Collage Landscape Photography

Falla 4, 8, and 7, Triptych, 2021 Archival pigment print on Hahnemuhle smooth canvas. From the series All the Faults of the World Overall size: 37 x 60 inches. Individual size: 37 x...

(a) (b) (c) (d) Mohan Lal Mazumder Untitled Archival Print on Hahnemuhles Photo Rag Bright White, Museum Quality Paper 310 GSM ; 36 x 24 inches ; 2009 & 2010

17.5x13.5x1
Stained Glass, Metal Print, Wood Frame
Mixed Media Art – Fine Art Photography Meets Fine Craft Mosaic-Stained Glass Frame
$3299.00 My award-winning Photozaics blend the ...

'Abaco Islander' by Slim Aarons Gorgeous print measuring an extra large 40 x 40inches / ca 101 x 101 cm's. (printed on standard 60 x 40inches paper size) Estate Stamped Collection ...

Stained Glass, Metal Print, Wood Frame
Mixed Media Art – Fine Art Photography Meets Fine Craft Mosaic-Stained Glass Frame
 My award-winning Photozaics blend the textures of Van Gogh ...

Rosegarden #01 (Suburbia), diptych - 2004 20x24cm each, 20x52cm installed. Edition of 10, Archival C-Print, matte surface, based on the Polaroid, Signature Label and Certificate,...

Buried (Stranger than Paradise) - 2003 Edition of 5 plus 2 Artist Proofs. 38x36cm each, 90x175cm installed. 8 Analog C-Prints, hand-printed by the artist on Fuji Crystal Archive P...

Archival pigment print on Hahnemuhle smooth canvas. from the series All the faults of the world 37 x 39.5 inches. Ed of 4 Unframed In recent years -through the use, production, and ...

Archival pigment print on Hahnemuhle smooth canvas. Image size: 25 H x 75 W inches Edition of 4 + 1AP Unframed In recent years -through the use, production, and appropriation of co...

Diptych 4, 2023 Archival pigment print on Hahnemuhle smooth canvas. From the series All the faults of the world 37 x 39.5 inches. Edition of 4 Unframed In recent years -through the...

In the Range of Light III (Wastelands) - 2003 Edition 4/5, 6 pieces, each 57x56cm, installed 119x181cm, 6 Analog C-Prints, hand-printed by the artist on Fuji Crystal Archive Paper,...

Untitled (Cowboys and Angels), 2005 50x39cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. artist Inventory No. 2779. Not mounted. M...

My own private Travel Diary - Bishop, CA - Walking Lulu - 2001, 20x83cm, 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 darkroom. 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...

Springtime (Paris) - 1995 / quadriptych - 4 pieces, 110x130cm installed. Edition of 5, each 50x60cm including white borders. 4 analog C-Prints, hand-printed by the artist and bas...

Miss America (Sidewinder), diptych - 2005 Edition of 5. plus 2 artist Proofs. 38.5 x 38 cm each, installed 38.5 x 81cm. Analog C-Print, hand-printed by the artist in September 20...

Letham House (Stay) - 2006 Edition of 10, 6 pieces 20x20cm each, installed 45x70cm. 6 archival C-Prints, based on 6 Polaroids. Certificate and Signature label. Artist Inventory ...

Untitled (Cowboys and Angels), 2005 50x39cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Certificate and Signature label. artist Inventory No. 91...

Leaving (Strange Love) - 2005 20x30cm, Edition of 10 plus 2 artist Proofs. Archival C-Print, based on a 35mm film. Signature label and certificate. Not mounted. “I never remembe...

My own private Travel Diary - Bishop, CA - Walking Lulu III - 2001, 20x55cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid Slide. Signature label a...

Leaving (Strange Love) - 2005 20x30cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on a 35mm film. Signature label and certificate. Not mounted. “I never remembe...

My own private Travel Diary - Bishop, CA - Autumn - 2001, 20x95cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid Slide. Signature label and Certifi...

They are always there, it has always been that way (Dude Ranch) - 2022 Sister - triptych 17.78 x 50.8cm Edition of 7, plus 2 Artist proofs. Archival C-Pr...

They are always there, it has always been that way (Dude Ranch) - 2022 Father - triptych 17.78 x 50.8cm Edition of 7, plus 2 Artist proofs. Archival C-P...

A group of five original C-Prints from Sean Scully's Pueblo Dzibalchen series (A Suite of 20) created in 2001. Each work comes in a fantastic natural wood archival frame presentation. This series was shot by Scully in Campeche, Mexico. Photograph size: 20 x 24 in. Framed Size: 27.5 x 33.5 Painter, photographer, watercolorist, and printmaker Sean Scully roams the world with his camera, capturing its surfaces in places as far-flung as Mexico and the Aran Islands...

Leaving (Strange Love) - 2005 20x30cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on a 35mm film. Signature label and certificate. Not mounted. “I never remembe...

Leaving (Strange Love) - 2005 20x30cm, Edition of 10 plus 2 artist Proofs. Archival C-Print, based on a 35mm film. Signature label and certificate. Not mounted. “I never remembe...

Untitled (Cowboys and Angels) - 2005 39x50cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Certificate and Signature label. artist Inventory No. 2...

Untitled (Cowboys and Angels), 2005 100x75cm, Edition of 5, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Certificate and Signature label. artist Inventory No. 91...

Untitled (Cowboys and Angels), 2005 100x75cm, Edition of 5, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Certificate and Signature label. artist Inventory No. 91...

Olancha (Stranger than Paradise) - 1999, 6 pieces Edition of 5, plus 2 Artist Proofs, 98x96cm each, 205x302cm installed with gaps. 6 archival C-Prints, based on the 6 original Pol...

(a) Mohan Lal Mazumder Untitled Archival Print on Hahnemuhles Photo Rag Bright White, Museum Quality Paper 310 GSM ; 36 x 24 inches ; 2009 (b) Mohan Lal Mazumder Untitled Archival P...

(a) (b) & (c) Mohan Lal Mazumder Untitled Archival Print on Hahnemuhles Photo Rag Bright White, Museum Quality Paper 310 GSM ; 11 x 11 inches (d) (i) (f) & (g) Mohan Lal Mazumder Un...

Mohan Lal Mazumder Untitled Archival Print on Hahnemuhles Photo Rag Bright White, Museum Quality Paper 7 x 7 inches ; 310 GSM (5 pcs) Mohan Lal Mazumder Untitled Archival Print on H...

(a) (h) Mohan Lal Mazumder Untitled Archival Print on Hahnemuhles Photo Rag Bright White, Museum Quality Paper 310 GSM ; 36 x 24 inches ; 2009 (b) (c) Mohan Lal Mazumder Untitled Ar...

(a) (b) & (c) Mohan Lal Mazumder Untitled Archival Print on Hahnemuhles Photo Rag Bright White, Museum Quality Paper 310 GSM ; 20 x 30 inches ; 2009 (each)

Heliconia bihai, Ginger Alpinia purpurata and Jade Crassula Ovata (Triptych), 2017 by Miguel Winograd From the Series "Matas" Pigment Prints Overall size: Sheet Size: 43.3 in H x 108.6 in W Image Size: 37.8 in H x 92.1 in W Individual size: Sheet Size: 43.3 in H x 36.2 in W Image Size: 37.8 in H x 30.7 in W Edition of 5 + 2AP Black and white Edition Unframed Miguel is a Winograd, Vinogradov, of the people who worked or lived near a vineyard, near Dionysus, the god of the grape harvest, of fertility, of ritual madness. Maybe these photographs come close to that Dionysian understanding of the complexity of nature which goes beyond the scientific, the distanced, the binary way of approaching meaning. Closer to myth, to an organic means of representing the organic through the chemistry of light. Text by Enrique Ramirez. ---------------------------------------------- Miguel Winograd is a Colombian photographer. After years of graduate study in Latin American History, he completed the documentary photography program at the International Center of Photography (ICP) in New York. His personal work explores the relationship between people and their environment, narratives of social conflict, and the dense interconnections of the Colombian landscape. Occasionally, he prefers to make portraits of trees. His work has been exhibited in New York, Berlin, Mexico City, and Bogotá, and published in different media, including The New York Times and The New Republic...

Past the decisive Moment - Stranger than Paradise (triptych) - 2006 3x20x20cm, 20x70cm installed. Sold out Edition of 5, this is Artist Proof 2/2. 3...

Untitled (Oilfields) 2004, 60x60cm each, installed 60x200cm, Edition 6/10. Analog C-Print,s based on an expired Polaroids. Certificate and Signature label. Artist Inventory No 1212...

Mohan Lal Mazumder Landscape, Archival Print on Paper 7 x 7 inches, 2009 (without frame) Landscape, Archival Print on Paper 7 x 7 inches, 2009 (without frame) Landscape, Archival P...

A Thousand Windows is an exploration of building facades that become infinite reticles of repetitive cells, which contain in them the concept of unify...

"a Piece of Amaranto" Livorno, Italy, 2012, 2/10, Lambda C-Print, 100x33cm signed Certificate, unmounted Florian Reischauer (1985/Austria) lives and works in Berlin. His w...

" I have seen and photographed so many majestic landscapes, clouds and flora and fauna while visiting the Southwest, namely Taos & Sedona. There was certainly a vibe to the area and ...

Photographer Mark Klett is best known for cool, impersonal images of desert landscapes in the American Southwest, taken from a similar vantage points and under similar lighting conditions as 19th-century photographs by the likes of seminal surveyors William Henry Jackson...

Artwork is a diptych composed of two 12 x 18 inch prints placed in an 18 x 44 inch mat. CLOUDS “This series began lying in bed lazily photographing the clouds tripping along the ho...

Kenneth Snelson (American, 1927-2016). Photograph depicting a panorama of the Seine river and bridges in Paris, France Hand signed, dated 1985, numbe...

Aditya Dicky Singh, Untitled diptych, photograph on fine-art Hahnemuhle archival paper Two photographic works, each photograph 44 x 65" unframed (91cm x 135cm). Total size 44" x 1...

Novita Landscape - Vintage Photograph is a Silver salt print realized in the late 19th Century. Eight photographs, four on the front and four on the rear a...

Timothy Hurlsey's c-print photograph, "Alabama Silo, Hale County, Alabama," celebrates a pariah of the American landscape. Collapsed and decaying, Hurlsey almost personifies the aban...

Archival photo print under acrylic glass. Edition of 5 Dimensions: 3x 48 x 48 in. Depth: 1/4 in. RIOUX started the Cloud project in 2022. Paul-Emile Rioux’s series Cloud, like his ...

Views of Venice and Veneto is a series of original Vintage b/w Photographs realized by an anonymous artist in the Early 20th Century. Goos conditions except for being aged. The art...

New York VI - Framed Contemporary Original Polaroid Photograph Like much of Pia Clodi's work, 'New York VI' leaves a trace of the fast, nomadic life she leads. In this instance, C...

Views of Osaka is a lot of four hand-inked Albumen print with aniline applied on a single cardboard. Very good conditions. Cardboard cm 26 x 34; Print cm 9 x 13.5 Yokohama School p...

Marie Craig's "We All Shine On" is an original montage of four hand-colored deep blue photographs of the Mill Mountain Star. This piece was created using cyanotype, an early photogra...

A Poolside Story (50th Anniversary Estate Edition), 1970 Chromogenic Lambda Print Edition of 50 Special estate stamped and hand numbered edition of 50 with certificate of authenticity from the estate. In January 1970, lifestyle photographer Slim Aarons landed in Palm Springs, California on assignment for Holiday magazine. Slim photographed the writer Truman Capote at home, the city’s mayor leading an early morning horseback ride through Andreas Canyon, the chic scene at the Palm Beach Tennis Club, industrial designer Raymond Loewy riding a dune buggy...

A Poolside Story (50th Anniversary Estate Edition) 1970 (printed later) Chromogenic Lambda Print Edition of 50 Signature stamped and hand numbered edition of 50 with certificate of authenticity from the estate. In January 1970, lifestyle photographer Slim Aarons landed in Palm Springs, California on assignment for Holiday magazine. Slim photographed the writer Truman Capote at home, the city’s mayor leading an early morning horseback ride through Andreas Canyon, the chic scene at the Palm Beach Tennis Club, industrial designer Raymond Loewy riding a dune buggy...

This listing is for a framed print - printed on off-white paper in a natural wood frame measuring 44 by 44 inches. Edition of 10, additional sizes are available. Cecilia Montalvo & ...

Aluminum Mounted Dimensions: 19.5" x 14.5" x 1" Edition 2/5 "Huntington Gardens LX, San Marino, CA" is a contemporary pigment print. This work features a close-up of a tree trunk from Huntington Gardens. The strong contrast between light and cast shadows gives the work immense depth. The photographer utilizes both archaic and modern technology in his practice. Alfano begins by shooting in infrared film, he then develops the film in a traditional darkroom and scans it to produce a digital print of the image. This process further abstracts his subject matter with a soft-focus finish, adding to the surreal quality of his work. Edward Alfano...

Edition of 20 Signed, titled, dated and numbered by Keith Carter Gelatin silver print Paper size: 11 x 14 in., Image size: 9 x 11 in. Keith Carter is an American photographer who is...