Metal Photography

Bourbon (Suburbia) - 2004 Edition of 2/5, 60x80cm. Analog C-Print, hand-printed by the artist based on the Polaroid, mounted on Aluminum with matte UV-Protection. Artist Inventor...

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...

'Saint Tropez' Slim Aarons Estate Edition (to 150 only) Numbered & emboss stamped on front. Holidaymakers on the deck of yacht in Saint-Tropez, France, August 1971. In his word...

An underwater black and white portrait of Justin Jedlica - The Human Ken Doll Original print on aluminum plate with solid black backboard. The artwork needs no additional framing: i...

Underwater photograph of a naked young woman diving (rolling) in a pool. This extremely dynamic photograph is rich in green tones looks abstract while in fact it is entirely figurati...

Rebecca Skinner’s “Vanished” is a 17 x 11.25 inch color photograph of a lonely chair in a deteriorating room in an abandoned hospital. A set of doors sits just beyond the chair peeki...

“Private Pool” is a part of Alex Sher’s popular series REFLECTIONS - underwater photographs that could be almost mistaken for abstract paintings as they bring up recollections of mas...

'Saint Tropez' Slim Aarons Estate Edition (to 150 only) Numbered & emboss stamped on front. Holidaymakers on the deck of yacht in Saint-Tropez, France, August 1971. In his word...

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 in the Sky (Malibu) - 2004 Edition 4/5, 39x37cm. Analog C-Print, hand-printed by the artist, based on a Polaroid. Artist inventory Number 664.04. Mounted on Aluminum with...

Pebbles (Zuma Beach) - 2004 38x37cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #20425. Not...

Mirage (Zuma Beach) - 2004 29x28cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #20428. Not ...

Toy Boat (Zuma Beach) - 2004 48x47cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #2689. Not...

An imposing image of a deep blue sphere dominates the space in this large print by the celebrated Canadian artist Steven Heinemann. This high-quality print was created by Heinemann i...

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 the 3 Po...

Back Alley (Last Picture Show) - 2005 Edition 1/10, 58x57cm. Analog C-Print, hand-printed by the artist on Archive Fuji Chrystal Paper, based on the Polaroid. Artist inventory nu...

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...

California Blue Screen (Stranger than Paradise) - 1997, 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Signature label and Certif...

It is within the locality of the dream where we are at once sentient of ourselves within a multitude of reflections. The momentary awareness of self reveals transitions between those...

The Element ‘Gold, (Au) can only be make in the nuclear reactor of stars. It came to our planet when the Earth was first forming, as dust from catastrophic astronomical events –sta...

The gentleman… a man of calm dignity and endessly kind eyes in Old Havana in 2016. The Spirit of the Revolution series documents the generation of Cubans that saw the dramatic chan...

Long Island Sound Long Island Sound is a tidal estuary of the Atlantic Ocean, lying predominantly between the U.S. state of Connecticut to the north,...

"Porcelain II" captures a young naked woman floating in dark waters, their pale form creating ethereal ripples against the black backdrop. This underwater fine art photograph showcas...

Available sizes: 18” x 33.25” - Edition of 8 28” x 51.72” - Edition of 8 38” x 70.19” - Edition of 8 "Drawn Swords is an image I have been dreaming of making for several years. Even...

A line of fiery orange splits a dark road in two in this dramatic image by Mark Bartkiw. The sun sets on the horizon. This C-print is sealed between dibond and plexiglass. This work...

'Tiffanys' by Stuart Möller limited edition to 10 only this size - signed & numbered by the artist A young woman passes by the infamous diamond and jewellery store, Tiffany's in N...

Sparshatt Dalzell is a collaboration between photographer James Sparshatt and painter Rachael Dalzell. The portrait is of a lady from the valley of Viñales in Cuba. Viñales is t...

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

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

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...

Rebecca Skinner’s “Interior II” is a 12 x 18 inch color photograph taken from inside an abandoned farmhouse in North Dakota. Three windows offer a peak at the surrounding overgrowth ...

The old country girl from the Escambray mountains. I was hiking in the mountains, close to Trinidad, when I met the family. They invited me in and we chatted about our different live...

Graciela was for many years an institution in Old Havana. Always dressed beautifully, a cigar clamped between her teeth, a grin at the ready. A witness to the Cuban revolution and 50...

This surprising abstract photo of a natural landscape, has picked by the well known Italian photographer Giorgio Baroni. The white reflections are look...

Kirsten Red Lips (California Blue Screen) 114x142 cm, Edition 1/3. Analog C-Print, hand-printed by the artists, based on the original Polaroid. Mounted on Aluminum with matte UV...

"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 ...

Rebecca Skinner’s “Disarray” was photographed at an abandoned china factory and is part of a series documenting the loss of industry in America. The 12 x 18 inch black and white phot...

16x24 on metal - 20x30 on metal - Dye Sublimation Print on metal Architects: Roger Ferris + Partners The Clubhouse at the BRIDGE Not so at the Bridge, a golf club principally owned...

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...

There is a something about being a child on the beach where the sheer exuberance of running into the waves transcends the normal social barriers, and the shared exhilarance allows fo...

Rebecca Skinner’s “Endurance” is a 17 x 11 inch black and white photograph of an abandoned church in Gary, Indiana. With satin finish, the image is infused directly into metal making...

Horizon (Zuma Beach) - 1999 48x47cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #20431. Not...

Back Alley II (The Last Picture Show) - 2005 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist inventory number: 1005. Signa...

Brighton 27 - Platinum palladium on vellum with silver leafs Signed and numbered edition of 8 plus 2 AP with certificate of authenticity, unframed. The rarity of this type of p...

Dye Sublimation Print Water Dock Reflection 16x24 on metal - 20x30 on metal - About the artist: A computer programmer and Webmaster by trade, Paul describes himself as a fine art ...

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...

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 ...

Rebecca Skinner’s “Disorder” is a 17 x 11 inch color photograph of chaos in an abandoned industrial space. Green file cabinets have fallen every w...

In the novel "The Man with the Golden Arm" by Nelson Algren, the main character is a card shark. Here Art has taken a twist on that title by showing Algren as the dealer in one of Art's most famous shots. This work is not framed. Contact the gallery for framing options. Art Shay The Man with the Golden Arm, 1949 silver gelatin print 16h x 20w in 40.64h x 50.80w cm ASY15107 “Art Shay’s photography shakes you up, sets you down gently, pats you on the head and then kicks you in the ass.” Roger Ebert “[Shay’s work] ranks with some of the greats of the 20th century.” Ellen & Richard Sandor, Renowned photo collectors “I’ve admired Art Shay’s work for almost forty years, and he keeps getting better. He can do anything with a camera, but what he mostly does is capture real moments and transform them into visual poetry. His work continues to be an inspiration to me.” William Friedkin, Director of French Connection “Art Shay is one of our finest photographers. His work over the past fifty years has artfully captured the beauty, humor, and pathos of America.” Studs Terkel “Art Shay is one of the best photojournalists I know. I’ve been a fan of his work since the early 1950s - before the launch of playboy magazine.” Hugh Hefner “Algren, Terkel, Royko, they gave us a voice. Art Shay gave us a face.” Tony Fitzpatrick, Chicago Artist “Art Shay is America’s Cartier-Bresson.” Thomas Dyja, author of The Third Coast “Chicago’s Art Shay in many ways is to American photography what Nelson Algren was to American writing: that rare and absolutely necessary citizen who’s blessed with a cold eye, a clear head, and a warm heart. What is it about Chicago that keeps giving us men like this?” Russell Banks, Novelist “The best images of Simone de Beauvoir and her times have been passed down to us by Henri Cartier-Bresson, Gisele Freund, Robert Doisneau, Georges Brassai, and in America, the Chicago-based Art Shay, all world-class photographers.” Christophe Loviny, Art Editor, Paris “Art Shay is the best photo-journalist Chicago ever produced.” Arthur Siegel...

Shot from above a beautiful, tiny cenote in Tulum, Mexico. Fine art photo mounted on di-bond aluminum. Custom printing/mounting/framing options available upon request.

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...

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...

London Taxi [2017] Limited Edition Transport Brushed aluminium Edition number 25 Image size: H:56 cm x W:76 cm Complete Size of Unframed Work: H:56 cm x W:...

Rebecca Skinner’s “Erosion #1” was photographed on the shoreline of Lake Champlain in Burlington, Vermont. The textural beauty is natures own art form. The 18 x 12 inch abstract blac...

Available sizes: 18” x 29.52”, Edition of 8, Pigment Print 28” x 45.92”, Edition 2 of 8, Pigment Print 38” x 62.32”, Edition of 6 Silver Gelatin 48" x 78.73", Edition of 6 Silver Gel...

Rebecca Skinner’s “Peace” is a 18 x 12 inch black and white photograph of a piano left behind in an abandoned mansion filled with stunning architecture. With satin finish, the image ...

This extra large montage of photographs is mounted onto aluminum from Ken Gonzales-Day's dysmorphologies series. Photo paper mounted to aluminum. Ken Gonzales-Day's interdisciplinary and conceptually grounded projects consider the history of photography, the construction of race, and the limits of representational systems ranging from the lynching photograph to museum display. The Searching for California Hang Trees series offered a critical look at the legacies of landscape photography in the West while his most recent project considers the sculptural depiction of race. Profiled began as an exploration of the influence of eighteenth century "scientific" thought on twenty-first century institutions ranging from the museum to the prison and extended to the sculpture and portrait bust collections of several major museums including: The J. Paul Getty Museum; The Field Museum, Chicago; The Museum of Man, San Diego; L'École des beaux-arts,Paris. The Bode Museum, Berlin, Park Sanssouci, Potsdam; The National Museum of Natural History, Paris; The Yale Center for British Art, New Haven; among others. Gonzales-Day lives in Los Angeles and is Chair of the Art Department at Scripps College. Much of Gonzales-Day's work considers the larger political and social representational histories of the Mexican-American experience. His early work draws on the constructed photo methods of artists like Jeff Wall, Cindy Sherman, or Gregory Crewdson. For example, in Bone Grass Boy (1996), Gonzales-Day casts himself as all the central characters in a staged photonovella set during the Mexican American War. In a later series entitled Erased Lynchings (2004-2006), Gonzales-Day explores the history of lynching in the American West by appropriating and digitally altering an archive of 19th and 20th century postcards that depict Mexican and Mexican-American lynchings. In 2012, Gonzales-Day received the Creative Capital Award in the discipline of Visual Arts. In 2014, he created his project titled Run Up which pairs together recreated images of lynchings from the 1920s and images of police brutality from Ferguson and Los Angeles. The title, Run Up, stems from the term for an illegal lynching. Court-ordered executions were called hangings while hate crimes were referred to as "run-ups". Along with his artwork, Gonzales-Day has authored two monographs. His first, Profiled, deals with the works of Malvina Hoffman...

Available sizes: 18” x 33.85”, Edition of 8, Pigment Print 28” x 52.66”, Edition of 8, Pigment Print 38” x 71.47”, Edition of 6 Silver Gelatin 48” x 90.28”, Edition of 6 Silver Gelat...