Cross Landscape Photography

Gaia Diptych #128b by Jaume Llorens 24cm x 18cm Black-and-White print on Premio Kozo 180gsm White Paper by Awagami Factory Edition of 10 + 2 Artist's Proofs Crane Kalman Brighton g...

Shirley Harryman Pop Gun Archival Pigment Print Year: 2024 Visible Size: 11 x 11 inches Framed: 20.5 x 20.5 inches Signed: On Label COA provided *White gallery frame with standard p...

Mirabell Moments - Framed Original Black and White Polaroid Photograph Like much of Pia Clodi's work, 'Mirabell Moments' leaves a trace of the fast, nomadic life she leads, this ti...

Forest Light (Strange Love) - 2003 60x225cm, Edition of 5 plus 2 Artist Proofs. Archival C-Print, based on a 35mm film. Signature label and certificate. Not mounted. A piece of...

On the Solpes of Fujiama is a vintage black and white photograph. It is part of a journey to Asia performed by prince Franz Ferdinand von Osterreich Este (1863-1914) , heir to the t...

Old days Photo - Painting of Church Goers is a black and white vintage photo, realized in the early 20th century. Good conditions and aged. It belongs to a historical and Nostalgic...

Abruzzo, located in southern Italy, is known as the ‘green region of Europe’ because of the system of parks and nature reserves covering more than one-third of its territory. It has ...

"Vintage photo - The Cucifix" is a black and white vintage photo, realized in Mid 20th Century. Good conditions and aged. It belongs to a historical and nostalgic album including h...

Marina Sign, photograph by Richard Heeps taken in the Salton Sea, California. This authentic classic American Sign has been beautifully weathered. The bold graphic style makes it hav...

'Salton Sea', Edition 1/10, 20x30cm, 2016, Color Print, printed on Velvet Watercolor, 310gsm, Bright White, Acid Free, Signature label and Certificate. About Tao Ruspoli (born 7 Nov...

'Notre Dame 4' 2010, Edition of 10 plus 2 Artist Proofs, archival Pigment Print, based on a Polaroid 810 transfer process, 27.3x20cm, not mounted, Signed, embossed stamp and artist c...

'Notre Dame 3' 2010, Edition of 10 plus 2 Artist Proofs, archival Pigment Print, based on a Polaroid 810 transfer process, 27.3x20cm, not mounted, Signed, embossed stamp and artist c...

This authentic classic American Sign has been beautifully weathered. The bold graphic style makes it have a great Pop Art appeal. This artwork is a limited edition of 25, gloss phot...

Christ - Resurrection: Fine-Art Print Utilizing green screen technology, a scene representative of the XIV Stations of the cross, Station IX. Includes elements of Photography, 3d modeling...

"Huntington Gardens XLVII," is part of Edward Alfano's "Huntington Gardens," series that he has formed over a number of years. This work is framed and ...

Xtreme (Wastelands) - 2003 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid photograph. Artist inventory Number 909. Signature label and Certificate. Not mounted. For sale is a piece from the Wastelands series. Reality with the Tequila: Stefanie Schneider’s Fertile Wasteland by James Scarborough “How much more than enough for you for I for both of us darling?” (E. E. Cummings) Until he met her, his destiny was his own. Petty and inconsequential but still his own. He was cocksure and free, young and unaccountable, with dark hair and aquiline features. His expression was always pensive, a little troubled, but not of a maniacal sort. He was more bored than anything else. With a heart capable of violence. Until she met him, she was pretty but unappreciated. Her soul had registered no seismic activity. Dustbowl weary, she’d yet to see better days. A languorous body, a sweet face with eyes that could be kind if so inclined. Until she met him, she had not been inclined. It began when he met her. She was struck in an instant by his ennui. The sum of their meeting was greater than the imbroglios and chicaneries of their respective existences. He was struck by the blank slate look in her eyes. They walked, detached and focused on the immediate, obscenely unaware of pending change across a terrain of mountainous desert, their eyes downcast and world-weary, unable to account for the buoyant feeling in her heart. His hard-guy shtick went from potentiality to ruse. The gun was not a weapon but a prop, a way to pass time. Neither saw the dark clouds massing on the horizon. They found themselves alone in the expanses of time, unaware of the calamity that percolated even as they posed like school kids for the pictures. Happiness brimmed in that wild terrain. Maybe things were beginning to look up. That’s when the shooting started… Stefanie Schneider assumes that our experience of lived reality (buying groceries, having a relationship with someone, driving a car) does not correspond to the actual nature of lived reality itself, that what we think of as reality is more like a margarita without the tequila. Stefanie Schneider’s reality is reality with the tequila. She does not abolish concepts that orient us, cause and effect, time, plot, and storyline, she just plays with them. She invites us to play with them, too. She offers us a hybrid reality, more amorphous than that with a conventional subject, verb, and predicate. Open-ended, this hybrid reality does not resolve itself. It frustrates anyone with pedestrian expectations but once we inebriate those expectations away, her work exhilarates us and even the hangover is good. An exploration of how she undermines our expectation of what we assume to be our lived reality, the reasons why she under- mines our expectations, and the end result, as posited in this book, will show how she bursts open our apparatus of perception and acknowledges life’s fluidity, its density, its complexity. Its beauty. She undermines expectations of our experience of reality with odd, other-worldly images and with startling and unexpected compressions and expansions of time and narrative sequence. The landscape seems familiar enough, scenes from the Old West: broad panoramic vistas with rolling hills dotted with trees and chaparral, dusty prairies with trees and shrubs and craggy rocks, close-up shots of trees. But they’re not familiar. These mis-en-scenes radiate an unsettling Picasso Blue Period glow or the intense celestial blue of the cafe skies that Van Gogh painted in the south of France. Yellow starbursts punctuate images as if seen through the viewfinder of a flying saucer. At the same time, objects appear both vintage and futuristic, the landscape of a post-apocalyptic world. Landscapes change seemingly at random as do the seasons. Stefanie Schneider offers no indication of how time flows here, except that it conceivably turns in on itself and then goes its merry way. Time is a river whose source is a deep murky spring which blusters about with an occasional swirling eddy. That Stefanie Schneider thwarts an easy reading is obvious but why does she do this? Since she will not countenance anything linear, logical, or sequential, and because she does not relish anything concrete and specific, she has to roil things up a bit. Nor does she seem comfortable with a book of images that is settled, discrete, and accountable. Instead she wants to create a panoply of anxious moments...

View Of Rome is a vintage black and white photograph realized in the early 20th Century as reprint of an image of the late 19th century. With the hand-note in pencil on the rear. Go...

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...

'Magic Mountain' (California Badlands), 2016, 24x20cm, Edition 1/10, digital C-Print, based on a Polaroid, Certificate and Signature label, artist Inventory No. 19398.08, not mounte...

Marina Sign, photograph by Richard Heeps taken in the Salton Sea, California. This authentic classic American Sign has been beautifully weathered. The bold graphic style makes it hav...

The artist's photographs capture the transformation of everyday life into another reality. Images that explore what the future will be like. Industrial, eccentric and progressive, Ca...

"Huntington Gardens XLVII" is part of Edward Alfano's "Huntington Gardens" series that he has formed over a number of years. This work is framed and ready to hang, but we can also ...

'Notre Dame 4' 2010, Edition of 10 plus 2 Artist Proofs, archival Pigment Print, based on a Polaroid 810 transfer process, 27.3x20cm, not mounted, Signed, embossed stamp and arti...

Capri Tan, 1968 Chromogenic Lambda Print Estate edition of 150 1968, A kneeling sunbather shows off her rings and pendant on a beach in Capri, Italy. Estat...

Black and white photograph by Houston, Texas photographer, Nash Baker, of the Chapel of St. Basil's cross window and crucifixion procession sculpture. Titled, signed, and dated by ar...

"East Village Abstract #1" is a color photograph on Etching Rag archival paper. It is a signed Edition of 20, available in sizes 16x24, 11x17 and 8x12 inches. It is a striking compos...

This work is framed (17x21) but can be sent unframed (12x16.) The additional editions and sizes are unframed. All photographs are signed—free shipping on all unframed prints. Edwar...

JOAQUIM NABUCO Geometria carioca, Rio sem cor 24, Rio de Janeiro, Brazil, 2018 40 x 40 inches Edition of 15 Archival Pigment Print Limited edition print. Signed, numbered, and date...

Field of Sticks, Kamikawa Hokkaido, Japan by Michael Kenna is a 8 x 8 inch* silver gelatin print, available in an edition of 25. *Please note: the measurements of this print are appr...

Au fond un des innombrables lacs du Connemara. Au premier plan un cimetière d'où jaillit un bouquet de glaieuls Photographie prise par Bellec lors d'un séjour au lac du Connemara, I...

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...

Lambda digital-c print on Ilford Ilfoflex Archival Super Gloss, 2003. Signed, dated, titled, and numbered 1/1 on verso. This is a unique print. In the series ‘Weights & Measures’ (2...

Edition of 5. 16 x 20 inches (image); 22 x 26 inches (framed) Catherine Opie’s series '1999' documents her second epic road trip to capture America leading up to the new Millenium; ...

Edition of 10 Series "The Light within" Also available in 164 x 123 cm (64,5’’ x 48,4’’) Edition of 7. A naked man stands on a rock in the Atacama desert in Chile and is doing Yoga...

The photographs date from 1987 to 2006, and were made in the deserts of central and southern Arizona. The originals are 16”x20” gelatin silver photographs printed from 4”x5” Polaroid...

Seven Posts in Snow, Rumoi, Hokkaido, Japan, 2004 - Michael Kenna Signed, dated and numbered on mount Signed, dated, inscribed with title and stamped with photographer's Copyright...