Miniature Landscape Photography
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379
5,112
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2,709
2,929
5,896
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1,585
3,345
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71
80
31
127
163
208
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36
26
24
13
10
7
1,911
1,862
1,328
2,034
1,753
1,266
736
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644
557
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525
447
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395
382
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360
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331
323
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287
2,809
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1,484
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1,257
934
426
278
212
159
331
1,820
3,535
1,253
Size: Miniature
"A Farewell to Day 6.2" (2024) By Tal Paz-Fridman, Limited Photo Print, 18 x 12
Located in Denver, CO
Explore the exclusive limited editions of Tal Paz-Fridman's collection, with each captivating piece available in four select sizes. Limited to just 10 editions each, you can choose f...
Category
2010s Color Photography
Materials
Photographic Paper
"A Farewell to Day 6.1" (2024) By Tal Paz-Fridman, Limited Photo Print, 18 x 12
Located in Denver, CO
Explore the exclusive limited editions of Tal Paz-Fridman's collection, with each captivating piece available in four select sizes. Limited to just 10 editions each, you can choose f...
Category
2010s Color Photography
Materials
Photographic Paper
"A Farewell to Day 2.3" (2024) By Tal Paz-Fridman, Limited Photo Print, 18 x 12
Located in Denver, CO
Explore the exclusive limited editions of Tal Paz-Fridman's collection, with each captivating piece available in four select sizes. Limited to just 10 editions each, you can choose f...
Category
2010s Color Photography
Materials
Photographic Paper
"A Farewell to Day 2.2" (2024) By Tal Paz-Fridman, Limited Photo Print, 18 x 12
Located in Denver, CO
Explore the exclusive limited editions of Tal Paz-Fridman's collection, with each captivating piece available in four select sizes. Limited to just 10 editions each, you can choose f...
Category
2010s Color Photography
Materials
Photographic Paper
"A Farewell to Day 2.1" (2024) By Tal Paz-Fridman, Limited Photo Print, 18 x 12
Located in Denver, CO
Explore the exclusive limited editions of Tal Paz-Fridman's collection, with each captivating piece available in four select sizes. Limited to just 10 editions each, you can choose f...
Category
2010s Color Photography
Materials
Photographic Paper
Lift Off from Arrowhead, Photo Mosaic Collage Aerial Landscape Photograph
By Vera Simons
Located in Surfside, FL
This one depicts an aerial landscape and is titled Liftoff from Arrowhead.
SIMONS, Vera (1920 - 2012)
Vera Habrecht Simons, was a German/American aviation pioneer, aeronaut and phot...
Category
1970s Bauhaus Color Photography
Materials
Photographic Paper
"Canyon de Chelle" #3 - Desert Landscape Photograph
Located in Soquel, CA
Desert landscape photograph of Canyon de Chelly National Monument by an unknown artist (American, 20th Century). Signed "CJB" in the lower right corner. Dated "April '84" in the lowe...
Category
1980s Contemporary Landscape Photography
Materials
Photographic Paper, Silver Gelatin
Campbell Falls Picnic
By Slim Aarons
Located in Los Angeles, CA
A family enjoying a picnic on the bank of the Whiting River near Campbell Falls, Massachusetts, USA, 1959.
40 x 40 inches
$3950
30 x 30 inches
$3350
24 x 24 inches
$3000
Complime...
Category
1950s Realist Landscape Photography
Materials
Lambda
Reed Bed II, Wicken Fen, Cambridgeshire - landscape nature photograph
Located in Cambridge, GB
Reed Bed II, square format nature photograph by Richard Heeps taken when documenting Wicken Fen.
Richard has a love for the unique Fenland landscape around his Cambridgeshire home ca...
Category
Early 2000s Contemporary Color Photography
Materials
Photographic Paper, C Print, Color, Silver Gelatin
Reed Bed, Wicken Fen, Cambridgeshire - landscape nature photograph
Located in Cambridge, GB
Reed Bed, square format nature photograph by Richard Heeps taken when documenting Wicken Fen.
Richard has a love for the unique Fenland landscape around his Cambridgeshire home captu...
Category
Early 2000s Contemporary Color Photography
Materials
Photographic Paper, C Print, Color, Silver Gelatin
Renée's Dream (Days of Heaven), no 1
Located in Morongo Valley, CA
'Renée's Dream' no. 1 (Days of Heaven) - 2005
part of the 29 Palms, CA project
26 x 32cm,
Edition 14/100.
Archival C-Print based on the original Polaroid.
Certificate and signatu...
Category
Early 2000s Contemporary Color Photography
Materials
Photographic Paper, C Print, Color, Polaroid, Archival Paper
Connected - 21st Century, Contemporary, Landscape, Polaroid
Located in Morongo Valley, CA
'Connected', 2018,
20x24cm
Edition of 7 plus 2 Artist Proofs.
Archival C-Print based on the original Polaroid.
Signature label with certificate.
Artist inventory PL2018-454
Kir...
Category
2010s Contemporary Landscape Photography
Materials
Photographic Paper, C Print, Color, Polaroid, Archival Paper
Pit Stop - 21st Century, Polaroid, Landscape Photography
Located in Morongo Valley, CA
Pit Stop - 2017,
20x20cm,
Edition of 7 plus 2 Artist Proofs.
Archival C-Print based on the original Polaroid.
Signature label with certificate.
Artist inventory PL2017-122.
Not...
Category
2010s Contemporary Color Photography
Materials
Archival Paper, C Print, Color, Polaroid, Photographic Paper
Roy's - 21st Century, Polaroid, Landscape Photography, Contemporary, Color
Located in Morongo Valley, CA
Roys (Amboy), 2018,
20x24cm,
Edition of 7 plus 2 Artist Proofs.
Archival C-Print based on the original Polaroid.
Signature label with certificate.
Artist Inventory Number PL201...
Category
2010s Contemporary Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Palm Beach Idyll, Estate Edition, Christmas Beach
By Slim Aarons
Located in Los Angeles, CA
This classic Slim Aarons photograph depicts a couple basking under the sun at the renowned Palm Beach, Florida, circa 1955. The woman in the forefront sports a vintage orange swimsuit...
Category
1950s American Realist Figurative Photography
Materials
Lambda
North Shore Mirage (California Badlands) - Contemporary, 21st Century, Polaroid
Located in Morongo Valley, CA
North Shore Mirage II (California Badlands) - 2016,
28x38cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print based on the Polaroid.
Certificate and signature label.
Arti...
Category
2010s Contemporary Landscape Photography
Materials
Photographic Paper, C Print, Color, Polaroid, Archival Paper
Blue Yonder - Contemporary, Abstract, Polaroid, 21st Century, Color
By Lisa Toboz
Located in Morongo Valley, CA
Blue Yonder - 2019,
20x40cm,
Edition of 10 plus 2 Artist Proofs.
Archival Print based on the original Polaroid on Hahnemühle photo rag paper.
Signature label and certificate.
Not mounted.
Exhibition: Reclaim Photography Festival: Reclaiming Our Cultural Landscape, Black Country...
Category
2010s Contemporary Color Photography
Materials
Archival Ink, Archival Paper, Color, Archival Pigment, Polaroid
Renée's Dream XI (Days of Heaven) - Landscape, Horse, Polaroid, 21st Century
Located in Morongo Valley, CA
Renée's Dream XI (Days of Heaven). Part of the 29 Palms, CA Project - 2006
20x20cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Signature label ...
Category
1990s Contemporary Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Bryce II - 21 Century, Women, Contemporary, Polaroid, Landscape
Located in Morongo Valley, CA
Bryce II - 2017,
20x20cm,
Edition of 7 plus 2 Artist Proofs.
Archival C-Print based on the original Polaroid.
Signature label with certificate.
Artist inventory PL2017-261.
Not...
Category
2010s Contemporary Color Photography
Materials
Archival Paper, C Print, Color, Polaroid, Photographic Paper
Botanicals III - 21st Century, Polaroid, Landscape Photography
Located in Morongo Valley, CA
Botanicals III - 2018
20x24cm,
Edition of 7 plus 2 Artist Proofs.
Archival C-Print based on the original Polaroid.
Signature label with certificate.
Artist Inventory Number PL20...
Category
2010s Contemporary Landscape Photography
Materials
Photographic Paper, C Print, Color, Polaroid, Archival Paper
Tree of Light
Located in Morongo Valley, CA
Tree of Life - 2017,
20x20cm,
Edition of 7 plus 2 Artist Proofs.
Archival C-Print based on the original Polaroid.
Signature label with certificate.
Artist inventory PL2017-285....
Category
2010s Contemporary Landscape Photography
Materials
Archival Paper, C Print, Color, Polaroid
Distant Trees, Sorachi, Hokkaido, Japan - Black and White Photograph, Landscape
Located in Denton, TX
Distant Trees, Sorachi, Hokkaido, Japan by Michael Kenna is a 8 x 7.75 inch* silver gelatin print, available in an edition of 25.
*Please note: the measurements of this print are app...
Category
2010s Contemporary Black and White Photography
Materials
Silver Gelatin
Salton Sea Marina (California Badlands) - Polaroid, Landscape, Contemporary
Located in Morongo Valley, CA
Salton Sea Marina (California Badlands) - 2016
20x24cm,
Edition 6/10.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory No. 18088.14.
Not...
Category
2010s Contemporary Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Starlite Motel (California Badlands) - Contemporary, Polaroid, Landscape
Located in Morongo Valley, CA
Starlite Motel (California Badlands) - 2010
20x24cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory...
Category
2010s Contemporary Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Harbour Island, Bahamas
By Slim Aarons
Located in Los Angeles, CA
A couple relax at the beach on Harbour Island, Bahamas, 1967.
16 x 20 inches
$2150
12 x 16 inches
$1800
10 x 12 inches
$1350
Complimentary dealer shipping to your framer, worldw...
Category
1960s Realist Landscape Photography
Materials
Lambda
Dolomites No.2, Analogue Black and White Mountain Photography, Ltd. 20
Located in London, GB
Dolomites No,2, 2024
It is a black and white film photograph of Dolomite mountains, made using a 4x5 Large format camera Linhof. Ugne Pouwell does all the processing and printing in...
Category
21st Century and Contemporary Contemporary Landscape Photography
Materials
Film, Photographic Film, Photographic Paper, Giclée
Vagabond (American Depression) - Contemporary, Polaroid, Landscape
Located in Morongo Valley, CA
Vagabond (American Depression) - 2017
40x40cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory No. 2...
Category
2010s Contemporary Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Circle of Magic - Do you believe in Magic - 29 Palms, CA
Located in Morongo Valley, CA
Circle of Magic (29 Palms, CA) - 2009
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print based on the Polaroid.
Certificate and signature label.
artist inventory num...
Category
Early 2000s Contemporary Color Photography
Materials
C Print, Polaroid, Archival Paper, Photographic Paper, Color
Joshua Tree (29 Palms, CA) - Landscape, Polaroid, Photograph, expired, Nature
Located in Morongo Valley, CA
Joshua Tree (29 Palms, CA) - 1999
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print based on the Polaroid.
Certificate and signature label.
Artist inventory 20975.
...
Category
1990s Contemporary Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
9-11
By Lori Grinker
Located in New York, NY
9-11
2001
Signed and numbered, verso
Chromogenic print
11 x 14 inches
(Edition of 25)
$2,500
16 x 20 inches
(Edition of 15)
$3,500
This work is offered by ClampArt in New York City.
Category
Early 2000s Contemporary Photography
Materials
C Print
Sport Parade - Vintage Photograph - Mid 20th Century
Located in Roma, IT
Sport Parade is a b/w photograph in gel print taken very likely in Mid 20th Century .
The work is glued on cardboard. Total dimensions: 35x50cm.
Good conditions and aged.
It belon...
Category
Mid-20th Century Modern Figurative Photography
Materials
Photographic Paper
Junk Boat China - Vintage Photograph - 1925
Located in Roma, IT
Junk Boat China is a b/w photograph in gel print taken very likely in 1925.
The picture depicts a junk boat in the Chinese city, Wuchow.
The work is glued on cardboard. Total dime...
Category
1920s Modern Figurative Photography
Materials
Photographic Paper
Maya - Contemporary, Polaroid, Photography, Color, 21st Century, Portrait
By Lisa Toboz
Located in Morongo Valley, CA
Maya - diptych, 2016
17x38cm,
Edition of 10 plus 2 Artist Proof.
Archival photograph printed on Hahnemuhle photo rag paper, based on 2 original Polaroids.
Signature label and ce...
Category
2010s Contemporary Color Photography
Materials
Archival Ink, Archival Paper, Color, Archival Pigment, Polaroid
Ghosts (The Last Picture Show) - Polaroid, Photograph, Contemporary, Americana
Located in Morongo Valley, CA
Ghosts (The Last Picture Show) - 2005
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist inventory 2...
Category
1990s Contemporary Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Frozen IV (Last Picture Show)
Located in Morongo Valley, CA
Frozen IV (Last Picture Show) - 2001
20 x 20 cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory ...
Category
Early 2000s Contemporary Portrait Photography
Materials
Photographic Paper, C Print, Color, Polaroid
Color Photograph -- Yellow Lilly
Located in Troy, NY
This landscape of a lily pad shows a couple of leaves and a lovely yellow lily centered on the photograph. In the foreground is a large green leaf duplicated in the background by other leaves, mostly in autumnal colors. All of this rests on deep bluish water that suggest great depth. This is a lovely fine art photograph that provides endless viewing pleasure. The photograph is sold framed; the artist's signature is in the front.
Jeanne Finley...
Category
2010s Contemporary Landscape Photography
Materials
Archival Paper, Inkjet
Don´t come with me - Contemporary, Photograph, Landscape, 21st Century, Color
Located in Morongo Valley, CA
Don´t come with me - 2011
40 x 40 cm,
Edition of 5 plus 2 Artist Proofs.
Archival Photography printed on Canson Baryta 310gr (not mounted)
Signed on back with Certificate.
About m...
Category
2010s Contemporary Landscape Photography
Materials
Archival Ink, Archival Paper, Color, Archival Pigment
Forest
By Josef Sudek
Located in Carmel-by-the-Sea, CA
Unsigned original gelatin silver print by Josef Sudek.
Category
1950s Black and White Photography
Materials
Silver Gelatin
California Depression (California Badlands) - Contemporary, Polaroid, Landscape
Located in Morongo Valley, CA
California Depression (California Badlands) - 2010
20x24cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inv...
Category
2010s Contemporary Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
The Safari Inn (California Badlands) - Contemporary, Polaroid, Landscape
Located in Morongo Valley, CA
The Safari Inn (California Badlands) - 2010
20x24cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventor...
Category
2010s Contemporary Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Ski Inn (Bombay Beach), 21st Century, Polaroid, Landscape Photography
Located in Morongo Valley, CA
Ski Inn (Bombay Beach) - 2018
20x24cm,
Edition of 7 plus 2 Artist Proofs.
Archival C-Print based on the original Polaroid.
Signature label with certificate.
Not mounted.
Bombay...
Category
2010s Contemporary Landscape Photography
Materials
Photographic Paper, C Print, Color, Polaroid, Archival Paper
Last Stop Bombay Beach (California Badlands)
Located in Morongo Valley, CA
Last Stop Bombay Beach (California Badlands) - 2019
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist In...
Category
Early 2000s Contemporary Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Table for Two (Bombay All Day) - Contemporary, Polaroid, Bombay Beach, Landscape
Located in Morongo Valley, CA
Table for Two (Bombay All Day) - 2019
20x24cm,
Edition of 7 plus 2 Artist Proofs.
Archival C-Print based on the original Polaroid.
Signature label with certificate.
Artist inven...
Category
2010s Contemporary Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Coney Island (Stay) - Polaroid, 21st Century, Contemporary, Color
Located in Morongo Valley, CA
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 art was the art both created during the movie. Stefanie's images were also used for Ryan Gosling's memory sequence, for the end titles, for edits in between and as art paintings hanging in several scenes within the movie.
“I never remember the details of a Stefanie Schneider image, just the whole. She treads a third path between reality and dream that connects the two and truly sparks my artistic, visual freedom.” (Marc Forster)
This piece:
Coney Island (Stay) - 2006
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Signature label and Certificate.
Artist Inventory # 2194.
Not mounted.
Torsten Scheid, “Fotografie, Kunst, Kino. Revisited.”, FilmDienst 3/2006, page 11-13
Photography Art Cinema. Revisited
Stay expands a traditional connection through new facets
Interwoven between the media of photography and film is a veritable mesh-work of technical, motific, metaphorical and personal interrelationships. Extending from photo-film which, as in La Jetée by Chris Marker (France, 1962) is a montage of single, unmoving photographs all the way to the portrayal of photographic motifs in Hollywood cinema―most recently in Memento (USA, 2000) and One hour photo (USA, 2002)―is the range of filmic-photographic interactions on the one hand, and from the adaption of modes of cinematic production to the imitation of film stills on the other. For instance, with the legendary Untitled Film Stills (1978) of the American artist Cindy Sherman, who later made her debut as a film director with Office Killer (USA, 1997) and thereby, like many others, changed sides: Wim Wenders, Robert Frank and Larry Clark are doubtlessly the most successful of these photographic-filmic border crossers. This brief survey provides only a vague indication of the dimensions of this intermedial field, which in fact extends much further and is constantly being cultivated.
Also as a motif in film, photography has experienced a historical transformation: Photographers were once considered to be technicians who mastered a craft but never achieved the status of artists. Photographer-figures were caught in the allure of beautiful appearance, incapable of penetrating to the actual essence of things. Such depth was reserved for literature or painting. When photography in film touched upon the sphere of art, then most often as its contrasting model, as the metaphor for a superficial access to the world. Coming to mind are Fred Astaire as a singing fashion photographer in Stanley Donen’s musical film Funny Face (USA, 1957), or the restless lifestyle-photographer in Michelangelo Antonioni’s genre-classic Blow up (GB, 1966). For the doubting Thomas, only that exists which can be photographed. He ultimately enters the world of fantasy and thereby the field of art only unwillingly, when he becomes entangled in the world of his images. The last of his detail-enlargements shows only the photographic grain and has lost all connection to reality. The photograph looks as if it had been painted by Bill, the painter who is both friend and antagonist to the protagonist.
Photography as Art
It was first around the end of the last century that numerous filmmakers discovered photography as a genuine art form. In The Bridges of Madison County (USA, 1995) a sensitive Clint Eastwood stands, camera in hand, on the threshold of artistic status, and in Smoke (USA, 1994) a tobacco merchant ripens into a philosopher through his involvement in photography. Finally, in John Water’s parody of the art market, Pecker (USA, 1998), a provincial tom-fool is hyped into celebrated stardom amid the New York art scene because of his blurred snapshots. This film about a postmodern Kaspar Hauser in photographic art (with clear parallels to Richard Billingham, the British shooting...
Category
Early 2000s Contemporary Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Coney Island (Stay) - Polaroid, 21st Century, Contemporary, Color
Located in Morongo Valley, CA
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 art was the art both created during the movie. Stefanie's images were also used for Ryan Gosling's memory sequence, for the end titles, for edits in between and as art paintings hanging in several scenes within the movie.
“I never remember the details of a Stefanie Schneider image, just the whole. She treads a third path between reality and dream that connects the two and truly sparks my artistic, visual freedom.” (Marc Forster)
This piece:
Coney Island (Stay) - 2006
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Signature label and Certificate.
Artist Inventory # 2197.
Not mounted.
Torsten Scheid, “Fotografie, Kunst, Kino. Revisited.”, FilmDienst 3/2006, page 11-13
Photography Art Cinema. Revisited
Stay expands a traditional connection through new facets
Interwoven between the media of photography and film is a veritable mesh-work of technical, motific, metaphorical and personal interrelationships. Extending from photo-film which, as in La Jetée by Chris Marker (France, 1962) is a montage of single, unmoving photographs all the way to the portrayal of photographic motifs in Hollywood cinema―most recently in Memento (USA, 2000) and One hour photo (USA, 2002)―is the range of filmic-photographic interactions on the one hand, and from the adaption of modes of cinematic production to the imitation of film stills on the other. For instance, with the legendary Untitled Film Stills (1978) of the American artist Cindy Sherman, who later made her debut as a film director with Office Killer (USA, 1997) and thereby, like many others, changed sides: Wim Wenders, Robert Frank and Larry Clark are doubtlessly the most successful of these photographic-filmic border crossers. This brief survey provides only a vague indication of the dimensions of this intermedial field, which in fact extends much further and is constantly being cultivated.
Also as a motif in film, photography has experienced a historical transformation: Photographers were once considered to be technicians who mastered a craft but never achieved the status of artists. Photographer-figures were caught in the allure of beautiful appearance, incapable of penetrating to the actual essence of things. Such depth was reserved for literature or painting. When photography in film touched upon the sphere of art, then most often as its contrasting model, as the metaphor for a superficial access to the world. Coming to mind are Fred Astaire as a singing fashion photographer in Stanley Donen’s musical film Funny Face (USA, 1957), or the restless lifestyle-photographer in Michelangelo Antonioni’s genre-classic Blow up (GB, 1966). For the doubting Thomas, only that exists which can be photographed. He ultimately enters the world of fantasy and thereby the field of art only unwillingly, when he becomes entangled in the world of his images. The last of his detail-enlargements shows only the photographic grain and has lost all connection to reality. The photograph looks as if it had been painted by Bill, the painter who is both friend and antagonist to the protagonist.
Photography as Art
It was first around the end of the last century that numerous filmmakers discovered photography as a genuine art form. In The Bridges of Madison County (USA, 1995) a sensitive Clint Eastwood stands, camera in hand, on the threshold of artistic status, and in Smoke (USA, 1994) a tobacco merchant ripens into a philosopher through his involvement in photography. Finally, in John Water’s parody of the art market, Pecker (USA, 1998), a provincial tom-fool is hyped into celebrated stardom amid the New York art scene because of his blurred snapshots. This film about a postmodern Kaspar Hauser in photographic art (with clear parallels to Richard Billingham, the British shooting...
Category
Early 2000s Contemporary Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Coney Island (Stay) - Polaroid, 21st Century, Contemporary, Color
Located in Morongo Valley, CA
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 art was the art both created during the movie. Stefanie's images were also used for Ryan Gosling's memory sequence, for the end titles, for edits in between and as art paintings hanging in several scenes within the movie.
“I never remember the details of a Stefanie Schneider image, just the whole. She treads a third path between reality and dream that connects the two and truly sparks my artistic, visual freedom.” (Marc Forster)
This piece:
Coney Island (Stay) - 2006
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Signature label and Certificate.
Artist Inventory # 2196.
Not mounted.
Torsten Scheid, “Fotografie, Kunst, Kino. Revisited.”, FilmDienst 3/2006, page 11-13
Photography Art Cinema. Revisited
Stay expands a traditional connection through new facets Interwoven between the media of photography and film is a veritable mesh-work of technical, motific, metaphorical and personal interrelationships. Extending from photo-film which, as in La Jetée by Chris Marker (France, 1962) is a montage of single, unmoving photographs all the way to the portrayal of photographic motifs in Hollywood cinema―most recently in Memento (USA, 2000) and One hour photo (USA, 2002)―is the range of filmic-photographic interactions on the one hand, and from the adaption of modes of cinematic production to the imitation of film stills on the other. For instance, with the legendary Untitled Film Stills (1978) of the American artist Cindy Sherman, who later made her debut as a film director with Office Killer (USA, 1997) and thereby, like many others, changed sides: Wim Wenders, Robert Frank and Larry Clark are doubtlessly the most successful of these photographic-filmic border crossers. This brief survey provides only a vague indication of the dimensions of this intermedial field, which in fact extends much further and is constantly being cultivated.
Also as a motif in film, photography has experienced a historical transformation: Photographers were once considered to be technicians who mastered a craft but never achieved the status of artists. Photographer-figures were caught in the allure of beautiful appearance, incapable of penetrating to the actual essence of things. Such depth was reserved for literature or painting. When photography in film touched upon the sphere of art, then most often as its contrasting model, as the metaphor for a superficial access to the world. Coming to mind are Fred Astaire as a singing fashion photographer in Stanley Donen’s musical film Funny Face (USA, 1957), or the restless lifestyle-photographer in Michelangelo Antonioni’s genre-classic Blow up (GB, 1966). For the doubting Thomas, only that exists which can be photographed. He ultimately enters the world of fantasy and thereby the field of art only unwillingly, when he becomes entangled in the world of his images. The last of his detail-enlargements shows only the photographic grain and has lost all connection to reality. The photograph looks as if it had been painted by Bill, the painter who is both friend and antagonist to the protagonist.
Photography as Art
It was first around the end of the last century that numerous filmmakers discovered photography as a genuine art form. In The Bridges of Madison County (USA, 1995) a sensitive Clint Eastwood stands, camera in hand, on the threshold of artistic status, and in Smoke (USA, 1994) a tobacco merchant ripens into a philosopher through his involvement in photography. Finally, in John Water’s parody of the art market, Pecker (USA, 1998), a provincial tom-fool is hyped into celebrated stardom amid the New York art scene because of his blurred snapshots. This film about a postmodern Kaspar Hauser in photographic art (with clear parallels to Richard Billingham, the British shooting...
Category
Early 2000s Contemporary Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Columbia Thinking (Stay) - Polaroid, 21st Century
Located in Morongo Valley, CA
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 Sc...
Category
Early 2000s Contemporary Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Ancient Bridge Views III (Stay)
Located in Morongo Valley, CA
Ancient Bridge Views III (Stay) - 2006
20x20cm,
Edition of 5 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory No. 2490.
Not mounted.
Torsten Scheid, “Fotografie, Kunst, Kino. Revisited.”, FilmDienst 3/2006, page 11-13
Photography Art Cinema. Revisited
Stay expands a traditional connection through new facets
Interwoven between the media of photography and film is a veritable mesh-work of technical, motific, metaphorical and personal interrelationships. Extending from photo-film which, as in La Jetée by Chris Marker (France, 1962) is a montage of single, unmoving photographs all the way to the portrayal of photographic motifs in Hollywood cinema―most recently in Memento (USA, 2000) and One hour photo (USA, 2002)―is the range of filmic-photographic interactions on the one hand, and from the adaption of modes of cinematic production to the imitation of film stills on the other. For instance, with the legendary Untitled Film Stills (1978) of the American artist Cindy Sherman, who later made her debut as a film director with Office Killer (USA, 1997) and thereby, like many others, changed sides: Wim Wenders, Robert Frank and Larry Clark are doubtlessly the most successful of these photographic-filmic border crossers. This brief survey provides only a vague indication of the dimensions of this intermedial field, which in fact extends much further and is constantly being cultivated.
Also as a motif in film, photography has experienced a historical transformation: Photographers were once considered to be technicians who mastered a craft but never achieved the status of artists. Photographer-figures were caught in the allure of beautiful appearance, incapable of penetrating to the actual essence of things. Such depth was reserved for literature or painting. When photography in film touched upon the sphere of art, then most often as its contrasting model, as the metaphor for a superficial access to the world. Coming to mind are Fred Astaire as a singing fashion photographer in Stanley Donen’s musical film Funny Face (USA, 1957), or the restless lifestyle-photographer in Michelangelo Antonioni’s genre-classic Blow up (GB, 1966). For the doubting Thomas, only that exists which can be photographed. He ultimately enters the world of fantasy and thereby the field of art only unwillingly, when he becomes entangled in the world of his images. The last of his detail-enlargements shows only the photographic grain and has lost all connection to reality. The photograph looks as if it had been painted by Bill, the painter who is both friend and antagonist to the protagonist.
Photography as Art
It was first around the end of the last century that numerous filmmakers discovered photography as a genuine art form. In The Bridges of Madison County (USA, 1995) a sensitive Clint Eastwood stands, camera in hand, on the threshold of artistic status, and in Smoke (USA, 1994) a tobacco merchant ripens into a philosopher through his involvement in photography. Finally, in John Water’s parody of the art market, Pecker (USA, 1998), a provincial tom-fool is hyped into celebrated stardom amid the New York art scene because of his blurred snapshots. This film about a postmodern Kaspar Hauser in photographic art (with clear parallels to Richard Billingham, the British shooting...
Category
Early 2000s Contemporary Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
East River View (Stay) - Polaroid, 21st Century
Located in Morongo Valley, CA
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 Schneider's art was the art both characters created during the movie. Stefanie's images were also used for Ryan Gosling's memory sequence, for the end titles, for edits in between and as paintings hanging in several scenes within the movie.
East River View (Stay) - 2006
20x20cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on a Polaroid.
Certificate and Signature label, artist Inventory No. 2598.
Not mounted.
Torsten Scheid, “Fotografie, Kunst, Kino. Revisited.”, FilmDienst 3/2006, page 11-13
Photography Art Cinema. Revisited
Stay expands a traditional connection through new facets interwoven between the media of photography and film is a veritable mesh-work of technical, motific, metaphorical and personal interrelationships. Extending from photo-film which, as in La Jetée by Chris Marker (France, 1962) is a montage of single, unmoving photographs all the way to the portrayal of photographic motifs in Hollywood cinema―most recently in Memento (USA, 2000) and One hour photo (USA, 2002)―is the range of filmic-photographic interactions on the one hand, and from the adaption of modes of cinematic production to the imitation of film stills on the other. For instance, with the legendary Untitled Film Stills (1978) of the American artist Cindy Sherman, who later made her debut as a film director with Office Killer (USA, 1997) and thereby, like many others, changed sides: Wim Wenders, Robert Frank and Larry Clark are doubtlessly the most successful of these photographic-filmic border crossers. This brief survey provides only a vague indication of the dimensions of this intermedial field, which in fact extends much further and is constantly being cultivated.
Also as a motif in film, photography has experienced a historical transformation: Photographers were once considered to be technicians who mastered a craft but never achieved the status of artists. Photographer-figures were caught in the allure of beautiful appearance, incapable of penetrating to the actual essence of things. Such depth was reserved for literature or painting. When photography in film touched upon the sphere of art, then most often as its contrasting model, as the metaphor for a superficial access to the world. Coming to mind are Fred Astaire as a singing fashion photographer in Stanley Donen’s musical film Funny Face (USA, 1957), or the restless lifestyle-photographer in Michelangelo Antonioni’s genre-classic Blow up (GB, 1966). For the doubting Thomas, only that exists which can be photographed. He ultimately enters the world of fantasy and thereby the field of art only unwillingly, when he becomes entangled in the world of his images. The last of his detail-enlargements shows only the photographic grain and has lost all connection to reality. The photograph looks as if it had been painted by Bill, the painter who is both friend and antagonist to the protagonist.
Photography as Art
It was first around the end of the last century that numerous filmmakers discovered photography as a genuine art form. In The Bridges of Madison County (USA, 1995) a sensitive Clint Eastwood stands, camera in hand, on the threshold of artistic status, and in Smoke (USA, 1994) a tobacco merchant ripens into a philosopher through his involvement in photography. Finally, in John Water’s parody of the art market, Pecker (USA, 1998), a provincial tom-fool is hyped into celebrated stardom amid the New York art scene because of his blurred snapshots. This film about a postmodern Kaspar Hauser in photographic art (with clear parallels to Richard Billingham, the British shooting...
Category
Early 2000s Contemporary Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Jeff Becker, Africa's Heartbeat, 2017, Video, Digital Pigment Print
By Jeff Becker
Located in Darien, CT
Using his inkjet printer as a paintbrush, Jeff Becker creates watercolor-like imagery without Photoshop or filters. Disruptive in nature, the Slurry Series works don't follow the tra...
Category
2010s Conceptual Landscape Photography
Materials
Video, Digital Pigment
Cedar Fence, Pojoaque, New Mexico
By Ansel Adams
Located in Pacific Grove, CA
This silver gelatin print is signed in pencil on the front of the mount. Post-BMFA 11 studio stamp with title in ink on the front of the mount. An inscription by Adams' assistant "Pr...
Category
1950s Modern Black and White Photography
Materials
Silver Gelatin
Summer Interlude II (Deconstructivism) - Contemporary, Expired Polaroid
Located in Morongo Valley, CA
Summer Interlude II (Deconstructivism) - 2020
- about the narrative potential of images.
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid,
Art...
Category
Early 2000s Contemporary Abstract Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Between the Sea and Sky, Estate Edition
By Slim Aarons
Located in Los Angeles, CA
Ingrid Morath sunbathes by a swimming pool next to the sea in Acapulco, 1961. Ingrid was born in Rio de Janeiro and lives in Mexico City.
Portofino Villa
Slim Aarons Estate Edition
...
Category
1960s Realist Landscape Photography
Materials
Lambda
Another Galaxy
Located in Morongo Valley, CA
Another Galaxy, 2017,
20x20cm,
Edition of 7 plus 2 Artist Proofs.
Archival C-Print, Based on the original Polaroid, not mounted.
Signature label with certificate.
Artist inventor...
Category
2010s Contemporary Landscape Photography
Materials
C Print, Color, Polaroid, Archival Paper, Photographic Paper
'Baltic freeze #4' - black and white analogue landscape photography, Ltd. 10
Located in London, GB
'Baltic freeze #4' 2022
A photograph captured with a 35mm camera showcases the winter landscape of Lithuania in black and white.
Printed on the finest archival paper, these limited...
Category
21st Century and Contemporary Contemporary Black and White Photography
Materials
Photographic Film, Archival Ink, Photographic Paper, Giclée
Planes II (Stranger than Paradise)
Located in Morongo Valley, CA
Planes II - 2008
40x40cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Signature label and Certificate.
Artist Inventory #4653.
Not mounted.
...
Category
Early 2000s Contemporary Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
'Tyrol #3' - black and white polaroid landscape photography
Located in London, GB
'Tyrol #3' 2024
A photograph captured with a Polaroid camera.
Printed on the finest archival paper, these limited edition photographs are designed to withstand the test of time, pre...
Category
21st Century and Contemporary Contemporary Black and White Photography
Materials
Photographic Film, Archival Ink, Photographic Paper, Giclée
Coney Island (Stay) - Polaroid, 21st Century, Contemporary, Color
Located in Morongo Valley, CA
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 ...
Category
Early 2000s Contemporary Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
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