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Women Working at Italtel -New Technologies - 1970s

1970s

Women Working Italtel -New Technologies in the 1970s is a vintage black and white photograph realized in the 1970s in Italy Good conditions an aged.

Women Working Italtel -New Technologies in the 1970s is a vintage black and white photograph realized in the 1970s in Italy Good conditions an aged.

Women Working Italtel -New Technologies in the 1970s is a vintage black and white photograph realized in the 1970s in Italy Good conditions an aged.

Women Working Italtel -New Technologies in the 1970s is a vintage black and white photograph realized in the 1970s in Italy Good conditions an aged.

Telephone Exchange, Cover of The Saturday Evening Post Magazine, April 7, 1962 Constantin Alajalov was the court artist to the Czar of Russia at the time of the Russian Revolution, barely escaping with his life before coming to America and getting a job illustrating for New Yorker magazine. He quickly adapted to the American way of life, and his cartoon-like drawings made his admiring public laugh at themselves. His many covers for The Saturday Evening Post were amusing, unique and highly collectible. “The Telephone Exchange,” painted for the cover of The Saturday Evening Post on April 7, 1962, shows two young ladies chatting while a surprised telephone operator listens intently to learn the local...

Programmer (1964) Silver Gelatin Fibre Print - Oversized (Photo by H. Armstrong Roberts/Alamy) 1st November 1964. A technician programming mainframe computer at control room conso...

Listing is for UNFRAMED print. Inquire within for framing. Edition of 25. If the exhibition piece is sold or the customer orders a different print size, the photograph is produced upon purchase. Please allow two weeks for production. Shipping time depends on method of shipping. Price is subject to availability. The Robin Rice Gallery reserves the right to adjust this price depending on the current edition of the photograph. Ted Adams’ first solo show at the Robin Rice Gallery juxtaposes surrealism with the documentary art form. What differentiates Mr. Adams’ work from traditional photojournalism is his keen eye for capturing the irony in the events that unfold before our eyes. It is the found objects in everyday life to which Adams is most attuned. He creates a subtle mood and visual mystery that conveys meaning not only from the image itself but also through imagining what exists just beyond the frame. "I see photography as a way of cropping the world—selectively taking things out of context—which often results in stripping the meaning out of the original subject matter, or at least making the image open to interpretation. It’s the opposite of traditional photojournalism whose intention is to create ‘narrative’ and context rather than discard them." While he has exhibited artistic photography in a variety of genres, in the past five years he turned his artistic eye inward to reflect a more autobiographical tone. While some people compare his work to that of Robert Frank, Adams finds himself more and more influenced by Larry Clark whose career was built on pictures drawn from his own life and drug-addled friends rather than a specific documentary mission. The unique presentation of this collection of twenty-three silver gelatin prints enhances the voyeuristic sensibility of Mr. Adams’ work. Each photograph is jewel box in size, measuring 4" x 6" to invite the viewer in to make an intimate appraisal. The craftsmanship of the wide, dark wood frames hearkens back to late 19th-century Shaker design—yet the aesthetic is boldly contemporary, providing a strong backdrop to draw the viewer’s gaze directly to the subject matter. This artisanship extends to the printing where Adams exhibits his skills in traditional darkroom processes. He shoots mostly with Leica and Nikon 35mm film cameras...

Castelloland works with objects whose uniqueness is fundamental to the narrative of each story, as each image reacts and develops through the interaction between the word and the obj...