Rocio De Alba

Honor Thy Mother Series : The Council Woman

2017

From the Hand Series Hand Holding a vintage photograph of Family Edition 1/5 Printed to Order Gerry Giliberti is a print-based photographic artist who uses graphics, photography, scu...

From the Hand Series Hand Holding an Eyeball Edition of 5 Printed to Order *Photography: U Wash Truck, Death Valley and Mulford Lane, Amagansett 2012 have been featured in the June 2019 issue of Black & White Magazine and the photograph Boat House, Springs East Hampton is featured in the June 2019 issue of Luxury Magazine Gerry Giliberti is a print-based photographic artist who uses graphics, photography, sculpture and digital imagery to create abstract, surrealistic images and constructions that bring the viewer into a new visual world. Having a classical bachelor of fine arts education including printmaking, photography, sculpture, oil and watercolor painting, illustration, etching, silk-screening and other specialized printmaking processes, including archival photographic processing techniques, Giliberti laid the foundation for his unique ability to see simple images among complex textures. Others: Hands Title: Ball Size: 11” x 15” Edition: 2/5 Medium: Archival Pigment Print Price: $550 Title: Family Size: 11” x 15” Edition: 1/5 Medium: Archival Pigment Print Price: $550 Title: Baseball Size: 11” x 15” Edition: 1/5 Medium: Archival Pigment Print Price: $550 Title: Brothers Size: 11” x 15” Edition: 1/5 Medium: Archival Pigment Print Price: $550 Title: Zoranne City Boy...

Lunch, Napeague, NY, Archival Pigment Print, $550, Edition of 5, 2016 East Hampton, New York Iconic LUNCH Lobster Roll Sign Printed to Order *Photography: U Wash Truck, Death Valley and Mulford Lane, Amagansett 2012 have been featured in the June 2019 issue of Black & White Magazine and the photograph Boat...

Black & White Architecture Photograph Printed to Order *Photography: U Wash Truck, Death Valley and Mulford Lane, Amagansett 2012 have been featured in the June 2019 issue of Black & White Magazine and the photograph Boat...

Fireplace Farm Sign Springs, East Hampton NY, Archival Pigment Print, $550, Ed. 1/5, 2014 Printed to Order Also available in 20"x30" Edition of 10 $725 *Photography: U Wash Truck...

Yellow Ball, East Hampton, NY, Archival Pigment Print, $550, Ed. 1/5, 2016 Printed to Order *Photography: U Wash Truck, Death Valley and Mulford Lane, Amagansett 2012 have been fea...

'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...

This fine art print features back of a woman wearing Yellow-Gray scarf, holding two of her babies. This image was shot by Dorte Verner in Djibouti, East Afr...

This Photograph features a beautiful Geisha walking it the rain holding a red umbrella. Geisha are Japanese women who entertain through performing the ancient traditions of art, danc...

This Photograph features a side-view of a beautiful Geisha walking in the rain holding a purple umbrella. Geisha are Japanese women who entertain through performing the ancient tradi...

Documentary Photograph. Contemporary Inkjet on cotton. Limited edition of 5. Signed front and verso. Framed in lacquered black frame with spacer) 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...

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...