Early 2000s Figurative Photography

Juan Carlos Alom (Cuba, 1964) 'Esta obra no tiene título es sólo el silencio de mi veneración', 2004 photoengraving on paper 30 x 22.1 in. (76 x 56 cm...

"John Lennon and Yoko Ono" photographed in front of the Dakota apartment in New York City in 1980 by Allan Tannenbaum, two weeks before Lennon's death. This framed photograph was previously displayed in a guest room at the original Hard Rock Hotel & Casino in Las Vegas, Nevada, and comes with a certificate of authenticity and commemorative plaque to this effect. The image size is approximately 9 x 13 inches. The text to the right of the photo, which measures approximately 9 x 6 inches, reads: "Yoko Ono and John Lennon New York...

Juan Carlos Alom (Cuba, 1964) 'Estudio anatotécnico para abandonar una isla', 2004 photoengraving on paper 30 x 22.1 in. (76 x 56 cm.) Edition of 106 ...

Charles Martin Handsome, Sao Paulo, 1992 Gelatin silver print 20 x 16 inches (50.8 x 40.6 cm) Edition 2/5

Juan Carlos Alom (Cuba, 1964) 'Mandy y Tara', 2004 photoengraving on paper 30 x 22.1 in. (76 x 56 cm.) Edition of 106 ID: ALO1534-007-106 Hand-signed ...

Juan Carlos Alom (Cuba, 1964) 'Sólo tu cabes en la palma de mi mano', 2004 photoengraving on paper 30 x 22.1 in. (76 x 56 cm.) Edition of 106 ID: ALO1...

Juan Carlos Alom (Cuba, 1964) 'El cielo protector', 2004 photoengraving on paper 30 x 22.1 in. (76 x 56 cm.) Edition of 106 ID: ALO1534-004-106 Hand-s...

Roger BALLEN Abandoned Flower, 2001 Vintage silver gelatin print Image 36 x 36 cm (14 1/8 x 14 1/8 in.) Sheet 40 x 40 cm (15 3/4 x 15 3/4 in.) Edition of 10 (#5/10) Signed and dated ...

Roger BALLEN Dress Up, 2002 Vintage silver gelatin print Image 36 x 36 cm (14 1/8 x 14 1/8 in.) Sheet 40 x 40 cm (15 3/4 x 15 3/4 in.) Edition of 4 (#2/4) Signed and dated verso in p...

Susan Sterner Mama ya se fue, 2009 Archival pigment print Framed Dimensions: 14 3/4 x 17 3/4 inches (37.5 x 45.1 cm) Image Dimensions: 7 x 10 inches (17.8 x 25.4 cm) Edition 1/10

"Isabel Muñoz (Spain, 1951) 'Serie Capoeira', 2005 photography on paper 49.3 x 41 in. (125 x 104 cm.) Edition of 35 ID: MUÑ1671-001-035 Hand-signed by aut...

Juan Carlos Alom (Cuba, 1964) 'Tarjetas postales', 2004 photoengraving on paper 22.1 x 30 in. (56 x 76 cm.) Edition of 106 ID: ALO1534-006-106 Hand-si...

Juan Carlos Alom (Cuba, 1964) 'Esta obra no tiene título es sólo el silencio de mi veneración', 2004 photoengraving on paper 30 x 22.1 in. (76 x 56 cm...

Roger BALLEN Caged Cat, 2003 Vintage silver gelatin print Image 36 x 36 cm (14 1/8 x 14 1/8 in.) Sheet 40 x 40 cm (15 3/4 x 15 3/4 in.) Edition of 5 (#2/5) Signed and dated verso in ...

Stefanie Schneider's work was used for Marc Forster's movie 'Stay'. Featuring Ewan McGregor, Naomi Watts and Ryan Gosling. Naomi and Ryan were both portraying artists and Stefanie's ...

Man walking - Limited edition pigment print - Limited Editions of 5 France, 2003 This is an Archival Pigment print on fiber based paper ( Hahnemühle Photo Rag® Baryta 315 gsm , A...

Roger BALLEN Hide and Seek, 2003 Vintage silver gelatin print Image 36 x 36 cm (14 1/8 x 14 1/8 in.) Sheet 40 x 40 cm (15 3/4 x 15 3/4 in.) Edition of 5 (#2/5) Signed and dated verso...

Roger BALLEN Unexpected, 2004 Vintage silver gelatin print Image 36 x 36 cm (14 1/8 x 14 1/8 in.) Sheet 40 x 40 cm (15 3/4 x 15 3/4 in.) Edition of 5 (#2/5) Signed and dated verso in...

'Untitled' by Stefanie Schneider (Beachshoot) 2005 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid Certificate and Signature label, artist Inventory Nr. 898.08, ...

Boccia III (Beachshoot) - 2005 38x36cm, Edition of 10. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory # 1467. Not mounted. featuring C...

Boccia II (Beachshoot) - 2005 38x36cm, Edition of 10. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory # 1467. Not mounted. Beachshoot ...

Stefanie Schneider's Minis 'Memories of Love' (The Girl behind the White Picket Fence) - 2013 signed and signature brand on verso Lambda digital Color Photographs based on a Polaroid...

Boccia IV (Beachshoot) - 2005 38x36cm, Edition of 10. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory # 1467. Not mounted. Beachshoot ...

Everything put Together (Suburbia) - 2004 50x50cm, Edition of 10, Archival C-Print based on the Polaroid. Signature label with Certificate, Not mounted. The project "Suburbia" ...

Okurimono Pigment Print About the work : Shibari I is a 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. The images from the Okurimono- series is available in 3 different formats : 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 More work will be sent from the artistry request. christian at soulfood no 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...

Stefanie Schneider's Minis - The size of a Polaroid. Astroland (Stay), 2006. Lambda digital Color Photographs based on a Polaroid. Signed and signature brand on verso. Polaroid...

Metropolitan Museum, New York 2013 Chromogenic print 180 x 225 cm Edition of 5 Italian, b. 1954, Florence, Italy, based in Florence, Italy Massimo Listri travels his native Italy a...

Stefanie Schneider's art work was used for Marc Forster's movie 'Stay'. Featuring Ewan McGregor, Naomi Watts and Ryan Gosling. Naomi and Ryan were both portraying artists and Stefanie's art was the art both created during the movie. Stefanie's images were also used for Ryan Gosling's memory sequence, for the end titles, for edits in between and as art paintings hanging in several scenes within the movie. “I never remember the details of a Stefanie Schneider image, just the whole. She treads a third path between reality and dream that connects the two and truly sparks my artistic, visual freedom.” (Marc Forster) This piece: Lila's Studio (Stay) with Noami Watts and Ewan McGregor - 2006 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory # 5109. Not mounted. Torsten Scheid, “Fotografie, Kunst, Kino. Revisited.”, FilmDienst 3/2006, page 11-13

 Photography Art Cinema. Revisited Stay expands a traditional connection through new facets Interwoven between the media of photography and film is a veritable mesh-work of technical, motific, metaphorical and personal interrelationships. Extending from photo-film which, as in La Jetée by Chris Marker (France, 1962) is a montage of single, unmoving photographs all the way to the portrayal of photographic motifs in Hollywood cinema―most recently in Memento (USA, 2000) and One hour photo (USA, 2002)―is the range of filmic-photographic interactions on the one hand, and from the adaption of modes of cinematic production to the imitation of film stills on the other. For instance, with the legendary Untitled Film Stills (1978) of the American artist Cindy Sherman, who later made her debut as a film director with Office Killer (USA, 1997) and thereby, like many others, changed sides: Wim Wenders, Robert Frank and Larry Clark are doubtlessly the most successful of these photographic-filmic border crossers. This brief survey provides only a vague indication of the dimensions of this intermedial field, which in fact extends much further and is constantly being cultivated. Also as a motif in film, photography has experienced a historical transformation: Photographers were once considered to be technicians who mastered a craft but never achieved the status of artists. Photographer-figures were caught in the allure of beautiful appearance, incapable of penetrating to the actual essence of things. Such depth was reserved for literature or painting. When photography in film touched upon the sphere of art, then most often as its contrasting model, as the metaphor for a superficial access to the world. Coming to mind are Fred Astaire as a singing fashion photographer in Stanley Donen’s musical film Funny Face (USA, 1957), or the restless lifestyle-photographer in Michelangelo Antonioni’s genre-classic Blow up (GB, 1966). For the doubting Thomas, only that exists which can be photographed. He ultimately enters the world of fantasy and thereby the field of art only unwillingly, when he becomes entangled in the world of his images. The last of his detail-enlargements shows only the photographic grain and has lost all connection to reality. The photograph looks as if it had been painted by Bill, the painter who is both friend and antagonist to the protagonist.

 Photography as Art It was first around the end of the last century that numerous filmmakers discovered photography as a genuine art form. In The Bridges of Madison County (USA, 1995) a sensitive Clint Eastwood stands, camera in hand, on the threshold of artistic status, and in Smoke (USA, 1994) a tobacco merchant ripens into a philosopher through his involvement in photography. Finally, in John Water’s parody of the art market, Pecker (USA, 1998), a provincial tom-fool is hyped into celebrated stardom amid the New York art scene because of his blurred snapshots. This film about a postmodern Kaspar Hauser in photographic art (with clear parallels to Richard Billingham...

Officer's Wives Club (29 Palms, CA), diptych - 1999 Edition of 23/25, 40x40cm each, installed 40x87cm, including gap. 2 Analog C-Prints, hand-printed by the artist, based on the 2 Polaroids. Signed on back with Certificate. Artist inventory number: 316. Mounted on Aluminum with matte UV-Protection. 29 PALMS, CA is a film / art piece that explores and chronicles the dreams and fantasies of a group of individuals who live in a trailer community in the Californian desert. The world depicted in the film is inspired by the photographs of German artist Stefanie Schneider in that it combines the notions of reality and fantasy and explores the resonance of both within a desert landscape and a transient culture. The characters portrayed in the film, (an actress, a singer, a DJ, a motel owner and his wife, a US army soldier, a mystic, a princess, a recluse, a movie ticket seller, two hitchhikers, a doctor, and so on), are to be played by both actors and non-actors. The story is constructed through the interpretation of real-life communications (i.e. phone calls, emails, conversations) that have taken place as the individuals depicted in the story try to make sense of events that have occurred in real life. In this sense, the story is, in part, a biography and social commentary, and the characters are the exaggerated alter egos of the individuals who play them. The structure of the plot is fairly simple. An actress working as a telemarketer is inspired by a singer who is new to town and is featured on the local radio station. The radio station runs a program for lonely hearts and a charismatic DJ uses the show to reveal the hopes and dreams of the town's “hottest women”. One night a panicked German female caller captivates the community with a painful story about a sexy “Smoke Jumper” (a mysterious and super real alpha male). Everybody in town is listening to the program and nobody is quite sure what to say. Life in general continues and we witness and explore the various interactions. The actress meets the singer and they become famous. The US Army soldier dies on his way to battle. The foreign princess discovers that the jewels she has come to sell are fake. The motel owner‘s wife has an affair with the pool boys and so on. All the while the community is united by their loyalty to the “Lonely Hearts” radio show and through the disturbing revelations of the German woman...

Okurimono Pigment Print About the work : Shibari I is a 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. The images from the Okurimono- series is available in 3 different formats : 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 More work will be sent from the artistry request. christian at soulfood no 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...

Bourbon (Suburbia) - 2004 Edition of 2/5, 60x80cm. Analog C-Print, hand-printed by the artist based on the Polaroid, mounted on Aluminum with matte UV-Protection. Artist Inventor...

'Daisy on Bed' (Till Death do us Part) - 2005 38x47cm, Edition of 30 Archival C-Print print, based on the Polaroid, Certificate and signature label, ar...

Everything put Together (Suburbia) - 2004 50x50cm, Edition of 10, Archival C-Print based on the Polaroid. Signature label with Certificate. Artist inventory #19313. Not mounte...

Moving in Together (Till Death do us Part) - 2008 125x154cm, Edition 1/5. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the Polaroid. Certifi...

An original signed archival pigment print on Hahnemühle Photo Rag® Baryta 315 gsm paper by Scottish artist Ian Sanderson (1951- 2020) titled ‘Ariane Signed by Ian Sanderson lower ri...

The key - Signed limited edition monochrome pigment print - Edition: 2 of 5 Brighton, UK, 2002 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: 52 x 31 cm / 20,74 x 12,20 in. - Edition of 5 75 x 45 cm / 29,53 x 17,72 in. - Edition of 5 117 x 70 cm / 46,06 x 27,56 in. - Edition of 5 Geoff Halpin...

'Girls' (Till Death do us Part) - 2005 20x24cm, Edition of 10, Archival C-Print print, based on the Polaroid Certificate and Signature label artist Inventory No. 9361.08 Not mount...

Girl at Fence III (The Last Picture Show) - 2005 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid Certificate and Signature label artist Inventory No. 775.16 Not mo...

Circle of Magic - from the 29 Palms, CA series - 2009 20x24cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Certificate and signature label. Art...

Smoke Jumper Ballet (29 Palms, CA) - 2007 50 x 60 cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certificate. Artist I...

Stefanie Schneider's Minis 'Gasoline II' (Stranger than Paradise), 1999 signed and signature brand on verso Lambda Archival Color Photographs based on the Polaroid Polaroid sized o...

The Games we played (Till Death do us Part) - 2005 50x50cm, Edition of 10, plus 2 artist proofs. Archival C-Print print, based on the Polaroid. Certificate and Signature label, a...

Lynn Bianchi is a New York City-based, fine art photographer and multimedia artist. She has shown work in over thirty solo exhibitions and in museums worl...

Boccia V (Beachshoot) - 2005 38x37cm, Edition of 10 Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory # 1467_5. Not mounted. featuring Ca...

Emma SUMMERTON (*1970, Australia) Motel 8, 2005 Archival pigment print on Hahnemühle Paper 100 x 120 cm (39 3/8 x 47 1/4 in.) Edition of 5, plus 2 AP (AP 1/2) Print only Australian born Emma Summerton (*1970) graduated from the National Art School in Sydney, where she studied fine arts majoring in Photography. Summerton moved to London in 1998, where she worked as an assistant to artist Fiona Banner...

# 1 of 8 Signed, dated and numbered Howard Schatz gave up a career as a retinal surgeon and a clinical professor to follow his passion for photography. Schatz first established a following in the 1990s with two collections of underwater photography, Water Dance and Pool Light...

'Ewan McGregor' (Stay) - 2006 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid Certificate and Signature label artist Inventory No. 5007.01 Not mounted Stefanie Schneider: Torsten Scheid, “Fotografie, Kunst, Kino. Revisited.”, FilmDienst 3/2006, page 11-13

 Photography Art Cinema. Revisited Stay expands a traditional connection through new facets Interwoven between the media of photography and film is a veritable mesh-work of technical, motific, metaphorical and personal interrelationships. Extending from photo-film which, as in La Jetée by Chris Marker (France, 1962) is a montage of single, unmoving photographs all the way to the portrayal of photographic motifs in Hollywood cinema―most recently in Memento (USA, 2000) and One hour photo (USA, 2002)―is the range of filmic-photographic interactions on the one hand, and from the adaption of modes of cinematic production to the imitation of film stills on the other. For instance, with the legendary Untitled Film Stills (1978) of the American artist Cindy Sherman, who later made her debut as a film director with Office Killer (USA, 1997) and thereby, like many others, changed sides: Wim Wenders, Robert Frank and Larry Clark are doubtlessly the most successful of these photographic-filmic border crossers. This brief survey provides only a vague indication of the dimensions of this intermedial field, which in fact extends much further and is constantly being cultivated. Also as a motif in film, photography has experienced a historical transformation: Photographers were once considered to be technicians who mastered a craft but never achieved the status of artists. Photographer-figures were caught in the allure of beautiful appearance, incapable of penetrating to the actual essence of things. Such depth was reserved for literature or painting. When photography in film touched upon the sphere of art, then most often as its contrasting model, as the metaphor for a superficial access to the world. Coming to mind are Fred Astaire as a singing fashion photographer in Stanley Donen’s musical film Funny Face (USA, 1957), or the restless lifestyle-photographer in Michelangelo Antonioni’s genre-classic Blow up (GB, 1966). For the doubting Thomas...

Boccia (Beachshoot) - 2005 70x135cm installed, including gaps - 8 pieces, 30x30cm each, almost sold out Edition of 100 plus 3 Artist Proofs. Available 100/100, AP 1/3, AP 3/3. Arc...

Childhood Memories (Stay), from Ryan Gosling's memory sequence - 2006 20x20cm, Edition of 10, Archival C-Print, matte surface, based on the Polaroid. Certificate and Signature la...

Southend On Sea Sunrise England 2006 by Homer Sykes oversize 30 x 20 inches / 76 x 51 cm paper size signed limited edition print edition of 8 only this size printed 2022 Certificate of authenticity provided An English sunrise motif in a cafe Southend on Sea, Essex. England. 2006. Baileys Fish and Chip shop. 2000s Note Other sizes available Chelsea, London, England circa May 1985. The Chelsea Flower Show. Visitors sheltering, its raining, its summer in Britain. People sitting under their umbrellas. Homer Sykes Sykes's father, Homer Warwick Sykes, was a Canadian-born American of English extraction who worked for the China National Aviation Corporation in Shanghai; his mother, Helen Grimmitt, was Canadian-born and raised in Hong Kong. The couple were married in August 1947, but in June 1948, in an early stage of his wife's pregnancy, Homer was killed in an accident at Lunghua airfield. Helen returned to her family home in Vancouver, and the son was born three weeks later, in 1949.[1][2] When the boy's mother remarried in 1954, the family moved to England.[3] Homer was a keen photographer as a teenager, with a darkroom both at home and at boarding school. In 1968 he started a three-year course at the London College of Printing (LCP),[1][3] while sharing a house in St John's Wood.[4] In the summer vacation during his first year, he went to New York, and was impressed by the work of current photographers – Cartier-Bresson, Davidson, Friedlander, Frank, Uzzle and Winogrand – that he saw at the Museum of Modern Art.[3] Solo exhibitions "Traditional British Calendar Customs", Arnolfini Gallery (Bristol), 1977;[14] Side Gallery (Newcastle), 31 August – 25 September 1977.[15] "Shanghai Odyssey", Open Eye Gallery (Liverpool), 24 May – 20 June 2003.[14][16] Festival of Photography and Contemporary Art (Biella), 2005.[14] "On the Road Again", Hereford Town Hall (Hereford Photography Festival), 2002.[17] "Green Man and Friends, photographs from the 1970s", WPS (Hastings), 2009.[18] "England 1970–1980", Maison de la photographie Robert Doisneau (Gentilly, Paris), 27 June – 12 October 2014.[10][11][19][20] "My Britain 1970–1980", Les Douches la Galerie, Paris. 5 September – 31 October 2015.[21][22][23] "Once a Year – Homer Sykes", Lucy Bell Gallery, St Leonards-on-Sea, May–June 2021[24] Other exhibitions "Personal Views 1850–1970", British Council touring exhibition, 1970.[3] "Traditional Country Customs" (with work by Benjamin Stone), ICA (London), 1971.[3][14] "Young British Photographers", Museum of Modern Art (Oxford), 1971.[14] Exhibition of photographs by Stone and Sykes of festivals, customs and pageants, Southampton and Birmingham, 1973.[7] "Reportage Fotografen", Museum des 20. Jahrhunderts (Vienna), 1978.[14] "Il Regno Unito si diverte". British Council, Milan, 1981. With Chris Steele-Perkins and Patrick Ward.[25] "The Other Britain", National Theatre (London), and touring in Britain, 1982.[26] "A British Eye on the World", Museum of Modern Art (Rio de Janeiro), 1986.[14] "Viva, une agence photographique", Jeu de Paume (Paris), 2007.[27][28] "How We Are: Photographing Britain." Tate Britain (London), 2007.[29][30] "No Such Thing as Society: Photography in Britain 1968–1987", Aberystwyth Arts Centre; Tullie House (Carlisle); Ujazdów Castle (Warsaw).[31] "Unpopular culture." De La Warr Pavilion (Bexhill), 2008.[32] "The Other Britain Revisited: Photographs from New Society", Victoria and Albert Museum, 2010.[26] "Goodbye London: Radical art and politics in the seventies", Neue Gesellschaft für Bildende Kunst (Berlin), 26 June – 15 August 2010. With Stuart Brisley, Victor Burgin, David Hall, Margaret Harrison, Derek Jarman...

Boy Running (Point Dume) - 2000 Edition of 5, 100x133cm, analog C-Print, hand printed by the artist, based on the Polaroid, Signature label and Certificate, artist Inventory No....

Lipstick (Sidewinder) - 2005 20 x 24 cm, Edition of 10, Archival C-Print based on the Polaroid, signature label and certificate. Artist Inventory 3045. Not mounted. sidewinder "private history turned into an intimate mythology of elemental fantasies where reality is perceived through a veil of psychedelic memories and unconscious projections. such is a collection of passions and dreams, an uncanny diary of ephemeral narratives and mental intensities in Stefanie Schneider’s painterly photographs...

EMMA SUMMERTON (*1970, Australia) Silverful, 2004 Chromogenic print Image 152,4 x 123,47 cm (60 x 48 5/8 in.) Sheet 182,3 x 153 cm (71 3/4 x 60 1/4 in.) Edition of 1; Ed. no. 1/1 Print only Emma Summerton (*1970 Australia) graduated from the National Art School in Sydney, where she studied fine arts majoring in Photography. Summerton moved to London in 1998, where she worked as an assistant to artist Fiona Banner...

Boccia I (Beachshoot) - 2005 38x36cm, Edition of 10. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory # 1467. Not mounted. featuring Cam...

Diver - Signed limited edition archival pigment print, 2002 - Edition of 5 Provenance : Ian Sanderson’s Estate Powerful photo of a man diving, in profile. This is an Archival ...

"Karl Lagerfeld in Times Square, Editorial for Harper's Bazaar 2006, NYC" color C-print by fine art fashion photographer Simon Procter depicts Karl Lagerfeld and models. Shot for a "...

'Untitled' by Stefanie Schneider (Oilfields) 2004, 60x60cm, Edition of 10, Analog C-Print, based on the Polaroid Certificate and Signature label artist Inventory Nr. 1215.05 Not mo...

Shaolin Monks Training. Zhengzhou. China, 2004 c print 20 x 24 inches edition of 30 Shaolin monks training Kung Fu from Shaolin Monastery takes martial arts to a brand new level. ...