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Claudio Amendola in Amarsi un po' - Vintage Photo - 1984

1984

Fausto Leali is a vintage black and white photograph realized in the 1980s, it is from a series of vintage photographs of the music, cinema, and art of Italy with celebrities of the...

Fausto Leali is a vintage black and white photograph realized in the 1980s, it is from a series of vintage photographs of the music, cinema, and art of Italy with celebrities of the ...

Claudio Martelli  - Historical Photo is a black and white vintage photograph realized in the 1970s. It belongs to historical album including photo reportages of historical events and...

Portrait of Eoardo Vianello (italian singer) - Vintage Photo is a vintage black and white photograph realized in the 1960s. Good conditions.

Kenn Duncan (1928-1986). Male Model, ca. 1973. 11 x 14 inches; 12 x 15 inches framed. From the estate of William Como, Editor in Chief, After Dark Magazine. Kenneth Duncan was born September 22, 1928, in New Jersey. He began his career as a skater and then a dancer. After breaking his foot and taking a six-week course on photography at a YMCA, he became a photographer. Duncan worked as a principal photographer for After Dark and Dance Magazine. His photographs also regularly appeared in Vogue, Harper's Bazaar, Life, Time, and Newsweek. In addition, he photographed a score of Broadway shows, including Hair, Applause, The Elephant Man, and Sophisticated Ladies and many dance and Broadway stars including Chita...

This photograph "Taking Pictures" c.1980 is an original gelatin silver print by famous German photographer and artist Michael Andreas Russ, born 1945. The photograph size is 7.65 x 12 inches, sheet size is 8.5 x 12.65 inches. It is in excellent condition. About Michael Andreas Russ. Michael Andreas Russ (born January 1945Taking Pictures in Berlin) is an German/American photographer, photo designer and film director. Russ' career as a photographer began in New York in the late 1960s where he photographed his fellow acting students. Self-taught, he eventually moved to his own studio off Union Square, Manhattan and connected with the local underground art scene. Photograph by Russ was published on the cover of “Art Direction Magazine of Visual Communication” with a Gertrude Stein quotation: “The composition in which we live makes the art which we see and hear” In his early years Russ focused on men's fashion magazines and erotic sequential photographic scenes for Playboy Press books. He eventually experimented with distinctive photographic techniques, turning 35mm black and white film into chemically toned, masked, solarized and hand colored, one of a kind silver gelatin prints. These 'TinTones' as Russ would call them eventually became the trademark of his work. They were published in popular fashion and lifestyle magazines and brought him international recognition in the art world. His work was published in major fashion, lifestyle and avant-garde magazines, GUNNARS, Mode International, Mode Avant Guarde, PHOTO Magazine, Zoom (photography magazine), as well as German Playboy (magazine), Photo Reporter and cover art to IL Magazine. He also contributed sequential 'sujets de chambre' to Vogue magazine His erotic postcard edition "The Compagnie" became part of the permanent collection of the Musée des arts décoratifs de Paris, an annex to the Louvre museum. Selected Exhibitions. 1980: Musee des Arts Decoratifs (Louvre Annex, Paris). "Postcard edition The Compagnie" 1983: China Club...

This work was acquired directly from The Andy Warhol Foundation for the Visual Arts. The work is in pristine condition and has never been framed. This is a unique work which comes w...

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