Landscape Photography

Albania - Saranda - Photograph is a vintage photograph in color. Good conditions. the landscape of Albania through the art of photography is captured aesthetically through precise...

Albania - Photograph is a vintage photograph in color. Good conditions. The landscape of Albania through the art of photography is captured aesthetically through precise lenses.

Print, limited edition of 5, signed by the author.

For a limited time only these Slim Aarons prints are available to purchase at 15% discount. Please contact the gallery for any queries. Please bear in mind that all prints are produ...

'Nihon Noir arose from my fascination with Japan and my desire to translate the feeling that struck me on my first visit, that somehow you have been transpo...

ABOUT THIS ARTIST: Jessica C. Nugent is a photographer from California known for her contemporary images of nature. She uses her graphic design background to create an emotional connection with the natural world through the use of color. Jessica’s art has recently been featured with Artsy, Domino Magazine, Pottery Barn Teen...

"Mapping the Walk, July 2015" by Judith Allen-Efstathiou is an exquisite photographic cyanotype print in deep blue and white of wildflowers abstracted printed on mulberry paper and m...

Albania - Lukova - Photograph is a vintage photograph in color. Good conditions. the landscape of Albania through the art of photography is captured aesthetically through precise l...

ABOUT THIS ARTIST: Laura Hendricks is a photographic and mixed media artist. She combines her own photo images from different locations and times to create new scenes that are a coll...

Rebecca Swanson, Eye of the Iris III, Limited Edition Photograph, 15x15. It is available with Plexifacemount or white frame as shown. This stunning image is filled purples and a touch of green, yellow and brown. This is an edition of 15. Also available in 30x30. Printing and framing upon placed order. Please allow 4-6 weeks for delivery Rebecca Swanson’s work is inspired from her childhood in Ohio, growing up with her mother, an avid gardener, and her grandmother, an accomplished china painter. Her work is cultivated by the natural world, with its universal fragility and beauty we share with all plants and flowers. She “paints” with her camera, blending the abstract forms of nature with subtle colors to build intimate portraits of perfect, individual blooms. Her utopia is New York City with its parks, waterfronts, and botanical gardens. Rebecca studied drawing, painting, photography, and sculpture at the Cleveland Institute of Art and moved to New York to work as a textile designer. Rebecca has been exhibiting since 1995 in renown locations including the New York City Leica Gallery. Her photographs can be found in corporate collections including Banana Republic, St. Regis, Marriott and Omni hotels and in hospitals throughout the country. She has photographed gardens...

Albania - Lukova - Photograph is a vintage photograph in color. Good conditions. the landscape of Albania through the art of photography is captured aesthetically through precise l...

In the early 1970s, color photography was not really considered to be art by any standard. Mitchell Funk is one of the early trailblazers of color photography as fine art. In this 19...

"Trace 5, Section 1" by Judith Allen-Efstathiou is an exquisite photographic cyanotype print in deep blue and white of wildflowers abstracted printed on mulberry paper and mounted on...

Albania - Lukova - Photograph is a vintage photograph in color. Good conditions. the landscape of Albania through the art of photography is captured aesthetically through precise l...

For a limited time only these Slim Aarons prints are available to purchase at 15% discount. Please contact the gallery for any queries. Please bear in mind that all prints are produ...

"Mapping the Walk, 2011" by Judith Allen-Efstathiou is an exquisite photographic cyanotype print in deep blue and white of wildflowers abstracted printed on mulberry paper and mounte...

Photography on canvas. Limited Edition (1/10). O. Devan paints that which he doesn't really see. His camera captures a second in time, as if he stops at his tracks and takes a step...

Large Scale Limited edition color photograph, 40"x60" depicting an abstract waterscape with a lavender sky. This contemporary landscape photograph has has a painterly feel; the artist has captured a rising cusp of a wave with blue and cool white, against a violet and pink sky. The photographer Danny...

A single house juts out into a vast sky and sea of Long Island. The image takes inspiration from the epic 19th-century paintings and the American West with vast unending sky and untamed landscapes. Yet the composition is quite radical and evocative of the simple shapes of Color Field painter Clyfford Still...

Slim Aarons' Pool at Porto Rotundo, an Estate Edition photograph, is a vintage scene of a swimming pool in Rosarda, Porto Rotondo, Sardinia, Italy, August 1982. Visual Description:...

My own private Travel Diary - Bishop, CA - Winter - 2001, 20x29cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid Slide. Signature label and Certificate. Not mounted. LIFE’S A DREAM (The Personal World of Stefanie Schneider) by Mark Gisbourne Projection is a form of apparition that is characteristic of our human nature, for what we imagine almost invariably transcends the reality of what we live. And, an apparition, as the word suggests, is quite literally ‘an appearing’, for what we appear to imagine is largely shaped by the imagination of its appearance. If this sounds tautological then so be it. But the work of Stefanie Schneider is almost invariably about chance and apparition. And, it is through the means of photography, the most apparitional of image-based media, that her pictorial narratives or photo-novels are generated. Indeed, traditional photography (as distinct from new digital technology) is literally an ‘awaiting’ for an appearance to take place, in line with the imagined image as executed in the camera and later developed in the dark room. The fact that Schneider uses out-of-date Polaroid film stock to take her pictures only intensifies the sense of their apparitional contents when they are realised. The stability comes only at such time when the images are re-shot and developed in the studio, and thereby fixed or arrested temporarily in space and time. The unpredictable and at times unstable film she adopts for her works also creates a sense of chance within the outcome that can be imagined or potentially envisaged by the artist Schneider. But this chance manifestation is a loosely controlled, or, better called existential sense of chance, which becomes pre-disposed by the immediate circumstances of her life and the project she is undertaking at the time. Hence the choices she makes are largely open-ended choices, driven by a personal nature and disposition allowing for a second appearing of things whose eventual outcome remains undefined. And, it is the alliance of the chance-directed material apparition of Polaroid film, in turn explicitly allied to the experiences of her personal life circumstances, that provokes the potential to create Stefanie Schneider’s open-ended narratives. Therefore they are stories based on a degenerate set of conditions that are both material and human, with an inherent pessimism and a feeling for the sense of sublime ridicule being seemingly exposed. This in turn echoes and doubles the meaning of the verb ‘to expose’. To expose being embedded in the technical photographic process, just as much as it is in the narrative contents of Schneider’s photo-novel exposés. The former being the unstable point of departure, and the latter being the uncertain ends or meanings that are generated through the photographs doubled exposure. The large number of speculative theories of apparition, literally read as that which appears, and/or creative visions in filmmaking and photography are self-evident, and need not detain us here. But from the earliest inception of photography artists have been concerned with manipulated and/or chance effects, be they directed towards deceiving the viewer, or the alchemical investigations pursued by someone like Sigmar Polke. None of these are the real concern of the artist-photographer Stefanie Schneider, however, but rather she is more interested with what the chance-directed appearances in her photographs portend. For Schneider’s works are concerned with the opaque and porous contents of human relations and events, the material means are largely the mechanism to achieving and exposing the ‘ridiculous sublime’ that has come increasingly to dominate the contemporary affect(s) of our world. The uncertain conditions of today’s struggles as people attempt to relate to each other - and to themselves - are made manifest throughout her work. And, that she does this against the backdrop of the so-called ‘American Dream’, of a purportedly advanced culture that is Modern America, makes them all the more incisive and critical as acts of photographic exposure. From her earliest works of the late nineties one might be inclined to see her photographs as if they were a concerted attempt at an investigative or analytic serialisation, or, better still, a psychoanalytic dissection of the different and particular genres of American subculture. But this is to miss the point for the series though they have dates and subsequent publications remain in a certain sense unfinished. Schneider’s work has little or nothing to do with reportage as such, but with recording human culture in a state of fragmentation and slippage. And, if a photographer like Diane Arbus dealt specifically with the anomalous and peculiar that made up American suburban life, the work of Schneider touches upon the alienation of the commonplace. That is to say how the banal stereotypes of Western Americana have been emptied out, and claims as to any inherent meaning they formerly possessed has become strangely displaced. Her photographs constantly fathom the familiar, often closely connected to traditional American film genre, and make it completely unfamiliar. Of course Freud would have called this simply the unheimlich or uncanny. But here again Schneider almost never plays the role of the psychologist, or, for that matter, seeks to impart any specific meanings to the photographic contents of her images. The works possess an edited behavioural narrative (she has made choices), but there is never a sense of there being a clearly defined story. Indeed, the uncertainty of my reading here presented, acts as a caveat to the very condition that Schneider’s photographs provoke. Invariably the settings of her pictorial narratives are the South West of the United States, most often the desert and its periphery in Southern California. The desert is a not easily identifiable space, with the suburban boundaries where habitation meets the desert even more so. There are certain sub-themes common to Schneider’s work, not least that of journeying, on the road, a feeling of wandering and itinerancy, or simply aimlessness. Alongside this subsidiary structural characters continually appear, the gas station, the automobile, the motel, the highway, the revolver, logos and signage, the wasteland, the isolated train track and the trailer. If these form a loosely defined structure into which human characters and events are cast, then Schneider always remains the fulcrum and mechanism of their exposure. Sometimes using actresses, friends, her sister, colleagues or lovers, Schneider stands by to watch the chance events as they unfold. And, this is even the case when she is a participant in front of camera of her photo-novels. It is the ability to wait and throw things open to chance and to unpredictable circumstances, that marks the development of her work over the last eight years. It is the means by which random occurrences take on such a telling sense of pregnancy in her work. However, in terms of analogy the closest proximity to Schneider’s photographic work is that of film. For many of her titles derive directly from film, in photographic series like OK Corral (1999), Vegas (1999), Westworld (1999), Memorial Day (2001), Primary Colours (2001), Suburbia (2004), The Last Picture Show (2005), and in other examples. Her works also include particular images that are titled Zabriskie Point, a photograph of her sister in an orange wig. Indeed the tentative title for the present publication Stranger Than Paradise is taken from Jim Jarmusch’s film of the same title in 1984. Yet it would be dangerous to take this comparison too far, since her series 29 Palms (1999) presages the later title of a film that appeared only in 2002. What I am trying to say here is that film forms the nexus of American culture, and it is not so much that Schneider’s photographs make specific references to these films (though in some instances they do), but that in referencing them she accesses the same American culture that is being emptied out and scrutinised by her photo-novels. In short her pictorial narratives might be said to strip films of the stereotypical Hollywood tropes that many of them possess. Indeed, the films that have most inspired her are those that similarly deconstruct the same sentimental and increasingly tawdry ‘American Dream’ peddled by Hollywood. These include films like David Lynch’s Blue Velvet (1986), Wild at Heart (1990) The Lost Highway (1997), John Dahl’s The Last Seduction (1994) or films like Ridley Scott’s Thelma and Louise with all its girl-power Bonny and Clyde-type clichés. But they serve no more than as a backdrop, a type of generic tableau from which Schneider might take human and abstracted elements, for as commercial films they are not the product of mere chance and random occurrence. Notwithstanding this observation, it is also clear that the gender deconstructions that the characters in these films so often portray, namely the active role of women possessed of a free and autonomous sexuality (even victim turned vamp), frequently find resonances within the behavioural events taking place in Schneider’s photographs and DVD sequences; the same sense of sexual autonomy that Stefanie Schneider possesses and is personally committed to. In the series 29 Palms (first begun in 1999) the two women characters Radha and Max act out a scenario that is both infantile and adolescent. Wearing brightly coloured fake wigs of yellow and orange, a parody of the blonde and the redhead, they are seemingly trailer park white trash possessing a sentimental and kitsch taste in clothes totally inappropriate to the locality. The fact that Schneider makes no judgment about this is an interesting adjunct. Indeed, the photographic projection of the images is such that the girls incline themselves to believe that they are both beautiful and desirous. However, unlike the predatory role of women in say Richard Prince’s photographs, which are simply a projection of a male fantasy onto women, Radha and Max are self-contained in their vacuous if empty trailer and motel world of the swimming pool, nail polish, and childish water pistols. Within the photographic sequence Schneider includes herself, and acts as a punctum of disruption. Why is she standing in front of an Officers’ Wives Club? Why is Schneider not similarly attired? Is there a proximity to an army camp, are these would-be Lolita(s) Rahda and Max wives or American marine groupies, and where is the centre and focus of their identity? It is the ambiguity of personal involvement that is set up by Schneider which deliberately makes problematic any clear sense of narrative construction. The strangely virulent colours of the bleached-out girls stand in marked contrast to Schneider’s own anodyne sense of self-image. Is she identifying with the contents or directing the scenario? With this series, perhaps, more than any other, Schneider creates a feeling of a world that has some degree of symbolic order. For example the girls stand or squat by a dirt road, posing the question as to their sexual and personal status. Following the 29 Palms series, Schneider will trust herself increasingly by diminishing the sense of a staged environment. The events to come will tell you both everything and nothing, reveal and obfuscate, point towards and simultaneously away from any clearly definable meaning. If for example we compare 29 Palms to say Hitchhiker (2005), and where the sexual contents are made overtly explicit, we do not find the same sense of simulated identity. It is the itinerant coming together of two characters Daisy and Austen, who meet on the road and subsequently share a trailer together. Presented in a sequential DVD and still format, we become party to a would-be relationship of sorts. No information is given as to the background or social origins, or even any reasons as to why these two women should be attracted to each other. Is it acted out? Are they real life experiences? They are women who are sexually free in expressing themselves. But while the initial engagement with the subject is orchestrated by Schneider, and the edited outcome determined by the artist, beyond that we have little information with which to construct a story. The events are commonplace, edgy and uncertain, but the viewer is left to decide as to what they might mean as a narrative. The disaggregated emotions of the work are made evident, the game or role playing, the transitory fantasies palpable, and yet at the same time everything is insubstantial and might fall apart at any moment. The characters relate but they do not present a relationship in any meaningful sense. Or, if they do, it is one driven the coincidental juxtaposition of random emotions. Should there be an intended syntax it is one that has been stripped of the power to grammatically structure what is being experienced. And, this seems to be the central point of the work, the emptying out not only of a particular American way of life, but the suggestion that the grounds upon which it was once predicated are no longer possible. The photo-novel Hitchhiker is porous and the culture of the seventies which it might be said to homage is no longer sustainable. Not without coincidence, perhaps, the decade that was the last ubiquitous age of Polaroid film. In the numerous photographic series, some twenty or so, that occur between 29 Palms and Hitchhiker, Schneider has immersed herself and scrutinised many aspects of suburban, peripheral, and scrubland America. Her characters, including herself, are never at the centre of cultural affairs. Such eccentricities as they might possess are all derived from what could be called their adjacent status to the dominant culture of America. In fact her works are often sated with references to the sentimental sub-strata that underpin so much of American daily life. It is the same whether it is flower gardens and household accoutrements of her photo-series Suburbia (2004), or the transitional and environmental conditions depicted in The Last Picture Show (2005). The artist’s use of sentimental song titles, often adapted to accompany individual images within a series by Schneider, show her awareness of America’s close relationship between popular film and music. For example the song ‘Leaving on a Jet Plane’, becomes Leaving in a Jet Plane as part of The Last Picture Show series, while the literalism of the plane in the sky is shown in one element of this diptych, but juxtaposed to a blonde-wigged figure first seen in 29 Palms. This indicates that every potential narrative element is open to continual reallocation in what amounts to a story without end. And, the interchangeable nature of the images, like a dream, is the state of both a pictorial and affective flux that is the underlying theme pervading Schneider’s photo-narratives. For dream is a site of yearning or longing, either to be with or without, a human pursuit of a restless but uncertain alternative to our daily reality. The scenarios that Schneider sets up nonetheless have to be initiated by the artist. And, this might be best understood by looking at her three recent DVD sequenced photo-novels, Reneé’s Dream and Sidewinder (2005). We have already considered the other called Hitchhiker. In the case of Sidewinder the scenario was created by internet where she met J.D. Rudometkin, an ex-theologian, who agreed to her idea to live with her for five weeks in the scrubland dessert environment of Southern California. The dynamics and unfolding of their relationship, both sexually and emotionally, became the primary subject matter of this series of photographs. The relative isolation and their close proximity, the interactive tensions, conflicts and submissions, are thus recorded to reveal the day-to-day evolution of their relationship. That a time limit was set on this relation-based experiment was not the least important aspect of the project. The text and music accompanying the DVD were written by the American Rudometkin, who speaks poetically of “Torn Stevie. Scars from the weapon to her toes an accidental act of God her father said. On Vaness at California.” The mix of hip reverie and fantasy-based language of his text, echoes the chaotic unfolding of their daily life in this period, and is evident in the almost sun-bleached Polaroid images like Whisky Dance, where the two abandon themselves to the frenetic circumstances of the moment. Thus Sidewinder, a euphemism for both a missile and a rattlesnake, hints at the libidinal and emotional dangers that were risked by Schneider and Rudometkin. Perhaps, more than any other of her photo-novels it was the most spontaneous and immediate, since Schneider’s direct participation mitigated against and narrowed down the space between her life and the art work. The explicit and open character of their relationship at this time (though they have remained friends), opens up the question as the biographical role Schneider plays in all her work. She both makes and directs the work while simultaneously dwelling within the artistic processes as they unfold. Hence she is both author and character, conceiving the frame within which things will take place, and yet subject to the same unpredictable outcomes that emerge in the process. In Reneé’s Dream, issues of role reversal take place as the cowgirl on her horse undermines the male stereotype of Richard Prince’s ‘Marlboro Country’. This photo-work along with several others by Schneider, continue to undermine the focus of the male gaze, for her women are increasingly autonomous and subversive. They challenge the male role of sexual predator, often taking the lead and undermining masculine role play, trading on male fears that their desires can be so easily attained. That she does this by working through archetypal male conventions of American culture, is not the least of the accomplishments in her work. What we are confronted with frequently is of an idyll turned sour, the filmic clichés that Hollywood and American television dramas have promoted for fifty years. The citing of this in the Romantic West, where so many of the male clichés were generated, only adds to the diminishing sense of substance once attributed to these iconic American fabrications. And, that she is able to do this through photographic images rather than film, undercuts the dominance espoused by time-based film. Film feigns to be seamless though we know it is not. Film operates with a story board and setting in which scenes are elaborately arranged and pre-planned. Schneider has thus been able to generate a genre of fragmentary events, the assemblage of a story without a storyboard. But these post-narratological stories require another component, and that component is the viewer who must bring their own interpretation as to what is taking place. If this can be considered the upside of her work, the downside is that she never positions herself by giving a personal opinion as to the events that are taking place in her photographs. But, perhaps, this is nothing more than her use of the operation of chance dictates. I began this essay by speaking about the apparitional contents of Stefanie Schneider’s pictorial narratives, and meant at that time the literal and chance-directed ‘appearing’ qualities of her photographs. Perhaps, at this moment we should also think of the metaphoric contents of the word apparition. There is certainly a spectre-like quality also, a ghostly uncertainty about many of the human experiences found in her subject matter. Is it that the subculture of the American Dream, or the way of life Schneider has chosen to record, has in turn become also the phantom of it former self? Are these empty and fragmented scenarios a mirror of what has become of contemporary America? There is certainly some affection for their contents on the part of the artist, but it is somehow tainted with pessimism and the impossibility of sustainable human relations, with the dissolute and commercial distractions of America today. Whether this is the way it is, or, at least, the way it is perceived by Schneider is hard to assess. There is a bleak lassitude about so many of her characters. But then again the artist has so inured herself into this context over a long protracted period that the boundaries between the events and happenings photographed, and the personal life of Stefanie Schneider, have become similarly opaque. Is it the diagnosis of a condition, or just a recording of a phenomenon? Only the viewer can decide this question. For the status of Schneider’s certain sense of uncertainty is, perhaps, the only truth we may ever know.

1 Kerry Brougher (ed.), Art and Film Since 1945: Hall of Mirrors, ex. cat., The Museum of Contemporary Art (New York, 1996) 2 Im Reich der Phantome: Fotographie des Unsichtbaren, ex. cat., Städtisches Museum Abteiberg Mönchengladbach/Kunsthalle Krems/FotomuseumWinterthur, (Ostfildern-Ruit, 1997) 3 Photoworks: When Pictures Vanish – Sigmar Polke, Museum of Contemporary Art (Zürich-Berlin-New York, 1995) 4 Slavoj Žižek, The Art of the Ridiculous Sublime: On David Lynch’s Lost Highway, Walter Chapin Simpson Center for the Humanities, University of Washington, Seattle, Occasional Papers, no. 1, 2000. 5 Diane Arbus, eds. Doon Arbus, and Marvin Israel...

Motel Desert Shores, from Richard Heeps Salton Sea series. This picture has the a vibe of a Southern California American road trip, the colours are so seductive, the palm trees creat...

Slim Aarons' Pool at Porto Rotundo, an Estate Edition photograph, is a vintage scene of a swimming pool in Rosarda, Porto Rotondo, Sardinia, Italy, August 1982. Visual Description:...

28° 14' 20.922'' N, 114° 6' 9.395'' W-8 From the SHORE series. Cyanotype on 300 gr cotton paper Size: 38 H x 56 W cm. Unique The title of each piece corresponds to the geographical ...

28° 50' 27.1314" N, 111° 58' 3.4674" W-9 From the SHORE series. Cyanotype on 300 gr cotton paper size: 38 x 56 cm. Unique The title of each piece corresponds to the geographical coo...

For a limited time only these Slim Aarons prints are available to purchase at 15% discount. Please contact the gallery for any queries. Please bear in mind that all prints are produ...

"Nihon Noir arose from my fascination with Tokyo and my desire to translate the feeling that struck me on my first visit, that somehow you have been transported to a parallel future ...

Jack Hayhow Title: Kansas City Icons Photographic Print on fine Paper Year: 2020 Size: 16x24 inches Description: Available in multiple sizes - please inqu...

A moody Manhattan Skyline in blue serves as a backdrop to a flock of seagulls caressed in magical light. Signed, dated, numbered 3/15 lower right recto, unframed, other sizes avail...

Rebecca Swanson, Flower Child III, Limited Edition Photograph, 15x15. It is available with Plexifacemount or white frame as shown. This stunning image is filled purples and red and white. This is an edition of 15. Also available in 30x30. Printing and framing upon placed order. Please allow 4-6 weeks for delivery Rebecca Swanson’s work is inspired from her childhood in Ohio, growing up with her mother, an avid gardener, and her grandmother, an accomplished china painter. Her work is cultivated by the natural world, with its universal fragility and beauty we share with all plants and flowers. She “paints” with her camera, blending the abstract forms of nature with subtle colors to build intimate portraits of perfect, individual blooms. Her utopia is New York City with its parks, waterfronts, and botanical gardens. Rebecca studied drawing, painting, photography, and sculpture at the Cleveland Institute of Art and moved to New York to work as a textile designer. Rebecca has been exhibiting since 1995 in renown locations including the New York City Leica Gallery. Her photographs can be found in corporate collections including Banana Republic, St. Regis, Marriott and Omni hotels and in hospitals throughout the country. She has photographed gardens...

My own private Travel Diary - Bishop, CA - Winter - 2001, 20x29cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid Slide. Signature label and Certifi...

My own private Travel Diary - Bishop, CA - Winter - 2001, 20x29cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid Slide. Signature label and Certifi...

The silhouette of a large scale cactus, dressed in twinkle lights, set against an ombre sunrise sky. Photographed by Richard Heeps in the Arizona desert, for his 'Dream in Colour' se...

My own private Travel Diary - Bishop, CA - Hotsprings - 2001, 20x29cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid Slide. Signature label and Cer...

Holidaymakers relax beside the swimming pool of Il Pellicano Hotel in Porto Ercole, Tuscany, August 1980. Slim Aarons 'Il Pellicano Hotel, Porto Ecole' Il Pellicano, Porto Ercole, Tuscany, Italy Chromogenic Lambda print Printed Later Slim Aarons Estate Edition Complimentary dealer shipping to your framer, worldwide. Stamped and hand numbered by the Slim Aarons Estate. Certificate of Authenticity included. 60 x 40 inches $3950 40 x 30 inches $3350 30 x 20 inches $3000 Complimentary dealer shipping to your framer, worldwide. Over the course of a career lasting half a century, Slim Aarons (1916-2006) portrayed high society, aristocracy, authors, artists, business icons, the celebrated and their milieu. In doing so, he captured a golden age of wealth, privilege, beauty and leisure that occurred alongside—but quite separate from—the cultural and political backdrop of the second half of the Twentieth Century. Photograph is unframed Slide show includes a close-up of the Slim Aarons estate's stamp. Collector will get the next number in the edition * We are pleased to offer the entire archive of the Slim Aarons Estate, offering the official Slim Aarons Estate Edition (only offered in this edition of 150). * Undercurrent Projects, New York, is proud to represent Aarons' full collection of negatives and transparencies. Housed at Getty Images Hulton Archive in London, The Slim Aarons Estate has released the limited Estate edition as a Lambda print, which is a modern c-type prints. They have chosen Lambda prints for their sharpness, clarity, colour saturation and quality, compared to archival inkjet prints. Lambda printing gives true continuous tone. Internal: Slim Aarons, Porto Ercole, Italy, Il Pelicano, Vintage Glamour, 70s...

Planes IX - 2008 20x24cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature label and Certificate. Artist Inventory #4634. Not mounted. A ...

Satin Seduction Film star Diana Dors in blonde bombshell pose on a satin covered bed. Slim Aarons Chromogenic C print Printed Later Slim Aarons Estate ...

My own private Travel Diary - Bishop, CA - Autumn - 2001, 20x29cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid Slide. Signature label and Certifi...

Bright and bold colors define one of San Francisco's most beloved architectural gems. The Painted Ladies of Alamo Square are transformed into a color field painting. Mithcell Funk's...

This is an exclusive handprinted limited edition cyanotype. "Pacific Ocean Currents (Blue Border)" is a handmade cyanotype print of rough water texture resembling Pacific Ocean swell...

Street Photographer Mithcell Funk embraces his long-held graphic aesthetic highly keyed bold colors and strong design, while late afternoon light skims across the surface of an empt...

Any framed photographs purchased during the show will be available after June 12th. If the exhibition piece is sold or the customer orders a different print size, the photograph is p...

Skiing In Vermont, 1963 Chromogenic Lambda Print Estate edition of 150 Skiers on the slopes at the Sugarbush Resort, Vermont, USA, March 1963. Estate stamped and hand numbered edi...

My own private Travel Diary - Bishop, CA - A quiet Town - 2001, 20x29cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid Slide. Signature label and C...

My own private Travel Diary - Bishop, CA - Hotsprings - 2001, 20x29cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid Slide. Signature label and C...

Jung LEE (*1972, South Korea) The End #2, 2020 C-Type Print, Diasec Sheet 160 x 200 cm (63 x 78 3/4 in.) Frame 167 x 206,9 x 3,5 cm (65 3/4 x 81 1/2 x 1 3/8 in.) Edition of 5, plus 2...

My own private Travel Diary - Bishop, CA - Winter - 2001, 20x25cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid Slide. Signature label and Certifi...

New Yorkers walk their dogs in an upper east side park. The scene is shot at dawn. First light skims across the ground and gives the whole picture a mesmerizing quality in pinks and...

Oleander Drive 1967 Chromogenic Lambda Print Estate stamped and hand numbered edition of 150 with certificate of authenticity from the estate. A family in a pony and trap take a dr...

Hotel du Cap Eden-Roc, 1976 (printed later) C print edition of 150 Guests by the pool at the Hotel du Cap Eden-Roc, Antibes, France, August 1976. Estate stamped and hand numbered e...

Joshua Tree National Park an extremely interesting rural landscape, made famous through its popularity in pop culture. Here, the Joshua Tree captured in the Mojave Desert at dusk whi...

Pete Kasprzak’s passion for city life is expressed in his dynamic urban artworks. Kasprzak’s artworks express energy and life with animated brush strokes. He adds dynamic movement an...

Flatiron Building is diffused in a misty snowstorm while a couple shields themselves with an umbrella. This classic view takes on the moody character of Edward Steichen's iconic im...

Puffy clouds over Marlin Hotel on Collins Avenue in South Beach, Miami Beach. This archival color photograph by fine art photographer Mitchell Funk is signed, dated and numbered 2/1...

Since its construction, Mitchell Funk has been chronicling the Twin Towers, of the World Trade Center. More specifically, he has been recording how light affects and transforms the two giant monoliths. Like us all, Mitchell was inspired by the formidable presence of the two buildings. Living in Brooklyn Heights with great views of lower Manhattan gave him a special advantage and opportunity to assemble some of the most iconic Twin Tower images ever taken. To Mitchell Funk, the Twin Towers, of the World Trade Center were the perfect synthesis of commerce and art. Most modern architecture is simply functional. Minoru Yamasaki's Twin Towers were in fact something quite radical. They were a steel and glass expression of Minimalism on the grandest scale in human history. Everything in the towers was stripped down to its essential quality with nothing extraneous added ….. except light. The way the buildings reflected light made them unique and inspired Mitchell to record them in color for 32 years. Although, the exterior was actually made of a very reflective blue/grey stainless steel the warm light of daybreak and sunset could change their color and transform them from buildings into and mystical monumental sculptures. With the help of the sun as a key player, Mitchell’s images of the Twin Towers progress from the mystical to the spiritual as they reflect the sun’s intense golden energy. Under these conditions, one could argue, that the Twin Tower housed the same type of divine energy as the adjacent churches. In the wake of the 9/11 tragedy, one could interpret Twin Tower sunset images differently. A sunset can be a symbol for the end of the day or simply The End. The 1969 image “Dead End” is a visual prognostication. The North Tower is under construction in the background and in the foreground, Mitchell has framed it between two street signs that read Dead End. In Mitchell’s Twin Tower photographs, he is not taking a tourist picture that says “here I am on the Brooklyn Heights Promenade...

Piercing white light breaks through the clouds to illuminate an abandoned gas station in Arizona. Signed and dated on lower right, numbered on verso, 2/1...

Skiers at Verbier, 1964 Archival pigment print Estate stamped and hand numbered edition of 150 with certificate of authenticity from the estate. Skiers relax in deckchairs on th...

Jung LEE (*1972, South Korea) You #2, 2019 C-Type Print, Diasec Sheet 185 x 148 cm (72 7/8 x 58 1/4 in.) Frame 188,5 x 151,5 x 3,7 cm (74 1/4 x 59 5/8 x 1 1/2 in.) Edition of 5, plus...