Pop Art Color Photography

13 x 19" Lifetime vintage archival pigment color print made under the instruction of and approved by Jack Mitchell. Fashion designer Gianni Versace, ...

From the Heidler & Heeps German Stamp Collection these historic postage stamps are given a twenty-first century pop art lease of life. This artwork is a ...

La Belle Femme in the Sun, Atlantic City photograph from Richard Heeps 2013 'Jersey Shore' series. This is one of Richard's photographic signature styles where he uses surreal twists...

Just Looking II by B A T I K signed limited edition POP ART print Paper Size Oversize 40 x 30" inches / 101 x 76 cm Signed & numbered by artist on front Archival Pigment print Limited to 10 only Pop Art featuring Audrey Hepburn in Breakfast At Tiffany's looking at tv monitors...

From the 2018 Singapore Series, Postcards from afar. This artwork is a limited edition of 25, gloss photographic print. Accompanied by a signed and numbered certificate of authentic...

From the 2018 Singapore Series, Postcards from afar. This artwork is a limited edition of 25, gloss photographic print. Accompanied by a signed and numbered certificate of authentic...

Acclaimed contemporary photographers, Richard Heeps and Natasha Heidler have collaborated to make this beautifully mesmerising collection. A celebration of the vinyl record and analo...

From the 2018 Singapore Series, Postcards from afar. This artwork is a limited edition of 25, gloss photographic print. Accompanied by a signed and numbered certificate of authentic...

From the 2018 Singapore Series, Postcards from afar. This artwork is a limited edition of 25, gloss photographic print. Accompanied by a signed and numbered certificate of authentic...

Acclaimed contemporary photographers, Richard Heeps and Natasha Heidler have collaborated to make this beautifully mesmerising collection. A celebration of the vinyl record and analo...

Acclaimed contemporary photographers, Richard Heeps and Natasha Heidler have collaborated to make this beautifully mesmerising collection. A celebration of the vinyl record and analo...

Acclaimed contemporary photographers, Richard Heeps and Natasha Heidler have collaborated to make this beautifully mesmerising collection. A celebration of the vinyl record and analo...

Zupan combines images from old masters, alchemical prints, contemporary artists, and bits from magazines and newspapers to create overlapping, intersecting worlds of transparencies a...

Taken at the traditional Drag Racing event, Hot Heads East where the spirit of motor racing is taken back to the past as Hot Rodding enthusiasts gather in Germany. Whether you're int...

Acclaimed contemporary photographers, Richard Heeps and Natasha Heidler have collaborated to make this beautifully mesmerising collection. A celebration of the vinyl record and analo...

Brand new artwork by Richard Heeps featuring the iconic Empire State building in the mist. Photographed in New York City in 2017, he just executed this in his darkroom, printing it i...

Brand new artwork by Richard Heeps featuring the iconic Empire State building in the mist. Photographed in New York City in 2017, he just executed this in his darkroom, printing it i...

Bananarama aka It Ain't What You Do It's The Way That You Do It by BATIK signed limited edition POP ART print Paper Size Oversize 40...

Woman in pop style. Silver Highlight Chromogenic Photograph Face Mounted to Acrylic. About the Artist: My art is a mix of media combining images, textures, vintage memorabilia...

Soup can in pop style. Silver Highlight Chromogenic Photograph Face Mounted to Acrylic. About the Artist: My art is a mix of media combining images, textures, vintage memorabilia...

Zupan combines images from old masters, alchemical prints, contemporary artists, and bits from magazines and newspapers to create overlapping, intersecting worlds of transparencies a...

Acclaimed contemporary photographers, Richard Heeps and Natasha Heidler have collaborated to make this beautifully mesmerising collection. A celebration of the vinyl record and analo...

Ohh Baby ! - Oversize Signed limited edition - Pop Art - Kate Moss by the London based contemporary pop art image creator and artist, BATIK. Measures 60 x 40" inches / 152 x 101 ...

Acclaimed contemporary photographers, Richard Heeps and Natasha Heidler have collaborated to make this beautifully mesmerising collection. A celebration of the vinyl record and analo...

Acclaimed contemporary photographers, Richard Heeps and Natasha Heidler have collaborated to make this beautifully mesmerising collection. A celebration of the vinyl record and analo...

Acclaimed contemporary photographers, Richard Heeps and Natasha Heidler have collaborated to make this beautifully mesmerising collection. A celebration of the vinyl record and analo...

Part of Richard Heeps 'Dream in Colour' Series, this cool Palm Springs interiors picture combines gorgeous colours and dreamy nostalgic mid-century vibes. This artwork is a limited ...

Part of Richard Heeps 'Dream in Colour' Series, this is one of his classic American signs. This artwork is a limited edition of 25, gloss photographic print. Accompanied by a signed...

Part of Richard Heeps 'Man's Ruin' Series, this fun multi-colour picture has so many iconic nostalgic icons, from Marilyn Monroe, Elvis, vintage Cars & homeware and mid-century desig...

This photograph of artist Louise Nevelson was taken in 1974 in Nevelson's home in Manhattan. One of Mitchell's most beautiful color photographs. This exhibition print is 17 x 22". Co...

Eternal Recurrence #42 by Natasha Zupan Archival pigment print on photographic paper Image size: 60 in. H x 53.5 in. W Edition of 5 2015 All Prices are quoted as "initial price". ...

Dream It I by BATIK signed limited edition Oversize POP ART Paper Size OVERSIZE 40 x 30" inches / 101 x 76 cm Signed & numbered by artist on front ...

Zupan combines images from old masters, alchemical prints, contemporary artists, and bits from magazines and newspapers to create overlapping, intersecting worlds of transparencies a...

Ohh Baby ! - Hand Signed Limited Edition - Pop Art - Kate Moss Archival Pigment Print BATÍK is a London based contemporary pop art image creator and artist. Measures 30 x 20 inc...

Darth Elvis - Hand Signed Limited Edition Archival Pigment Print This piece is a fun and modern reworking of actor and singer Elvis Presley, dressed as Star Wars' Darth Vader. B...

Zupan combines images from old masters, alchemical prints, contemporary artists, and bits from magazines and newspapers to create overlapping, intersecting worlds of transparencies a...

Zupan combines images from old masters, alchemical prints, contemporary artists, and bits from magazines and newspapers to create overlapping, intersecting worlds of transparencies a...

Zupan combines images from old masters, alchemical prints, contemporary artists, and bits from magazines and newspapers to create overlapping, intersecting worlds of transparencies a...

This photograph of diva Patti LuPone, choreographer Michael Smuin and the cast of Broadway hit 'Anything Goes' was taken in 1987 for the cover of Dance Ma...

Hans Namuth Jasper Johns and Leo Castelli, ca. 1985 Color Photograph Frame included Provenance: from the Marjorie and Anselm Talalay collection, Cleveland, OH. Rare original color p...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition M (Edition of 6) 35.4 x 23.6 inches (90 x 60 cm) - Edition L (Edition of 6) 47.2 x 31.5 inches (120 x 80 cm) - Edition XL (Edition of 3) 88.8 x 58.8 inches (225 x 150 cm) PUR - Price Upon Request -------------- Since 1979 Christian Rothmann had more than 40 solo and 80 group exhibitions worldwide. Christian Rothmann had guest lectures, residencies, art fairs and biennials in Europe, Japan, USA, Australia and Korea. Christian Rothmann (born 1954 in Kędzierzyn, Poland ) is a painter, photographer, and graphic artist.⁠ ⁠ In 1976 he first studied at the “Hochschule für Gestaltung” in Offenbach, Germany and moved to Berlin in 1977, where he graduated in 1983 at the “Hochschule der Künste”. From 1983 to 1995 he taught at the university as a lecturer and as an artist with a focus on screenprinting and American art history. To date, a versatile body of work has been created, which includes not only paintings but also long-standing photo projects, videos, and public art.⁠ ⁠ Guest lectures, teaching assignments, scholarships and exhibitions regularly lead Rothmann to travel home and abroad.⁠ ------------------------ Rothmann's Robots These creatures date back to another era, and they connect the past and the future. They were found by Christian Rothmann, a Berlin artist, collector and traveler through time and the world: In shops in Germany and Japan, Israel and America, his keen eye picks out objects cast aside by previous generations, but which lend themselves to his own work. In a similar way, he came across a stash of historic toy robots of varied provenance collected by a Berlin gallery owner many years ago. Most of them were screwed and riveted together in the 1960s and 70s by Metal House, a Japanese company that still exists today. In systematically photographing these humanoids made of tin - and later plastic - Rothmann is paraphrasing the idea of appropriation art. Unknown names designed and made the toys, which some five decades on, Rothmann depicts and emblematizes in his extensive photo sequence. In their photographs of Selim Varol's vast toy collection, his German colleagues Daniel and Geo Fuchs captured both the stereotypical and individual in plastic figures that imitate superheroes which were and still are generally manufactured somewhere in Asia. Christian Rothmann looks his robots deep in their artificially stylized, painted or corrugated eyes - or more aptly, their eye slits - and although each has a certain degree of individuality, the little figures remain unknown to us; they project nothing and are not alter egos. Rothmann trains his lens on their faces and expressions, and thus, his portraits are born. Up extremely close, dust, dents, and rust become visible. In other words, what we see is time-traces of time that has passed since the figures were made, or during their period in a Berlin attic, and - considering that he robots date back to Rothmann's childhood - time lived by the photographer and recipients of his pictures. But unlike dolls, these mechanical robots bear no reference to the ideal of beauty at the time of their manufacture, and their features are in no way modeled on a concrete child's face. In this art project the robots appear as figures without a context, photographed face-on, cropped in front of a neutral background and reduced to their qualities of form. But beyond the reproduction and documentation a game with surfaces is going on; our view lingers on the outer skin of the object, or on the layer over it. The inside - which can be found beneath - is to an extent metaphysical, occurring inside the observer's mind. Only rarely is there anything to see behind the robot's helmet. When an occasional human face does peer out, it turns the figure into a robot-like protective casing for an astronaut of the future. If we really stop and think about modern toys, let's say those produced from the mid 20th century, when Disney and Marvel films were already stimulating a massive appetite for merchandising, the question must be: do such fantasy and hybrid creatures belong, does something like artificial intelligence already belong to the broader community of humans and animals? It is already a decade or two since the wave of Tamagotchis washed in from Japan, moved children to feed and entertain their newly born electronic chicks in the way they would a real pet, or to run the risk of seeing them die. It was a new form of artificial life, but the relationship between people and machines becomes problematic when the machines or humanoid robots have excellent fine motor skills and artificial intelligence and sensitivity on a par with, or even greater than that of humans. Luckily we have not reached that point yet, even if Hollywood adaptations would have us believe we are not far away. Rothmann's robots are initially sweet toys, and each toy is known to have a different effect on children and adults. They are conceived by (adult) designers as a means of translating or retelling history or reality through miniature animals, knights, and soldiers. In the case of monsters, mythical creatures, and robots, it is more about creating visions of the future and parallel worlds. Certainly, since the success of fantasy books and films such as Lord of the Rings or The Hobbit, we see the potential for vast enthusiasm for such parallel worlds. Successful computer and online games such as World of Warcraft, or the creation of avatars are also interesting worldwide phenomena of virtual realities that are not only relevant for children and teens. So when a middle-aged Berlin photographic artist (like Christian Rothmann) chooses to study 120 toy robots with great difference in form, it represents a journey back to his own childhood - even if at the time, he played with a steam engine rather than a robot. Once batteries had been inserted, some of the largely male or gender-neutral robots, could flash, shoot, turn around and even do more complicated things. Some can even still do it today - albeit clumsily. This, of course, can only be seen on film, but the artist intends to document that as well; to feature the robots in filmic works of art. The positioning of the figures in the studio is the same as the tableau of pictures in the exhibition room. In this way, one could say Rothmann deploys one robot after the other. This systematic approach enables a comparative view; the extreme enlargement of what are actually small and manageable figures is like the macro vision of insects whose fascinating, sometimes monster-like appearance only becomes visible when they are blown up a hundredfold. The same thing goes for the robots; in miniature form, they seem harmless and cute, but if they were larger than humans and made noises to match, they would seem more threatening. Some of the tin figures...

This photograph of Pulitzer-Prize winning author Toni Morrison was taken in 1979. One of Mitchell's most beautiful color photographs. This exhibition print is 17 x 22". Comes direct ...

Fun Loving Criminals II By BATIK- Signed Limited Edition Archival pigment pop art print of infamous criminal arrest mugshots of Fifty Cent, Elvis Presley, David Bowie, Snoop Dog, ...

Argentinian dancer Julio Bocca, one of the most important ballet dancers of the later part of the 20th century, photographed in 1991. One of Mitchell's mo...

Fun Loving Criminals II By BATIK- Signed Limited Edition Archival pigment pop art print of infamous criminal arrest mugshots of Fifty Cent, Elvis Presley, David Bowie, Snoop Dog, ...

NOMAD, New York, set of four framed American architecture color photographs by Richard Heeps. Richard Heeps has photographed the iconic Empire State building in the mist. The NOMAD s...

June 16th marked the 55-year anniversary of Monterey Pop Festival, remembered for the first major appearances of Jimi Hendrix, the Who and Ravi Shankar, the first large-scale performance of Janis Joplin and the introduction of Otis Redding...

Fashion designer Willi Smith, photographed in April 1984. One of Mitchell's most beautiful color photographs. This exhibition print is 17 x 22". Comes dire...

This photograph of famed operatic soprano Leontyne Price was taken in 1980 during an album cover session. One of Mitchell's most beautiful color photogr...

13 x 19" archival pigment color print of Rudolf Nureyev, Soviet-born dancer of ballet and modern dance, photographed for 'After Dark' magazine in New York City on Christmas Day 1975....

Pop artist Roy Lichtenstein photographed in his New York studio with new work in 1968. One of Mitchell's most beautiful color photographs. This exhibition print is 17 x 22". Comes di...

Choreographer/dancer Merce Cunningham repertory, 1975. One of Mitchell's most beautiful color photographs. This exhibition print is 17 x 22". Comes direct from the Jack Mitchell Arch...

Playwright, poet and black feminist Ntozake Shange photographed with the cast of her play “A Photograph: Lovers in Motion,” in 1977. One of Mitchell's ...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition M (Edition of 6) 35.4 x 23.6 inches (90 x 60 cm) - Edition L (Edition of 6) 47.2 x 31.5 inches (120 x 80 cm) - Edition XL (Edition of 3) 88.8 x 58.8 inches (225 x 150 cm) PUR - Price Upon Request -------------- Since 1979 Christian Rothmann had more than 40 solo and 80 group exhibitions worldwide. Christian Rothmann had guest lectures, residencies, art fairs and biennials in Europe, Japan, USA, Australia and Korea. Christian Rothmann (born 1954 in Kędzierzyn, Poland ) is a painter, photographer, and graphic artist.⁠ ⁠ In 1976 he first studied at the “Hochschule für Gestaltung” in Offenbach, Germany and moved to Berlin in 1977, where he graduated in 1983 at the “Hochschule der Künste”. From 1983 to 1995 he taught at the university as a lecturer and as an artist with a focus on screenprinting and American art history. To date, a versatile body of work has been created, which includes not only paintings but also long-standing photo projects, videos, and public art.⁠ ⁠ Guest lectures, teaching assignments, scholarships and exhibitions regularly lead Rothmann to travel home and abroad.⁠ ------------------------ Rothmann's Robots These creatures date back to another era, and they connect the past and the future. They were found by Christian Rothmann, a Berlin artist, collector and traveler through time and the world: In shops in Germany and Japan, Israel and America, his keen eye picks out objects cast aside by previous generations, but which lend themselves to his own work. In a similar way, he came across a stash of historic toy robots of varied provenance collected by a Berlin gallery owner many years ago. Most of them were screwed and riveted together in the 1960s and 70s by Metal House, a Japanese company that still exists today. In systematically photographing these humanoids made of tin - and later plastic - Rothmann is paraphrasing the idea of appropriation art. Unknown names designed and made the toys, which some five decades on, Rothmann depicts and emblematizes in his extensive photo sequence. In their photographs of Selim Varol's vast toy collection, his German colleagues Daniel and Geo Fuchs captured both the stereotypical and individual in plastic figures that imitate superheroes which were and still are generally manufactured somewhere in Asia. Christian Rothmann looks his robots deep in their artificially stylized, painted or corrugated eyes - or more aptly, their eye slits - and although each has a certain degree of individuality, the little figures remain unknown to us; they project nothing and are not alter egos. Rothmann trains his lens on their faces and expressions, and thus, his portraits are born. Up extremely close, dust, dents, and rust become visible. In other words, what we see is time-traces of time that has passed since the figures were made, or during their period in a Berlin attic, and - considering that he robots date back to Rothmann's childhood - time lived by the photographer and recipients of his pictures. But unlike dolls, these mechanical robots bear no reference to the ideal of beauty at the time of their manufacture, and their features are in no way modeled on a concrete child's face. In this art project the robots appear as figures without a context, photographed face-on, cropped in front of a neutral background and reduced to their qualities of form. But beyond the reproduction and documentation a game with surfaces is going on; our view lingers on the outer skin of the object, or on the layer over it. The inside - which can be found beneath - is to an extent metaphysical, occurring inside the observer's mind. Only rarely is there anything to see behind the robot's helmet. When an occasional human face does peer out, it turns the figure into a robot-like protective casing for an astronaut of the future. If we really stop and think about modern toys, let's say those produced from the mid 20th century, when Disney and Marvel films were already stimulating a massive appetite for merchandising, the question must be: do such fantasy and hybrid creatures belong, does something like artificial intelligence already belong to the broader community of humans and animals? It is already a decade or two since the wave of Tamagotchis washed in from Japan, moved children to feed and entertain their newly born electronic chicks in the way they would a real pet, or to run the risk of seeing them die. It was a new form of artificial life, but the relationship between people and machines becomes problematic when the machines or humanoid robots have excellent fine motor skills and artificial intelligence and sensitivity on a par with, or even greater than that of humans. Luckily we have not reached that point yet, even if Hollywood adaptations would have us believe we are not far away. Rothmann's robots are initially sweet toys, and each toy is known to have a different effect on children and adults. They are conceived by (adult) designers as a means of translating or retelling history or reality through miniature animals, knights, and soldiers. In the case of monsters, mythical creatures, and robots, it is more about creating visions of the future and parallel worlds. Certainly, since the success of fantasy books and films such as Lord of the Rings or The Hobbit, we see the potential for vast enthusiasm for such parallel worlds. Successful computer and online games such as World of Warcraft...

Dancer/Choreographer Christopher Gillis photographed in December 1986 when he was principal dancer with the Paul Taylor Company. He died from AIDS complications in 1993 at the age of...

This photograph of Bejart Ballet principal dancer Marcia Haydee photographed in Athens, Greece (nude under a diaphanous cotton wrap) at dawn in June 1983...

Artist: Jonathan Singer, American Title: Giant Pink Amazon Waterlily on Black Year: 2014 Medium: Digital Photograph, signed in pencil Image Size: 13 x 10 inches Size: 22.5 x 16 in. (...

13 x 19" archival pigment color print of Rudolf Nureyev, Soviet-born dancer of ballet and modern dance, photographed for 'After Dark' magazine in New York City on Christmas Day 1975....

13 x 19" archival pigment color print of Rudolf Nureyev, Soviet-born dancer of ballet and modern dance, photographed for 'After Dark' magazine in New York City on Christmas Day 1975....

13 x 19" lifetime vintage archival pigment print of Artist Andy Warhol at his Union Square Factory in 1968, signed by Jack Mitchell (the only ...