Furniture Figurative Photography

'Illuminations started in 2002 when a relationship was slowly falling apart. While trying to save it, we rented a large stylish apartment in Stockholm, and then later one in Arles, France, hoping that a change of scene would have a posi-tive effect. The new spaces made the distance between us more acute, and the inevitable break even more obvious. The ritual of making one photograph each night became crucial to me. I left the camera shutter open for 3 to 8 hours in a darkened bedroom, and as the morning light arrived I interrupted the exposure. It is a private journal, documenting time and memory, where present meets past.' Born in Vienna to Swedish and Greek parents and raised in Stockholm, Florence Montmare has an MBA in Design Management from Linnaeus University, Sweden and studied at the School of Visual Arts. A graduate of International Center of Photography, New York, she collaborated with artist Sam Samore...

College student Jan Woods relaxes in a hammock at the Abaco Inn on Elbow Cay, one of the Abaco Islands in the Bahamas, March 1986. 40 x 60 inches $3950 30 ...

New England Skiing 1955 (printed later) C-print Estate stamped and hand numbered edition of 150 with certificate of authenticity from the estate. Skiers at the Cranmore Mountain Re...

12.5 x 16 inches - Edition 3 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...

1961: Actress Tania Mallet relaxes on a red-curtained four poster in Eleuthera, in the Bahamas. She is best known for her role as the unfortunate Tilly Masterson in the Bond film 'Go...

Gone Postal by Patty Carroll presents a chaotic scene, a room filled with orange, yellow and green luggage and scattered with postcards seeming to fall from above. A woman lies amids...

Duller Than Dishwater by Patty Carroll is an archival pigment print, available in an edition of 15. This photograph features a mannequin in the sink, reaching for dishes in the dishw...

24"x 30" photograph, edition of 5, signed on reverse This photograph was taken at Greystone Park Hospital, and shows an abandoned interior space with three beauty parlor style hair dryers...

Panther is a color photograph of a staged panther themed room, created by photographer Patty Carroll. This scene consists of a mannequin, representing a woman, laying on a couch surr...

"I wanted Christina to learn some responsibility for cleaning her room, but it didn't work." Edition of 15 Gelatin silver print, 11 x 14 in. Signed, numbered, and dated in pencil wi...

Table de bistro parisienne après une averse ventée

Susan Swihart is a photographic artist, born and raised in Massachusetts, now living in Los Angeles, CA. Her photographs are enquiries into the nature of identity and the persistence of memory. She received a BS in Art with a Concentration in Visual and Media Design from Northeastern University. A two-time Critical Mass finalist, her work has been included in numerous solo and group shows and collected Internationally. Susan Swihart If Only A personal narrative of self portrait work that explores the challenges of being a wife, mother, artist, daughter and friend in the middle of a crossroads, at the middle of my life, not quite sure who I am now or what direction I am heading. It’s a period that feels out of balance, a time where I struggle with the concept of aging and lost youth and the pursuit of having it all when I’m not really sure I want it. Often feeling that the person I thought I was has disappeared, replaced by familial needs and that slow and steady march through time as I shepherd my family forward. I am a participant observer in a life where I watch my children grow and take our place, while at the same time observe parents deteriorate. I’m lost somewhere in the middle with little room or time for personal growth or a clear understanding where I fit on the spectrum of my life. Not much time to reflect, but plenty of time...

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

Edition of 35 Signed, titled, dated, and numbered pencil on print verso by Keith Carter Gelatin silver print, 15 x 15 in. Keith Carter is an American photographer who is known for h...

Edition of 12 Digital c-print Signed, titled, dated and numbered by Jeffrey Silverthorne Jeffrey Silverthorne was an American photographer known for photographing the dead at the st...

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...

Bodegón de la Candelaria, Cartagena, Col. is a black and white photograph of an interior space, with two rocking chairs resting on a checkered tile floor. Selenium toned gelatin sil...

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...

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...

Golden rays rim light a single figure sitting on a Central Park Bench. He becomes more of a shape than a specific individual and, as such, blends i...

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...

Visitors, 2020 Archival pigment print Image 75 x 75 cm (29 1/2 x 29 1/2 in.) Sheet 91 x 91 cm (35 7/8 x 35 7/8 in.) Edition of 3 (#2/3) Print only After photographing exclusively in...

Split Personality by Patty Carroll is a color photograph depicting a duo-toned interior. Bright green and blue shades divide the room in half, with arms and legs emerging from the fu...

Austrian actress Mara Lane lounging by the pool in a red and white striped bathing costume at the Sands Hotel, Las Vegas, 1954. Estate stamped and hand numb...

New England Skiing 1955 (printed later) C-print Estate stamped and hand numbered edition of 150 with certificate of authenticity from the estate. Two women recline on improvised su...

Princess Pia Poolside 1980 Chromogenic Lambda print 40 x 30 inches Estate stamped and hand numbered edition of 150 Princess Pia Ruspoli laying on a lounger by a swimming pool on th...

Veteran Street Photographer Mitchell Funks' signature style is to energize traditional photojournalism/ street photography with overly dramatic light, color, and composition. This wo...

In the 1970s, senior citizens were fixtures on New York City park benches. In this image, golden light conveys the expressive nature of a disparate relationship between an old man an...

Four years ago, I stumbled upon the site of a log-home developer on the traditional territory of the We Wai Kai Nation, my reserve on northeastern Vancouver Island. I found it comica...

Edition 1 of 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...

Jackie shopping in Georgetown Bookstore. Image size is 22" x 32" (for 24" x 36" paper size). All Mark Shaw prints are made to order in limited editions on Hahnemuhle photo rag paper....

Jackie shopping in Georgetown Bookstore. Image size is 10" x 15" (for 11" x 17" paper size). All Mark Shaw prints are made to order in limited editions on Hahnemuhle photo rag paper....

Jackie shopping in Georgetown Bookstore. Image size is 13.75" x 20" (for 17" x 22" paper size). All Mark Shaw prints are made to order in limited editions on Hahnemuhle photo rag pap...

Audrey Hepburn, r23_7 -- Shot for the April 19, 1954 international issue of Life. Initially Audrey Hepburn did all she could to avoid Mark Shaw's cameras. When she realized they shar...

Backstage Russian Coat -- Backstage at the 1954 Pierre Balmain Couture show. Image size is 22" x 32" (for 24" x 36" paper size). All Mark Shaw prints are ...

Backstage Russian Coat -- Backstage at the 1954 Pierre Balmain Couture show. Image size is 13.75" x 20" (for 17" x 22" paper size). All Mark Shaw prints a...

Standing Together: Photographs of Inez Milholland’s Final Campaign For Woman’s Suffrage, a Limited Edition Portfolio by Jeanine Michna-Bales. Edition of 12 Outer box size: 13.5 x 17....

'Illuminations started in 2002 when a relationship was slowly falling apart. While trying to save it, we rented a large stylish apartment in Stockholm, and then later one in Arles, France, hoping that a change of scene would have a positive effect. The new spaces made the distance between us more acute, and the inevitable break even more obvious. The ritual of making one photograph each night became crucial to me. I left the camera shutter open for 3 to 8 hours in a darkened bedroom, and as the morning light arrived I interrupted the exposure. It is a private journal, documenting time and memory, where present meets past.' Born in Vienna to Swedish and Greek parents and raised in Stockholm, Florence Montmare has an MBA in Design Management from Linnaeus University, Sweden and studied at the School of Visual Arts. A graduate of International Center of Photography, New York, she collaborated with artist Sam Samore...

'Illuminations started in 2002 when a relationship was slowly falling apart. While trying to save it, we rented a large stylish apartment in Stockholm, and then later one in Arles, France, hoping that a change of scene would have a posi-tive effect. The new spaces made the distance between us more acute, and the inevitable break even more obvious. The ritual of making one photograph each night became crucial to me. I left the camera shutter open for 3 to 8 hours in a darkened bedroom, and as the morning light arrived I interrupted the exposure. It is a private journal, documenting time and memory, where present meets past.' Born in Vienna to Swedish and Greek parents and raised in Stockholm, Florence Montmare has an MBA in Design Management from Linnaeus University, Sweden and studied at the School of Visual Arts. A graduate of International Center of Photography, New York, she collaborated with artist Sam Samore...

'Illuminations started in 2002 when a relationship was slowly falling apart. While trying to save it, we rented a large stylish apartment in Stockholm, and then later one in Arles, France, hoping that a change of scene would have a posi-tive effect. The new spaces made the distance between us more acute, and the inevitable break even more obvious. The ritual of making one photograph each night became crucial to me. I left the camera shutter open for 3 to 8 hours in a darkened bedroom, and as the morning light arrived I interrupted the exposure. It is a private journal, documenting time and memory, where present meets past.' Born in Vienna to Swedish and Greek parents and raised in Stockholm, Florence Montmare has an MBA in Design Management from Linnaeus University, Sweden and studied at the School of Visual Arts. A graduate of International Center of Photography, New York, she collaborated with artist Sam Samore...

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...

"A native of Los Angeles, California, Sean Lotman (b. California) grew up frequenting the movie theaters of southern California, dazzled by their stories, ...

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...

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...

"Chicken Showmanship, Cummington Fair" is an edition of 5. Mark Caceres is inspired by the work of Jeff Jacobson, Alex Webb and Alec Soth. Mark Cáceres w...

Archival pigment print Hand printed by Sarah Hadley on Canson Baryta Photo paper From the series In Between Days Sarah Hadley is a Los Angeles based artist whose narrative work focuses on issues of female identity and memory. Hadley's photographs have been exhibited at the Milan Photo...

Fan Club by Patty Carroll is an archival pigment print, available in an edition of 15. This photograph features a mannequin reclining in a green chair, fanning herself while being su...

Edition of 25 Signed, titled, dated and numbered.

24"x 30" photograph, edition of 5, signed on reverse This photograph taken at Greystone Park Hospital shows an old single bed that has been abandoned. The bed has been decayed to the point of simply being a decayed bed frame and piled wooden bed boards...

24"x 30" photograph, edition of 5, signed on reverse. This photograph is taken at Greystone Park Hospital, in an area of the building where snow has drifted into the abandoned complex. Phillip Buehler has been photographing abandoned places around the world since he rowed to the (then abandoned) Ellis Island in 1974. Many, like Greystone Park Hospital, have since been demolished; some, like Ellis Island and the High Line, have been restored, and some, like the S.S. United States and the New York State Pavilion, are now in jeopardy. Photographs from the (now demolished) Greystone Park Hospital are featured in this exhibition and in the book “Wardy Forty” which he wrote in 2013 about the last days of Woody...

Christy Turlington and Naomi Campbell, Christy plays clarinette and Naomi reads the music photographed by Arthur Elgort All prints are limited edition. Available in multiple sizes....

A woman in her kitchen with her two kids, photographed by Arthur Elgort All prints are limited edition. Available in multiple sizes. High-end framing on request. All prints are do...

Four Girls in bed in a traditional mountain cabin, Photographed by Ellen von Unwerth in 2015 for her ‘Heimat’ Series. All prints are limited edition. Available in multiple sizes. H...

A photograph of the legendary Aretha Franklin in a pink Gown between red Velvet Courtains, by Timothy White. All prints are limited edition. Available in multiple sizes. High-end fr...

Kate Moss reading for the US Vogue photographed by Ellen von Unwerth. All prints are limited edition. Available in multiple sizes. High-end framing on request. All prints are done ...

On the set of the film ‘Brass Target’ in Switzerland, 1978. Signed and Numbered Lifetime Edition Gelatin Silver Print from the Terry O’Neill Estate. 20" x 16" - Edition of 50 + 10 ...

Great music biography curated by the artist and then photographed. Face mounted on plexiglass. It creates a 3-D effect. No frame needed. About the Artist: Born in Montreal in...

Piece composed of art books that the artist arranges and then photographs. Face mounted on plexiglass. Canadian artist Cedric travels the globe to photograph unique collections t...