Metal Landscape Photography

"Taken on Hikkaduwa Beach, Sri Lanka as the sun was setting; casting its golden rays along the beach... The image endeavours to celebrate the noble presence and elegant sway of the ubiquitous palm tree. The palm tree has many symbolic meanings and in this image I have tried to highlight its association with immortality and regeneration with the addition of gold leaf." - Valda Bailey...

A photogram is a photographic image made without a camera by placing objects directly onto the surface of a light-sensitive material such as photographic paper and then exposing it t...

In the mid 1990s Richard Klein started working with found glass objects, including bottles, drinking glasses, ashtrays, and eyeglasses. Initially, Klein rejected any object with commercial or advertising content, but in 2015 he became fascinated with the promotional content that was screen printed on ashtrays from the 1950s, 1960s and early 1970s. This period was before smoking was looked at as being primarily a negative habit, and iconic American businesses, including Howard Johnson’s, International House of Pancakes (iHop) and Holiday Inn, all produced promotional ashtrays printed with their graphic identity. By the time Klein became interested in these objects, the businesses had either ceased to exist, or had changed their logos, and many of their signature buildings, which where examples of classic, “Pop” roadside architecture, has been torn down or repurposed. The artist wanted to connect the glass objects with the business’s sites that were still recognizable and spoke of their history, so he began researching where original buildings still stood. Klein then embarked on a series of road trips to photograph these sites with the intention of combining the photographs with the promotional glass objects. This led him to as far south as Maryland and as far north as upstate New York from his home in Connecticut. In the case of Holiday Inn, it wasn’t their buildings, but their iconic illuminated sign that appeared on ashtrays, so he sought out a standing example of the sign he could photograph. As it turned out all had been removed years before from the hotels' properties and the only working example was indoors at the Henry Ford Museum in Dearborn, Michigan. He did, however, find out that there was one still standing, surprisingly, in Beruit, Lebanon. He found an image of it on the web and used it to make Holiday Inn (Beruit). In 1973 Holiday Inn changed their tagline from “The Nations Innkeeper” to “The World’s Innkeeper” as they expanded overseas, including the Mideast. For the hotel chain it was bad timing: the disastrous Lebanese civil war began in 1975. In the war, the different Lebanese militias involved in the conflict, including the Nasserites, Christian Phalangists, and the Lebanese National Movement engaged in what came to be called “The Battle of the Hotels” where they each occupied a major high-rise hotel in central Beruit. The Phalangists commanded the Holiday Inn, which they used to fire with both light arms and heavier weapons at the militias in neighboring hotels. Klein used the photo of the heavily damaged Holiday Inn sign as I thought it spoke in a curious, offhanded way about American cultural imperialism in juxtaposition with an ashtray that proclaimed Holiday Inn to be “The World’s Innkeeper.” In the work Holiday Inn (Nocturne) the artist utilized a found, 35mm slide of a Holiday Inn sign at night at an unknown location as the basis of the photograph in the work. Richard Klein is a Connecticut-based artist, independent curator and writer. As an artist, he has exhibited widely, including the Neuberger Museum of Art at SUNY Purchase; Caren Golden Fine Art, New York; the John Michael Kohler Arts Center, Sheboygan, WI; Hales Gallery, London; Gavlak Gallery, Palm Beach, FL; deCordova Sculpture Park and Museum, Lincoln, MA; James Barron Art, Kent, CT; The Portland Institute of Contemporary Art (PICA), Portland, OR; Schoolhouse Gallery, Provincetown, MA; Stephan Stoyanov Gallery, NY; Katonah Museum of Art, Katonah, NY; Brattleboro Museum and Art Center, Brattleboro, VT; Ortega y Gasset Projects, Brooklyn, NY; Exhibit by Alberson Tulsa, OK; Incident Report/Flow Chart Foundation, Hudson, NY; ICEHOUSE Project Space, Sharon, CT; Kenise Barnes Fine Art in Kent, CT and with ODETTA Gallery at the Equity Gallery in New York City.. Reviews of his work have appeared in Two Coats of Paint, Whitehot Magazine, The New York Times, Sculpture Magazine, Art in America, and The New Yorker. In the summer of 2024 he will be the first Artist-In-Residence at Peck Ledge Light...

Binh Danh Buddhas of Bayon #1, 2017 Daguerreotype (exposed from an enlarger) 10" x 8" / 14.75" x 12.5" framed Edition of 3 Binh Danh’s work expresses his in...

Rebecca Skinner’s “Interior V” is a 18 x 12 inch color photograph taken from inside an abandoned farmhouse in North Dakota. A crooked window in a house in ruin looks out to a field i...

Rebecca Skinner’s “Nesting” is a 18 x 12 inch metal print and is part of her “Awakening” series. An antique Voltswagen Bug car rests in a foggy landscape in ru...

In the mid 1990s Richard Klein started working with found glass objects, including bottles, drinking glasses, ashtrays, and eyeglasses. Initially, Klein rejected any object with commercial or advertising content, but in 2015 he became fascinated with the promotional content that was screen printed on ashtrays from the 1950s, 1960s and early 1970s. This period was before smoking was looked at as being primarily a negative habit, and iconic American businesses, including Howard Johnson’s, International House of Pancakes (iHop) and Holiday Inn, all produced promotional ashtrays printed with their graphic identity. By the time Klein became interested in these objects, the businesses had either ceased to exist, or had changed their logos, and many of their signature buildings, which where examples of classic, “Pop” roadside architecture, has been torn down or repurposed. The artist wanted to connect the glass objects with the business’s sites that were still recognizable and spoke of their history, so he began researching where original buildings still stood. Klein then embarked on a series of road trips to photograph these sites with the intention of combining the photographs with the promotional glass objects. This led him to as far south as Maryland and as far north as upstate New York from his home in Connecticut. In the case of Holiday Inn, it wasn’t their buildings, but their iconic illuminated sign that appeared on ashtrays, so he sought out a standing example of the sign he could photograph. As it turned out all had been removed years before from the hotels' properties and the only working example was indoors at the Henry Ford Museum in Dearborn, Michigan. He did, however, find out that there was one still standing, surprisingly, in Beruit, Lebanon. He found an image of it on the web and used it to make Holiday Inn (Beruit). In 1973 Holiday Inn changed their tagline from “The Nations Innkeeper” to “The World’s Innkeeper” as they expanded overseas, including the Mideast. For the hotel chain it was bad timing: the disastrous Lebanese civil war began in 1975. In the war, the different Lebanese militias involved in the conflict, including the Nasserites, Christian Phalangists, and the Lebanese National Movement engaged in what came to be called “The Battle of the Hotels” where they each occupied a major high-rise hotel in central Beruit. The Phalangists commanded the Holiday Inn, which they used to fire with both light arms and heavier weapons at the militias in neighboring hotels. Klein used the photo of the heavily damaged Holiday Inn sign as I thought it spoke in a curious, offhanded way about American cultural imperialism in juxtaposition with an ashtray that proclaimed Holiday Inn to be “The World’s Innkeeper.” In the work Holiday Inn (Nocturne) the artist utilized a found, 35mm slide of a Holiday Inn sign at night at an unknown location as the basis of the photograph in the work. Richard Klein is a Connecticut-based artist, independent curator and writer. As an artist, he has exhibited widely, including the Neuberger Museum of Art at SUNY Purchase; Caren Golden Fine Art, New York; the John Michael Kohler Arts Center, Sheboygan, WI; Hales Gallery, London; Gavlak Gallery, Palm Beach, FL; deCordova Sculpture Park and Museum, Lincoln, MA; James Barron Art, Kent, CT; The Portland Institute of Contemporary Art (PICA), Portland, OR; Schoolhouse Gallery, Provincetown, MA; Stephan Stoyanov Gallery, NY; Katonah Museum of Art, Katonah, NY; Brattleboro Museum and Art Center, Brattleboro, VT; Ortega y Gasset Projects, Brooklyn, NY; Exhibit by Alberson Tulsa, OK; Incident Report/Flow Chart Foundation, Hudson, NY; ICEHOUSE Project Space, Sharon, CT; Kenise Barnes Fine Art in Kent, CT and with ODETTA Gallery at the Equity Gallery in New York City.. Reviews of his work have appeared in Two Coats of Paint, Whitehot Magazine, The New York Times, Sculpture Magazine, Art in America, and The New Yorker. In the summer of 2024 he will be the first Artist-In-Residence at Peck Ledge Light...

In the mid 1990s Richard Klein started working with found glass objects, including bottles, drinking glasses, ashtrays, and eyeglasses. Initially, Klein rejected any object with commercial or advertising content, but in 2015 he became fascinated with the promotional content that was screen printed on ashtrays from the 1950s, 1960s and early 1970s. This period was before smoking was looked at as being primarily a negative habit, and iconic American businesses, including Howard Johnson’s, International House of Pancakes (iHop) and Holiday Inn, all produced promotional ashtrays printed with their graphic identity. By the time Klein became interested in these objects, the businesses had either ceased to exist, or had changed their logos, and many of their signature buildings, which where examples of classic, “Pop” roadside architecture, has been torn down or repurposed. The artist wanted to connect the glass objects with the business’s sites that were still recognizable and spoke of their history, so he began researching where original buildings still stood. Klein then embarked on a series of road trips to photograph these sites with the intention of combining the photographs with the promotional glass objects. This led him to as far south as Maryland and as far north as upstate New York from his home in Connecticut. In the case of Holiday Inn, it wasn’t their buildings, but their iconic illuminated sign that appeared on ashtrays, so he sought out a standing example of the sign he could photograph. As it turned out all had been removed years before from the hotels' properties and the only working example was indoors at the Henry Ford Museum in Dearborn, Michigan. He did, however, find out that there was one still standing, surprisingly, in Beruit, Lebanon. He found an image of it on the web and used it to make Holiday Inn (Beruit). In 1973 Holiday Inn changed their tagline from “The Nations Innkeeper” to “The World’s Innkeeper” as they expanded overseas, including the Mideast. For the hotel chain it was bad timing: the disastrous Lebanese civil war began in 1975. In the war, the different Lebanese militias involved in the conflict, including the Nasserites, Christian Phalangists, and the Lebanese National Movement engaged in what came to be called “The Battle of the Hotels” where they each occupied a major high-rise hotel in central Beruit. The Phalangists commanded the Holiday Inn, which they used to fire with both light arms and heavier weapons at the militias in neighboring hotels. Klein used the photo of the heavily damaged Holiday Inn sign as I thought it spoke in a curious, offhanded way about American cultural imperialism in juxtaposition with an ashtray that proclaimed Holiday Inn to be “The World’s Innkeeper.” In the work Holiday Inn (Nocturne) the artist utilized a found, 35mm slide of a Holiday Inn sign at night at an unknown location as the basis of the photograph in the work. Richard Klein is a Connecticut-based artist, independent curator and writer. As an artist, he has exhibited widely, including the Neuberger Museum of Art at SUNY Purchase; Caren Golden Fine Art, New York; the John Michael Kohler Arts Center, Sheboygan, WI; Hales Gallery, London; Gavlak Gallery, Palm Beach, FL; deCordova Sculpture Park and Museum, Lincoln, MA; James Barron Art, Kent, CT; The Portland Institute of Contemporary Art (PICA), Portland, OR; Schoolhouse Gallery, Provincetown, MA; Stephan Stoyanov Gallery, NY; Katonah Museum of Art, Katonah, NY; Brattleboro Museum and Art Center, Brattleboro, VT; Ortega y Gasset Projects, Brooklyn, NY; Exhibit by Alberson Tulsa, OK; Incident Report/Flow Chart Foundation, Hudson, NY; ICEHOUSE Project Space, Sharon, CT; Kenise Barnes Fine Art in Kent, CT and with ODETTA Gallery at the Equity Gallery in New York City.. Reviews of his work have appeared in Two Coats of Paint, Whitehot Magazine, The New York Times, Sculpture Magazine, Art in America, and The New Yorker. In the summer of 2024 he will be the first Artist-In-Residence at Peck Ledge Light...

In the mid 1990s Richard Klein started working with found glass objects, including bottles, drinking glasses, ashtrays, and eyeglasses. Initially, Klein rejected any object with commercial or advertising content, but in 2015 he became fascinated with the promotional content that was screen printed on ashtrays from the 1950s, 1960s and early 1970s. This period was before smoking was looked at as being primarily a negative habit, and iconic American businesses, including Howard Johnson’s, International House of Pancakes (iHop) and Holiday Inn, all produced promotional ashtrays printed with their graphic identity. By the time Klein became interested in these objects, the businesses had either ceased to exist, or had changed their logos, and many of their signature buildings, which where examples of classic, “Pop” roadside architecture, has been torn down or repurposed. The artist wanted to connect the glass objects with the business’s sites that were still recognizable and spoke of their history, so he began researching where original buildings still stood. Klein then embarked on a series of road trips to photograph these sites with the intention of combining the photographs with the promotional glass objects. This led him to as far south as Maryland and as far north as upstate New York from his home in Connecticut. American Glassware (2010-present) which is presented in a small, wall-mounted vitrine. American Glassware is composed of three glass objects: a “souvenir” Walden Pond ashtray made by me as a multiple; a real souvenir ashtray from the 1964-65 New York World’s Fair; and an authentic “Happy Face” drinking glass from the same era. They are all nestled in crumpled, vintage newspaper from 1967, and are presented together in a dilapidated cardboard box, as if they have been found in someone’s attic or basement. Once again, in a similar manner to the Glass House Ashtray, versions of his Walden Pond ashtray (Walden Pond Souvenir) have been injected into the collectable stream of tag sales and flea markets, creating a souvenir that never existed. The ashtray is screenprinted with an image of Thoreau’s cabin on Walden Pond as pictured on the title page of his book Walden, or Life in the Woods (1854). (The original illustration was created by Thoreau’s sister, Sophia.) Walden Pond Souvenir was originally produced for the 2010 exhibition Renovating Walden at the Tufts University Art Gallery in Medford, MA. Richard Klein is a Connecticut-based artist, independent curator and writer. As an artist, he has exhibited widely, including the Neuberger Museum of Art at SUNY Purchase; Caren Golden Fine Art, New York; the John Michael Kohler Arts Center, Sheboygan, WI; Hales Gallery, London; Gavlak Gallery, Palm Beach, FL; deCordova Sculpture Park and Museum, Lincoln, MA; James Barron Art, Kent, CT; The Portland Institute of Contemporary Art (PICA), Portland, OR; Schoolhouse Gallery, Provincetown, MA; Stephan Stoyanov Gallery, NY; Katonah Museum of Art, Katonah, NY; Brattleboro Museum and Art Center, Brattleboro, VT; Ortega y Gasset Projects, Brooklyn, NY; Exhibit by Alberson Tulsa, OK; Incident Report/Flow Chart Foundation, Hudson, NY; ICEHOUSE Project Space, Sharon, CT; Kenise Barnes Fine Art in Kent, CT and with ODETTA Gallery at the Equity Gallery in New York City.. Reviews of his work have appeared in Two Coats of Paint, Whitehot Magazine, The New York Times, Sculpture Magazine, Art in America, and The New Yorker. In the summer of 2024 he will be the first Artist-In-Residence at Peck Ledge Light...

In the mid 1990s Richard Klein started working with found glass objects, including bottles, drinking glasses, ashtrays, and eyeglasses. Initially, Klein rejected any object with commercial or advertising content, but in 2015 he became fascinated with the promotional content that was screen printed on ashtrays from the 1950s, 1960s and early 1970s. This period was before smoking was looked at as being primarily a negative habit, and iconic American businesses, including Howard Johnson’s, International House of Pancakes (iHop) and Holiday Inn, all produced promotional ashtrays printed with their graphic identity. By the time Klein became interested in these objects, the businesses had either ceased to exist, or had changed their logos, and many of their signature buildings, which where examples of classic, “Pop” roadside architecture, has been torn down or repurposed. The artist wanted to connect the glass objects with the business’s sites that were still recognizable and spoke of their history, so he began researching where original buildings still stood. Klein then embarked on a series of road trips to photograph these sites with the intention of combining the photographs with the promotional glass objects. This led him to as far south as Maryland and as far north as upstate New York from his home in Connecticut. In the case of Holiday Inn, it wasn’t their buildings, but their iconic illuminated sign that appeared on ashtrays, so he sought out a standing example of the sign he could photograph. As it turned out all had been removed years before from the hotels' properties and the only working example was indoors at the Henry Ford Museum in Dearborn, Michigan. He did, however, find out that there was one still standing, surprisingly, in Beruit, Lebanon. He found an image of it on the web and used it to make Holiday Inn (Beruit). In 1973 Holiday Inn changed their tagline from “The Nations Innkeeper” to “The World’s Innkeeper” as they expanded overseas, including the Mideast. For the hotel chain it was bad timing: the disastrous Lebanese civil war began in 1975. In the war, the different Lebanese militias involved in the conflict, including the Nasserites, Christian Phalangists, and the Lebanese National Movement engaged in what came to be called “The Battle of the Hotels” where they each occupied a major high-rise hotel in central Beruit. The Phalangists commanded the Holiday Inn, which they used to fire with both light arms and heavier weapons at the militias in neighboring hotels. Klein used the photo of the heavily damaged Holiday Inn sign as I thought it spoke in a curious, offhanded way about American cultural imperialism in juxtaposition with an ashtray that proclaimed Holiday Inn to be “The World’s Innkeeper.” In the work Holiday Inn (Nocturne) the artist utilized a found, 35mm slide of a Holiday Inn sign at night at an unknown location as the basis of the photograph in the work. Richard Klein is a Connecticut-based artist, independent curator and writer. As an artist, he has exhibited widely, including the Neuberger Museum of Art at SUNY Purchase; Caren Golden Fine Art, New York; the John Michael Kohler Arts Center, Sheboygan, WI; Hales Gallery, London; Gavlak Gallery, Palm Beach, FL; deCordova Sculpture Park and Museum, Lincoln, MA; James Barron Art, Kent, CT; The Portland Institute of Contemporary Art (PICA), Portland, OR; Schoolhouse Gallery, Provincetown, MA; Stephan Stoyanov Gallery, NY; Katonah Museum of Art, Katonah, NY; Brattleboro Museum and Art Center, Brattleboro, VT; Ortega y Gasset Projects, Brooklyn, NY; Exhibit by Alberson Tulsa, OK; Incident Report/Flow Chart Foundation, Hudson, NY; ICEHOUSE Project Space, Sharon, CT; Kenise Barnes Fine Art in Kent, CT and with ODETTA Gallery at the Equity Gallery in New York City.. Reviews of his work have appeared in Two Coats of Paint, Whitehot Magazine, The New York Times, Sculpture Magazine, Art in America, and The New Yorker. In the summer of 2024 he will be the first Artist-In-Residence at Peck Ledge Light...

In the mid 1990s Richard Klein started working with found glass objects, including bottles, drinking glasses, ashtrays, and eyeglasses. Initially, Klein rejected any object with commercial or advertising content, but in 2015 he became fascinated with the promotional content that was screen printed on ashtrays from the 1950s, 1960s and early 1970s. This period was before smoking was looked at as being primarily a negative habit, and iconic American businesses, including Howard Johnson’s, International House of Pancakes (iHop) and Holiday Inn, all produced promotional ashtrays printed with their graphic identity. By the time Klein became interested in these objects, the businesses had either ceased to exist, or had changed their logos, and many of their signature buildings, which where examples of classic, “Pop” roadside architecture, has been torn down or repurposed. The artist wanted to connect the glass objects with the business’s sites that were still recognizable and spoke of their history, so he began researching where original buildings still stood. Klein then embarked on a series of road trips to photograph these sites with the intention of combining the photographs with the promotional glass objects. This led him to as far south as Maryland and as far north as upstate New York from his home in Connecticut. In the case of Holiday Inn, it wasn’t their buildings, but their iconic illuminated sign that appeared on ashtrays, so he sought out a standing example of the sign he could photograph. As it turned out all had been removed years before from the hotels' properties and the only working example was indoors at the Henry Ford Museum in Dearborn, Michigan. He did, however, find out that there was one still standing, surprisingly, in Beruit, Lebanon. He found an image of it on the web and used it to make Holiday Inn (Beruit). In 1973 Holiday Inn changed their tagline from “The Nations Innkeeper” to “The World’s Innkeeper” as they expanded overseas, including the Mideast. For the hotel chain it was bad timing: the disastrous Lebanese civil war began in 1975. In the war, the different Lebanese militias involved in the conflict, including the Nasserites, Christian Phalangists, and the Lebanese National Movement engaged in what came to be called “The Battle of the Hotels” where they each occupied a major high-rise hotel in central Beruit. The Phalangists commanded the Holiday Inn, which they used to fire with both light arms and heavier weapons at the militias in neighboring hotels. Klein used the photo of the heavily damaged Holiday Inn sign as I thought it spoke in a curious, offhanded way about American cultural imperialism in juxtaposition with an ashtray that proclaimed Holiday Inn to be “The World’s Innkeeper.” In the work Holiday Inn (Nocturne) the artist utilized a found, 35mm slide of a Holiday Inn sign at night at an unknown location as the basis of the photograph in the work. Richard Klein is a Connecticut-based artist, independent curator and writer. As an artist, he has exhibited widely, including the Neuberger Museum of Art at SUNY Purchase; Caren Golden Fine Art, New York; the John Michael Kohler Arts Center, Sheboygan, WI; Hales Gallery, London; Gavlak Gallery, Palm Beach, FL; deCordova Sculpture Park and Museum, Lincoln, MA; James Barron Art, Kent, CT; The Portland Institute of Contemporary Art (PICA), Portland, OR; Schoolhouse Gallery, Provincetown, MA; Stephan Stoyanov Gallery, NY; Katonah Museum of Art, Katonah, NY; Brattleboro Museum and Art Center, Brattleboro, VT; Ortega y Gasset Projects, Brooklyn, NY; Exhibit by Alberson Tulsa, OK; Incident Report/Flow Chart Foundation, Hudson, NY; ICEHOUSE Project Space, Sharon, CT; Kenise Barnes Fine Art in Kent, CT and with ODETTA Gallery at the Equity Gallery in New York City.. Reviews of his work have appeared in Two Coats of Paint, Whitehot Magazine, The New York Times, Sculpture Magazine, Art in America, and The New Yorker. In the summer of 2024 he will be the first Artist-In-Residence at Peck Ledge Light...

Kate Breakey is internationally known for her large-scale, richly hand-colored photographs including her acclaimed series of luminous portraits of birds, flowers and animals in a ser...

Rebecca Skinner’s “Lunds Valley” is a 12 x 18 inch color photograph of grain elevators in North Dakota. The rustic structures rest in the beautiful landscape with colors of blue, red...

Rebecca Skinner’s “Sorrow” is a 24 x 16 inch contemporary black and white photograph of a weathered cowboy boot resting on a fence in the beautiful North Dakota landscape. The framel...

'Hotel Il Pellicano' by Slim Aarons The beachside pool at the Hotel Il Pellicano in Porto Ercole, Tuscany, August 1973. This photograph epitomise...

Streetcorner (Stranger than Paradise) - triptych, 2003 Edition 6/10, 57x56cm each, 57x185cm installed including 5cm gaps. 3 Analog C-Prints, hand-printed by the artist on Fuji Cr...

Rebecca Skinner’s “Great Norther Railcar” is a 16 x 24 inch contemporary black and white photograph of a weathered railcar resting in the beautiful North Dakota landscape. The framel...

Romina's Wedding Day (from the 29 Palms, CA Project) - 2009 125x156cm, Edition 1/5. Analog C-Print, hand-printed by the artist, based on the original Polaroid, Signature label an...

Purple Valley (Wastelands) - 2003 57x56cm, Edition 4/5. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the Polaroid. Artist inventory Number 6...

Dusk (The Last Picture Show) - 2005 Edition 4/5, 38x36cm each, 131x127cm installed including gaps. 9 Analog C-PrintS, hand-printed by the artist on Archive Fuji Chrystal Paper, base...

Mojave Airfields (The Last Picture Show) - 2005 - 128x126cm, Edition 3/5. Analog C-Print, hand-printed by the artist, based on the original Polaroid. Artist Inventory No. 695.03...

Guadalupe (The Last Picture Show) - 2005 38x37cm, Edition 2/5. Analog C-Print, hand-printed by the artist on Archive Fuji Crystal Paper, based on the Polaroid. Artist inventory...

Gallagher's Red is a limited edition photograph by Nancy C. Woodward. It is a photographic print on archival paper, 24x20 framed to 32x48. It is $1,400. This is an edition of 30. It was originally photographed in 2013. Also available printed directly onto Aluminum in a 30x30 size Nancy C. Woodward is an award winning photographic and mixed media artist. Her shadow portraits...

This one depicts a Planetary assemblage with small watch parts (metal wheels) collaged on to it. It is titled Josias Astronomical Clock SIMONS, Vera (1920 - 2012) Vera Habrecht Simon...

Campbell Kitchen (29 Palms, CA) - 1999 Edition 1/10, 65x60cm. Analog C-Print, hand-printed by the artist, mounted on Aluminum with matte UV-Protection, based on the Polaroid with ...

Lone Pine Dreaming (The Last Picture Show) - 2005 58x56cm each, Edition 1/5. 2 Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the 2 original Po...

Neighborhood Garden (Suburbia) - 2004 60x80cm, Edition of 1/5. Analog C-Print, hand-printed by the artist, based on the original Polaroid, mounted on Aluminum with matte UV-Proje...

Gasstation (Stranger than Paradise) - 2000 Edition of 9/10. 3 x 58 x 56 x 0.3 cm, 58 x 188 cm installed. 3 Analog C-Prints, hand-printed by the artist based on 3 original Polaroids....

Edition of 10 Born in San Francisco in 1966, Mark Stephen Kornbluth was raised in Montreal, then Cleveland. Since graduating high school, Mark has lived in Toronto (twice), Los Ange...

Manuel Lozano presents his new series of photography, hand-sketches, and sculptures during his residency at Proyecto Marea in LA PAZ, Baja California Sur. Notably, he attained the to...

Edition of 10 Born in San Francisco in 1966, Mark Stephen Kornbluth was raised in Montreal, then Cleveland. Since graduating high school, Mark has lived in Toronto (twice), Los Ange...

Manuel Lozano presents his new series of photography, hand-sketches, and sculptures during his residency at Proyecto Marea in LA PAZ, Baja California Sur. Notably, he attained the to...

Manuel Lozano presents his new series of photography, hand-sketches, and sculptures during his residency at Proyecto Marea in LA PAZ, Baja California Sur. Notably, he attained the to...

Purple Valley (Wastelands) - 2003 57x56cm, Edition 3/5. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the Polaroid. Mounted on Aluminum with ...

This black and white contemporary photograph by Tori Gagne captures a close-up view of a wild horse. An edition size of 50, this photograph is available as a metal sublimation print ...

Platinum/Palladium (there was no pull down for this) Print Date 1996 Hand printed by artist Edition 5/25 Outer dimensions 15x25" Corner Mounted

Hand printed Palladium photograph (no pull down for that) Edition 1/15 Corner Mounted Over matted

Hand printed by artist In edition of 15 Platinum/Palladium (no pull down for it) Mint Condition Framing available

Hand printed by artist Print Date 2016 Edition 1/15 Gum Platinum/Pallidum Print (no pull down for that!)

Platinum/Palladium (there was no pull down for this) Print Date 2014 Hand printed by artist Edition 1/15 Corner Mounted Outer Dimensions 28x32"

This is a Palladium photograph not a Platinum but there is no drop down for the palladium... Mint Condition From Artist Hand Printed Edition 2/15 Outer dimensions 26.5 x34 Corner Mou...

Actually Palladium photograph - no pull down for it! Hand printed by artist Corner mounted Out dimensions 15x25" Edition 14/25 Larger Size 20x36" Edition 2/15 Printed 2014

Title: Sunset on the Merced Location: Yosemite National Park, California Edition: 2 of 5, signed by artist Description: It's refreshing to find yourself away from the deluge of tourists and photographers that descend on Yosemite every weekend, and even more refreshing to find a view that's not on some list somewhere that every photographer obliges to shoot. No, I refuse to camp at Tunnel View with a hundred others staring into a cloudless Yosemite Valley. I'd much rather hike my way to seclusion and a fresh view... I present for your enjoyment last light on El Capitan, and its reflection in a Merced River becalmed by a 5-second exposure. Vahé Peroomian is a professor of physics and astronomy at the University of Southern California (USC). He received a Ph.D. in Physics from UCLA in March, 1994, specializing in numerical simulations of space plasmas, and carried out research in that field for 25 years before transitioning into a full- time teaching and innovative pedagogy position at USC. Vahé’s love of photography as a child and young adult blossomed into a passion more than twenty years ago. Since then, he has taken every opportunity to pursue his fascination with photography and the beauty of the Gaian landscape. He is a self-trained photographer, and prefers a hands-on approach and independent experimentation with photographic styles and techniques. He has found that the same off-the-wall approach that works in solving physics problems helps him see landscapes in a new light as well. The self-similar shapes in landscapes, and the play between cloud...

Title: South Tufa Swirls Location: Mono Lake, California Edition: 2 of 5, signed by artist Description: The shoreline of the lake is never the same... The wind-whipped water forms swirling pools, deposits layers of fluffy froth on the shoreline, and can’t help but reflect the light show of sunset in its mirrored surface, whether the clouds that have gathered participate or not. Vahé Peroomian is a professor of physics and astronomy at the University of Southern California (USC). He received a Ph.D. in Physics from UCLA in March, 1994, specializing in numerical simulations of space plasmas, and carried out research in that field for 25 years before transitioning into a full- time teaching and innovative pedagogy position at USC. Vahé’s love of photography as a child and young adult blossomed into a passion more than twenty years ago. Since then, he has taken every opportunity to pursue his fascination with photography and the beauty of the Gaian landscape. He is a self-trained photographer, and prefers a hands-on approach and independent experimentation with photographic styles and techniques. He has found that the same off-the-wall approach that works in solving physics problems helps him see landscapes in a new light as well. The self-similar shapes in landscapes, and the play between...

Title: Nuclear Fusion, Iceland Location: Iceland Edition: 1 of 5, signed by artist Description: Nuclear fusion powers the Sun as its last rays reflect from the frozen lakes of Iceland. This was photographed as I was standing on the brittle ice of a frozen lake, wary of each footstep I took toward the setting Sun. Vahé Peroomian is a professor of physics and astronomy at the University of Southern California (USC). He received a Ph.D. in Physics from UCLA in March, 1994, specializing in numerical simulations of space plasmas, and carried out research in that field for 25 years before transitioning into a full- time teaching and innovative pedagogy position at USC. Vahé’s love of photography as a child and young adult blossomed into a passion more than twenty years ago. Since then, he has taken every opportunity to pursue his fascination with photography and the beauty of the Gaian landscape. He is a self-trained photographer, and prefers a hands-on approach and independent experimentation with photographic styles and techniques. He has found that the same off-the-wall approach that works in solving physics problems helps him see landscapes in a new light as well. The self-similar shapes in landscapes, and the play between cloud...

Title: A Landscape Aglow Location: Bryce Canyon National Park, Utah Edition: 1 of 5, signed by artist Description: The Sun kisses the horizon, and then quickly departs that embrace to climb the sky. Shadows shorten, golden light fades, morning arrives. In that brief instant between...

Title: The Sound of the Falls Location: Shirak, Armenia Edition: 1 of 5, signed by artist Description: The nightly Trchkan Waterfall in the Shirak region of Armenia roaring in its springtime might. Vahé Peroomian is a professor of physics and astronomy at the University of Southern California (USC). He received a Ph.D. in Physics from UCLA in March, 1994, specializing in numerical simulations of space plasmas, and carried out research in that field for 25 years before transitioning into a full- time teaching and innovative pedagogy position at USC. Vahé’s love of photography as a child and young adult blossomed into a passion more than twenty years ago. Since then, he has taken every opportunity to pursue his fascination with photography and the beauty of the Gaian landscape. He is a self-trained photographer, and prefers a hands-on approach and independent experimentation with photographic styles and techniques. He has found that the same off-the-wall approach that works in solving physics problems helps him see landscapes in a new light as well. The self-similar shapes in landscapes, and the play between cloud...

On the Road (Last Picture Show) - 2005, 38x37cm, Edition 2/5. Analog C-Print, hand-printed by the artist on Archive Fuji Crystal Paper, based on original the Polaroid. Certifica...

2021, Print on metal

The Valley - this used to be my Valley - (Wastelands) - 2003 57x56cm, Edition 3/5. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the Polaroid,...

2019, Print on metal

2022, Print on metal

2019, Print on metal

2022, Print on metal

2020, Print on metal

Gas station at Night I (Stranger than Paradise) - 2006 Edition 1/5, 48x46 each, 93x91cm installed with gaps. 4 analog C-Prints, hand-printed by the artist, based on the 4 Polaroid...

I wie Ikarus (Zuma Beach) - Edition 1/10, 43x49cm each, installed with gaps (depending on installation) 80x240cm, 3 analog C-Prints, hand-printed by the artist, based on 3 origin...

Rosegarden II (Suburbia) - 2004, Edition of 1/5, 60x80cm. analog C-Print, hand-printed by the artist, based on the original Polaroid. Mounted on Aluminum with matte UV-Projecti...