Robert Herman

Bilbao Spain Guggenheim Museum photograph

2011

Moonrise over Metropolis by Fernando Natalici Shot Queens, NY, 1995 on a very cloudy day. A black balloon against the sky, amidst a very cloudy day combines to create a surre...

SoHo Fire Escapes, New York, 1984 by Fernando Natalici: The simplicity & grace of iconic New York architecture rendered timeless by the snap of the camera. A window into a street photographer's decisive moment. A window into, not only the New York of 'then', but the hidden poetry of urban architecture... Archival Inkjet Print. Approximately 12 x 18 inches (image size: approx 12 x 17in.). Hand signed from an edition of 20. Obtained directly from artist. Excellent condition. New York based photographer Fernando Natalici is best known for his iconographic documentation of the downtown Manhattan art scene of the mid/late 70's and early 80's. Natalici’s portfolio includes sought after images of a young Patti Smith, Blondie, Talking Heads, Keith Haring, The Ramones and more. As an Art Director, Fernando has played a key role in creating memorable visuals for historic NY venues such as CBGB's, The Mudd Club, Area and Danceteria. Soho Building Architecture, A Brief History The SoHo-Cast Iron Historic District comprises about 500 buildings, many of which are characterized by their cast-iron facades. Development of the district began in the late 18th century. The population surged after the War of 1812, and some homes from this era still remain. The latter half of the 19th century saw the district evolve into a center of commerce and entertainment, and the majority of the cast-iron buildings the district is known for were constructed during this period. The use of cast-iron allowed for ornate facades that were a much cheaper alternative to granite and marble. However, an increase of industrial production along with rising crime and “immorality” steadily drove residents out of the area. The district began to decline in the early 20th century, leaving many spaces vacant for decades and leading some to refer to the area as Hell’s Hundred Acres. 

It was not until the late 1960s that artists became attracted to the area because the large, unoccupied loft spaces made affordable studios. Many of those who moved into the area lived in their workspaces, even though it was illegal to do so, and the area was not sufficiently equipped for residential life, lacking basic necessities. At the same time, the entire landscape of SoHo was threatened by plans to build the Lower Manhattan Expressway (LOMEX) - a proposed ten-lane elevated highway that would require the demolition of much of SoHo and Little Italy. Artists in the area collaborated with other preservation advocates in the first, unsuccessful attempt to designate SoHo as a historic district for its architectural significance. Although that failed, they also formed Artists Against the Expressway and ultimately helped defeat the plans for LOMEX, which saved the architecture in the area. The “SoHo Effect” has become a model for repurposing an industrial district for mixed use, both commercial and residential, while preserving much of the existing structural integrity. Today SoHo is known for its unique cast-iron architecture, desirable loft living...

In 1978, photographer Fernando Natalici, the creative mind behind the graphic design for iconic venues like CBGB and the Mudd Club, spent twenty-four hours shooting the raw scenery of Times Square and 42nd Street. "Natalici's shots candidly recall a Times Square of flashing marquee lights, electric sexual energy and wild lawlessness. His photographs resuscitate a New York of yesteryear in all of its chiaroscuro, with it all of the dark tenets of urban life that are today masked beneath a glossy veil of uniformity." (Jessica Dailey, Curbed NY, July 29th 2014) Archival Inkjet Print 13 x 19 inches. Hand signed & titled in ink on the verso from a limited edition of 15. Excellent condition. Obtained directly from artist. Lot 180...

Dondi White, Zephyr & Charlie Ahearn ‘Heroin Kills' Subway Art Photograph 1981. A rare, historic, early 1980s Bronx, New York graffiti photograph by Cha...

Vik Muniz Memory Rendering of John John (Vik Muniz The Best of Life): 'John John' is a selection from Vik Muniz's The Best of LIFE series from 1989. Muniz's...

'Lady vanishes in Manhattan' Abstract black and white Manhattan street photography from by Fernando Natalici. A woman walks into the Manhattan night. H...

'It's In The Trees I' by Stuart Möller Abstract capture of a trees in a wood.Abstract landscape. An exquisite Limited Edition Archival Pigment Print. Edition Size 3 only this siz...

' Palms Composition ' Oversize Limited Edition Signed Archival print 2013 by Stuart Möller edition of 15 only this size. unframed. A Summer evening scene of delicately pink lit palm trees. Stuart Möller's background is in fine art, with his images being contemplative, meditative observations. Stuart Möller ALL EDITION SIZES & Prices 10x12 25 $325 12x16 25 $595 20x16 25 $885 20x24 20 $1,100 30x20 15 $1,250 40x30 10 $1,495 60x40 5 $2,500 contemporary modernist religion religious atheism agnostic sea sun beach bikini...

Since its construction, Mitchell Funk has been chronicling the Twin Towers, of the World Trade Center. More specifically, he has been recording how light affects and transforms the two giant monoliths. Like us all, Mitchell was inspired by the formidable presence of the two buildings. Living in Brooklyn Heights with great views of lower Manhattan gave him a special advantage and opportunity to assemble some of the most iconic Twin Tower images ever taken. To Mitchell Funk, the Twin Towers, of the World Trade Center were the perfect synthesis of commerce and art. Most modern architecture is simply functional. Minoru Yamasaki's Twin Towers were in fact something quite radical. They were a steel and glass expression of Minimalism on the grandest scale in human history. Everything in the towers was stripped down to its essential quality with nothing extraneous added ….. except light. The way the buildings reflected light made them unique and inspired Mitchell to record them in color for 32 years. Although, the exterior was actually made of a very reflective blue/grey stainless steel the warm light of daybreak and sunset could change their color and transform them from buildings into and mystical monumental sculptures. With the help of the sun as a key player, Mitchell’s images of the Twin Towers progress from the mystical to the spiritual as they reflect the sun’s intense golden energy. Under these conditions, one could argue, that the Twin Tower housed the same type of divine energy as the adjacent churches. In the wake of the 9/11 tragedy, one could interpret Twin Tower sunset images differently. A sunset can be a symbol for the end of the day or simply The End. The 1969 image “Dead End” is a visual prognostication. The North Tower is under construction in the background and in the foreground, Mitchell has framed it between two street signs that read Dead End. In Mitchell’s Twin Tower photographs, he is not taking a tourist picture that says “here I am on the Brooklyn Heights Promenade...

'Calm Sea' by Stuart Möller A view of the sea at dusk in Sri Lanka during a rainstorm. A fabulously atmospheric image of the sea, and the seemingly blurred horizon between water an...

JUN AHN (*1981) Invisible Seascape #2 2010 HDR Ultra Chrome Archival Pigment Print Sheet 304.8 x 101.6 cm (120 x 40 in.) Edition of 3, plus 1 AP; Ed. no. 1/3 Framed to artist's speci...

Black and white fine art landscape photography. Curved laurel tree in foggy fairy forest, Madeira, Portugal. Archival pigment ink print, edition of 8. Signed, titled, dated and numbe...