markus Klinko) Heathen (stylised as uǝɥʇɐǝɥ) is the 23rd studio album by English musician David Bowie. It was originally released in Europe on 10 June 2002, and the following day in America. After departing EMI/Virgin, it was his first release through his newly-formed ISO Records label, in conjunction with Columbia Records. It reunited Bowie with producer Tony Visconti, marking the two's first full-album collaboration since 1980's Scary Monsters. Recording mostly took place at New York studios from August 2001 to January 2002 and featured overdubs from several guest musicians, including Dave Grohl and Pete Townshend. Two tracks, including "Afraid" and "Slip Away" evolved from Bowie's shelved Toy album, while three were covers by Pixies, Neil Young and the Legendary Stardust Cowboy. Framed Orange Framed Size: 33" x 24" (Inches) Image Size: 28" x 19'' (inches) Vintage C Type Poster...

Untitled Flower # 05 Hahnemuhle Photo Rag Matte Paper with Epson archival quality ink Edition of 25 Available sizes: 11" x 14” 20" x 24” 30" x 30” 30" x 40” 40" x 40" 48" x 48” 48" x...

an homage to the photo realism + pop art color palette of artist David Hockney Beach Goals by Erik Pawassar 29 x 40 inches (74 x 102cm) signed edition of 25 48 x 67 inches (122 x...

Memories (Oxana's 30th Birthday) - 2007 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print print, based on the Polaroid. Certificate and Signature label. Artist Inve...

FUN! carousel horse photograph by Richard Heeps, capturing the detailed artistry of historic vintage fairgrounds. This artwork is a limited edition of 25, gloss photographic print, ...

The Point of no Return (Heavenly Falls) - 2016 48x58cm, Edition of 10, Archival C-Print based on the Polaroid. Certificate and signature label. Artist inventory number: 19627.02. ...

Classic Lincoln cars, parked outside the famous mid-century building, the La Concha Motel in Las Vegas. The cinematic scene of now Lost Vegas, evokes image...

Jordan (Wastelands) - 2003 Edition of 10, 38x36cm, Archival C-Print, based on the Polaroid. Artist inventory Number 1176.13. Signature label and Certificate. Not mounted. The wo...

Time stopped (Till Death do us Part) - 2005 20x24cm, Edition of 10, Archival C-Print print, based on the Polaroid. Certificate and Signature label, artist Inventory No. 9303. N...

A contemporary color photograph by Roberta Fineberg of a classical Greco-Roman statue in Ostia Antica, the old port of Ancient Rome. The neon landscape captures the spirit of the ant...

1892, 2022 by Salvatore Arnone From the ONE series Photographic print on Hahnemuhle paper Dimensions: Frame size: 31 H x 24 W in Printed area: 23 H x 16 W in Edition of 3 Wood frame ...

'Telephone I' part of Richard Heeps 'Dream in Colour' Series. This cool Palm Springs interior photography combines gorgeous colours of bold red and dreamy blue and it has a mid-cent...

Flower Bed - 2019 27x43cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print based on a Polaroid Collage. Hand-signed and numbered by the artist on the back with Certificate. ...

Family Affair - 2020 50x50cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signed on the back and with certificate. Artist inventory PL202...

The Drugs Don't Work II - Oversize limited edition - Pop Art - Twiggy by the London based contemporary pop art image creator and artist, BATIK. Measures 30 x 20" inches / 76 x 41 ...

The angel is a being that religion has bequeathed us as a sign of purity, innocence, and goodness, from the same source, we have been sold to the devil as the form that represents ev...

"Tina" Photography 39" x 31" in Edition of 7 by Kseniya Vashchenko Not framed. Ships rolled in tube. Available sizes: Edition of 15: 29.5" x 24" in Edition of 7: 39" x 31" in Ed...