Mitchell Funk

Single Scull

2008

It's a picture of the unknown. We do not know who the artist is. We do not know what the subject is. We do not know where the location is. It is all left to conjecture, yet the image...

The photographer preserves this fleeting and idyllic marine scene with a simple and graphic composition. This image is signed, dated and numbered 3/15 lower right recto. Other size...

The afterglow of a Miami sunset illuminates a single sailboat to create a moody and minimalistic composition of cobalt blue and beige. The work is signed, dated numbed lowerright rec...

Historically , newsstand magazines have used a standard set of practices when it came to choosing their cover image. Their goal was to use a image that people could instantly relate to. The idea being, if an image pops off the page it will attract more attention and then generate more newsstand sales. For editors, choosing a cover was first a marketing decision and then an aesthetic one. That is why most magazine covers and (that includes art magazines) pretty much looked the same. They used familiar images, mostly of celebrities, beauty people or news items of that would beckon and aggressively reach out to the prospect. In this Modern Photography Cover of August 1983, they chose a radical departure. Their cover image that was the opposite of the norm. Mitchell Funk’s Graphic Surreal Landscape...

Anne Sager (American, 1930-2024), Kayak Composition, Chromogenic Print, apparently unsigned, with artist's estate stamp to verso, unframed. Image: 10" H x 7.5" W; sheet: 11" H x 8.5"...

Canoe Digital C-Print / Archival Pigment Print Edition of 5 per size Available sizes: 24” x 36” Scenic Collection. Since this print will be shipped directly from the publisher, the...

20" x 16" Unframed Open Edition Print Hand Signed by Adam Stoltman

A wonderful contemporary artwork by a noted Long Island photographer Holly Gordon. For more than two decades Gordon has pushed through the traditional boundaries of photography. She is one of the pioneers of “photo-liminalism,” a process of achieving painterly quality in photography by overlapping, layering, and manipulating. As painters paint with a brush, Gordon’s brush is the lens of the camera and her computer. The digital world that Gordon works with provides endless opportunities. The evolution of images in her practice is limitless and bountiful.  Another highlight of Gordon’s recent career is her collaboration with Ward Hooper, a noted illustrator and painter from Long Island. The result of this collaboration is a book called “Parallel Perspectives : The Brush/ Lens Collaboration,” with a forward by Peter Pitzele, Ph.D., a teacher and author, and a preface by Denise A. Bibro, Director of Denise Bibro...