Metal Photography

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...

Underwater nude photograph of a young woman with broken umbrella. The photograph has been edited into a minimalistic abstract image, a photomosaic of terracotta pink shapes. Origina...

Underwater photograph of a gorgeous girl with dark hair in red dress. Original digital print on aluminum plate signed by the artist. Limited edition of 12 The artwork is furnished w...

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...

Dream girl (Stranger than Paradise) - 2000 Edition of 10 3 x 58x56 x 0.1 cm, 58 x 188 cm installed. 3 Analog C-Prints, hand-printed by the artist. based on the 3 Polaroids. Signat...

Long dark grasses and cattails form a patterned lattice through which the fall sky pushes through. This atmospheric photograph that captures the essence of a wetland is created in tw...

Framed moving Lenticular x-ray photograph cones with COA Nick Veasey We live in a world obsessed with image. What we look like, what our clothes look like, houses, cars… I like to ...

"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...

Rebecca Skinner’s “Tattered” is a 24 x 16 inch photograph and is part of her “Transient” series. The black and white frameless metal print has a satin finish and is infused directly ...

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...

Philippe Cheng (American, b. 1961) "Untitled, Greece, 2005", signed, titled and dated verso, C-print (chromogenic print) mounted on aluminum with UV ultra non-glare plexiglass P...

An amazing underwater photograph of a young female dancer diving in pool. The naked dances is covering herself with tutu skirt. The photograph looks black and white even though it h...

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...

Technique: Dye sublimation on aluminum (Gloss finish) Frame: Black Aluminium Float Frame (Matte)

Rebecca Skinner’s “West Passage” is a 18 x 12 inch color photograph of a hallway in an abandoned building. Light streams through a red framed window creating pattern on the textural ...

A beautifully printed platinum photograph. A master at the craft. This is surely one of his best works. Love the panoramic!

Technique: Dye sublimation on aluminum (Gloss finish) Frame: Black Aluminium Float Frame (Matte)

Allan Forsyth Flame Flight Limited Edition Archival Chromagenic Photographic Print Edition 12 Sheet Size: H 118cm x W 100cm x D 2cm Diasec Framed Allan Forsyth is an artist who expl...

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...

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.

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...

Eric Rhein “Cave Branch (self portrait)” 2010 Signed, verso Silver gelatin print, sterling silver, bronze, and found objects 25 x 24 x 4 inches (63.5 x 61 x 10.2 cm), framed Thi...

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".

Snow Fence on Dunes in the Hamptons Black & White Photography Printed to order edition of 10 Dye Sublimation Print on Metal 16x24 on metal - 20x30 on metal - Title: Great Dune Year:...

Stunning hand printed photograph Beautiful gold leaf design multi faceted. Framed in Black Wood with Red Detail - one small blemish maybe able to fix. Framed out to 24x24" Museum Gl...

Rebecca Skinner’s “Farmhouse Blues” is a 12 x 18 inch color photograph of a piano in an abandoned farmhouse. With satin finish, the image is infused directly into metal making it wat...

Diasec® mounting is a time proven system that has set the benchmark for face mounting photographic and fine art prints. Developed in the late 1960’s Diasec® was the first system that...

Rebecca Skinner’s “Rough Terrain” is part of a her texture series taking an up-close look rusted and/or weathered metal. This abstract image is mostly earth tones with a touch of blu...

An original enamel on metal painting by emerging contemporary conceptual artist Craig Sheperd (b. 1984) Craig Sheperd’s paintings, most of which are enamel on metal, were created o...

Title: Sunset on the Merced Location: Yosemite National Park, California Edition: 2 of 5, signed by artist Description: It's refreshing to find yourself away from the deluge of tourists and photographers that descend on Yosemite every weekend, and even more refreshing to find a view that's not on some list somewhere that every photographer obliges to shoot. No, I refuse to camp at Tunnel View with a hundred others staring into a cloudless Yosemite Valley. I'd much rather hike my way to seclusion and a fresh view... I present for your enjoyment last light on El Capitan, and its reflection in a Merced River becalmed by a 5-second exposure. Vahé Peroomian is a professor of physics and astronomy at the University of Southern California (USC). He received a Ph.D. in Physics from UCLA in March, 1994, specializing in numerical simulations of space plasmas, and carried out research in that field for 25 years before transitioning into a full- time teaching and innovative pedagogy position at USC. Vahé’s love of photography as a child and young adult blossomed into a passion more than twenty years ago. Since then, he has taken every opportunity to pursue his fascination with photography and the beauty of the Gaian landscape. He is a self-trained photographer, and prefers a hands-on approach and independent experimentation with photographic styles and techniques. He has found that the same off-the-wall approach that works in solving physics problems helps him see landscapes in a new light as well. The self-similar shapes in landscapes, and the play between cloud...

Allan Forsyth GHOST FLOWER 2 Limited Edition Archival Chromagenic Photographic Print Edition 25 Size: H 100cm x W 100cm x D 2cm Diasec Framed

Caroline , Platinum Palladium print on Arches Platine paper from Ian Sanderson, unframed. Edition 1 of 12 plus 2 AP ( small Size ) Portrait of a charismatic nude woman behin...

Three framed contemporary black and white photographs featuring tumbling children, from when the artist visited a Romanian family circus during her travels. Dietzel’s diverse proje...

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...

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...

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...

L(i)ebe (Stage of Consciousness) - from the 29 Palms, CA project - 2007 starring Udo Kier 75x90cm, Edition 4/5. Analog C-Print, hand-printed by the artist, based on the Polaroid....

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

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 ...

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...

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...

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...

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 ...

Kaleidescope (Zuma Beach) - 2004 29x28cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #20434....

Allan Forsyth WILD HEART Limited Edition Archival Chromagenic Photographic Print Edition 25 Size: H 100cm x W 100cm x D 2cm Diasec Framed

Photographer Christopher Petsos shot this 2016 contemporary image of Solna Centrum Metro in Stockholm, one of the most striking metro stations in the world because it features a brig...

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...

Same style different execution. Italian copper leaf and fluorescent thread sewn on Splendorlux Black Gloss

"Beatles on Set Live" Photography 18" x 21" in Ed. of 25 by Howard Grafton Signed and numbered on the back by the publisher The Beatles on the Ed Sul...

Snow Fence on Dunes in the Hamptons Black & White Photography Printed to order edition of 10 Title: Great Dune Year: 2018 Medium: Photography (printed on metal) Size: 20" x 30" (lar...

Rebecca Skinner’s “Yellow Room” is a 12 x 18 inch color photograph of an antique chair in an abandoned farmhouse. With satin finish, the image is infused d...

Title: Nuclear Fusion, Iceland Location: Iceland Edition: 1 of 5, signed by artist Description: Nuclear fusion powers the Sun as its last rays reflect from the frozen lakes of Iceland. This was photographed as I was standing on the brittle ice of a frozen lake, wary of each footstep I took toward the setting Sun. Vahé Peroomian is a professor of physics and astronomy at the University of Southern California (USC). He received a Ph.D. in Physics from UCLA in March, 1994, specializing in numerical simulations of space plasmas, and carried out research in that field for 25 years before transitioning into a full- time teaching and innovative pedagogy position at USC. Vahé’s love of photography as a child and young adult blossomed into a passion more than twenty years ago. Since then, he has taken every opportunity to pursue his fascination with photography and the beauty of the Gaian landscape. He is a self-trained photographer, and prefers a hands-on approach and independent experimentation with photographic styles and techniques. He has found that the same off-the-wall approach that works in solving physics problems helps him see landscapes in a new light as well. The self-similar shapes in landscapes, and the play between cloud...

Rebecca Skinner’s “Nesting” is a 18 x 12 inch metal print and is part of her “Awakening” series. An abandoned antique Voltswagen Bug car rests in a foggy lands...

Rebecca Skinner’s “Rip” is a 12 x 18 inch color photo on metal that is part of her texture series, which takes an up-close look at rusted and/or weather...

Hand printed by the artist, considered one of the greatest platinum printers working today. Gum over palladium. Printed 2021

Franci & Michelle - Platinum Palladium print over pure 24 carat Gold leaf on vellum paper - Edition 1 of 5 , plus 2 AP ( Small Size ) Photographic reproduction on handmade sens...

Dye sublimation print on aluminum, polished brass float frame (Edition of 3 + 2 APs) Signed and numbered on label, verso From the series "Particle Paradise" This artwork is offered ...

This large montage of photographs (is not mounted onto aluminum) from Ken Gonzales-Day's dysmorphologies series. Fujifilm Fuji Color Crystal Archive paper color Photo paper. This is not signed or numbered. 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...

Rebecca Skinner’s “Empty” was photographed in an abandoned building in New York. The 18 x 12 inch color photo is of an empty orange chair in a dark and gritty hallway. With satin fin...

Rebecca Skinner’s “Weary” was photographed in an abandoned home in the mountains of New York. The 12 x 18 inch metal color print is of an empty chair resting next to an architectural...