Pigment Figurative Photography

Golden Girl 3 Large scale photograph by Michael Banks - Archival Pigment print on fiber based paper ( Hahnemühle Photo RAG Baryta 315 gsm ) Limited Editions of 5 , signed + numbered...

10.5 x 16 inches - Edition 2 of 7 with 2 APs framing is an additional $265. Shot in Amsterdam in 2011 Inspired by Velasquez’ Venus Looking in Her Mirror, 1647-51 Photography and ...

Photograph of the National Library of Prague by Reinhard Görner. Fine Art Lightjet Print, mounted on aluminum, plexiglass or resin. Two weeks manufacturing time, then shipping in tw...

Each year, Robin Rice celebrates a Salon style exhibition to showcase her gallery artists and invite new ones. With Robin’s extensive experience as a gallery curator, all Robin Rice...

Listing is for UNFRAMED print. Inquire within for framing. Edition of 20. CURRENT EXHIBITION - runs through December 31, 2017. Any framed photographs purchased during the show will be after December 31st. If the exhibition piece is sold or the customer orders a different print size, the photograph is produced upon purchase. Please allow two weeks for production. Shipping time depends on method of shipping. Price is subject to availability. The Robin Rice Gallery reserves the right to adjust this price depending on the current exhibition of the photograph. ABOUT The idyllic and playful world of The Peconic Bay in Southampton, NY dances to life in Luciana Pampalone’s first solo exhibition. Each location was scouted by Pampalone and transformed into a vintage 1930s setting by the use of her models and props. A Graphlex camera, aviator goggles, parasols, retro bathing suits...

Jeff Koons Girl with Lobster, 2014 Archival pigmented inkjet with silkscreen on hot pressed natural paper 54 5/16 x 45 inches (sheet) 57 x 48 7/8 x 2 inches ...

Desert House Party, 1970. A poolside party at a desert house, designed by Richard Neutra for Edgar J. Kaufmann, in Palm Springs, January 1970. Featured in the group are: industrial ...

Photograph of the Freie Universität Library in Berlin by Reinhard Görner. Fine Art Lightjet Print, mounted on aluminum, plexiglass or resin. Two weeks manufacturing time, then shipp...

"M13" Photography 40" x 40" inch Edition of 20 by Giuliano Bekor This Artwork is printed on a highest resolution fine art archival Kodak pearl pigment paper, Print mounted on dibon...

Cassius Clay Resting 5th Street Gym, Miami, 1963, 1963 19 x 13 in. (48 x 33 cm) Archival Pigment Print Edition of 10 The photographer Marvin E. Newman (b. 1927) was one of the...

MIKE + MECHANICS - Signed limited edition archival pigment print - Edition of 5 Record cover for Mike + The Mechanics 'Living Years’ 1988 This image was captured on film. The negative was scanned creating a digital file which was then printed on Hahnemühle Photo Rag® Baryta 315 gsm (Acid-free and lignin-free paper, Museum quality paper for highest age resistance and a popular alternative to analogue baryta paper) using pigment inks which are known for their longevity. Signed + numbered by artist with certificate of authenticity Please note. There are three sizes of this print; each is an edition of five (5) making the total that can be printed as fifteen (15). This will include any custom sizes requested. Available sizes ( Image size , the white margin is not counted) : 45 x 40 cm / 18,89 x 15,75 in. - Edition of 5 70 x 63 cm / 27,56 x 24,80 in. - Edition of 5 90 x 100 cm / 35,43 x 39,37 in. - Edition of 5 Geoff Halpin...

"Cachalote Fluke" Dominica, 2018 20 x 30 in / Edition of 6 - $4,500 Also available: 32 x 48 in / Edition of 6 - $7,500 40 x 60 in / Edition of 6 - $10,500 50 x 75 in / Edition o...

"Solo Seal" Antarctic Peninsula, Antarctica, 2022 20 x 30 in / Edition of 6 - $4,500 Also available: 32 x 48 in / Edition of 6 - $7,500 40 x 60 in / Edition of 6 - $10,500 50 x 75...

Pie-eyed by Patty Carroll is a color photograph depicting a woman in a red and white colored kitchen, surrounded by various baked desserts. Archival Pigment Print Edition of 15 Sign...

"Seed Pods" Suri People, Omo Valley, Ethiopia, 2023 20 x 30 in / Edition of 6 - $4,500 Also available: 32 x 48 in / Edition of 6 - $7,500 40 x 60 in / Edition of 6 - $10,500 50 x ...

"All That Glitters" Bahamas , 2021 Available sizes: 20 x 45 in / Edition of 6 32 x 73 in / Edition of 6 39 x 90 in / Edition of 6 "As the setting sun doused the islands in fiery g...

"The Scout" Maasai Mara National Reserve, Kenya, 2018 20 x 30 in / Edition of 6 - $4,500 Also available: 32 x 48 in / Edition of 6 - $7,500 40 x 60 in / Edition of 6 - $10,500 50...

Truth or Consequences, NM by David Graham is a color archival pigment print of an abstract painting on the side of a building. Only the door and electrical boxes are in frame, with r...

Amodaj created the Hoop and Ball series of photographs in June 2010 with dancer and author Shawnrey Notto. The photographs were based on an earlie...

Godley & creme - Signed limited edition archival pigment print - Edition of 5 London, 1983 Tinted Black & White Art print This is an Archival Pigment print on fiber based paper...

Carmin in Chanel 1957 Archival pigment print Estate stamped, signed and numbered by Andrea Derujinsky with certificate of authenticity Groundbreaking fashion photographer Gleb Deru...

Tom Kelley Beach Kids c. 1960's C print 30 x 38 inches Edition of 25 Photographs are printed on Archival Hahnemühle paper (luster) estate signed and numbered in the border Caption: ...

Okurimono Pigment Print Images from the Okurimono series is available in 3 different formats : * 50 x 75 cm : edition of 10 + (+2ap) * 80 x 120 cm : edition of 7 + (+2ap) * 113 x 170 cm : edition of 7 + (+2ap) Each print is numbered and signed About the work : Work by contemporary photographer Christian Houge, from the Okurimono series. In this series, Houge has, through five trips to Japan (Tokyo, Osaka and Kyoto), explored Japans otherworldly subculture and its ritualistic perfection. In this personal art documentary he has ventured into delicate themes such as personal identity, sexuality, longing and gender dysphoria. In this particular series, he uses staging as a method to create a story within a story. The viewers associations are important in meeting this work and ambiguity plays an important role. In this series, Houge has, through five trips to Japan (Tokyo, Osaka and Kyoto), explored Japans otherworldly subculture and its ritualistic perfection. In this personal art documentary he has ventured into delicate themes such as personal identity, sexuality, longing and gender dysphoria. In this particular series, he uses staging as a method to create a story within a story. The viewers associations are important in meeting this work and ambiguity plays a Okurimono (meaning both “gift” and “that which is in-between” in Japanese) - is a word that binds together this comprehensive project developed over five trips to Japan between 2007 and 2018. The series explores the personal pursuit of identity, at times with an underlying darkness as Houge had the chance to be introduced to Tokyo’s subculture. In exploring this theme, Houge has ventured into delicate matters such as sexuality, longing and gender dysphoria. In this particular series, he uses staging as a method to create a story within a story. The artist wishes to question the viewer and provoke a reflection on topics that are often seen as taboos in our contemporary societies. The viewer’s own associations are important in appreciating this work where ambiguity plays an important role. The project started in the Harajuku district of Tokyo which is known as a center of Japanese youth culture and where Houge found some of his first motifs: teenage girls dressing up in post-Victorian dresses or ‘cosplay’ costumes to identify with a character of their favorite comics. Here, the desire to express one’s uniqueness is central and the photographer explores the tension between personal identity and aesthetics shared by all (or at least by the same youth group). In many of his carefully staged photographs, Houge’s models are masked, so as to echo the many social masks we wear in our day-to-day lives. In our post-modern information society, drained of wonder, these enigmatic masked characters also evoke the world of shamans and pagan rituals, therefore injecting a sense of mystery and spirituality that many people are longing for. Symbolism and the many references to ritual and identity in an otherwise suppressed society, may at times create a sense of unease among viewers. The Okurimono project also explores the topic of identity and sexuality in gender dysphoria with Japan’s nyūhāfu (the transsexual ‘new halfs’). Here, the quest for identity coincides with a search of femininity and body image which results in complex physical transformations. Viewers may look at these portraits not having any clue that models are nyūhāfu. Yet, the photographs are staged so that viewers are placed in a disconcerting voyeuristic role while looking at otherwise closed world. Shibari (the art of tying), which originates from the Edo period (1600s), is another territory explored by Houge in his Okurimono series. His striking photographs of female models tied with red rope on a white background take us into this powerful journey into vulnerability and surrender, power and freedom. Through tradition, symbolism and technology, Okurimono also explores the hugely potent symbols that help define parts of Japanese culture and national identity, between old and new. As Art historian Erling Bugge put it: “Christian Houge guides us into a mystery. It resides between the ritualized shapes of the traditional and withdrawn Zen garden in Kyoto and the equally ritualized spaces of futuristic, urban Tokyo. For a westerner, Japan might look familiar, since what is held up for us looks like a futuristic spectacle somehow grounded in a western imagination. This judgment, however, is too easy. In Houge’s photographs, the sense of sameness withdraws and a very different feeling of strangeness creeps up on us. In fact, what this series registers is a remarkable place of alterity in today’s global order, a radical difference bang in the middle of the familiar.” The images of the Okurimono series share a ghostly, otherworldly quality. In reality and dream, ritual and play merge while the boundaries between the known and the unknown dissolve. Christian Houge – Now – Okurimono Christian Houge guides us into a mystery. It resides between the ritualized shapes of the traditional and withdrawn Zen garden in Kyoto and the equally ritualized spaces of futuristic, urban Tokyo. For a westerner, Japan might look familiar, since what is held up for us looks like a futuristic spectacle somehow grounded in a western imagination. This judgment, however, is too easy. In Houge’s photographs, the sense of sameness withdraws and a very different feeling of strangeness creeps up on us. In fact, what this series registers is a remarkable place of alterity in today’s global order, a radical difference bang in the middle of the familiar. This is pushed to the limit in the technological and virtual wonderland of Akihabara in Tokyo, where shop after shop trade in electronic products and computer games, while a weird costume play, “cosplay”, is being performed in streets. A similar kind of simulation is being acted out in the district of Harajuku, where Houge found some of his motifs. There is no authenticity here, no western “essence” or “reality”; instead, the virtual conquers the carnal body in a purified play of surface, image and the hyperreal. This is exotic. All the while as we are conscious of these notions as pinnacle points in a western idea of the post-modern. But in this sense Japan has always been “post-modern”. It has always integrated the most refined culture and technology from the outside while somehow retained an identity for itself. So, what would this identity be? Houge takes the view of ritual and play. Indeed, Japanese culture seems to be grounded solely on ritual, in business and in sex, in its relation to nature and in religion. This play transcends the notion of authenticity altogether, unlike the West which is haunted by the “ghost” of origin and beginnings. In Japan, “now” would mean just that; it is a “no looking back”, but rather a flow of intensities integrated in the play and ritual of the ever-present, okurimono. There is no threat of being eaten up by western culture and technology here, for, like in Zen practice, the ritual oversees everything and has no historical drag. Japan becomes weightless, shot into orbit outside the material of earth itself. Is acting out the role as Lewis Caroll’s Victorian girl driven by a sense of nostalgia? I think not. It is a striving for a moment of perfected presence, in dialogue with Houge’s optical machine. It is the moment of Now. The girl, the Zen garden and the image shares in a perfection modified by small uncertainties, coincidental imperfections that become somewhat oblique points of entry for us - a discarded handkerchief or seemingly unremarkable shapes and reflections in the prismatic play of surfaces. There is a ghostly, otherworldly quality in these images, even in the fleeting blossoming cherrytree and the play of shadows across a concrete minimalism. The doubly exposed or reflected light on the lens reminds us of the uncertain beginnings in photography’s history, with its widespread belief that the camera was able to perceive more than the naked eye, like spirits and ghosts. In Houge’s images there are different specters, skeletal, natural shapes on the one hand, the machine and the virtual on the other. Here, like some scene from the film Blade Runner, there is an uncanny confusion and mix between the human and non human. Maybe the search for a perfect moment in the perpetual flow of things is a romantic or melancholic longing for transcendent wholeness, a drive that is harnessed in a rigorous attention to visual detail. This compulsive discipline might seem absurd to any western observer, while longing itself form a common ground and will ultimately be the basis in our meeting. Erling Bugge Bio: Christian Houge (born in Oslo 1972) Based in Oslo, Norway, I have been making photographs for over twenty years and new insights continue to open. By exploring the relation, and conflict, between Nature and culture, I get a better understanding about Mans` condition. I am interested in the consequences of Humankinds progression and how science often is the result of our conquering of Nature, both on Earth and beyond. Mans` ego, consumer society, the last remnants of pure Nature and identity are recurring elements in my work. I often juxtapose the visually aesthetic with an underlying uneasiness. This often emanates a cognitive dissonance in the viewer to invite deeper truths and personal references. Looking at our actions and place in environment, which we are so dependent on, is a recurring theme in all my exploration and can use everything from digital cameras to large format and panoramic analog cameras for specific projects. I have exhibited extensively in galleries and museums in my native country Norway, as well as the US, England, France and China. The series `Death of a Mountain`(2016-2021) is nominated for the 2021 Leica Oskar Barnack Award, as well as receiving an arts grant from Norwegian Arts Council. Most recently, my series `Residence of Impermanence` 2017-2019 has been exhibited at five museums and several galleries already (including a solo show at Fotografiska, Stockholm (2019), and Les Recontres d`Arles, Haugar Artmuseum, Preus Muaeum of Photography and 2019 (Galerie Omnius, Arles). In 2021, this series received ten nominations for the Prix Pictet Award with the theme FIRE. `Residence of Impermanence` is currently exhibited at the UCR: California Museum of Photography in Los Angeles with the exhibition `Facing Fire,` Art, Wildfire and The End of Nature in the New West...

20 x 24 in (50.8 x 61 cm) Archival Semi-Matte 260gsm Edition of 50 The photographer Mick Rock was born in London in 1948 and is known as “The Man who shot the seventies.” As well as David Bowie, he has photographed Lou Reed, Queen, Iggy Pop, Roxy Music...

'Palm Springs Life' 1970 Nelda Linsk (left, in yellow), wife of art dealer Joseph Linsk with guests by the pool at the Linsk's desert house in Palm Springs, January 1970. At far lef...

"King Promenade" Falkland Islands, 2016 Available sizes: 20 x 30 in / Edition of 6 - $4,500 Price listed do not include framing. Please contact gallery for framed pricing. "A liv...

Brunch At Brennans Sunday brunch at Brennan’s restaurant, New Orleans. 20 x 20" / 51 x 51 cm paper size Estate Stamped Collection Edition to 150 Photo by Slim Aarons Printed ...

'Keep Your Cool' 1978 Slim Aarons Limited Estate Edition Carmen Alvarez enjoying a game of backgammon with Frank ‘Brandy’ Brandstetter in a swimming pool at Acapulco. Paper size 3...

Tree - Signed limited edition archival pigment print - Edition of 5 South West France , 2015 Monochrome Art Print This is an Archival Pigment print on fiber based paper ( Hahn...

Edition of 25 Signed, titled, dated and numbered. Series: Ghostland Keith Carter is an American photographer who is known for his dreamlike black and white photographs of the figure...

Poolside Party #1 (Naiades Series 1) 2023 Unique Archival pigment 150 x 150 cm / 59 x 59 inches Edition of 1 Signed, titled and dated on verso Lee Wells (b.1971) is a conceptual a...

Carmen Del'Orefice in Dior 1957 Archival pigment print Estate stamped, signed and numbered by Andrea Derujinsky with certificate of authenticity The entire Gleb Derujinsky Collection available exclusively at IFAC Arts on 1stdibs. Groundbreaking fashion photographer Gleb Derujinsky invigorated the fashion industry with his glamorous, exotic, and often unconventional photographs. Gleb Derujinsky's career as a fashion photographer took hold in the golden age of European haute couture, when Balenciaga and Pierre Balmain were at the top of their game and Yves Saint Laurent and Karl Lagerfeld were designing their first runway shows. Although air travel was still reserved for the happy few, Derujinsky convinced his editors Carmel Snow and Diana Vreeland to send him around the world to photograph beautiful models like Carmen Dell Orefice and his future wife, Ruth Neumann draped in expensive gowns juxtaposed against rough desert dunes or a glittering ocean at sunset. His ideas were revolutionary and they gave rise to the mystique and glamour that is now pervasive in fashion. Derujinsky was the quintessential Renaissance man photographer, award-winning cinematographer and commercial director, inventor, WWII veteran, world traveler, jewelry designer, musician, ski instructor, Ferrari America race-car driver, and champion glider pilot. His passion for photography started at the tender age of six, by ten, he had built a photo enlarger, and as a teenager, he became the youngest member of the Camera Club of New York. His photographs appeared in major lifestyle magazines and extensively in Harper's Bazaar from 1950 to 1970 Derujinsky’s best fashion photographs are typified by the frisson between high fashion in the 1950s and 1960s with the dynamism of locations and urban scenarios." Louis Vuitton Fashion Photography...

Listing is for UNFRAMED print. Inquire within for framing. Edition 1 of 25. If the exhibition piece is sold or the customer orders a different print size, the photograph is p...

Okurimono Pigment Print Images from the Okurimono series is available in 3 different formats : * 50 x 75 cm : edition of 10 + (+2ap) * 80 x 120 cm : edition of 7 + (+2ap) * 113 x 170 cm : edition of 7 + (+2ap) Each print is numbered and signed About the work : Work by contemporary photographer Christian Houge, from the Okurimono series. In this series, Houge has, through five trips to Japan (Tokyo, Osaka and Kyoto), explored Japans otherworldly subculture and its ritualistic perfection. In this personal art documentary he has ventured into delicate themes such as personal identity, sexuality, longing and gender dysphoria. In this particular series, he uses staging as a method to create a story within a story. The viewers associations are important in meeting this work and ambiguity plays an important role. In this series, Houge has, through five trips to Japan (Tokyo, Osaka and Kyoto), explored Japans otherworldly subculture and its ritualistic perfection. In this personal art documentary he has ventured into delicate themes such as personal identity, sexuality, longing and gender dysphoria. In this particular series, he uses staging as a method to create a story within a story. The viewers associations are important in meeting this work and ambiguity plays a Okurimono (meaning both “gift” and “that which is in-between” in Japanese) - is a word that binds together this comprehensive project developed over five trips to Japan between 2007 and 2018. The series explores the personal pursuit of identity, at times with an underlying darkness as Houge had the chance to be introduced to Tokyo’s subculture. In exploring this theme, Houge has ventured into delicate matters such as sexuality, longing and gender dysphoria. In this particular series, he uses staging as a method to create a story within a story. The artist wishes to question the viewer and provoke a reflection on topics that are often seen as taboos in our contemporary societies. The viewer’s own associations are important in appreciating this work where ambiguity plays an important role. The project started in the Harajuku district of Tokyo which is known as a center of Japanese youth culture and where Houge found some of his first motifs: teenage girls dressing up in post-Victorian dresses or ‘cosplay’ costumes to identify with a character of their favorite comics. Here, the desire to express one’s uniqueness is central and the photographer explores the tension between personal identity and aesthetics shared by all (or at least by the same youth group). In many of his carefully staged photographs, Houge’s models are masked, so as to echo the many social masks we wear in our day-to-day lives. In our post-modern information society, drained of wonder, these enigmatic masked characters also evoke the world of shamans and pagan rituals, therefore injecting a sense of mystery and spirituality that many people are longing for. Symbolism and the many references to ritual and identity in an otherwise suppressed society, may at times create a sense of unease among viewers. The Okurimono project also explores the topic of identity and sexuality in gender dysphoria with Japan’s nyūhāfu (the transsexual ‘new halfs’). Here, the quest for identity coincides with a search of femininity and body image which results in complex physical transformations. Viewers may look at these portraits not having any clue that models are nyūhāfu. Yet, the photographs are staged so that viewers are placed in a disconcerting voyeuristic role while looking at otherwise closed world. Shibari (the art of tying), which originates from the Edo period (1600s), is another territory explored by Houge in his Okurimono series. His striking photographs of female models tied with red rope on a white background take us into this powerful journey into vulnerability and surrender, power and freedom. Through tradition, symbolism and technology, Okurimono also explores the hugely potent symbols that help define parts of Japanese culture and national identity, between old and new. As Art historian Erling Bugge put it: “Christian Houge guides us into a mystery. It resides between the ritualized shapes of the traditional and withdrawn Zen garden in Kyoto and the equally ritualized spaces of futuristic, urban Tokyo. For a westerner, Japan might look familiar, since what is held up for us looks like a futuristic spectacle somehow grounded in a western imagination. This judgment, however, is too easy. In Houge’s photographs, the sense of sameness withdraws and a very different feeling of strangeness creeps up on us. In fact, what this series registers is a remarkable place of alterity in today’s global order, a radical difference bang in the middle of the familiar.” The images of the Okurimono series share a ghostly, otherworldly quality. In reality and dream, ritual and play merge while the boundaries between the known and the unknown dissolve. Christian Houge – Now – Okurimono Christian Houge guides us into a mystery. It resides between the ritualized shapes of the traditional and withdrawn Zen garden in Kyoto and the equally ritualized spaces of futuristic, urban Tokyo. For a westerner, Japan might look familiar, since what is held up for us looks like a futuristic spectacle somehow grounded in a western imagination. This judgment, however, is too easy. In Houge’s photographs, the sense of sameness withdraws and a very different feeling of strangeness creeps up on us. In fact, what this series registers is a remarkable place of alterity in today’s global order, a radical difference bang in the middle of the familiar. This is pushed to the limit in the technological and virtual wonderland of Akihabara in Tokyo, where shop after shop trade in electronic products and computer games, while a weird costume play, “cosplay”, is being performed in streets. A similar kind of simulation is being acted out in the district of Harajuku, where Houge found some of his motifs. There is no authenticity here, no western “essence” or “reality”; instead, the virtual conquers the carnal body in a purified play of surface, image and the hyperreal. This is exotic. All the while as we are conscious of these notions as pinnacle points in a western idea of the post-modern. But in this sense Japan has always been “post-modern”. It has always integrated the most refined culture and technology from the outside while somehow retained an identity for itself. So, what would this identity be? Houge takes the view of ritual and play. Indeed, Japanese culture seems to be grounded solely on ritual, in business and in sex, in its relation to nature and in religion. This play transcends the notion of authenticity altogether, unlike the West which is haunted by the “ghost” of origin and beginnings. In Japan, “now” would mean just that; it is a “no looking back”, but rather a flow of intensities integrated in the play and ritual of the ever-present, okurimono. There is no threat of being eaten up by western culture and technology here, for, like in Zen practice, the ritual oversees everything and has no historical drag. Japan becomes weightless, shot into orbit outside the material of earth itself. Is acting out the role as Lewis Caroll’s Victorian girl driven by a sense of nostalgia? I think not. It is a striving for a moment of perfected presence, in dialogue with Houge’s optical machine. It is the moment of Now. The girl, the Zen garden and the image shares in a perfection modified by small uncertainties, coincidental imperfections that become somewhat oblique points of entry for us - a discarded handkerchief or seemingly unremarkable shapes and reflections in the prismatic play of surfaces. There is a ghostly, otherworldly quality in these images, even in the fleeting blossoming cherrytree and the play of shadows across a concrete minimalism. The doubly exposed or reflected light on the lens reminds us of the uncertain beginnings in photography’s history, with its widespread belief that the camera was able to perceive more than the naked eye, like spirits and ghosts. In Houge’s images there are different specters, skeletal, natural shapes on the one hand, the machine and the virtual on the other. Here, like some scene from the film Blade Runner, there is an uncanny confusion and mix between the human and non human. Maybe the search for a perfect moment in the perpetual flow of things is a romantic or melancholic longing for transcendent wholeness, a drive that is harnessed in a rigorous attention to visual detail. This compulsive discipline might seem absurd to any western observer, while longing itself form a common ground and will ultimately be the basis in our meeting. Erling Bugge Bio: Christian Houge (born in Oslo 1972) Based in Oslo, Norway, I have been making photographs for over twenty years and new insights continue to open. By exploring the relation, and conflict, between Nature and culture, I get a better understanding about Mans` condition. I am interested in the consequences of Humankinds progression and how science often is the result of our conquering of Nature, both on Earth and beyond. Mans` ego, consumer society, the last remnants of pure Nature and identity are recurring elements in my work. I often juxtapose the visually aesthetic with an underlying uneasiness. This often emanates a cognitive dissonance in the viewer to invite deeper truths and personal references. Looking at our actions and place in environment, which we are so dependent on, is a recurring theme in all my exploration and can use everything from digital cameras to large format and panoramic analog cameras for specific projects. I have exhibited extensively in galleries and museums in my native country Norway, as well as the US, England, France and China. The series `Death of a Mountain`(2016-2021) is nominated for the 2021 Leica Oskar Barnack Award, as well as receiving an arts grant from Norwegian Arts Council. Most recently, my series `Residence of Impermanence` 2017-2019 has been exhibited at five museums and several galleries already (including a solo show at Fotografiska, Stockholm (2019), and Les Recontres d`Arles, Haugar Artmuseum, Preus Muaeum of Photography and 2019 (Galerie Omnius, Arles). In 2021, this series received ten nominations for the Prix Pictet Award with the theme FIRE. `Residence of Impermanence` is currently exhibited at the UCR: California Museum of Photography in Los Angeles with the exhibition `Facing Fire,` Art, Wildfire and The End of Nature in the New West...

Canada 38 Mushroom (Green) Digital C-Print / Archival Pigment Print Edition of 20 per size Available sizes: 36 x 27 “Collectible” series is a macro level exploration of coins, bills...

Inspired by Edvard Munch's "The Scream", 1893 Edition 1 of 5 with 2APs “Ode to Munch’s ‘The Scream’” depicts a non-binary subject trapped in an infinite scream against a New Orleans backdrop. This piece represents the silent pain of gender dysphoria constantly experienced by non-binary people as they traverse a binary world that would rather ignore their existence entirely. The artists say of their work... "Everything Changes, the latest phase of our ongoing series In Empathy We Trust, presents odes to iconic images from the Modern and Contemporary art periods. Our artistic process during Everything Changes was heavily influenced by the COVID-19 pandemic and the inescapable upheaval brought about by this once-in-a-lifetime event. This major societal shift alongside ongoing social unrest compelled us to further explore the distorted realities permeating American culture and, consequently, veiling oppression of marginalized communities. With lockdown restrictions disrupting our usual process of gathering for photoshoots, we also began playing with new approaches for our work. As a result, our latest iteration marks a new technique exploration, with completely over-painting atop of select prints, adding an additional layer of distortion to an already-altered reality. The title for this show takes inspiration from one of our favorite Frida Kahlo quotes: “Nothing is absolute. Everything changes, everything moves, everything revolves, everything flies and goes away.” The pandemic fostered a collective understanding of just how malleable and fragile our reality is. Our perceptions, our personal routines, and our culture as a whole – these realities are never guaranteed stasis, and the only way to move forward is to evolve, both as artists and individuals. The pieces in this show invite viewers to embrace the inevitability of change and the natural discomfort of re-examining their expectations of how a work of art – and by extension, a culture – should look. The process of creating an e2 image has always involved intense collaboration, and the images here would not be possible without stellar teamwork. We would especially like to thank Cameron Wood for his extensive digital post-production and our wonderful models." ⎯⎯⎯⎯⎯ As the photographic duo E2, New Orleans natives Elizabeth Kleinveld and Epaul Julien seek to remake images from art history to reflect their own experience of the contemporary world. Tackling icons from the great masters like Botticelli, Manet, Rembrandt, and Van Eyck, they recast instantly familiar images in a distinctly modern manner, breaking them free from centuries of historical context and placing them firmly in the present. Kleinveld and Julien...

Amodaj created the Hoop and Ball series of photographs in June 2010 with dancer and author Shawnrey Notto. The photographs were based on an earlier series of drawings Nenad made of Notto wearing parts of the deconstructed wedding dress during his figure drawing study in Michael Markowitz’s 23rd Street studio in San Francisco. The hoop skirt serves as an augmentation device, a skeletal extension meant to alter the visual perception of the human form. To realize the full associative power of the hoop, Amodaj created a counter-shape to the hoop, a white sphere (the Ball) made from plaster strips, to match the cloth texture and placed it in a dynamic relationship with his model. Notto improvised the poses from Nenad’s drawings in constant slow motion. The whole project was done in two 3-hour sessions with no rehearsals and no replays. The minimalistic setting, uniform lighting, and central vantage point shift perception from a trivial reality to a metaphysical one. The intent was to induce the spectator to spontaneously alternate between the three aspects: the human form, the symbolic function of the skirt, and the geometry of the cone and sphere. The spontaneity of dynamic poses and the imperfections of a handheld camera balance this sparse imagery. The exhibition presents a selection of 15 photographs from a project collection of over a hundred. Most of the series are gelatin-silver prints from a 35 mm film, with a few exceptions for large-scale digital color prints. Amodaj was influenced by the work of Bernd and Hilla Becher's typologies of industrial buildings and František Drtikol’s nudes. In the spirit of Becher’s “typologies,” Amodaj’s Hoop and Ball series of photographs explores endless mutations of the hoop skirt architecture, a clothing item with a curios geometric form that can be classified as a “flexible cone.” It is a form that appears both in nature and in artifice: flowers, bells, horns, nuclear power plants...

The photographer walks cities with his Leica camera capturing unexpected moments. His brand of street photography is sometimes poignant and sometimes hum...

14" x 11" Unframed 1/15 Archival Giclee Print Hand Signed by Alice Zilberberg "The Death of “Happily Ever After” is a dark reimagining of Disney’s fairy tales. These stories were o...

Title: CAMP ROCK - 0821.2018 Medium: archival pigment print Edition: 3 of 8 Size: 18 x 24 inches (45.7 x 61 cm) Price: 2700 From the series WITHOUT WORDS: grounded in nature When I...

Copycat by Patty Carroll is a photograph depicting a black and white cat themed interior, with a woman reclining on the couch surrounded by cat figurines. Archival Pigment Print Pa...

Balmain's Mermaid, A Night in Paris 1957 Archival pigment print Estate stamped, signed and numbered by Andrea Derujinsky with certificate of authenticity Groundbreaking fashion photographer Gleb Derujinsky invigorated the fashion industry with his glamorous, exotic, and often unconventional photographs. Gleb Derujinsky's career as a fashion photographer took hold in the golden age of European haute couture, when Balenciaga and Pierre Balmain were at the top of their game and Yves Saint Laurent and Karl Lagerfeld were designing their first runway shows. Although air travel was still reserved for the happy few, Derujinsky convinced his editors Carmel Snow and Diana Vreeland to send him around the world to photograph beautiful models like Carmen Dell Orefice and his future wife, Ruth Neumann draped in expensive gowns juxtaposed against rough desert dunes or a glittering ocean at sunset. His ideas were revolutionary and they gave rise to the mystique and glamour that is now pervasive in fashion. Derujinsky was the quintessential Renaissance man photographer, award-winning cinematographer and commercial director, inventor, WWII veteran, world traveler, jewelry designer, musician, ski instructor, Ferrari America race-car driver, and champion glider pilot. His passion for photography started at the tender age of six, by ten, he had built a photo enlarger, and as a teenager, he became the youngest member of the Camera Club of New York. His photographs appeared in major lifestyle magazines and extensively in Harper's Bazaar from 1950 to 1970 Derujinsky’s best fashion photographs are typified by the frisson between high fashion in the 1950s and 1960s with the dynamism of locations and urban scenarios." Louis Vuitton Fashion...

Swim Class, Columbia, MO by Al Satterwhite is a limited edition black and white photograph featuring a woman directing a group of swimmers in a large body of water. Archival Pigmen...

Photographed entirely in the ethereal lakeside environs of the Adirondacks, Lynda Churilla's latest exhibition synthesizes the aesthetics of strength and softness. Central to this aesthetic theme is the portrayal of Churilla's husband and muse John, who she describes as a source of inspiration. Standing nude and silhouetted in the foreground, the powerful form of John's body is rendered stoic and subdued by multiple mist‐wreathed aquatic expanses and looming woodland scenes. Whether standing in a state of intent tranquility in the foreground of a forest, or captured mid‐action during diving or archery, John imparts a sense of security through his physique and determined mien. Also conveyed is an air of intrigue stemming from his body, which is often concealed by shadow or wreathed in haze. Examples of masterful composition, Churilla's black‐and‐white images fully demonstrate the pacifying effect of nature on the male figure. The invitational piece, Silence represents Churilla's overall vision for this exhibition, featuring John facing away from the camera while standing in the shallows in a mist covered lake. Staring into the distance with his body in graceful repose, he appears lost in and enveloped by his surroundings, eliciting the romantic feeling of limitlessness and a sense of peace. The style in which Churilla captures John is reminiscent of the figurative nudes produced by photographers like Jock Sturges or Sally Mann. This exhibition is composed of eleven large-format pieces which range from 30" x 40" to 60" x 40". Eight photographs centered on John are accompanied by three abstract landscape pieces that capture the Adirondacks in all its otherworldly beauty. In one of these, White Mist, one stumbles into a world of beautifully muted color tones­, in which a nearly impenetrable mist surrounds a lake. This photograph serves to highlight stillness of water, which Churilla herself regards as healing and thought inducing. Churilla first gained her appreciation of the Adirondacks while working as an assistant to the legendary photographer Bruce Weber in his 1990 series Bear Pond. Since studying as Weber's protégé for nearly a decade, Churilla's own work has been acclaimed by such publications as American Photo and Harper's Bazaar, in which she has been lauded as a promising female photographer. She has photographed numerous celebrities, such as Cameron Diaz, Jewel, Olivier Martinez, Coldplay, Pet Shop Boys...

Shadowed Beauty - 21st Century Contemporary Photographic Print - Black & White Polaroid, Polaroid Original, Shadow Gapped Frame - Photographic Print on Aluminium Dibond - Edition of ...

Tom Kelley Beach Kids c. 1960's C print 22 x 28 inches Edition of 45 Photographs are printed on Archival Hahnemühle paper (luster) estate signed and numbered in the border Caption: ...

Black and white, urban, architecture, men, man, weather, snow, New York, New York City, street, winter, car, figurative, photo, photography, film photography, b&w, winter, street pho...

Slim Aarons Estate Print - Leisure In Antibes 1969 A woman sunbathing in a motorboat as it tows a waterskiier, in the sea off the Hotel du Cap-Eden-Roc in Antibes on the French Riv...

Amodaj created the Hoop and Ball series of photographs in June 2010 with dancer and author Shawnrey Notto. The photographs were based on an earlie...

This multi-exposure photograph in what Art called "wrassling" shows all angles of the sport of wrestling. The photograph is signed on the back and matted with a heavy white mat and ...

"WB9" Photography (FRAMED) 62" x 42" inch Edition of 10 by Giuliano Bekor Print size 62x42 Inches Artwork finished size 64x44 Inches Limited edition of 10 Artist proof 2 Medium This artwork printed on the highest resolution archival fine art 100% cotton rag velvet Somerset museum quality smooth surface heavyweight paper. It’s printed with a high saturation finish. Mounted on half inch thick dibond. Coated with a museum quality archival premier print shield with extra UV protection. Custom gallery style matte black finish Roma frame. WILD BELOW series Glowing projections of marine life flood the darkness of an aquatic underworld. Evoking the silence following a dive into the ocean, this series gives the viewer a sense of being submerged. Detailed projections create compositional magic on the bodies of human subjects; water droplets render movement and transmit light across the fluid landscape. ABOUT THE ARTIST Internationally recognized photographer, Giuliano Bekor, holds a portfolio that includes work from the realms of fashion, beauty, celebrity, advertising, and fine art. Giuliano’s photography has been featured in top publications around the globe, and his client list includes an endless file of beauty industry leaders, advertising agencies, celebrities, producers, and artists. With 30 years in the industry, Giuliano has perfected his craft to an exceptional level of expertise. Composed of light, color, space and form, Giuliano brings ideas conceptualized in his own imagination into reality throughout his work. Currently living between New York and Los Angeles, Giuliano is often on the move traveling for work and inspiration. Always the restless visionary, he ceases to continually express his fresh and nuanced style. For Giuliano Bekor, a photograph is an image that comes into being consciously, composed of light, color, space and form. Like a painter, he sketches, refining ideas through pen and pencil well before the shutter clicks. A camera is strictly a means to an end, a way of making a palpable visual record of an idea that gestates in his mind, gains shape by his hand, and resolves through his eye as it peers through the lens. His subject is the human body, almost always nude. These images delve into the splendor of the body - how it can express the inner meaning of who we are. Limbs, torsos, muscles and bones are exposed as though carved out of a supple, glowing stone that flexes and twists. Many of these photographs feature subjects posed with the eyes obscured, the face covered. If we look closely, Bekor says, we can see that the body is as much a window into the soul as the eyes. This is a gallery of the soul etched into the forms we assume in the physical world. Through exaggerated contrast between light and dark, smooth and textured, vaporous and tactile, Giuliano deliberately filters the extraneous. The camera captures the image, but for Bekor each exposure is a transformation - of himself, his subjects, and us. He is digging into uneasy turf, fraught with tension: masculine/feminine, heroic/cowardly, shameless/shameful, eternal/fleeting. The intensity of detail, the fiercely exquisite perfection of the bodies themselves, the unflinching, scrupulous engagement of the lens, negates all pretense of politeness. Confronted, we are summoned to look. So we must. And we do. And we experience the beautiful human forms we inhabit and the silent, eloquent language they speak. EXHIBITION HIGHLIGHTS Giuliano Bekor’s most recent fine art photography solo shows include: 2019 - March Lips The cool HeArt...

Swim Class, Columbia, MO by Al Satterwhite is a 14 x 11 inch archival pigment print, available in an edition of 25. This photograph features a woman standing in front of a body of wa...

Amodaj created the Hoop and Ball series of photographs in June 2010 with dancer and author Shawnrey Notto. The photographs were based on an earlier series of drawings Nenad made of Notto wearing parts of the deconstructed wedding dress during his figure drawing study in Michael Markowitz’s 23rd Street studio in San Francisco. The hoop skirt serves as an augmentation device, a skeletal extension meant to alter the visual perception of the human form. To realize the full associative power of the hoop, Amodaj created a counter-shape to the hoop, a white sphere (the Ball) made from plaster strips, to match the cloth texture and placed it in a dynamic relationship with his model. Notto improvised the poses from Nenad’s drawings in constant slow motion. The whole project was done in two 3-hour sessions with no rehearsals and no replays. The minimalistic setting, uniform lighting, and central vantage point shift perception from a trivial reality to a metaphysical one. The intent was to induce the spectator to spontaneously alternate between the three aspects: the human form, the symbolic function of the skirt, and the geometry of the cone and sphere. The spontaneity of dynamic poses and the imperfections of a handheld camera balance this sparse imagery. The exhibition presents a selection of 15 photographs from a project collection of over a hundred. Most of the series are gelatin-silver prints from a 35 mm film, with a few exceptions for large-scale digital color prints. Amodaj was influenced by the work of Bernd and Hilla Becher's typologies of industrial buildings and František Drtikol’s nudes. In the spirit of Becher’s “typologies,” Amodaj’s Hoop and Ball series of photographs explores endless mutations of the hoop skirt architecture, a clothing item with a curios geometric form that can be classified as a “flexible cone.” It is a form that appears both in nature and in artifice: flowers, bells, horns, nuclear power plants...

ABOUT After 30 years of only exhibiting fine art photography, the Robin Rice Gallery is pleased to present a group exhibition featuring a selection of her gallery photographers and three visual artists new to the space: Erica Hauser, and Matt Kinney. The selected works of these well-established Beacon, NY artists blend with the gallery’s fine art photography. Upon entering the gallery, viewers will encounter figurative sculptures, abstract paintings, and ink wash drawings alongside fine art photography. Since Robin Rice’s move to Beacon, NY, this concept developed organically; the group exhibition is a fusion of artistic mediums inspired by chance encounters between Rice and friends at art events in Beacon. After spending time with creatives who've spent lockdown in studios, Rice carefully chose works most apropos with her edited inventory of framed photography. Through these chance encounters Rice found inspiration to create this exhibition unlike anything seen before at the gallery and curated an immersive experience. Maintaining her expert aesthetic, Rice has brought together a mosaic of mediums that seamlessly fit together like pieces of a puzzle. Kinney's collection of ink wash paintings in Japanese Sumi ink and watercolor paintings on hand-torn paper render fleeting glimpses of figures and animals as well as primal symbols. Tasmania Spiral is a hypnotic work that resembles a gyre. Also in focus is Hauser’s collection of abstract paintings featuring an alluring vintage color palette...

Art Shay's true love was street photography. It is evidently clear in this shot entitled "The Three, Maybe Four, Ages of Women" with the young mannequin bride, the middle aged women...

"Octopussy O20" Abstract Photography 40" x 84" in Edition 2/6 by Giuliano Bekor Print size 84x40 Inches trim bleed Artwork finished size 88x44 Inches Limited edition 2 of 6 Artist...

I-43 (Rock/Flag), WI by David Graham is a color photograph of a painted American flag on a rock in a grassy field. Archival Pigment Print Paper size: 24 x 36 in. Image size: 20 x 30...

ABOUT After 30 years of only exhibiting fine art photography, the Robin Rice Gallery is pleased to present a group exhibition featuring a selection of her gallery photographers and three visual artists new to the space: Erica Hauser, and Matt Kinney. The selected works of these well-established Beacon, NY artists blend with the gallery’s fine art photography. Upon entering the gallery, viewers will encounter figurative sculptures, abstract paintings, and ink wash drawings alongside fine art photography. Since Robin Rice’s move to Beacon, NY, this concept developed organically; the group exhibition is a fusion of artistic mediums inspired by chance encounters between Rice and friends at art events in Beacon. After spending time with creatives who've spent lockdown in studios, Rice carefully chose works most apropos with her edited inventory of framed photography. Through these chance encounters Rice found inspiration to create this exhibition unlike anything seen before at the gallery and curated an immersive experience. Maintaining her expert aesthetic, Rice has brought together a mosaic of mediums that seamlessly fit together like pieces of a puzzle. Kinney's collection of ink wash paintings in Japanese Sumi ink and watercolor paintings on hand-torn paper render fleeting glimpses of figures and animals as well as primal symbols. Tasmania Spiral is a hypnotic work that resembles a gyre. Also in focus is Hauser’s collection of abstract paintings featuring an alluring vintage color palette...