Metal Photography

Rebecca Skinner’s “Iron” is a 24 x 16 inch metal print of a wrought iron fence. The color photograph has a satin finish and is infused directly into...

Rebecca Skinner’s “Lonely Tree” is part of her "Winter Trees" series documenting the beauty of New England in the winter. The 12 x 18 inch black and white photo with satin finish is ...

Rebecca Skinner’s “Outward” is a 12 x 18 inch color photograph of a pool table in the interior of an abandoned building. Layers of peeling paint in green, beige and yellow demonstrat...

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...

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...

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...

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 “Fading” is a 16 x 24 inch metal print and is part of her “Transient” series. The soft pink and beige tones of the vintage wallpaper contrast against the black and green of the electrical switches...

Rebecca Skinner’s “In the Thick of It” is part of her "Rust to Dust" series documenting the beauty of the decaying automobile. The 20 x 30 inch color photograph is of two antique car...

Rebecca Skinner’s “Industrial Interior” was photographed at an abandoned steel factory and is part of a series documenting the loss of industry in America. Rust-covered industrial ma...

Rebecca Skinner’s “At Rest” 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...

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

Rebecca Skinner’s “Lunds Valley” is a 12 x 18 inch color photograph of grain elevators in North Dakota. The rustic structures rest in the beautiful landscape with colors of blue, red...

Rebecca Skinner’s “Reflection” is part of her "On and Off the Trail" series documenting the beautiful landscapes of New England. The 18 x 12 inch color photo with glossy finish is in...

Rebecca Skinner’s “Showtime” was photographed in an abandoned mansion in the Catskill Mountains of New York. This black and white photo of a narrow, dimly lit hallway features an old...

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 framed in a simple black metal frame measuring 21.5h x 25.25w inches. 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...

Paul Dempsey - Pan-dining on 8th Street - 20x30 - Dye sublimation print - 16x24 on metal - $650 20x30 on metal - $900 about the artist A computer programmer and Webmaster by trade, ...

Rebecca Skinner’s “Sunflower #11” is part of her "Simplicity" series of photographs taking an up close look at flowers and other botanical subjects. The 12 x 18 inch color photo is o...

A one of a kind photograph. 1/1 Hand printed with the early alternative process of Tintype. Has a fantastic presence. Dry mounted on board 16x20".

We live in a world obsessed with image, what we look like, what our clothes, houses, and cars look like etc. Nick Veasey counters this obsession with superficiality by using x-rays t...

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...

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...

George Tice was born in 1938 in Newark, NJ, the state in which his ancestors had lived for generations earlier. He joined a camera club when he was fourteen, and is largely a self ta...

Ripple Effect IIl Medium: Photography (printed on metal) Size: 30" x 20" (larger sizes available - inquire within) 16x24 on metal - 20x30 on metal Made to Order Water Ripple Effect...

George Tice was born in 1938 in Newark, NJ, the state in which his ancestors had lived for generations earlier. He joined a camera club when he was fourteen, and is largely a self ta...

Rimma Gerlovina and Valeriy Gerlovin Compass, 1988 Aluminum sculpture, mixed media and c-print photograph construction, c-print, felt tip marker 12.5 h × 12.5w × 4 d in (30 × 30 × 6...

Rebecca Skinner’s “Past” is a 18 x 12 inch metal print and is part of her “Transient” series. The color photograph is of a vintage can opener at an ...

Rebecca Skinner’s “Aged” was photographed in an abandoned home in rural Pennsylvania. A vintage lamp is the subject with a background of yellow, peeling paint. The 18 x 12 inch color...

This is a signed, limited edition (of 10) framed botanical photograph of freshly harvested white or green grapes on the vine on a black background. It is printed on a thin, durable a...

This is a signed, limited edition (of 10) framed botanical photograph of a seed pod from the Clematis plant on a black background. It is flush-framed, where the photograph extends to...

Rimma Gerlovina and Valeriy Gerlovin Clock, 1987-94 Aluminum sculpture, mixed media and c-print photograph construction, c-print, felt tip marker 13 h × 13 w × 4 d in (30 × 30 × 6 c...

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 interdisciplinar...

Ed. of 10, includes black frame. Vincent Ricardel is a photographic artist whose career has spanned the editorial, commercial and fine art worlds of photography. Throughout his car...

Listing is for UNFRAMED print. Inquire within for framing. Edition 1 of 15 After 30 years on West 11th Street, The Robin Rice Gallery celebrates its first ever exhibition for Robin...

Rebecca Skinner’s “Return” is a 12 x 18 inch color photograph of a Victorian sofa in the interior of an abandoned building. Peeling paint in pink, yellow and white demonstrate the pa...

Untitled (29 Palms, CA) - 1999 57x56cm, Edition 3/10, analog C-Print, hand-printed by the artist, based on the Polaroid. Artist inventory number: 285.03. Mounted on Aluminum with...

Radha and Max on Dirt Road (29 Palms, CA) diptych - 1999 Edition of 10, plus 2 Artist Proofs. 20x19.5cm each. 2 archival C-Prints, based on the 2 Polaroids. Artist inventory Numb...

Rebecca Skinner’s “Sink V” is an 8 x 12 inch metal print photographed at an abandoned hospital. The color photograph is of a vintage sink against a pink wall with peeling paint. The ...

A hand printed photograph by the artist.

Rebecca Skinner’s “Alkabo I” is a 24 x 36 inch black and white photograph captured in a North Dakota ghost town. Dramatic sky frames a weathered structure in this beautiful contempor...

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...

Rebecca Skinner’s “West Hallway” is a 24 x 16 inch contemporary color photograph of a faded blue door ajar in a dim, decaying hallway with peeling walls and muted lighting, evoking t...

Rebecca Skinner’s “Power” is a 18 x 12 inch metal print and is part of her “Transient” series. Peeling paint on a vintage wall reveals layered pastel green and pink hues around an ol...

Rebecca Skinner’s “Sink III” is an 8 x 12 inch metal print photographed at an abandoned hospital. The color photograph is of a vintage sink against a blue wall with peeling paint. Th...

Guadalupe (The Last Picture Show) - 2005 38x37cm, Edition 1/5. Analog C-Print, hand-printed by the artist on Archive Fuji Crystal Paper, based on the Polaroid. Mounted on Alumi...

Silence (Zuma Beach) - 2004 48x47cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #2747. Not ...

"Butterfly Monarch #3" Photography 40x40 in Ed. of 15 by Mick Fleetwood Limited edition of 75 5/75 Digital print on Aluminum Not framed Mick Fleetwood, the legendary drummer and f...

Seeside (Zuma Beach) - 2004 48x47cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid Certificate and Signature label. Artist Inventory #20430. Not m...

Rebecca Skinner’s “Peep Show” was photographed at an abandoned train station and is part of a series representing her appreciation of graffiti as an art form. An open door offers a p...

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...

Toy Boat (Zuma Beach) - 2004 29x28cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #2689. Not...

Rebecca Skinner’s “Alkabo II” is a 20 x 30 inch black and white photograph captured in a North Dakota ghost town. Dramatic sky frames a weathered structure in this beautiful contempo...

Girl down the Road (The Last Picture Show) - 2006 Edition of 10, 58x57cm. Analog C-Print, hand-printed by the artist on Archive Fuji Chrystal Paper, based on the Polaroid. Artist...

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 ...

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

Four Corners (The Last Picture Show) - 2005 Edition 1/5, 58x57cm. Analog C-Print, hand-printed by the artist on Archive Fuji Chrystal Paper, based on the original Polaroid. Artis...

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...

Moving in Together (Till Death do us Part) - Installation - 2008 Edition of 5. 16 analog C-Prints , hand-printed by the artist on Fuji Crystal Archive Paper, based on 13 Polaroids, ...

Hand printed by the artist. Kerik is known for his fine art platinum printing process. This is an edition of 15 only. Comes with over mat.

Rebecca Skinner’s “To Dust” was photographed in an interior of an abandoned building in New York. The 30 x 20 inch color photo is of decaying architecture with colors of brown and gr...