Body Figurative Photography

Landon Nordeman is inspired by the work of Garry Winogrand and William Eggleston. Nordeman's unique point of view, characterized by National Geographic senior picture editor Sadie Quarrier, as "delightful, bold and unexpected," provided his audience - many of whom follow his work on his Instagram feed - with a fresh perspective on the world of fashion. "Photography for me is about discovery and appreciation," states Nordeman. "It is a way of probing the world, and making pictures to satisfy my curiosity." Landon Nordeman (born 1974, NYC) has photographed around the world for fine art projects as well as commercial clients. American Photography, Communication Arts, Pictures of the Year International, The PDN Photo Annual, The Best of Photojournalism, The Center for Documentary Studies, PDN's 30, The Society for Publication Design and The James Beard Foundation have all commended his work. "The Necklace (Katie Holmes...

"OTHER 4" Photography 40" x 40" inch Edition of 10 by Giuliano Bekor Archival pigment print. Not framed. Ships in tube. Men's - Other Series Intro This series connecting us to n...

edition 1/5 TRENITY THOMAS is a self-taught photographer who has also experimented with painting and sketching since grade school. As a photographer, he has worked in a myriad of ge...

edition 1/7 TRENITY THOMAS is a self-taught photographer who has also experimented with painting and sketching since grade school. As a photographer, he has worked in a myriad of ge...

David Saxe - “Photography has always been the simple act of looking and being inspired to strip the unnecessary elements from the scene and frame the image down in a way to discover...

Surf Wagon, St. Petersburg Beach by Al Satterwhite is a 16 x 20 inch archival pigment print, available in an edition of 25. This photograph features a group of teenagers sitting on top of a car filled with surfboards. The image size is 12 x 17 3/4 inches, the paper size is 16 x 20 inches. This photograph is signed, titled, dated, print date, and numbered by Al Satterwhite. This photograph is available in multiple sizes: 11 x 14 in., Edition of 25 16 x 20 in., Edition of 25 20 x 24 in., Edition of 25 24 x 36 in., Edition of 25 36 x 54 in., Edition of 15 Al Satterwhite started working as a photographer at a major daily newspaper in Florida while in high school, covering major news stories in the Southeast. After a year as the Governor of Florida's personal photographer, he started a career as a freelance magazine photographer. Over the next 10 years he worked on assignment for almost every major magazine (Automobile, Car & Driver, Fortune, Geo, Life, Look, Money, Newsweek, People, Playboy, Sports Illustrated, Time, Travel & Leisure, to name a few). He was a consultant to Kodak for digital imaging for a number of years. He has lectured at Boston University, Brooks Institute of Photography, Hallmark Institute of Photography, ASMP, NYU/Tisch School of the Arts, PhotoExpos in Los Angeles & New York. He has given workshops at Dawson College (Montreal), ICP (NYC), Kauai Photographic (Hawaii), the Maine Workshops, the Missouri Workshops, Palm Beach Photographic Workshops, Santa Fe Workshops & his own studio in New York City. He lectures and holds workshops at various facilities around the U.S. His photographic prints are in the permanent collections of the Smithsonian National Portrait Gallery, Houston Fine Art...

24 x 16 inches - Edition 1 of 5 with 2 APs framing is an additional $420. Photography and acting are kindred spirits in the new series by e2 (Elizabeth Kleinveld and Epaul Julien)....

16 x 10.5 inches - Edition 5 of 7 with 2 APs framing is an additional $265. Photography and acting are kindred spirits in the new series by e2 (Elizabeth Kleinveld and Epaul Julien...

Shot on a 20x24 Polaroid camera, "Suzanne Bent with Curl" is a one-of-a-kind print made only rarer by the limited availability of the device’s large-format film. Includes silver fram...

Hand signed by the artist on the back and certificate Format 40X50 cm inkjet print on baryta cardboard paper / 2021 Edition numbered /30 ex 1980 euros

This Oleg Dou work is a 63 x 47 inch digitally rendered C-print which has been face mounted on acrylic. It was printed in 2015, and is one of eight editions. Dou’s use of metaphor an...

Photography printed on fine art paper Hand-signed and numbered 1/5 on the back by the artist

Ed. 2/5, includes black frame. Alison Jackson is a British artist who explores celebrity culture as created by the media and publicity industries. Jackson makes works about celebrit...

Edition of 35 Toned gelatin silver print Signed, titled, dated and numbered by Keith Carter Paper size: 20 x 16 in., Image size: 15 x 15 in. Keith Carter is an American photographer...

PHOBIAS Pezdek’s PHOBIAS expose the absurdist, fearful tendencies from which we all suffer. Concurrently, there is a powerfully implicit optimism running through each work which is...

PHOBIAS Pezdek’s PHOBIAS expose the absurdist, fearful tendencies from which we all suffer. Concurrently, there is a powerfully implicit optimism running through each work which is...

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...

Jeff Robb Portal 12 Lenticular Photograph 31" x 31" Editions 6-12 of 12 $10,000 Provenance: From the artist's studio Additional Information: Available in additional sizes, please ...

Hand signed by the artist on the back and certificate Format 40X50 cm inkjet print on baryta cardboard paper / 2021 Edition numbered /30 ex 1980 euros

Hand signed by the artist on the back and certificate Format 40X50 cm inkjet print on baryta cardboard paper / 2021 Edition numbered /30 ex 1980 euros

This is a self-portrait with a 1950s girly cut-out set against a dramatic tropical sky. It's is a straight shot. The camera is on a tripod while the photographer slides over to bec...

This Oleg Dou work is a 63 x 47 inch digitally rendered C-print which has been face mounted on acrylic. It was printed in 2015, and is one of eight editions. This soft and somber ima...

Jeff Robb Portal 9 Lenticular Photograph 31" x 31" Editions 6-12 of 12 $10,000 Provenance: From the artist's studio Additional Information: Available in additional sizes, please i...

Signed, titled and dated by Mario Algaze Gelatin silver print, 20 x 16 in. Mario Algaze was a contemporary Cuban-American photographer whose work celebrated the culture of Latin Ame...

Photographie tirée de l'ouvrage Habana Song (2019, éditions LOCO), prise lors d'un des nombreux voyages de l'artiste à Cuba. "Cuba n’est pas qu’une île. C’est un symbole politique. C’est aussi une part de notre imaginaire collectif. J’étais allé à Cuba à la fin des années 1990, au moment où les "Balseros" sur leurs radeaux de fortune essayaient d’atteindre Key West, en Floride, juste en face… Vingt ans plus tard, je reviens à La Havane, juste après la mort de Fidel Castro. La ville est en pleine mutation. Je suis hypnotisé par la superbe mélancolie de ce monde figé. Je sens vivre et vibrer un pays unique et cabossé, fier et contestataire, endormi et flamboyant. Les coins de rue photographiés par Walker Evans en 1933 sont toujours là, presque identiques. La puissance de la photographie m’éclabousse dans ce rapport intime à l’histoire, aux lieux et au temps qui passe. Ou qui ne passe pas… " Tiré par l'auteur lui-même par impression jet d'encre Fine art, ce tirage comporte de superbes nuances de noir, dans un ton légèrement chaud, avec un aspect de surface lustré. Tirage seul en format 30x40cm, signé au dos en bas à droite, excellent état. Il peut aussi être récupéré directement à la galerie, à Paris...

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.` This exhibition explores the ever-worsening forest fires due to climate change. In 2005, my series `Arctic Technology`, was shortlisted for the BMW Prize at Paris Photo (Scout Gallery, London). In 2015, my series `Paradise Lost`(containing three of my main environmental series) toured between three large museums in China. My other environmental work has been nominated for the annual Prix Pictet Award twice, with my series, `Barentsburg` and `Shadow Within`, for both Earth and Power themes. In 2005, my series `Arctic Technology` was shortlisted for the BMW Prize at Paris photo (through Scout Gallery, London). My work has been shown in numerous museums, including a symposium at Johnson Museum, N.Y., was included in traveling exhibitions with WHATCOM (Museum of Washington) with the exhibition `Vanishing Ice`, as well as a two-year museum tour in China environmental issues with Three Shadows Photography Art Centre in Beijing and the Norwegian Embassy. Publications/books include `Vanishing Ice`and `Altered Landscape` (Nevada Museum of Art), including purchased work for their collection at Center for Art and Environment. Selected exhibitions CV: Christian Houge (born in Oslo 1972) - Curriculum Vitae 2021 `As far as my Eye can Sea – The Expedition Exhibition` Rev Ocean, Bomuldsfabrikken Kunsthall, Arendal `Facing Fire`, Collaborative, UCR ARTS:California Museum of Photography Continuation `Death of a Mountain`/ In;Human Nature`, Buer Gallery, Oslo 2020 `Facing Fire`, Collaborative, UCR ARTS:California Museum of Photography 2019 `Metafysica`, `Residence of Impermanence`,collaborative, Haugar Kunstmuseum, Vestfold `Residence of Impermanence`, Fotografiska Museum, Stockholm. Solo `Helt Dyrisk` Residence of Impermanence`, collaborative, Preus Museum, Horten `Residence of Impermanence`, Galleri Fineart, Oslo. Solo 2017 `Shadow Within/Rituals` Gulden Kunstverk, Drammen. Solo Commission, MAAEMO restaurant. `In;Human Nature` `Mirror,Mirror` Hosfelt Gallery, San.Fran. Collaborative w/Ed Ruscha, Adam Fuss, Liliana Porter 2016 `In;Human Nature`, TM51 Gallery, Oslo. Solo Fotofever/ParisPhoto, Louvre, Paris Cornette de Saint Cyr, Auction, Paris 2015 Three Shadows Photography Art Center, Beijing, China. `Paradise Lost` . `Arctic Technology/Barentsburg`/ Shadow Within. Solo Fotofever (ParisPhoto), Artistics Art Gallery, Paris. Collaborative How Art Museum, Wenzhou, China. `Paradise Lost` Arctic Technology/Barentsburg/Shadow Within. Solo Redtory, Guangzhou, China. `Paradise Lost` Arctic Technology/Barentsburg/Shadow Within. Solo 2014 Fineart Gallery, Oslo `Shadow Within` 2010-2013 / `Darkness Burns Bright` 2013/2014. Solo Beyond Earth Art • (contemporary artists and the environment) Johnson Museum of Art, New York. Shadow Within. Collaborative (incl. Olafur Eliasson, Edward Burtynsky, Mathew Brandt, Yun-Fei Ji amongst others) The El Paso Museum of Art, Texas. `Arctic Technology`. Collaborative Glenbow Museum, Alberta. `Arctic Technology`. Collaborative LIFF (Lofoten International Photofestival) `Shadow Within` w/speaking. Solo 2013 Nominated for the Prix Pictet Award/ `Shadow Within`. Hosfelt Gallery, San.Fran. USA. `Shadow Within`. Solo Accompanied by Call of the Wild`( Joseph Beuys, Ed Ruscha, Patricia Piccinini and Alan Rath...

JOHN Yuyi (*1991, Taiwan) People on the beach 3, 2019 Archival Pigment Print Sheet 120 x 90 cm (48 x 36 in.) Edition of 3, plus 1 AP; Ed. no. 1/3 ...

A camera is a window through which a photographer interacts with the world, and it's up to the operator to decide whether his camera will be a barrier or a mirror between he and his subjects. In the 1970s, Michael Abramson chose the latter path when he brought his camera to Pepper's Hideout on Chicago's South Side. Following in the footsteps of his acknowledged influence Gyula Halász, a Hungarian photographer better known as Brassaï who became the pre-eminent chronicler of the Paris nightlife he loved so much, Abramson initiated himself into the nightlife of Chicago's predominantly black neighbourhoods. He was very much a part of the scene he documented on film, drinking, laughing, and dancing with his subjects into small hours and becoming as much a part of the atmosphere as the locals who frequented the same nightspots he did. - Joe Tangari (Numero Group, 2009) This series won Abramson a grant from the National Endowment for the Arts in 1978 and launched his career as a photojournalist. Eventually the project resulted in a hardbound book, Light: On the South Side, including the Grammy and Mojo nominated album, featuring Chicago blues...

Erica Kelly Martin is an artist and photographer, based in Los Angeles, whose work centers on recurring themes of identity, transformation, and the paradox of human existence, conden...

Female centric archival pigment print. Silhouette shot from the back. B/w. About the artist: For over 50 years, photography has been his medium of artistic exploration, shaped...

An artist who puts his life on the line for his art. Chris Burden was at the forefront of the conceptual art movement in the early 1970s. Prelude to 220, or 110 is one of his most important works where the artist puts his life on the line for his art. Burden voluntarily lays on his back. His neck and wists are have copper bands that bolt him to the floor. To his immediate left and right are two buckets of water with a 110-volt line inside. If the buckets were compromised in any way by a passerby or an unexpected event - Burden would have been electrocuted in a literal shocking performance. Art history is replete with artists who put themselves in harm's way to accomplish their art. Michelangelo risked a misstep to a certain death as he elevated himself over 60 feet to paint the ceiling of the Sistine Chapel. Francisco Goya's "The Disasters of War" may have put him at odds with a governing orthodoxy. Picasso walked a very narrow line with during the Nazi occupation. Gutzon Borglum dangled himself off the face of Mount Rushmore and War Photographer Robert Capa, landed on Omaha Beach during D-Day. But it was Chris Burden whose art spotlighted...

Jeff Robb Portal 13 Lenticular Photograph 31" x 31" Editions 6-12 of 12 $10,000 Provenance: From the artist's studio Additional Information: Available in additional sizes, please ...

Jeff Robb Portal 10 Lenticular Photograph 31" x 31" Editions 6-12 of 12 $10,000 Provenance: From the artist's studio Additional Information: Available in additional sizes, please ...

Jeff Robb Portal 5 Lenticular Photograph 31" x 31" Editions 6-12 of 12 $10,000 Provenance: From the artist's studio Additional Information: Available in additional sizes, please i...

JOHN Yuyi (*1991, Taiwan) The Face 1, 2016 Archival Pigment Print Sheet 90 x 60 cm (36 x 24 in.) Edition of 6, plus 2 AP; Ed. no. 1/6 John Yuyi (*1991, Taiwan) is known worldwide as...

Bill HENSON (*1955, Australia) Untitled #16 - AH SH4 N13, 2009/2010 Archival pigment print Sheet 127 x 180 cm (50 x 70 7/8 in.) Edition of 5, plus 2 AP's;...

Chris Smith (b.1937) Everlast silver gelatin fibre based print 30 x 20 in. / 48 x 34.5 in. / 66 x 46 in. signed and numbered printed later This work is available in the following si...

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...

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...

CURRENT EXHIBITION - runs through September 10th, 2017. Any framed photographs purchased during the show will be available then. If the exhibition piece is sold or the customer order...

JOHN Yuyi (*1991, Taiwan) People on the beach 5, 2019 Archival Pigment Print Sheet 120 x 90 cm (48 x 36 in.) Edition of 3, plus 1 AP; Ed. no. 1/3 ...

Slim Aarons Amalfi Coast 1984 Chromogenic Lambda Print Estate stamped and hand numbered edition of 150 with certificate of authenticity from the estate. A young woman, wearing a bi...

Listing is for UNFRAMED print. Inquire within for framing. Edition of 10. If the exhibition piece is sold or the customer orders a different print size, the photograph is pro...

Listing is for UNFRAMED print. Inquire within for framing. Edition of 7. If the exhibition piece is sold or the customer orders a different print size, the photograph is prod...

Listing is for UNFRAMED print. Inquire within for framing. Edition of 7. If the exhibition piece is sold or the customer orders a different print size, the photograph is prod...

Listing is for UNFRAMED print. Inquire within for framing. Edition of 7. If the exhibition piece is sold or the customer orders a different print size, the photograph is prod...

Listing is for UNFRAMED print. Inquire within for framing. Edition of 7. If the exhibition piece is sold or the customer orders a different print size, the photograph is prod...

Listing is for UNFRAMED print. Inquire within for framing. Edition of 7. If the exhibition piece is sold or the customer orders a different print size, the photograph is prod...

Listing is for UNFRAMED print. Inquire within for framing. Edition of 7. If the exhibition piece is sold or the customer orders a different print size, the photograph is prod...

This piece shows two feminine figures embracing one another in front of a black background. This piece is now on view at Hal Bromm Gallery in an exhibition titled TOUCHING/FEELING un...

Listing is for UNFRAMED print. Inquire within for framing. If the exhibition piece is sold or the customer orders a different print size, the photograph is produced upon purchase...

Tanned bodies on the deck of Dino Pecci Blunt's yacht in Marbella, 1967 Estate stamped and hand numbered edition of 150 with certificate of authenticity from the estate. Slim Aaro...

Roger BALLEN Metamorphosis, from the series 'Boarding House', 2006 Vintage silver gelatin print Image 45 x 45 cm (17 3/4 x 17 3/4 in.) Sheet 50 x 50 cm (19 3/4 x 19 3/4 in.) Edition ...

30 x 45 inches ($5200) and 40 x 60 inches ($7200), limited editions of 10, printed on Archival Watercolor Fine Art Paper, 335 gram weight, signed by the artist. Cheryl Maeder was bo...

JOHN Yuyi (*1991, Taiwan) People on the beach 7, 2019 Archival Pigment Print Sheet 120 x 90 cm (48 x 36 in.) Edition of 3, plus 1 AP; Ed. no. 1/3 ...

Patrick Chelli invents collections of photographs from different points of view, looking at the viewer at the back. In his new series, spectators are captured in galleries as they wa...

JOHN Yuyi (*1991, Taiwan) Wear NIKE 6, 2018 Archival Pigment Print Sheet 90 x 60 cm (36 x 24 in.) Edition of 6, plus 2 AP; Ed. no. 1/6 John Yuyi (*1991, Taiwan) is known worldwide a...

Slim Aarons Hotel Du Cap, 1969 C print Estate stamped and numbered edition of 150 with Certificate of authenticity Holidaymakers at the Hotel du Cap Ed...