Surrealist Color Photography

Occupying the lower third of the picture plane, a herd of humans stride down Fifth Avenue. They form an overall pattern. The top of the picture is also comprised of a simple pat...

An unexpected marquee at the base of upscale 30 Rockefeller Center beams neon into the night. The 1930's art deco monolith is lit up like a silver spaceship as it thrusts into an ink...

Suzanne Camp Crosby (American, 1948-2020) Enchanted Forest, 1989 Cibachrome Sight: 14 3/4 x 14 3/4 in. Framed: 23 x 22 x 7/8 in. Signed and inscribed bottom: 2/25, Suzanne Camp Crosb...

Like No One is Watching, limited edition color print, signed and numbered Maggie Taylor's digital creations are emblematic, afterimages that invite, transport, and are unforgettabl...

Our House, limited edition color print, signed and numbered Maggie Taylor's digital creations are emblematic, afterimages that invite, transport, and are unforgettable. Taylor's im...

Wonder Room, limited edition color print, signed and numbered Maggie Taylor's digital creations are emblematic, afterimages that invite, transport, and are unforgettable. Taylor's ...

Maggie Taylor's digital creations are emblematic, afterimages that invite, transport, and are unforgettable. Taylor's images are built, layer by layer and object by object, through a...

Maggie Taylor's digital creations are emblematic, afterimages that invite, transport, and are unforgettable. Taylor's images are built, layer by layer and object by object, through a...

Maggie Taylor's digital creations are emblematic, afterimages that invite, transport, and are unforgettable. Taylor's images are built, layer by layer and object by object, through a...

Maggie Taylor's digital creations are emblematic, afterimages that invite, transport, and are unforgettable. Taylor's images are built, layer by layer and object by object, through a...

Maggie Taylor's digital creations are emblematic, afterimages that invite, transport, and are unforgettable. Taylor's images are built, layer by layer and object by object, through a...

Vintage darkroom Cowboy photograph In the style of Richard Prince circa late 1980s: A superbly rendered vintage darkroom photograph, surrealistically exploring the mythology of the American cowboy set amidst blazing skies. Rendered much in the manner of Richard Prince cowboys...

The Gamekeeper's Charge, limited edition photograph, archival, signed and numbered I present unspoken stories that illustrate fleeting moments in time and which are intended to evok...

Fragment Attraction, limited edition photograph, archival, signed and numbered I present unspoken stories that illustrate fleeting moments in time and which are intended to evoke a...

Tart to the Taste, limited edition photograph, archival, signed and numbered I present unspoken stories that illustrate fleeting moments in time and which are intended to evoke a m...

Steady My Steed, limited edition photograph, archival, signed and numbered I present unspoken stories that illustrate fleeting moments in time and which are intended to evoke a moo...

Morning On The Grand Canal, limited edition photograph, archival, signed and numbered I present unspoken stories that illustrate fleeting moments in time and which are intended to...

Chromogenic photo print. hand signed, titled and dated. This is a vintage print, printed in 1987 and editioned 2/10. Jane L. Calvin (born April 27, 1938) is an artist based in Chicago, Illinois. Jane Calvin was born in Chicago, Illinois. Her father was an avid art collector and Calvin was brought up in the art world from the time she was born. She attended classes at the Art Institute of Chicago as a young child and went on to pursue a degree in Art History from Bryn Mawr College in Pennsylvania in 1959. Calvin worked as a private art dealer for some time before deciding to continue her education and become a fine art photographer. She graduated from the Art Institute of Chicago with her MFA in 1982.[1] Calvin later went on to be a Professor of Photography at The School of the Art Institute, Illinois Institute of Technology, and Beloit College. She was Adjunct Professor of Photography at Columbia College in Chicago until 2005. Since she started making photographs, Calvin has had exhibits across the nation as well as in Germany and China. Calvin constructs her photographs by montaging multiple slide projections and found objects into room-sized assemblages in her studio. She then photographs it, making a tableaux into which layers of meaning are woven. She does not use computer editing, just straight photography. Calvin stated, "The images can be seen as my commentary on the political and social roles projected onto society whose desires, manipulated by language and image, conflict with concerns of gender, sexuality, race and female identity." She says,“I make photographs, I don’t take them,” and in so stating she follows in the path of many Dada and Surrealist precursors, for example, German Kurt Schwitters’ famous Merzbau or Junk House (1923 and following), or Joseph Cornell’s metaphorically vast but physically modestly scaled, even private sculptural interiors of boxes (1930s and following). In her use of projected imagery within and upon the setup of her photographs, Calvin gestures toward earlier 20th century American surrealist photographer Man Ray photographic work, one example of which is Space Writing (Self-Portrait) acquired last year by the Bowdoin College Museum of Art. Calvin’s more recent kindred spirit – although comparatively minimalist in nature and junior chronologically – is Sandy Skoglund. The latter’s photographed installations are a hybrid of unnatural, spectral, coloration and suspended narrative. "I am a maker of meaning, not an observer of it. My medium is photography, although it is includes the processes of sculpture and installation . I build room-sized sets onto which I project images and text, recording the final result with the camera. There are no darkroom or digital tricks. The process is straight photography." For over 25 years, Calvin has been exploring contemporary society’s approach to issues of gender, female identity, sexuality, vulnerability, and love & desire. Eschewing linearity, the work stands in opposition to the simplicity and minimalism prevalent in earlier 20th century image-making. Her images are elliptical, fragmented, layered, reflecting the contemporary world as one of discontinuity and ambiguity with myriad connections, a world less temporally and spatially fixed than ever before. Through the content carried in found materials and appropriated texts, –she addresses— the social and political conditions that are just out of sight, but remain like some kind of background radiation exerting a subtle but undeniable influence on our society. Pop and pulp references throw a humorous light on cultural identity and gender roles projected onto society. The subject matter, appearing disconnected from its place and time, mysteriously overlaps our own collective awareness. –She asks the viewer to see what has been there all along.–—/> Exhibition publication, Gallery 210, University of Missouri, St Louis, 2005, 'Jane Calvin Sentences' Introduction by Terry Suhre, Director, and Essay "Jane Calvin's Phantasmagoric Spaces" by Dr. Mark White. This is a Set-Up: fab photo/fictions This exhibition looked at photographers who utilize fabricated imagery and constructed subjects to create their work. These deliberate fictions, and their position in the realms of photography and art, were explored through the work of several highly acclaimed artists: Jane Calvin, James Casebere, Gregory Crewdson, Barbara Kasten, Abelardo Morell, Patrick Nagatani...

The same year, the iconic science fiction movie Close Encounters of the Third Kind was released, visionary still photographer Mitchell Funk shot this SciFi-like image. It's of an un...

Maggie Taylor's digital creations are emblematic, afterimages that invite, transport and are unforgettable. Taylor's images are built, layer by layer and object by object, through a ...

Maggie Taylor's digital creations are emblematic, afterimages that invite, transport and are unforgettable. Taylor's images are built, layer by layer and object by object, through a ...

Maggie Taylor's digital creations are emblematic, afterimages that invite, transport and are unforgettable. Taylor's images are built, layer by layer and object by object, through a ...

Maggie Taylor's digital creations are emblematic, afterimages that invite, transport and are unforgettable. Taylor's images are built, layer by layer and object by object, through a ...

This is number 1 from a limited edition of 12. London-based Photographer and Graphic designer Omer Ga'ash, graduated from Bezalel Academy of Art and De...

Photographer Mitchell Funk revisits many popular tourist locations and shoots them in a way that perhaps millions of tourists never imagined. In "Billionaires Row from Central Park Reservoir...

Pioneering SciFi photographer Mitchell Funk experiments with altered realms of reality by juxtaposing two landscapes of unnatural color to form a never-before-seen original vision. A single silhouetted figure looks out on a day-glow yellow sea leading to a dreamscape of trees. The yellow of water is picked up in the trees to unify the different perspectives. Published Popular Photography Magazine, February 1976...

"The Battle of Orgreave (after Pieter Bruegel the Elder)" C-print by fine art photographer Simon Procter. Mounted on an aluminum panel with pl...

Noverre - Horse Landscape 2, 'Mane', 2003 C-type Hand Print, Mounted on Aluminium, Custom framed, Museum low glare, UV protective art glass 36.5 x 94 cm / 14.5 x 37 inches approx. Ed...

Maggie Taylor's digital creations are emblematic, afterimages that invite, transport and are unforgettable. Taylor's images are built, layer by layer and object by object, through a ...

Maggie Taylor's digital creations are emblematic, afterimages that invite, transport and are unforgettable. Taylor's images are built, layer by layer and object by object, through a ...

Lucky, 2023 is a recent archival pigment ink print by Maggie Taylor. All prints are signed and numbered by Maggie Taylor. Maggie Taylor's digital creations are emblematic, afterima...

Maggie Taylor's digital creations are emblematic, afterimages that invite, transport, and are unforgettable. Taylor's images are built, layer by layer and object by object, through a...

Alice Zilberberg is an award-winning Fine-Art Photographer. She was born in Tallinn, Estonia, raised in Israel, and is now based in Toronto, Canada. Since graduating from Ryerson Uni...

Maggie Taylor's digital creations are emblematic, afterimages that invite, transport and are unforgettable. Taylor's images are built, layer by layer and object by object, through a ...

Maggie Taylor's digital creations are emblematic, afterimages that invite, transport and are unforgettable. Taylor's images are built, layer by layer and object by object, through a ...

Formation is from a limited edition of 12. It is signed in pencil on back, Nude males are the falling leaves in this autumnal wonderland. A new book on the artist will be published in Spring. London-based Photographer and Graphic designer Omer Ga...

In 1984 Life Magazine was in full stride. Their photo editors sent photographers on location to document stories visually. At the US Army Munitions Depot, Edgemont, South Dakota, Mit...

The alignment of the planets comes together in a perfect magical moment. A man sets foot on a terrace - an airplane comes into frame - golden light strikes the perfect pitch - atmosp...

This is number 1 from a limited edition of 12. It is signed on the back of the image. A new book on the artist's work will be released this Spring London-based Photographer and Graphic designer Omer Ga...

Edition of 10 Signed and numbered in pencil, and blind stamp on print margin. Signed, titled, dated and print type in pencil on print verso. Paper size: 25 x 20 in., Image size: 20 x...

HOLIDAY SITUATIONS,1999, color c-prints on Fuji crystal archive paper, each initialed on verso and inscribed "BAT" sheets 11 ¾ x 11 ¾", printed & published by Muse X, Los Angeles. (female nude manikin beside a snowy highway at dusk ), 1999 in the colection of Harvard University art museum where it is described as aInk jet digital print Born in 1958 in Long Branch, New Jersey, Long currently lives and works in California.Education B.F.A., University of the Arts, Phila, PA; Whitney Independent Study Program, New York, NY; M.F.A., Yale University, New Haven, CT. Since then, the artist has received a number of honors and awards, most recently the 2008 Award of Merit Medal for Sculpture from the American Academy of Arts and Letters in New York. He currently teaches as a professor in the Art Department at the University of California, Riverside. Long’s work has been the subject of major exhibitions worldwide. His most important solo presentations include CATALIN at The Contemporary Austin in Texas (2014), Fountainhead, a public commission in Dallas, Texas organized by the Nasher Sculpture Center (2013), Pet Sounds at Madison Square Park in New York City (2012), Seeing Green, a solo project in conjunction with All of this and nothing: The 6th Hammer Invitational at the UCLA Hammer Museum in Los Angeles (2011), 100 Pounds of Clay at Orange County Museum of Art in California (2010), and More Like a Dream Than a Scheme at David Winton Bell Gallery at Brown University in Rhode Island, which traveled to SITE Santa Fe in New Mexico (2005). His work has been included in many significant museum exhibitions such as the 1997 and 2008 Biennials, Whitney Museum of American Art New York; Open Ends, The Museum of Modern Art; NYC. Performance Anxiety, MCA, Chicago; Happiness, Mori Art Museum, Tokyo; Arte Contemporáneo Internaciona, Museo de Arte Moderno, Mexico City; ART/MUSIC: rock, pop, and techno Museum of Contemporary Art, Sydney; Almost Warm and Fuzzy, Des Moines Art Center, The Shape of Color: Excursions in Color Field Art, AGO/Art Gallery of Ontario, Canada; Gone Formalism, The Institute of Contemporary Art, Philadelphia, PA; The Uncertainty of Objects and Ideas, Hirshhorn Museum and Sculpture Garden, Washington D.C. SculptureCenter in New York, Museum of Contemporary Art Chicago, Magasin 3 Stockholm Konsthall, Hirshhorn Museum and Sculpture Garden in Washington, D.C., Institute of Contemporary Art, Philadelphia, Mori Art Museum in Tokyo, among other museums.Long's sculptures have explored the abstract autonomous art object as a psychological investigation into the nature self and others and have been made from diverse media such as coffee grounds, rubber and hair from Abraham Lincoln. He has collaborated with pop musicians such as Stereolab, Mark Mothersbaugh of Devo and with the renown choreographer Merce Cunningham. Since his relocation from NYC to LA Long's work has been inspired by the Los Angeles River which runs adjacent to his studio. Each year, after the furious flood season, a verdant and abundant growth of grasses, thickets, and trees emerges from the discarded office furniture, bedsprings, and shopping carts that get washed into the concrete channel providing a providing a dwelling for mallards, osprey, crayfish and heron. Captivated by the river and inspired by its unbiased intermingling of these elements, Long creates photographs, video and sculpture in and about the river and the myriad of imagery and meanings it offers. Published by Muse X Editions. An (now defunct) LA based innovative publisher of limited-edition prints, Muse X has launched its first group of prints and is just beginning to make itself known to artists, curators, dealers and collectors. Among works just off the press are otherworldly landscapes by Barbara Kasten and Oliver Wasow, a sizzling sunset by Peter Alexander, abstract compositions by Pauline Stella Sanchez and Jennifer Steinkamp, text and photo combinations by Bill Barminski and Nancy Dwyer, and conceptual photographs by Kevin Hanley. Doug Aitken, Polly Apfelbaum, David Levinthal, Richard Long, Christian Marclay...

George McLeod, UNTITLED #1, 2021 Archival Pigment Print 30 x 46 Edition of 10 + 2 AP, Framed; white frame with antireflective art glass (Unframed options are also available) Other la...

UNTITLED #3, 2021 Archival Pigment Print, Framed; white frame with antireflective glass; larger size - framing options available) 30 x 46 cm Edition of 10 + 2 AP Series: Tree Huggers...

I present unspoken stories which illustrate fleeting moments in time and which are intended to evoke a mood in the viewer. These mythical illustrations might address the fragility of...

Surreal Photography in the Sky - Mitchell Funk brings the compositional precision of studio photography to street photography. Unlike most street p...

A dramatic seascape with golden seas complemented by an equally golden sky is depicted with a child seen from the back gazing out into infinity. The viewer can read into it what he/...

Steady My Steed, limited edition photograph, archival, signed and numbered I present unspoken stories that illustrate fleeting moments in time and which are intended to evoke a mood...

JoAnn Callis (1940- American, Contemporary) Baby Color photograph, hand signed in pencil en verso, dated 2000, and numbered 4/200 Upon magnification, it appears to be some kind of digital print, similar to a half-tone, but composed of fine lines rather than dots. It is on heavy wove printmaking paper, the sheet measures 17" x 14". Sight: 6.25" x 6" . Jo Ann Callis (born Cincinnati, Ohio 1940) is an American artist who works with photography and is based in California. Though Callis initially pursued a degree at Ohio State University in 1958, she dropped out in her second year when she got married. She and her husband moved to Southern California in 1961. Her father died after the birth of her first son Stephen in the same year. In 1963, her second son Michael was born. By 23, she was married with two children; she later separated from her husband. Callis enrolled at University of California, Los Angeles (UCLA) in 1970 initially in graphic design. When she took a course from Robert Heinecken in photography, she was encouraged by Heinecken to explore things within her mind. Both sensual and unsettling, these scenes showcase erotic imagination in its many forms, all intimate and deeply human. Although the work may sound like a very contemporary investigation of desire, it was made some 40 years ago, predating the staged photographs of Cindy Sherman and Gregory Crewdson. In 1975, while still a student at UCLA, a year before finishing her Masters in Fine Arts, she was offered a position to work at California Institute of the Arts (S. CA), where she works up until now (2017). Callis's work is primarily surrealist. Thematically, she has traditionally been invested in drawing attention to and complicating domestic spaces and the role of motherhood. These characteristics are demonstrated in pieces such as Dish Trick (1985) Publications Woman Twirling. Los Angeles, CA: J. Paul Getty Museum, 2009. Text by Judith Keller. Decor. Thistle & Weed, 2013. Essay by Jennifer A. Watts. Other Rooms. New York: Aperture, 2014. Select public collections: Museum Of Modern Art, New York. Los Angeles County Museum of Art, Los Angeles. J. Paul Getty Museum, Los Angeles. Hirshhorn Museum and Sculpture Garden, Washington, D.C. Gallery Min, Japan. References Bohnacker, Siobhan (March 6, 2014). "Jo Ann Callis's Color Work". Drohojowska-Philp, Hunter. "Culture Monster All the Arts, All the Time" Cecilia Alvarez...

The history of Sci-fi art and illustration has had a rich and storied past. Generation of illustrators and painters have rendered their fantastic ideas on paper and canvas. The decades of the 1920’s - 1940’s saw the imaginative but crudely drawn pulp magazine gouaches of Frank R Paul...

Besides being mysterious, cats are equally beautiful and unmatched in that regard with anyone else in the animal kingdom. Black Cat. Green Eyes was photogr...

I present unspoken stories which illustrate fleeting moments in time and which are intended to evoke a mood in the viewer. These mythical illustrations might address the fragility of...

I present unspoken stories which illustrate fleeting moments in time and which are intended to evoke a mood in the viewer. These mythical illustrations might address the fragility of...

I present unspoken stories which illustrate fleeting moments in time and which are intended to evoke a mood in the viewer. These mythical illustrations might address the fragility of...

"This work is a collaborative piece I produced with a traditional fan-making master. Each folding fan was carefully crafted, colored and arranged to complete the scene. Using the traditional motif of the fan, I tried to reinterpret the meaning of true-view landscape painting, through which painters of the Joseon Dynasty sought not to just describe the look of nature but to portray the essence of nature itself. Koreans traditionally painted landscapes onto fans and I, reversely, use the fans themselves to build a landscape, thus juxtaposing the relationship of fans and landscape. The woods made with paper fans overlapping like fish scales suggest a self-portrait of a gloomy psychology as well as an expression of various complex emotions such as inner fear and anguish that restrain me. Depicting a very fundamental human reverence and fear toward the sublime, dark, and ever changing nature of the night forests...

During the height of New York City’s shelter-in-place order, Dina took to the streets of the East Village and surrounding neighborhoods after sunset, photographing the sudden absence...

This is a limited edition photographic surreal print by San Diego artist, Michal Greenboim titled, "Home". It is framed in a black frame. Its dimensions ...

I present unspoken stories which illustrate fleeting moments in time and which are intended to evoke a mood in the viewer. These mythical illustrations might address the fragility of...

Maggie Taylor's digital creations are emblematic, afterimages that invite, transport, and are unforgettable. Taylor's images are built, layer by layer and object by object, through a...