Landscape Photography

'Alexandria' from the V&A Portfolio Pompey’s Pillar, Alexandria, Egypt, late 19th to early 20th century. © Victoria and Albert Museum, London Paper size 20 x 16 inches / 50 x 40 cm ...

'Alexandria' from the V&A Portfolio Cleopatra’s Needle, Alexandria, Egypt, late 19th to early 20th century. © Victoria and Albert Museum, London Pap...

Edge of the Sea, 2016, Edition 1/7 plus 2 Artist Proofs Based on an original Polaroid, Digital C-print, not mounted. Signed on the back and with certificate. Artist inventory PL2016-...

'Magic Mountain' (California Badlands), 2016, 24x20cm, Edition 1/10, digital C-Print, based on a Polaroid, Certificate and Signature label, artist Inventory No. 19398.08, not mounte...

A Vision you can't Capture, no 03 (29 Palms, CA) - 2007 37x49cm, Edition 2/5, analog C-Print printed on Fuji Archive Paper, hand-printed by the artist, based on a Polaroid, Not mounted, signature label and certificate, artist Inventory No. 4010.02 The Exhibition shots from the 29 Palms, CA exhibit showing the mounted large version of this piece (125x172cm) Offered is a piece from the project: 29 Palms, CA 29 PALMS, CA is a feature 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 portrait 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. Life Inside Pieces of Graffiti 
by Marc Foster
 Late afternoon, Hollywood Hills, August 14, 1996 – a birthday party. Heated Pool.  Blue lights...

Stefanie Schneider's Minis Gasoline I (Stranger than Paradise), 1999 Signed and signature brand on verso. Lambda digital Color Photographs based on a Polaroid. Sandwiched in between...

Colon is a lot of two different prints made by photographers of the end of 19th Century. Prints in excellent condition, applied on a single cardboard. Caption in Italian ink hand-w...

Photogravure was a favorite medium of this artist and its soft, dreamy quality lends itself to us feeling this is a snapshot back in time to another era. As we see in Sailing Boats, ...

Gasoline IIb (Stranger than Paradise) - 1999 Edition of 10, 39x37cm. Archival C-Print, based on a Polaroid Artist inventory Number 270b. Not mounted. Stefanie Schneider: A Germa...

Edward S. Curtis A Gem Of Basketry - Southern Yokuts 1924 Hand Colored Photogravure 12 x 9 inches Vintage small format Curtis Volume Photogravure, Volume 13, The North American Ind...

House (The Desert in Sepia) - 2019 Where once there was water there is no more, the Oasis is gone. 20x24cm, Edition of 7, plus 2 Artist proofs. Archival C-Print based on a Polaro...

"Sexy Miami Futuristic Cocktail Lounge" is a series of photographs by Ryan Rivadeneyra inspired by the Art Deco colors of Miami that show beautiful objects and textures arranged meti...

Untitled (Venice Beach) - 1998 Edition 2/5, 48x56cm Analog C-Print, enlarged and hand-printed by the artist mounted on Aluminum with matte UV-Protection, Based on a Polaroid Artist...

Mountain Range (Stranger than Paradise) - 1999 55x72cm, Edition 3/5, Analog C-Print, printed by the artist, based on a Polaroid. Mounted on Aluminum with matte UV-Protection. Art...

Robert Funk’s photographs of elaborate landscaping redefine what Street Art is. This image is somewhat reminiscent of Monet's Haystacks in shape and use of backlighting. Use the 1st image for more accurate color. Palm Beach is Hedge Heaven with some of the most beautifully manicured streets in the United States. Hedge Fun - Palm Beach - Captures what Slim Arrons...

Ancient Views of the Strait of Magellan is a lot of five different prints made by unknown photographer. Prints in excellent condition, applied on ...

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 ...

'Colonnade of the Forum Gerasa' from the V&A Portfolio Colonnade of the Forum, Gerasa, Jordan, commissioned by Palestine Exploration Fund, 1890s. © Victoria and Albert Museum, London...

Edward S. Curtis East Mesa Girls, 1921 Photogravure Print 18 x 22 inches Vintage large format Curtis Portfolio Photogravure, Portfolio 12, Plate #427, The North American Indian, on ...

Crow Burial II (Sidewinder) 20 x 20 cm, 2005, Edition 4/10, digital C-Print based on a Polaroid, Artist Inventory 3505.04, not mounted Stefanie Schneider...

'Cairo' from the V&A Portfolio Inner portal to the courtyard in the mosque of al-Azhar, Cairo, Egypt, late 19th to early 20th century. © Victoria and Albert Museum, London Paper siz...

Burning Field (Last Picture Show) - 2004 57x56cm, Edition 1/10, analog C-Print, hand-printed by the artist, based on a Polaroid. Signed on verso. Artist inventory Number 673.01. M...

Mojave Airfields (The Last Picture Show) - 2005 - 128x126cm, Edition 1/5 - Analog C-Print, hand-printed by the artist, based on a Polaroid. Mounted on Aluminum with matte UV-Prot...

Slab City Bible Belt (California Badlands) - 2016, 20x24cm, Edition 10/10, Archival Print, based on a Polaroid. Certificate and Signature label. artist...

Ancient views of Nagasaki photographs is a set of eight original vintage albumen prints on single cardboard: 26 x 34 cm. Four images in the front and four on the rear 9 x 13.5 cm ...

Palm Trees in Venice (Stranger than Paradise) - 1999 43x59cm, Edition 3/10, analog C-Print, hand-printed by the artist, based on a Polaroid. Certificate and Signature label. Artist...

Baths of Caracalla is a vintage black and white photograph realized by an anonymous artist in the 20th Century. Good conditions except for some foxing.

Harbor Building, LA - 1999 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature label and Certificate. artist Inventory No. 18361. No...

The Shaman (The Girl behind the White Picket Fence) - 2015 80x80cm, Edition of 5, Analog C-Print, hand-printed by the artist on Archive Fuji Crystal Pap...

'Temple Of The Sun' from the V&A Portfolio Temple of the Sun, Gerasa, Jordan, late 19th century. © Victoria and Albert Museum, London Paper size 20 x 30 inches / 50 x 76 cm Printed...

Baths of Caracalla - Vintage photo of Painting is a vintage black and white photograph realized in the early 20th Century. Good conditions.

Baths of Caracalla is a vintage black and white photograph realized by Ludovico Tuminello in the early 20th Century. Good conditions except for some foxing.

Virus Aquarium 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature Label and Certificate. Not mounted.

Fabulous American landscape photography of a rural landscape scene. from small hand signed edition of 20 Large Chromogenic print on Kodak Professional Paper The sheets are approximately 30 X 56 inches the images are around 16 X 48.25 inches Some of them are cut a bit irregularly, they should all mat out fine for framing. These are large-format architectural chromogenic print photographs hand signed and dated and hand numbered from the edition of 20 in the lower margin. The collection depicts attractive examples of Mackenzie's wide-lens studies of architecture, such as barns and abandoned houses, set into richly colored landscapes. Maxwell MacKenzie is an award-winning professional and fine-art photographer based in Washington, DC and Minnesota. Over the past thirty-five years, his photographic assignments have taken him to 20 states and a dozen foreign countries, including Austria, the Bahamas, Bermuda, Brazil, Brussels, England, France, Greece, Morocco, Norway, Sweden, and Wales. Three books of Mackenzie's fine-art photographs have been published: Abandonings, (1995), color panoramic photographs of his native Otter Tail County, MN, which was awarded the Silver Medal Award for Excellence from Photo District News; American Ruins, Ghosts on the Landscape, (2001) black & white panoramics made in Montana, Idaho, Minnesota, Wisconsin and the Dakotas; and Markings, (2007), color abstract aerials made from his self-piloted, powered-parachute, a 300 pound, ultra-light aircraft. MacKenzie’s work is included in the permanent collection of The Phillips Collection as well as hundreds of private and corporate collections, including Exxon, Citibank, Deloitte & Touche, Dow Jones, Fannie Mae, The New York Hospital, Goldman Sachs, JP Morgan, the Union Bank of Switzerland, Phillip Morris, and the Washington Post. His fine-art photographs of the American West are also included in numerous American Embassy collections including Bogota, Lima, Lagos, and Moscow. His work has been exhibited in dozens of museums and galleries all over the country, including solo shows at The Contemporary Art Center of Virginia, Virginia Beach; The American Institute of Architects, DC; The Nordic Heritage Museum, in Seattle, WA; The Piedmont Arts Association, Martinsville, VA; the Julie Saul Gallery in NYC, the DNJ Gallery in LA; The Gallatin River Gallery, in Big Sky, MT; Anne Reed Gallery in Sun Valley, ID; The International Photography Hall of Fame, in Oklahoma, City; the Bivins Gallery at Duke University, NC; the University of Minnesota – Morris; the New York Mills Regional Cultural Center, MN; The Virginia Foundation for Architecture, Richmond, and the Addison-Ripley Gallery in DC. Mr. MacKenzie attended the University of Pennsylvania, and received a Bachelor of Arts degree, with a dual major in Architecture and Photography from Bennington College, Vermont, with advanced study in photography at the Corcoran College of Art + Design as well as the Maine and Santa Fe Photo Workshops. MacKenzie received a $ 10,000 Grant from the Graham Foundation for Advanced Studies in the Fine Arts in support of his “TOBACCO” Project, which was exhibited at the National Headquarters of the American Institute of Architects in 2003. He has also been awarded Artist Fellowship Grants from the DC Commission on the Arts, the National Endowment for the Arts, and, in 1995, MacKenzie was named the Candace DeVries Olesen Alumni Fellow at Bennington, and delivered an illustrated...

Street scene and architecture in the North Beach district of San Francisco. This archival color photograph by fine art photographer Mitchell Funk is signed, dated and numbered 2/15, ...

Edward S. Curtis Counting The Record 1921 Photogravure Print 18 x 22 inches Vintage large format Curtis Portfolio Photogravure, Portfolio 12, Plate #413, The North American Indian, ...

Planet of the Apes, 1999, Edition of 3/10, 60x60cm each, installed 60x450cm, 7 analog C-Prints, hand-printed by the artist, based on 7 Polaroids, not mounted, signed on the back with...

Indian Summer III (The Last Picture Show) 20x20cm, 2005, Edition 4/10, digital C-Print, matte surface, based on a Polaroid, signature label and certificate, Artist Inventory 892.11. Not mounted Stefanie Schneider's scintillating situations take place in the American West. Situated on the verge of an elusive super-reality, her photographic sequences provide the ambience for loosely woven story lines and a cast of phantasmic characters. Schneider works with the chemical mutations of expired Polaroid film stock. Chemical explosions of color spreading across the surfaces undermine the photograph's commitment to reality and induce her characters into trance-like dream scapes. Like flickering sequences of old road movies Schneider's images seem to evaporate before conclusions can be made - their ephemeral reality manifesting in subtle gestures and mysterious motives. Schneider's images refuse to succumb to reality, they keep alive the confusions of dream, desire, fact, and fiction. Stefanie Schneider received her MFA in Communication Design at the Folkwang Schule Essen, Germany. Her work has been shown at the Museum for Photography, Braunschweig, Museum für Kommunikation, Berlin, the Institut für Neue Medien, Frankfurt, the Nassauischer Kunstverein, Wiesbaden, Kunstverein Bielefeld, Museum für Moderne Kunst Passau, Les Rencontres d'Arles, Foto -Triennale Esslingen., Bombay Beach Biennale 2018 / 2019. “It was Stefanie Schneider, who inspired me to start the company THE IMPOSSIBLE PROJECT after seeing her work, which seems to achieve the possible from the impossible, creating the finest of art out of the most basic of mediums and materials. Indeed, after that one day, I was so impressed with her photography that I realized Polaroid film could not be allowed to disappear. Being at the precise moment in time where the world was about to lose Polaroid, I seized the moment and have put all my efforts and passion into saving Polaroid film. For that, I thank Stefanie Schneider almost exclusively, who played a bigger role than anyone in saving this American symbol of photography.” –Florian Kaps, March 8th 2010 (“Doc” Dr. Florian Kaps, founder of “The Impossible Project”) What makes Stefanie Schneider’s work so unique is that it’s immediately recognizable. Perfect ‘wabi-sabi’ in appearance and content. Dream like, colorful with depth and vision. From start to finish, a truly self made artist with a distinctively female perspective. Exhibitions Selected (selected) 2018 Participation Bombay Beach Biennale, Bombay Beach, USA (G) March Available to All, Rough Play Projects - Site Specific, Joshou Tree, USA (G) curated by Deborah Martin with Adam Berg, Doron Gazit, Kellan Barnebey, Chris Sanchez, Aili Schmelzt 2017 BLICKFELD Analoge Fotografie, Kommunale Galerie Steglitz-Zehlendorf (G) (catalog), (upcoming)
 Rosegallery, Bergamot Station, Santa Monica (G) Magie des Moments, Kunstverein Bad Homburg Artlantis, Bad Homburg (G) 2016 
Instantdreams, Instantdreams Gallery, Berlin 

(S) 2015
 Desert Voices, De Re Gallery, Los Angeles (G) with Pamela Littky The Ballery in Heat, The Ballery, Berlin (G) 
Blue Nudes, De Re Gallery, Los Angeles (G) 

 2014

 Summer Show, Galerie Catherine et André Hug, Paris, France (G) 6 Finalists, Saatchi Gallery London (G) 
Instantdreams, De Re Gallery, Los Angeles (S)
Grand Opening, De Re Gallery, Los Angeles (G) with Banksy, Andy Warhol, Alison Bignon, Sophie Dickens, Victor Gingembre and others
 2013 
Heather's Dream, Short, nominated for the German Short Film Award 2013 (Deutscher Kurzfilmpreis)
Images For Images (Artists fir Tichy), GASK - Gallery of the Central Bohemian Region,  Kutná Hora, Czech Republic, (G) with Richard Prince, Nan Golding, Shirana Shahbazi, Sophie Calle, Martin Kippenberger, Arnulf Rainer, Thomas Ruff, Katharina Grosse, Jonathan Meese & others (catalog) 
The Girl behind the White Picket Fence, Galerie Catherine et André Hug, Paris, France (S)
 Heather's Dream, Short, German Competition Short Film Festival Oberhausen 
Multimedia Presentation with Artist Stefanie Schneider, Palms Springs Art Museum, Annenberg Theater
 The Polaroid Years: Instant Photography and Experimentation, The Frances Lehman Loeb Art Center, Poughkeepsie, NY, (G) with Ansel Adams, Bruce Charlesworth, Philip-Lorca diCorcia, Charles and Ray Eames, Robert Mapplethorpe, Lisa Oppenheim, Andy Warhol and others, (catalog)
 Road Atlas - Straßenfotografie, DZ Bank Collection: Kunsthalle Erfurt (Spring), Art Foyer DZ Bank, Frankfurt/Main, (G) with Helen Levitt, Pieter Hugo, Nobuyoshi Araki, Pietro Donzelli, and others (catalog)  2012
 Stranger Than Paradise, Christian Hohmenn Fine Art, Palms Desert, (S) Stefanie Schneider, Gallery at Cliff Lede Vineyards, Napa Valley, CA, (S) Bienale Art Auction 2012, Museum of Contemporary Art San Diego, (G), with Ai Weiwei, John Baldessari, Christo, Ed Ruscha, Christopher Russell, and others. MUSES, Galerie Catherine et André Hug, Paris, France (G) with Kourtney Roy and Eric Weeks Polaroid (IM)POSSIBLE - THE WESTLICHT COLLECTION, NRW Forum Kultur und Wirtschaft, Düsseldorf (G), (catalog) Road Atlas - Straßenfotografie, DZ Bank Collection: Kunstmuseum Dieselkraftwerk, Cottbus, (G), (catalog) Studio Scholorship, Centro Cultural Andratx, Mallorca, May 2012 Selling Sex, ShowStudio Gallery, London (G) with Cortney Andrews, Una Burke, Liz Cohen, Inge Jacobsen Stranger Than Paradise, Scott White Contemporary, San Diego, (S) 

2011 
Kunst zu verlosen !  // Art to raffle off !, KW Institute for Contemporary Art, (G) with Monica Bonvicini, Tim Eitel...

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 ...

Sinaloa Blue (Ghosts of Route 99) - 2021 Route 99 used to cut right through Bakersfield. The streets were filled with Motels for the weary traveler. In the 1970s the highway was mo...

Miss America (Sidewinder), diptych - 2005 Edition of 5. plus 2 artist Proofs. 38.5 x 38 cm each, installed 38.5 x 81cm. Analog C-Print, hand-printed by the artist in September 20...

Zoë (Paris) - 1995 Edition of 5, 60x50cm including white borders. Analog C-Print, hand-printed by the artist and based on a Polaroid, Signature label and Certificate. Artist In...

Untitled (Traintracks) - The last Picture Show - 2004, 38x37cm. Edition of 5, plus 2 Artist Proofs. Digital C-Print, based on a Polaroid. Signature label and Certificate. Artist...

An original C-Print from Sean Scully's Pueblo Dzibalchen series (A Suite of 20) created in 2001. This work comes in a fantastic natural wood archival frame presentation. This serie...

Yellowstone Lake - September 25th, 1893 - is an original vintage black and white photo realized during a journey throughout the world performed by Prince Franz Ferdinand von Osterreich Este (1863-1914), heir to the throne of the Austro-Hungarian Empire. Despite his affairs and the growing importance of his role within the Empire, he took a year off his duties to travel the world, from North Africa to India, East Asia, Australia, and America, where he attended the 1893 Chicago World’s Fair...

Mountain Range (Stranger than Paradise) - 1999 55x72cm, Edition of 5 plus 2 Artist Proofs. Analog C-Print, hand-printed by the artist, based on the original Polaroid Artist inven...

Self Portrait (Strange Love) - 2005 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature label and certificate. Artist Inventory No. 6138...

Traces (Stranger than Paradise), diptych - 2005 128x126each, 128x260cm installed, Edition of 3. 2 analog C-Prints, hand-printed by the artist on Fuji Crystal Archive Paper, base...

A group of colourfully dressed holidaymakers on a yacht, Bermuda, June 1970. (Photo credit Slim Aarons / Getty Images) Estate stamped and hand numbered edition of 150 with certific...

Edition of 10 in format 41,5x65 cm, Photograph on Hahnemuhle Paper ; Digigraphie technology , Limited edition 41,5x65 cm + 5 cm white margin The photo will be after purchese signed...

Vintage Portrait of Anna Magnani is a vintage b/w photographic print on single-coated paper, realized in 1950s. Fair conditions. Anna Magnani was born in Rome, Italy (not in Egyp...

Palm Springs E-Type (Californication) - 2021 50x50cm. Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Certificate and Signature label. Artist Invento...

Self Portrait (Strange Love) - 2005 40x40cm, Edition of 10 plus 2 Artist Proofs. Digital C-Print, based on a Polaroid. Signature label and certificate. Artist Inventory No. 6153....

Sinaloa (Ghosts of Route 99) - 2021 Route 99 used to cut right through Bakersfield. The streets were filled with Motels for the weary traveler. In the 1970s the highway was moved, ...

Edition 30 in format 31.5x50 cm Photograph on Hahnemuhle Paper ; Digigraphie technology , Limited edition 31.5x50 cm + 5 cm white margin The photo will be after purchese signed and ...

Museo Correr II, Venice, Italy, 2016 Chromogenic print 120 x 150 cm Edition of 5 Italian, b. 1954, Florence, Italy, based in Florence, Italy Massimo Listri travels his native Italy ...

Okurimono 66 cm. x 200 cm. Edition 6 (+2 ap) 100 cm. x 200 cm. Edition 3 (+1ap) Euro 8,000 Pigment Print 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...

Welcome Trailer Court (Ghosts of Route 99) - 2021 Route 99 used to cut right through Bakersfield. The streets were filled with Motels for the weary traveler. In the 1970s the highw...