Metal Landscape Photography

Oasis (Sidewinder), 2005 Edition 1/5, 16 pieces each 48x47cm, installed with gaps 220x220cm analog C-Prints, hand-printed by the artist, printed on Fuji Crystal Archive Paper. Mou...

Archival Ink. Photograph. Waves. Produced by Dye Sublimation - which means archival inks infused into aluminum. Ltd Ed of 10. The art can be inside or outside with no visible lo...

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...

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-Projection. Artist Inventory No. 405.01. Signed on verso. The project "Suburbia" was shot on the set of Marc Forster's first feature film 'Everything put Together' with Radha Mitchell, Michelle Hicks, Megan Mullally, Catherine Lloyd Burns, Matt Malloy and others. Suburbs collectively, or the people who live in them Suburb { a district, especially a residential one, on the edge of a city or large town } synonyms [Outer edge , Fringes, Periphery, Limits, Outer reaches, Environs ] Sunday in suburbia, a summer's day heavy with heat, hardly a soul to be seen. As a result, the motifs of Stefanie Schneider's “Suburbia” cycle – put together in California, in the very west of the USA – are virtually inconspicuous.Schneider's camera encircles an idyllic American setting, capturing a garden practically empty of people. Surrounded by a white picket fence, flowers and trees bloom profusely in the blazing sunlight. The day is empty and quiet like only a Sunday can be. The grass is perfectly cut, the garden well tended, the inhabitants oblivious to everything and lethargic. An instant is seized, revealing the tragedy of an average, unsuccessful, middle class life. The scene is familiar from countless movies and American literature; the perfect façade of an American ideal, which seems to conceal the horror of daily life. In David Lynch's „Blue Velvet“ the film begins with the camera rolling over a similar setting: the view over the fence, the painstakingly neatly cut lawn, ending with a close-up: a cut-off ear covered with feasting ants. Stefanie Schneider overdoes it, she exaggerates: this is confirmed by the irritating colourfulness as well as the vehemence of the motifs. Emptiness stands in stark contrast to the beauty of the blooming roses or the lush growth of the trees. The fenced, idyllic summer scene appears vacant; unused chairs surround a table, the grill untouched and clean, no object out of place. It is only the inhabitants who appear curiously lost. Schneider shows them in the middle of their saturated lives, in well-tended averageness, which can only be endured with a Martini on ice, on hand before lunch. In her opinion the scenes are banal, yet one becomes witness to great intimacy. Schneider's „Suburbia“ cycle lives from the interplay of the motifs, and tells a story with the same flavour as American author Raymond Carver...

Wonder Valley (29 Palms, CA) Installation by Stefanie Schneider. Dimensions: 250x400cm Video by Camille Waldorf. Song written & performed by Camille Waldorf. Text, song and video i...

'Salton Baptistes' (California Badlands) - 2010 50x60cm, Edition of 5. Analog C-Print, hand-printed by the Artist, based on the Polaroid. Mounted on 3mm Aluminum with matte UV-Pro...

Long dark grasses and cattails form a patterned lattice through which the fall sky pushes through. This atmospheric photograph that captures the essence of a wetland is created in tw...

Jordan (Wastelands) - 2003 Edition of 10, 38x36cm, Archival C-Print, based on the Polaroid. Artist inventory Number 1176.13. Signature label and Certificate. Not mounted. The wo...

29 Palms, CA - 1999 58x56cm, Edition of 10, analog C-Print, hand-printed by the Artist based on the Polaroid. artist inventory number: 636.04. Mounted on Aluminum with matte UV-...

Wonder Valley (29 Palms, CA) - 2008 125x154cm, Edition of 5, analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the Polaroid, artist inventory nu...

A Vision you can't Capture, no 03 (29 Palms, CA) - 2007 125x172cm, Edition 1/5. Analog C-Print, hand-printed by the artist, based on the Polaroid. Mounted on Aluminum with matte...

Dreaming of Buffalo (29 Palms, CA) - 2009 37x47cm Edition of 5 plus 2 Artist Proofs. Analog C-Print, hand-printed by the artist, based on the original Polaroid. Mounted on Alumi...

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...

Kate Breakey's artistic process is an act of investigation – a passionate attempt to establish an understanding of the natural world – a version that incorporates both intellectual a...

In this dramatic photographic print of a farmer harvesting his crop, Mark Bartkiw has combined dream-like images of land and sky to great effect. As an artist, he is fascinated by th...

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...

Blurry and Hot (Sidewinder) - 2005 128x125cm, Edition of 5, analog C-Print, hand-printed by the artist on Fuji Crystal Archive paper, based on the Polaroid, Certificate and Signat...

William A. Garnett (1916–2006) was an American photographer known for his stunning aerial landscapes. After serving in the U.S. Army, he learned to fly and began capturing breathtaki...

This large format, color-photograph belongs to Jay Mark Johnson's wave series - the images from which depict the rhythmic cycling and recycling of oceanfront waves as recorded on remote coastlines around the world--in Hawaii, Florida, California, the Caribbean, Great Britain, Australia and South Africa. These artworks belong to the artist’s ongoing inquiry into the possibilities for timeline photography. For this decades-long project Johnson employs an unconventional camera system to produce seamless delineated renderings of familiar events as they occur over time. The results present an altered view of our surroundings. Artworks from Johnson’s timeline series have been exhibited extensively throughout the U.S. and Europe. They can be found in the permanent collections of the Bundestag (German Parliament) in Berlin, the Zentrum für Kunst und Medientechnologie at Karlsruhe, the Frederick R. Weisman Art Foundation, the Phoenix Art Museum, the Langen Foundation, Hombroich, Germany, the Peter Klein...

White Picket Fence (Suburbia), diptych - 2004 Edition of 3/5, 60x80cm each, installed 60x170cm, Analog C-Prints, hand-printed by the artist, based on the 2 Polaroids, Mounted on A...

This large format, color-photograph belongs to Jay Mark Johnson's wave series - the images from which depict the rhythmic cycling and recycling of oceanfront waves as recorded on remote coastlines around the world--in Hawaii, Florida, California, the Caribbean, Great Britain, Australia and South Africa. These artworks belong to the artist’s ongoing inquiry into the possibilities for timeline photography. For this decades-long project Johnson employs an unconventional camera system to produce seamless delineated renderings of familiar events as they occur over time. The results present an altered view of our surroundings. Artworks from Johnson’s timeline series have been exhibited extensively throughout the U.S. and Europe. They can be found in the permanent collections of the Bundestag (German Parliament) in Berlin, the Zentrum für Kunst und Medientechnologie at Karlsruhe, the Frederick R. Weisman Art Foundation, the Phoenix Art Museum, the Langen Foundation, Hombroich, Germany, the Peter Klein...

Rebecca Skinner’s “Quiet Morning” is part of her "On and Off the Trail" series documenting the beautiful landscapes of New England. The 12 x 18 inch toned black and white photo of a ...

Kate Breakey's artistic process is an act of investigation – a passionate attempt to establish an understanding of the natural world – a version that incorporates both intellectual a...

Kate Breakey's artistic process is an act of investigation – a passionate attempt to establish an understanding of the natural world – a version that incorporates both intellectual a...

Limited edition of 20 Kate Breakey's artistic process is an act of investigation – a passionate attempt to establish an understanding of the natural world – a version that incorpora...

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...

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 ...

Wonder Valley (29 Palms, CA) - 2008 125x154cm, Edition of 5, analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the Polaroid, artist inventory nu...

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...

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

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...

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....

Kate Breakey's artistic process is an act of investigation – a passionate attempt to establish an understanding of the natural world – a version that incorporates both intellectual a...

Exxon (Stranger than Paradise) - 1999 58x57cm, Edition of 10 (last Edition), plus 2 Artist Proofs. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based ...

Mindscreen 03 - 1999 Edition 1/5. 126x126cm including the white frame. Analog C-Print, hand-printed by the artist, based on a Polaroid. Signed on the back with Certificate. Artis...

Kate Breakey's artistic process is an act of investigation – a passionate attempt to establish an understanding of the natural world – a version that incorporates both intellectual a...

Hand printed by the artist, considered one of the greatest platinum printers working today. Gum over palladium. Printed 2021

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

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...

Rosegarden (Suburbia) - 2004, 60x80cm, Edition of 1/5. Analog C-Print, hand-printed by the artist, based on the Polaroid, mounted on Aluminum with matte UV-Projection. Artist I...

Indian Summer II (The Last Picture Show) - 2005, 128x125cm, Edition 1/5, analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the Polaroid, mounted ...

"Amsterdam Canal, The Netherlands" is a framed photograph on aluminum by David Burdeny, depicting iconic colored buildings along a waterway in Amsterdam. The image quality is crisp a...

Vanishing Point (The Princess and her Lover) part of the 29 Palms, CA project - 2010 Edition of 1/5, 125x123cm. Analog C-Print, hand printed by the artist and based on a Polaroid....

Limited edition of 20 Kate Breakey's artistic process is an act of investigation – a passionate attempt to establish an understanding of the natural world – a version that incorpora...

Rebecca Skinner’s “Trapped” is part of her "Rust to Dust" series documenting the beauty of the decaying automobile. The 12 x 18 inch color photo is of an antique Ford truck...

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 “Remnants II” is part of her "On and Off the Trail" series and documents the beautiful Mississippi coast. The 12 x 18 inch black and white landscape photo is of pie...

Limited edition of 20 Kate Breakey's artistic process is an act of investigation – a passionate attempt to establish an understanding of the natural world – a version that incorpora...

Edition 12 The Platinum-Palladium process is the most stable and aesthetically rewarding of all black and white photographic printing techniques. Produced by coating specially manuf...

Loose print. Hand printed by artist. No damage. Mint condition. Signed and titled in pencil with notations No markings on verso.

Limited edition of 20 Kate Breakey's artistic process is an act of investigation – a passionate attempt to establish an understanding of the natural world – a version that incorpora...

Loose print. Hand printed by artist. No damage. Mint condition. Signed and titled in pencil with notations No markings on verso.

Loose print. Hand printed by artist. No damage. Mint condition. Signed and titled in pencil with notations No markings on verso.

Loose print. Hand printed by artist. No damage. Mint condition. Signed and titled in pencil with notations No markings on verso.

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...

Limited edition of 20 Kate Breakey's artistic process is an act of investigation – a passionate attempt to establish an understanding of the natural world – a version that incorpora...

"Morning on the Grand Canal" is a framed photograph on aluminum by Tom Chambers, depicting a young woman in a small boat adrift in Venice. The crisp finish of the printed photograph ...

Limited edition of 20 Kate Breakey's artistic process is an act of investigation – a passionate attempt to establish an understanding of the natural world – a version that incorpora...

Kate Breakey's artistic process is an act of investigation – a passionate attempt to establish an understanding of the natural world – a version that incorporates both intellectual a...

Kate Breakey's artistic process is an act of investigation – a passionate attempt to establish an understanding of the natural world – a version that incorporates both intellectual a...