Douglas Prince

Brian, White Flower and House - Vintage Poster After D. Prince - 1980

1980

Vintage poster realized by Galleria Rondanini (Rome, Italy) in offset technique, in occasion of the Exhibition of the photographer Mimmo Jodice. Very good...

Vintage poster realized by Galleria Rondanini (Rome, Italy) in offset technique, in occasion of the Exhibition of the photographer Mimmo Jodice. Very good condition.

 The Mountain and the Rose is a Vintage Offset Print by Douglas Prince in 1980. Good conditions.

The Mountain and the Rose is a Vintage Offset Print by Douglas Prince in 1980. Good conditions.

Paul Blanca, 1958- 2021 Dutch Photographer is probably best known for his Self-Portrait Work form the 80's. Often compared to Robert Maplethorpe. Maplet...

Jimmy DeSana Untitled (Figure in Grass) 1972/1991 Offset print (Edition of 50) 11 x 14 inches

Original vintage poster, Boris Bucan 'DILEMA', 1972 Artist: Boris Bucan Year: 1972 Dimensions: 88 × 48 cm Condition: Excellent condition Format: Unlinen backed...

HARRY BOWERS T E N P H O T O G R A P H S I DON'T LOOK FOR PHOTOGRAPHS I INVENT THEM I recall my first meeting with Harry Bowers in California a few years ago. As he produced his large-scale prints, I was at first flabbergasted, not only by their size, but by their seamless perfection. Technique appeared to be everything but then technique as technique simply vanished. After the first moment, tech­nique was no longer an issue, but rather a passageway to the imagery. Suffice it to say about Harry Bowers' working style that he is an obsessive man. Trained as an engineer, he has turned that discipline to art. His lenses, equipment and darkroom, much of it exactingly manu­factured by himself to answer certain needs, serve the desire of the artist to take photographic tech­nique to its ultimate perfection in invisibility and transparency. I respect obsession in art, and particularly in photography, because obsession in photography passes beyond the easy, middle ground of image making to a more demanding, more difficult, yet more rewarding end. Bowers' obsession is to eliminate "photography as technique." No grain, no decisive moments, no journalism, or, seemingly, direct auto­biographical endeavors appear in his work. Bowers is an artist of synthesis who controls his environment if only in the studio exactly to his liking. The images he creates are formal structures, saucy stories on occasion, which may offer hints of a darker, more frightening sexuality, but what you see is the end product of an experiment in which nothing save the original insight perhaps is left to chance. We seem fascinated with the idea of replication of reality in art. Popular painting frequently reproduces a scene "with the accuracy of a photograph," and photographs may "make you feel as though you were right there." The very invisibility of the photographic medium is important to Bowers, in that it allows him to maneuver his subject matter without concern for rendering it in an obvious art medium which would interfere with the nature of the materials he uses. The formal subtleties of Bowers' recent work are as delicious and ambiguous in their interrelationships as the best Cubist collages, yet while those col­lages always suggest their parts through edge and texture, these photographs present a structure through a surface purity. Bowers' earlier works, for example, the Skirts I Have Known series, were formed of bits of clothing belong­ing to Bowers and his wife or found at local thrift shops. These works fused an elegance of pattern and texture, reminiscent of Miriam Shapiro...