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Landscape Photography For Sale
Color:  Purple
Nihon Noir Tokyo - Neon Architecture Photograph by Tom Blachford
Located in Brooklyn, NY
'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 transported to a parallel future ...
Category

2010s Modern Landscape Photography

Materials

Archival Ink, Archival Paper, Photographic Paper, Color, Archival Pigment

Tulle no. 46, Nantucket, MA
Located in Sante Fe, NM
“The hovering installations featured in this ongoing series of photographs are inspired by self-organizing, "emergent" systems in nature such as termite mounds, swarming locusts, sch...
Category

21st Century and Contemporary Contemporary Landscape Photography

Materials

Archival Pigment

"Blue Highway", Nevada, Near Area 51, 2001
Located in Hudson, NY
These photographs are printed as Dye Sublimation Prints. No glass is needed. Framing options available. "Surfing Color" presents photographs that are abstract creations born from realism. Kocharian emphasizes the ambient color in the tradition of minimalism, observing the beauty and mystery of light, shadows, tone, and moods. The environments within the photographs are transformed into ones of symbolism, challenging the viewer to question the images. As a result, a tension is created, like an energy trapped in a frame attempting to escape. Kocharian, who is also a filmmaker, brings a cinematic eye to his photography, as we experience images that reflect simplicity through his focus on light, color, and the documentation of ordinary life. In “Going Home,” Los Angeles a pool-like shadow on the foreground alters the nature and surrounding of the image as light breaches from the center of the bike during sunset. “Blue Highway”, Nevada leads the viewer into the deep blue of early dawn and draws them into a new beginning. His influences in these photographs include artists such as Mark Rothko and photographer William Eggleston, as Kocharian uses color, texture, geometry, and shapes to tell a story that evokes contemplation and introspection. Born in Armenia, Haik Kocharian was introduced to the world of art in his early childhood by his parents, who were theater and film actors. He began his studies at the Armenian Theater Academy and continued his education in film at Brooklyn College, where he also studied photography. Kocharian resides in New York City. In 2015, Kocharian released his first feature film, "Please be Normal," starring Oscar-nominated actor Sam Waterston. The film was nominated for a Critic’s Pick in the New York Times and won awards at two film festivals. Kocharian is actively involved in charity work and, as a photographer, he has collaborated with many non-profit organizations in the U.S. and abroad such as Village Health Partnership in Ethiopia and Meaningful World, a UN-affiliated NGO in Burundi, Kenya, and Rwanda. He has exhibited his works within galleries in New York such as Galerie Mourlot, Robin Rice Gallery, 92 Y Tribeca, and James Cohan Gallery, as well as group exhibitions at the Museum of the City of New York and the International Center for Photography. Kocharian was also a finalist in the Smithsonian Magazine Photo Competition. This is his third solo show at the Robin Rice Gallery. Nature, Road, Sky, Horizon, highway, freeway, route 66, color, abstract, American, Nevada, Landscape, Night, Evening, Sunset, summer, Los Angeles, Surreal, night scape...
Category

Early 2000s Modern Landscape Photography

Materials

Photographic Film

Amalfi horizon - Italian coast, sunset sea 80x50cm limited edition 20
Located in London, GB
'Amalfi horizon' Taken in Amalfi, Italy 2020 50x80cm from a limited edition of 20. The Amalfi coastline slowly recedes into the distance, as if being softly erased by the currents...
Category

21st Century and Contemporary Contemporary Landscape Photography

Materials

Archival Paper, Color, Giclée

Tulle no. 32, Ocracoke Island, NC
Located in Sante Fe, NM
The hovering installations featured in this ongoing series of photographs are inspired by self-organizing, "emergent" systems in nature such as termite mounds, swarming locusts, scho...
Category

21st Century and Contemporary Contemporary Landscape Photography

Materials

Archival Pigment

Untitled (Nr. 0006) Photography 18" x 24" Edition of 24 by Ben Cope & Rowan Daly
Located in Culver City, CA
Untitled (Nr. 0006) Photography 18" x 24" Edition of 24 by Ben Cope & Rowan Daly Signed and numbered by the artist. Unframed - ships rolled in a tube Ben Cope + Rowan Daly Off ...
Category

21st Century and Contemporary Contemporary Landscape Photography

Materials

Archival Pigment

Italy in 1956 - Sirmione Lago di Garda Castello Scaligero - Italy
Located in Cologne, DE
A moment in time In 2021, a gallery from Brussels contacted us. There, a photographic collection had been kept in tin boxes for decades, consisting of 6x6 glass slides in color. Th...
Category

1950s Modern Landscape Photography

Materials

Color

Zermatt Skiing, Estate Edition
Located in Los Angeles, CA
The apres-ski in Zermatt, Switzerland, March 1968. Zermatt Skiing Slim Aarons Estate Edition, Certificate of Authenticity included Numbered and stamped by...
Category

1960s Realist Landscape Photography

Materials

Lambda

Zermatt Skiing, Estate Edition
Located in Los Angeles, CA
The apres-ski in Zermatt, Switzerland, March 1968. Zermatt Skiing Slim Aarons Estate Edition, Certificate of Authenticity included Numbered and stamped by...
Category

1960s Realist Landscape Photography

Materials

Lambda

Towering Devil
Located in Boulder, CO
Fluted Basalt columns towering nearly 900ft high under the emerging moon at twilight. Standing at the foot of Devil's Tower brings an indescribable presence and mood. To the Cheyenne...
Category

21st Century and Contemporary Contemporary Landscape Photography

Materials

Archival Paper

L. Swallows (Central Park)
Located in New York, NY
Signed and numbered on label, verso 11 x 17 inches // (Edition of 25 + 5 APs) 22 x 34 inches // (Edition of 20 + 4 APs) This work is offered by CLAMP in New York City.
Category

2010s Contemporary Landscape Photography

Materials

Archival Pigment

Colors Of Salt XXVIII
Located in New York, NY
ADDITIONAL SIZES AND FRAMING: Additional sizes are available. Please inquire for more information on larger sizes. We offer fully archival professional framing for all prints for an additional cost. Framing is available in white, black or natural wood and prints can be framed either with or without a mat board. We also offer face mounting to plexiglas. PACKAGING: 30x40" and 40x60" prints are shipped in a special fortified tube to guard against bending or damage. Framed 30x40...
Category

2010s Landscape Photography

Materials

Photographic Paper

Floating
Located in New York, NY
ADDITIONAL SIZES AND FRAMING: Additional sizes are available. Please inquire for more information on larger sizes. We offer fully archival professional framing for all prints for an additional cost. Framing is available in white, black or natural wood and prints can be framed either with or without a mat board. We also offer face mounting to plexiglas. PACKAGING: 30x40" and 40x60" prints are shipped in a special fortified tube to guard against bending or damage. Framed 30x40...
Category

2010s Landscape Photography

Materials

Photographic Paper

WHITE 11, H-434 – Risaku Suzuki, Nature, Snow, Forest, White, Winter, Japan, Art
Located in Zurich, CH
RISAKU SUZUKI (*1963, Japan) WHITE 11, H-434, 2011 Chromogenic print Sheet 95,2 x 119 cm (37 1/2 x 46 7/8 in.) Edition of 5 (#2/5) ‘Snowflakes are letters sent from heaven.’ – Ukich...
Category

Early 2000s Contemporary Landscape Photography

Materials

C Print

Holiday In Capri, Estate Edition
Located in Los Angeles, CA
Carla Vuccino and Bianca Volpato holiday with their friends on Capri, Italy, July 1958. Slim Aarons Estate Edition, Certificate of Authenticity included Numbered and stamped by the...
Category

1950s Realist Landscape Photography

Materials

Lambda

Holiday In Capri, Estate Edition
Located in Los Angeles, CA
Carla Vuccino and Bianca Volpato holiday with their friends on Capri, Italy, July 1958. Slim Aarons Estate Edition, Certificate of Authenticity included Numbered and stamped by the...
Category

1950s Realist Landscape Photography

Materials

Lambda

Holiday In Capri, Estate Edition
Located in Los Angeles, CA
Carla Vuccino and Bianca Volpato holiday with their friends on Capri, Italy, July 1958. Slim Aarons Estate Edition, Certificate of Authenticity included Numbered and stamped by the...
Category

1950s Realist Landscape Photography

Materials

Lambda

0311
Located in New York, NY
Bob Tabor is a well-established, New York based, photographer best known for his exquisite large scaled portraits of subjects ranging from horses to seascapes. It is his unique appro...
Category

2010s Photorealist Landscape Photography

Materials

Photographic Film, Photographic Paper, Digital, Photogram, Archival Pigm...

Skiers at Verbier, Estate Edition
Located in Los Angeles, CA
1964: Skiers relax in deckchairs on the slopes at Verbier in Switzerland. Skiers at Verbier Slim Aarons Estate Edition Numbered and stamped by the Slim Aarons Estate. Certificate o...
Category

1960s Realist Landscape Photography

Materials

Lambda

Porto Ercole, Estate Edition
Located in Los Angeles, CA
Private boats in Porto Ercole, Tuscany, August 1980 Slim Aarons Estate Edition, Certificate of Authenticity included Numbered and stamped by the Slim Aarons Estate Collector will re...
Category

1980s Realist Landscape Photography

Materials

Lambda

Porto Ercole, Estate Edition
Located in Los Angeles, CA
Private boats in Porto Ercole, Tuscany, August 1980 Slim Aarons Estate Edition, Certificate of Authenticity included Numbered and stamped by the Slim Aarons Estate Collector will re...
Category

1980s Realist Landscape Photography

Materials

Lambda

Porto Ercole, Estate Edition
Located in Los Angeles, CA
Private boats in Porto Ercole, Tuscany, August 1980 Slim Aarons Estate Edition, Certificate of Authenticity included Numbered and stamped by the Slim Aar...
Category

1980s Realist Landscape Photography

Materials

Lambda

Fat Mo's (1/100)
Located in Nashville, TN
A native Tennessean, Bill was born and raised in Memphis. A forty one year career in the Telecommunications field ended in Nashville with his retirement in 2007. With time on his han...
Category

2010s Contemporary Landscape Photography

Materials

Archival Pigment

'December Roots' Realistic/Abstract Floral Pattern Photograph in Blue/White
Located in Wellesley, MA
"December Roots" by Judith Allen-Efstathiou is an exquisite cyanotype print in deep blue and white of wildflowers abstracted showing roots. Highly intricate and lavishly depicted, ...
Category

2010s Realist Landscape Photography

Materials

Mulberry Paper, Photographic Paper

Untitled (Nr. 0189) Photography 18" x 24" Edition of 20 by Ben Cope & Rowan Daly
Located in Culver City, CA
Untitled (Nr. 0189) Photography 18" x 24" Edition of 20 by Ben Cope & Rowan Daly Unframed - ships rolled in a tube Ben Cope + Rowan Daly Off the Grid Off the Grid is the culmination of a six-year photographic journey through Baja, Mexico. Ben Cope and Rowan Daly began their travels in 2014, working their way through the towns of la Salinas, Baja Mar, and Cantamar, down through Ensanada and la Bufadora. This series of photographs depicts the pair’s adventures and explorations. Off the Grid documents the textures, people, and places visited during this incredible journey. Ben Cope is a Los Angeles based portrait artist with a BFA in ceramic sculpture and photography from Columbus State University. He maintains a successful career with a diverse portfolio including fashion, editorial, celebrity portraiture and advertising. He is widely known for his celebrity and fashion portraiture, which has been published internationally in publications such as Harper’s Bazaar, Elle, GQ, The Work Magazine, Fucking Young, and l’Officiel, and has shot international campaigns for such clients as Adidas, L’Oréal, Paul...
Category

21st Century and Contemporary Contemporary Landscape Photography

Materials

Archival Pigment

Skiers at Verbier, Estate Edition
Located in Los Angeles, CA
1964: Skiers relax in deckchairs on the slopes at Verbier in Switzerland. Skiers at Verbier Slim Aarons Estate Edition Numbered and stamped by the Slim Aarons Estate. Certificate of...
Category

1960s Realist Landscape Photography

Materials

Lambda

Skiers at Verbier, Estate Edition
Located in Los Angeles, CA
1964: Skiers relax in deckchairs on the slopes at Verbier in Switzerland. Skiers at Verbier Slim Aarons Estate Edition Numbered and stamped by the Slim Aarons Estate. Certificate of...
Category

1960s Realist Landscape Photography

Materials

Lambda

Skiers at Verbier, Estate Edition
Located in Los Angeles, CA
1964: Skiers relax in deckchairs on the slopes at Verbier in Switzerland. Skiers at Verbier Slim Aarons Estate Edition Numbered and stamped by the Slim Aarons Estate. Certificate of...
Category

1960s Realist Landscape Photography

Materials

Lambda

Bahamas Signpost, by Slim Aarons
Located in Brighton, GB
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...
Category

20th Century American Modern Landscape Photography

Materials

C Print, Color, Photographic Paper, Lambda

Nihon Noir Tokyo - TOM BLACHFORD
Located in Brooklyn, NY
'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...
Category

2010s Modern Landscape Photography

Materials

Archival Ink, Archival Paper, Photographic Paper, Color, Archival Pigment

Reportage from Albania - Lukova - Vintage Photograph - Late 1970s
Located in Roma, IT
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...
Category

1970s Modern Landscape Photography

Materials

Photographic Paper

'Mapping the Walk' Photograhic Flower Study Realistic and Abstract in Blue/White
Located in Wellesley, MA
"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...
Category

2010s Realist Landscape Photography

Materials

Mulberry Paper, Photographic Paper

Reportage from Albania - Vintage Photograph - Late 1970s
Located in Roma, IT
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.
Category

1970s Modern Landscape Photography

Materials

Photographic Paper

Reportage from Albania - Saranda - Vintage Photograph - Late 1970s
Located in Roma, IT
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...
Category

1970s Modern Landscape Photography

Materials

Photographic Paper

Pool at Porto Rotondo, Sardinia, Italy, August 1982 by Slim Aarons
Located in Brighton, GB
Please bear in mind that all prints are produced to order. Lead times are expected between 15-20 days. Currency fluctuations may cause the price to change. This is a contemporary pri...
Category

20th Century American Modern Landscape Photography

Materials

C Print, Color, Photographic Paper, Lambda

Green in Violet Photography Print Limited Edition
Located in Slovak Republic, SK
Print, limited edition of 5, signed by the author.
Category

21st Century and Contemporary Abstract Landscape Photography

Materials

Color, Digital

Reportage from Albania - Lukova - Vintage Photograph - Late 1970s
Located in Roma, IT
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...
Category

1970s Modern Landscape Photography

Materials

Photographic Paper

Zermatt Skiing, Estate Edition, apres-ski in Switzerland
Located in Los Angeles, CA
The apres-ski in Zermatt, Switzerland, March 1968. Complimentary dealer shipping to your framer, worldwide. Undercurrent Projects is pleased to offer this vibrant photograph, print...
Category

1960s Realist Landscape Photography

Materials

Lambda

'Trace 5, Section 1' Realistic/Abstract Photographic Flower Study Blue / White
Located in Wellesley, MA
"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...
Category

2010s Realist Landscape Photography

Materials

Mulberry Paper, Photographic Paper

Reportage from Albania - Lukova - Vintage Photograph - Late 1970s
Located in Roma, IT
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...
Category

1970s Modern Landscape Photography

Materials

Photographic Paper

You Are In My Heart – Jung Lee, Neon, Text, Installation, Landscape, Nature
Located in Zurich, CH
Jung LEE (*1972, South Korea) You are in my heart, 2020 C-Type Print, Diasec Sheet 136 x 200 cm (53 1/2 x 66 7/8 in.) Frame 173,5 x 139,5 x 3,7 cm (68 1/4 x 54 7/8 x 1 1/2 in.) Editi...
Category

2010s Contemporary Landscape Photography

Materials

C Print

'Mapping the Walk' Photograhic Flower Study Realistic and Abstract in Blue/White
Located in Wellesley, MA
"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...
Category

2010s Realist Landscape Photography

Materials

Mulberry Paper, Photographic Paper

Head Shop East Village New York City, Hippie Era
Located in Miami, FL
The early 1970s was a period of reexamination of the state of photography for Mitchell Funk. He broke with the tradition of shooting gritty street photography in black and white and ...
Category

1970s Contemporary Landscape Photography

Materials

Archival Paper, Archival Ink, Archival Pigment

Porto Ercole, Tuscany by Slim Aarons
Located in Brighton, GB
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...
Category

20th Century Modern Landscape Photography

Materials

C Print, Color, Photographic Paper, Lambda

Joshua Tree, Mojave Desert, California - American landscape color photography
Located in Cambridge, GB
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...
Category

Early 2000s Contemporary Landscape Photography

Materials

Photographic Paper, C Print, Color, Silver Gelatin

My own private Travel Diary - Bishop, CA - Winter
Located in Morongo Valley, CA
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...
Category

1990s Contemporary Landscape Photography

Materials

Archival Paper, Photographic Paper, C Print, Color, Polaroid

Brooklyn Bridge Multiple Exposure in Magenta and Blue, City Abstract
Located in Miami, FL
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...
Category

1970s Abstract Landscape Photography

Materials

Archival Ink, Archival Paper, Archival Pigment

Nagakin Capsule Tower Japan - A Modern Architecture Noir Photograph
Located in Brooklyn, NY
"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 ...
Category

2010s Modern Landscape Photography

Materials

Archival Ink, Archival Paper, Photographic Paper, Color, Archival Pigment

Endless Summer No 12
Located in New York, NY
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...
Category

2010s Landscape Photography

Materials

Photographic Paper

"In the Deep" Lavender Large Scale Abstract Color Photograph, Waterscape Wave
Located in New York, NY
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...
Category

2010s Contemporary Landscape Photography

Materials

Photographic Paper

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

2010s Contemporary Landscape Photography

Materials

Archival Paper, Archival Pigment

House, West Cork, Ireland, 1996
Located in Hudson, NY
Each year, Robin Rice celebrates a Salon style exhibition to showcase her gallery artists and invite new ones. With Robin’s extensive experience as a gallery curator, all Robin Rice Gallery endeavors are superbly managed. Whether working with corporate clients, interior designers or established collectors, the Robin Rice Gallery guides patrons throughout the selection process, inspiring them to build a stylish collection or striking décor. The Robin Rice Gallery offers a bevy of styles that Robin has procured with her own signature school of artists. C Print, Blue, House, Red Door, Vignette, Blur, House, West Cork...
Category

1990s Modern Landscape Photography

Materials

C Print

My own private Travel Diary - Bishop, CA - Winter
Located in Morongo Valley, CA
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...
Category

1990s Contemporary Landscape Photography

Materials

Archival Paper, Photographic Paper, C Print, Color, Polaroid

Motel Desert Shores III, Salton Sea, California - American Color Photography
Located in Cambridge, GB
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...
Category

21st Century and Contemporary Contemporary Landscape Photography

Materials

Photographic Paper, C Print, Color, Silver Gelatin

Pool At Porto Rotondo, Estate Edition (Sardinia, Italy)
Located in Los Angeles, CA
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:...
Category

1980s Realist Landscape Photography

Materials

Lambda

My own private Travel Diary - Bishop, CA - Autumn
Located in Morongo Valley, CA
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...
Category

1990s Contemporary Landscape Photography

Materials

Archival Paper, Photographic Paper, C Print, Color, Polaroid

My own private Travel Diary - Bishop, CA - Winter
Located in Morongo Valley, CA
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...
Category

1990s Contemporary Landscape Photography

Materials

Polaroid, Archival Paper, Photographic Paper, C Print, Color

Planes IX
Located in Morongo Valley, CA
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 ...
Category

Early 2000s Contemporary Landscape Photography

Materials

Archival Paper, Photographic Paper, C Print, Color, Polaroid

Landscape Photography for Your Home or Office

Since the introduction of photography in the 19th century, it has been used to show the earth’s diverse landscapes. Modern and contemporary landscape photography continues to capture scenes of landscapes from around the world while becoming much more exploratory.

Historically, artists have played a key role in landscape preservation. Early 20th-century landscape photography provided a powerful argument for the establishment of the U.S. National Park Service a century ago, and iconic national park shots by Ansel Adams and Eliot Porter captured the public’s imagination and fueled conservation efforts.

The world of landscape photography has grown far more experimental in the last several decades, bolstered by innovative techniques and creative talents. Abstract landscape photography is often a thought-provoking exploration of bold, bleeding colors. To understand just how abstract these images can be, look no further than Jean-François Rauzier's outstanding landscape compositions.

A simpler style is offered by minimalist landscape photography and its subdued tones. These pieces tend to imbue their surroundings with a sense of serenity, making them an excellent addition to bedrooms and quiet living rooms. And like any other works of art that you’ve brought into your home, there are many ways to arrange photography in a space. Small areas, for example, are ideal for displaying more petite pieces. These can also be positioned in a cluster as a gallery wall. You can stand framed landscape photography on an easel, a mantelpiece, floating shelves or on the floor leaning against a wall.

Browse exquisite landscape photography on 1stDibs today and find an eye-catching image to complement any home or collection.

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