Early 2000s Nude Photography

Okurimono Pigment Print About the work : Shibari I is a work by contemporary photographer Christian Houge, from the Okurimono series. In this series, Houge has, through five trips to Japan (Tokyo, Osaka and Kyoto), explored Japans otherworldly subculture and its ritualistic perfection. In this personal art documentary he has ventured into delicate themes such as personal identity, sexuality, longing and gender dysphoria. In this particular series, he uses staging as a method to create a story within a story. The viewers associations are important in meeting this work and ambiguity plays an important role. The images from the Okurimono- series is available in 3 different formats : Images from the Okurimono series is available in 3 different formats : * 50 x 75 cm : edition of 10 + (+2ap) * 80 x 120 cm : edition of 7 + (+2ap) * 113 x 170 cm : edition of 7 + (+2ap) Each print is numbered and signed More work will be sent from the artistry request. christian at soulfood no In this series, Houge has, through five trips to Japan (Tokyo, Osaka and Kyoto), explored Japans otherworldly subculture and its ritualistic perfection. In this personal art documentary he has ventured into delicate themes such as personal identity, sexuality, longing and gender dysphoria. In this particular series, he uses staging as a method to create a story within a story. The viewers associations are important in meeting this work and ambiguity plays a Okurimono (meaning both “gift” and “that which is in-between” in Japanese) - is a word that binds together this comprehensive project developed over five trips to Japan between 2007 and 2018. The series explores the personal pursuit of identity, at times with an underlying darkness as Houge had the chance to be introduced to Tokyo’s subculture. In exploring this theme, Houge has ventured into delicate matters such as sexuality, longing and gender dysphoria. In this particular series, he uses staging as a method to create a story within a story. The artist wishes to question the viewer and provoke a reflection on topics that are often seen as taboos in our contemporary societies. The viewer’s own associations are important in appreciating this work where ambiguity plays an important role. The project started in the Harajuku district of Tokyo which is known as a center of Japanese youth culture and where Houge found some of his first motifs: teenage girls dressing up in post-Victorian dresses or ‘cosplay’ costumes to identify with a character of their favorite comics. Here, the desire to express one’s uniqueness is central and the photographer explores the tension between personal identity and aesthetics shared by all (or at least by the same youth group). In many of his carefully staged photographs, Houge’s models are masked, so as to echo the many social masks we wear in our day-to-day lives. In our post-modern information society, drained of wonder, these enigmatic masked characters also evoke the world of shamans and pagan rituals, therefore injecting a sense of mystery and spirituality that many people are longing for. Symbolism and the many references to ritual and identity in an otherwise suppressed society, may at times create a sense of unease among viewers. The Okurimono project also explores the topic of identity and sexuality in gender dysphoria with Japan’s nyūhāfu (the transsexual ‘new halfs’). Here, the quest for identity coincides with a search of femininity and body image which results in complex physical transformations. Viewers may look at these portraits not having any clue that models are nyūhāfu. Yet, the photographs are staged so that viewers are placed in a disconcerting voyeuristic role while looking at otherwise closed world. Shibari (the art of tying), which originates from the Edo period (1600s), is another territory explored by Houge in his Okurimono series. His striking photographs of female models tied with red rope on a white background take us into this powerful journey into vulnerability and surrender, power and freedom. Through tradition, symbolism and technology, Okurimono also explores the hugely potent symbols that help define parts of Japanese culture and national identity, between old and new. As Art historian Erling Bugge put it: “Christian Houge guides us into a mystery. It resides between the ritualized shapes of the traditional and withdrawn Zen garden in Kyoto and the equally ritualized spaces of futuristic, urban Tokyo. For a westerner, Japan might look familiar, since what is held up for us looks like a futuristic spectacle somehow grounded in a western imagination. This judgment, however, is too easy. In Houge’s photographs, the sense of sameness withdraws and a very different feeling of strangeness creeps up on us. In fact, what this series registers is a remarkable place of alterity in today’s global order, a radical difference bang in the middle of the familiar.” The images of the Okurimono series share a ghostly, otherworldly quality. In reality and dream, ritual and play merge while the boundaries between the known and the unknown dissolve. Christian Houge – Now – Okurimono Christian Houge guides us into a mystery. It resides between the ritualized shapes of the traditional and withdrawn Zen garden in Kyoto and the equally ritualized spaces of futuristic, urban Tokyo. For a westerner, Japan might look familiar, since what is held up for us looks like a futuristic spectacle somehow grounded in a western imagination. This judgment, however, is too easy. In Houge’s photographs, the sense of sameness withdraws and a very different feeling of strangeness creeps up on us. In fact, what this series registers is a remarkable place of alterity in today’s global order, a radical difference bang in the middle of the familiar. This is pushed to the limit in the technological and virtual wonderland of Akihabara in Tokyo, where shop after shop trade in electronic products and computer games, while a weird costume play...

Waiting (Sidewinder) - 2005 Edition of 5, 125x124cm Analog C-Print, hand-printed and enlarged by the artist, based on the Polaroid, Not mounted, Signature label and Certificate,...

Stoya by Markus Klinko, from a stunning collection of contemporary nudes from the celebrated photographer featuring amongst others, Dita Von Teese and Aubrey O’Day This print is ava...

Fugitives III (Till Death do us Part) - 2005, 20x24cm, Edition of 10, Archival C-Print print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 9363....

Price for UNFRAMED item The Robin Rice Gallery proudly announces SUMMERTIME Salon 2018, an annual photography exhibit featuring gallery artists as well as a few newcomers. This year’s opening reception will be held on Wednesday, June 27th from 6 – 8 PM, and the show will be on view until September 23rd, 2018 Rice has brought together the works of 55 gallery artists and nearly a hundred photographs for this salon-style exhibition. From floor to ceiling, the walls of the gallery are a mosaic of various size photographs in sepia, color and black & white, expertly hung to fit together like pieces of a puzzle. “This is my favorite exhibition even though it takes months to curate and a week to install,” says Rice. “I love the moment when a viewer is first drawn to an image. Sometimes in’s indefinable; a moment when the viewer not only shares but reconnects to an experience remembered.” Each year, the Summertime Salon matures and Rice’s annual masterpiece is revealed to showcase an exhibition stronger than the year before. Rice has a close relationship with the works of her photographers, and strategically curates the show to best exemplify the artists’ strengths, remaining cohesively linked by Rice’s aesthetic. This year’s invitational image, Hoop and Ball by Nenad Samuilo Amodaj is from a series of one hundred photographs. Rice chose three photographs from Amodaj’s series to create a triptych on the back wall of her gallery for this exhibition. The invitational image is of a standing semi-nude woman in profile wearing a hoop skirt. Her entire head rests inside of a large white plaster ball that she holds above her. He explained: “I wanted to explore the abstract architectural properties of the hoop skirt, a clothing item with curious geometric form that appears both in nature and in the world of artifice.” Before photographing the model he created numerous figure drawings that helped solidify his vision for the series. Male nude...

Untitled (Paradise) - 1999, 20x20cm. Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature label and Certificate. Artist Inventory No. 20452. Not mounted. LIFE’S A DREAM (The Personal World of Stefanie Schneider) by Mark Gisbourne Projection is a form of apparition that is characteristic of our human nature, for what we imagine almost invariably transcends the reality of what we live. And, an apparition, as the word suggests, is quite literally ‘an appearing’, for what we appear to imagine is largely shaped by the imagination of its appearance. If this sounds tautological then so be it. But the work of Stefanie Schneider is almost invariably about chance and apparition. And, it is through the means of photography, the most apparitional of image-based media, that her pictorial narratives or photo-novels are generated. Indeed, traditional photography (as distinct from new digital technology) is literally an ‘awaiting’ for an appearance to take place, in line with the imagined image as executed in the camera and later developed in the dark room. The fact that Schneider uses out-of-date Polaroid film stock to take her pictures only intensifies the sense of their apparitional contents when they are realised. The stability comes only at such time when the images are re-shot and developed in the studio, and thereby fixed or arrested temporarily in space and time. The unpredictable and at times unstable film she adopts for her works also creates a sense of chance within the outcome that can be imagined or potentially envisaged by the artist Schneider. But this chance manifestation is a loosely controlled, or, better called existential sense of chance, that which becomes pre-disposed by the immediate circumstances of her life and the project she is undertaking at the time. Hence the choices she makes are largely open-ended choices, driven by a personal nature and disposition allowing for a second appearing of things whose eventual outcome remains undefined. And, it is the alliance of the chance-directed material apparition of Polaroid film, in turn explicitly allied to the experiences of her personal life circumstances, that provokes the potential to create Stefanie Schneider’s open-ended narratives. Therefore they are stories based on a degenerate set of conditions that are both material and human, with an inherent pessimism and a feeling for the sense of sublime ridicule being seemingly exposed. This in turn echoes and doubles the meaning of the verb ‘to expose’. To expose being embedded in the technical photographic process, just as much as it is in the narrative contents of Schneider’s photo-novel exposés. The former being the unstable point of departure, and the latter being the uncertain ends or meanings that are generated through the photographs doubled exposure. The large number of speculative theories of apparition, literally read as that which appears, and/or creative visions in filmmaking and photography are self-evident, and need not detain us here. But from the earliest inception of photography artists have been concerned with manipulated and/or chance effects, be they directed towards deceiving the viewer, or the alchemical investigations pursued by someone like Sigmar Polke. None of these are the real concern of the artist-photographer Stefanie Schneider, however, but rather she is more interested with what the chance-directed appearances in her photographs portend. For Schneider’s works are concerned with the opaque and porous contents of human relations and events, the material means are largely the mechanism to achieving and exposing the ‘ridiculous sublime’ that has come increasingly to dominate the contemporary affect(s) of our world. The uncertain conditions of today’s struggles as people attempt to relate to each other - and to themselves - are made manifest throughout her work. And, that she does this against the backdrop of the so-called ‘American Dream’, of a purportedly advanced culture that is Modern America, makes them all the more incisive and critical as acts of photographic exposure. From her earliest works of the late nineties one might be inclined to see her photographs as if they were a concerted attempt at an investigative or analytic serialisation, or, better still, a psychoanalytic dissection of the different and particular genres of American subculture. But this is to miss the point for the series though they have dates and subsequent publications remain in a certain sense unfinished. Schneider’s work has little or nothing to do with reportage as such, but with recording human culture in a state of fragmentation and slippage. And, if a photographer like Diane Arbus dealt specifically with the anomalous and peculiar that made up American suburban life, the work of Schneider touches upon the alienation of the commonplace. That is to say how the banal stereotypes of Western Americana have been emptied out, and claims as to any inherent meaning they formerly possessed have become strangely displaced. Her photographs constantly fathom the familiar, often closely connected to traditional American film genre, and make it completely unfamiliar. Of course Freud would have called this simply the unheimlich or uncanny. But here again Schneider almost never plays the role of the psychologist, or, for that matter, seeks to impart any specific meanings to the photographic contents of her images. The works possess an edited behavioural narrative (she has made choices), but there is never a sense of there being a clearly defined story. Indeed, the uncertainty of my reading here presented, acts as a caveat to the very condition that Schneider’s photographs provoke. Invariably the settings of her pictorial narratives are the South West of the United States, most often the desert and its periphery in Southern California. The desert is a not easily identifiable space, with the suburban boundaries where habitation meets the desert even more so. There are certain sub-themes common to Schneider’s work, not least that of journeying, on the road, a feeling of wandering and itinerancy, or simply aimlessness. Alongside this subsidiary structural characters continually appear, the gas station, the automobile, the motel, the highway, the revolver, logos and signage, the wasteland, the isolated train track and the trailer. If these form a loosely defined structure into which human characters and events are cast, then Schneider always remains the fulcrum and mechanism of their exposure. Sometimes using actresses, friends, her sister, colleagues or lovers, Schneider stands by to watch the chance events as they unfold. And, this is even the case when she is a participant in front of camera of her photo-novels. It is the ability to wait and throw things open to chance and to unpredictable circumstances, that marks the development of her work over the last eight years. It is the means by which random occurrences take on such a telling sense of pregnancy in her work. However, in terms of analogy the closest proximity to Schneider’s photographic work is that of film. For many of her titles derive directly from film, in photographic series like OK Corral (1999), Vegas (1999), Westworld (1999), Memorial Day (2001), Primary Colours (2001), Suburbia (2004), The Last Picture Show (2005), and in other examples. Her works also include particular images that are titled Zabriskie Point, a photograph of her sister in an orange wig. Indeed the tentative title for the present publication Stranger Than Paradise is taken from Jim Jarmusch’s film of the same title in 1984. Yet it would be dangerous to take this comparison too far, since her series 29 Palms (1999) presages the later title of a film that appeared only in 2002. What I am trying to say here is that film forms the nexus of American culture, and it is not so much that Schneider’s photographs make specific references to these films (though in some instances they do), but that in referencing them she accesses the same American culture that is being emptied out and scrutinised by her photo-novels. In short her pictorial narratives might be said to strip films of the stereotypical Hollywood tropes that many of them possess. Indeed, the films that have most inspired her are those that similarly deconstruct the same sentimental and increasingly tawdry ‘American Dream’ peddled by Hollywood. These include films like David Lynch’s Blue Velvet (1986), Wild at Heart (1990) The Lost Highway (1997), John Dahl’s The Last Seduction (1994) or films like Ridley Scott’s Thelma and Louise with all its girl-power Bonny and Clyde-type clichés. But they serve no more than as a backdrop, a type of generic tableau from which Schneider might take human and abstracted elements, for as commercial films they are not the product of mere chance and random occurrence. Notwithstanding this observation, it is also clear that the gender deconstructions that the characters in these films so often portray, namely the active role of women possessed of a free and autonomous sexuality (even victim turned vamp), frequently find resonances within the behavioural events taking place in Schneider’s photographs and DVD sequences; the same sense of sexual autonomy that Stefanie Schneider possesses and is personally committed to. In the series 29 Palms (first begun in 1999) the two women characters Radha and Max act out a scenario that is both infantile and adolescent. Wearing brightly coloured fake wigs of yellow and orange, a parody of the blonde and the redhead, they are seemingly trailer park white trash possessing a sentimental and kitsch taste in clothes totally inappropriate to the locality. The fact that Schneider makes no judgment about this is an interesting adjunct. Indeed, the photographic projection of the images is such that the girls incline themselves to believe that they are both beautiful and desirous. However, unlike the predatory role of women in say Richard Prince’s photographs, which are simply a projection of a male fantasy onto women, Radha and Max are self-contained in their vacuous if empty trailer and motel world of the swimming pool, nail polish, and childish water pistols. Within the photographic sequence Schneider includes herself, and acts as a punctum of disruption. Why is she standing in front of an Officers’ Wives Club...

Stunning museum quality fine art print of Chrissy Teigen by photographer Markus Klinko from a collection of contemporary nudes by the celebrated photographer, featuring amongst other...

The Games we played (Till Death do us Part) - 2005 50x50cm, Edition of 10, plus 2 artist proofs. Archival C-Print print, based on the Polaroid. Certificate and Signature label, artist Inventory No. 9273. Not mounted. on offer is a piece from the movie "Till Death do us Part" Stefanie Schneider’s Till...

Lynn Bianchi is a New York City-based, fine art photographer and multimedia artist. She has shown work in over thirty solo exhibitions and in museums worl...

"Pipe Tee" by artist Paul Cava is a one-of-a-kind (unique) archival pigment print of a nude man and woman from a historical glass plate on a historic mechani...

Letters from Madame - Touch, from the series mme.xposed, 2006, Archival C print based on the Polaroid, beautiful on Fine art Bright white by Hahnemuhle, mounted on Dibond - uncoated in shadow frame, Hand signed & numbered by the artist edition of 7 - nr 2 25x25cm Carmen De Vos - Artist statement Flying Freelance Portrayer. Purveyor of Exquisite Photographic Peculiarities. Chroniqueur and Archiver. Founder and Editor-in-Chief of the late TicKL-Magazine. The Belgian artist Carmen De Vos is a slow photographer. She registers, portrays and thinks up odd stories. She shoots Polaroids to frame these mental escapades, they get so easily out of hand. She enormously longs for what she’s afraid to loose: real human contact, the slowness of being and creating, the tangibility of materials. Almost without exception she uses old Polaroid camera’s, long time expired film and self-made filters. Her tools and methods - such as film bleaching and deliberate film obstruction - are not precise and are not even geared towards a perfect representation. They often yield results - such as colorisation, deformation, unsharpness - which she could never have predicted on forehand with any certainty, because their flaws do not allow for calculation. She’s not in control. She fights the material. She plans, stages and directs but the decayed chemistry and off-focus lenses add their magic. All by themselves. Which merrily surprises her. Or ruins her image. This battle attracts her as much as it frustrates her. She loves to create within these limitations, to try to produce the best possible image within the narrow circumstances given. Luckily, she’s a sucker for imperfections. Once upon a time she found herself guilty of home-crafted mischiefs for TicKL, her English art porn Polaroid magazine. She never really got cured from naughtiness. She can’t help but traveling back to these blessed times of free-love photography...

From a stunning collection of contemporary nudes from celebrated photographer, Markus Klinko, featuring amongst others, Dita Von Teese, Stoya and Aubrey O’Day This print is availabl...

Aubrey O'Day by Markus Klinko, from a stunning collection of contemporary nudes from celebrated photographer, Markus Klinko, featuring amongst others, Dita Von Teese and Stoya This ...

Leonard Freed's stamped vintage (verso), 14" x 11," gelatin silver signed print, Kate Bending, is from the Kate series, 2002. A photographer herself, model Kate remains complicit in ...

Blow my Mind (Till Death do us Part) - 2005, 20x20cm, Edition 3/10, digital C-Print print, based on a Polaroid, Certificate and Signature label. Artist Inventory No. 9571.03. Not...

Reality (The Princess and her Lover) - 2007 part of the 29 Palms, CA project. Edition of 10, 20x24cm. Archival C-Print, based on the Polaroid. Signature label and Certificate...

Please (Sidewinder) - 2005 20x24cm, Edition 1/10. Digital C-Print, based on a Polaroid. Certificate and Signature label. Artist Inventory No. 3391. Not mounted. "private history...

'Making out in Car' - Long Shot (Till Death do us Part) - 2005 20x20cm, Edition of 10, Archival C-Print print, based on the Polaroid, Certificate and Signature label artist Invent...

Wild Things (Till Death do us Part) - 2005 20x20cm, Edition of 10, plus 2 Artist Proofs, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory...

'Daisy on Bed' (Till Death do us Part) - 2005 38x47cm, Edition of 30 Archival C-Print print, based on the Polaroid, Certificate and signature label, ar...

Charlotte - Signed limited edition archival pigment print, Edition of 5 This is an Archival Pigment print on fiber based paper ( Hahnemühle Photo Rag® Baryta 315 gsm , Acid- and li...

The Games we played (Till Death do us Part) - 2005 50x50cm, Edition of 10, plus 2 artist proofs. Archival C-Print print, based on the Polaroid. Certificate and Signature label, a...

From a stunning collection of contemporary nudes from celebrated photographer, Markus Klinko, featuring amongst others, Dita Von Teese, Stoya and Aubrey O’Day This print is availabl...

Mario Sorrenti Vinyl Record Art Fashion photographer Mario Sorrenti is best known for his sensual nude portraits. Sorrenti first rose to prominence in 1...

From a stunning collection of contemporary nudes from celebrated photographer, Markus Klinko, featuring amongst others, Dita Von Teese, Stoya and Aubrey O’Day This print is availabl...

'Girls' (Till Death do us Part) - 2005 20x24cm, Edition of 10, Archival C-Print print, based on the Polaroid Certificate and Signature label artist Inventory No. 9361.08 Not mount...

Untitled #9 from Ruven Afanador "Sombra" series, silver gelatin print 2/5 This work is featured in Afanador's 2004 book 'Sombra" which combines elegant, erotic portraits and nudes of...

Digital photograph, edition of 25.

"For Walt Whitman" by artist Paul Cava is a one-of-a-kind (unique) archival pigment print with gouache and collage on fine art paper. It depicts the negative image of a nude man base...

North Shore Yacht Club II (Back in the 80's) - 1999 48x46cm, Edition of 10. Analog C-Print, hand-printed by the artist, based on the Polaroid. Certificate and Signature label. ...

Silence then (Sidewinder), 2005 Edition of 1/10, 40x50cm, digital C-Print based on an expired Polaroid. Signature label and Certificate. Not mounted. Stefanie Schneider: A German ...

# 1 of 8 Signed, dated and numbered Howard Schatz gave up a career as a retinal surgeon and a clinical professor to follow his passion for photography. Schatz first established a following in the 1990s with two collections of underwater photography, Water Dance and Pool Light...

Moments in Time (Sidewinder) - 2005 Edition of 5, 20x20cm each, hanging 20x45cm together, including the gap analog C-Prints, hand-printed and enlarged by the artist, based on the 2...

#Girl Manoeuvres - 01 from the series Dunderwear - 2007 26x20cm edition of 7 . Archival C-print based on the Polaroid , on beautiful on Fine art bright white by Hahnemuhle framed in a shadow Frame (white oiled wood) Hand signed & numbered by the artist. Carmen De Vos - Artist Statement Flying Freelance Portrayer. Purveyor of Exquisite Photographic Peculiarities. Chroniqueur and Archiver. Founder and Editor-in-Chief of the late TicKL-Magazine. The Belgian artist Carmen De Vos is a slow photographer. She registers, portrays and thinks up odd stories. She shoots Polaroids to frame these mental escapades, they get so easily out of hand. She enormously longs for what she’s afraid to loose: real human contact, the slowness of being and creating, the tangibility of materials. Almost without exception she uses old Polaroid camera’s, long time expired film and self-made filters. Her tools and methods - such as film bleaching and deliberate film obstruction - are not precise and are not even geared towards a perfect representation. They often yield results - such as colorisation, deformation, unsharpness - which she could never have predicted on forehand with any certainty, because their flaws do not allow for calculation. She’s not in control. She fights the material. She plans, stages and directs but the decayed chemistry and off-focus lenses add their magic. All by themselves. Which merrily surprises her. Or ruins her image. This battle attracts her as much as it frustrates her. She loves to create within these limitations, to try to produce the best possible image within the narrow circumstances given. Luckily, she’s a sucker for imperfections. Once upon a time she found herself guilty of home-crafted mischiefs for TicKL, her English art porn Polaroid magazine. She never really got cured from naughtiness. She can’t help but traveling back to these blessed times of free-love photography...

Do it yourself by Uwe Ommer Black and white Photography Archival Pigment Print Image size: 90 H x 60 W cm. Edition of 7 + 6AP Unframed Do it yourself Ser...

Sunday Afternoons (Sidewinder), 2005 Edition of 1/10, 24x20cm, digital C-Print based on an expired Polaroid. Signature label and Certificate. Artist Inventory # 3765.01. Not mounted...

Aubrey O'Day by Markus Klinko, from a stunning collection of contemporary nudes from celebrated photographer, Markus Klinko, featuring amongst others, Dita Von Teese and Stoya This ...

This is a series of black and white Nude abstract art photography (13 in series). Gallery exclusively presents this series of the human form - that which has inspired artists from ti...

Karina - Limited edition archival pigment print, Edition of 10 This is an Archival Pigment print on fiber based paper ( Hahnemühle Photo Rag® Baryta 315 gsm , Acid-free and lignin...

Limited Edition 25 More sizes on request The photographic work of the internationally well-known Austrian photographer Andreas H. Bitesnich is captivating by its beauty and aestheti...

Eric Kellerman created this sensual nude photograph of a young nude woman with a large zinc vessel under her arm. It is pencil signed, titled and numbered 1 from an edition of 20. The photographer has stamped a red monogram next to his signature. Eric Kellerman is a Briton who has lived near Nijmegen in the Netherlands for just over half his life. In 2008, he retired from academic life to spend more time on photography. Kellerman works almost entirely in the studio and uses digital equipment from camera to print, although image manipulation is limited to darkroom-like processes. Specializing in the nude, he has a regular team of female collaborators, most of whom have a serious interest in movement (dance, drama therapy, athletics, martial arts). Kellerman used to consider his work to be distant, abstract, melancholic, ‘unerotic’, despite its subject matter. Now he's not so sure. He emphasizes line, geometrical form, texture, implicit movement, and above all, chiaroscuro. He likes to create ambiguity in his photos, so that the viewer is sometimes unsure what part of the body is being looked at. In this way, he attempts to free the female body of its conventional associations. He has been influenced by surrealism...

Bless me Father for I have sinned (Sidewinder) - 2005 - Edition of 1/10, 20x20cm, digital C-Print based on an expired Polaroid. Signature label and Certificate. Artist Inventory #...

Narween (Saigon) - 2003 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Certificate and Signature label. Artist Inventory Number 22722. Not mou...

Polaroid, 2007 / 2018 Edition, 30x30cm from the series mme.xposed, Digital color print based on an original Polaroid, mounted on dilite 2mm - with gloss UV-Protection Alu profiles on...

Swing - Signed limited edition archival pigment print, Edition of 5 This is an Archival Pigment print on fiber based paper ( Hahnemühle Photo Rag® Baryta 315 gsm , Acid-free and l...

Richard Heeps became well-known for his Burlesque Photography after he spent 2003 capturing performances in Britain & America. He spent a lot on time with his subjects on a number of...

This is a series of black and white Nude art photography (13 in series). We present this series of the human form - that which has inspired artists from time immemorial. This series ...

Cups II (Suburbia) - 2004 20x24cm, Edition of 10, Archival C-Print based on the Polaroid, Signed on verso with Certificate, Artist inventory number: 2912. Not mounted. This pr...

Cara II - Signed limited edition archival pigment print, Edition of 5 This is an Archival Pigment print on fiber based paper ( Hahnemühle Photo Rag® Baryta 315 gsm , Acid-free and l...

Aubrey O'Day by Markus Klinko, from a stunning collection of contemporary nudes from celebrated photographer, Markus Klinko, featuring amongst others, Dita Von Teese and Stoya This ...

The Games we played (Till Death do us Part) - 2005 20x20cm, Edition of 10, plus 2 artist proofs. Archival C-Print print, ba...

Untitled (Paradise) - 1999, 48x47cm. Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature label and Certificate. Artist Inventory No. 363. Not mounted. Have you heard about German photographer Stefanie Schneider yet? Her artworks have been featured as cover art for the Red Hot Chili Peppers and Cyndi Lauper and also have appeared in the feature movie 'Stay' starring Ryan Gosling. She is now back on the silver screen for the film 'Instant Dreams', a Dutch documentary about the history of Polaroids. Stefanie, your photography is truly unique. How did you come to Polaroid and instant film photography as a means of expression for your art? When I started showing my work in galleries, photography was analog. I first shot Polaroid film in 1993 when it was essentially an ignored medium. I chose to use expired Polaroid film with its imperfections. I embrace them. They symbolise an alternative world view and I adopted it as the voice I had been looking for. A dream world to tell my stories of love. These so called ’imperfections' of the expired Polaroid film reflect the way we remember and dream. It goes with an understanding that everything has flaws, nothing is perfect and that’s ok. Actually feeling the photograph and accepting, the so called flaws as purposeful is the gateway. Like the song 'Hotel California...

Kamy 2007 Signed, titled, dated, and numbered, verso Archival pigment print 44 x 32 inches, sheet (Edition of 9) $2800.00 22 x 17 inches, sheet (Edition of 15) $1400.00 Please n...

Light painting technique, realized in a completly dark photographic studio, where the photographer manually "paint" by torch with light of different colours, the subjects and the ba...

Do it yourself by Uwe Ommer Black and white Photography Archival Pigment Print Image size: 60 H x 40 W cm. Edition of 7 + 6AP Unframed Do it yourself Series In this series the artist wanted his models to stand on their own for once. Uwe Ommer put a trigger in the girls' hands. This series was produced for 7 years and resulted in a book of the same name. Other sizes are available. All Prices are quoted as "initial price". Please note that prices and availability may change due to current sales _______________________________ Uwe Ommer (born 1943 in Bergisch Gladbach is a German photographer). Uwe Ommer became fascinated with photography at a young age. Initially sparked by his interest in photographing birds...

1 Stefanie Schneider Mini 'Male Nude' - 1999 - signed in front, not mounted. 1 Digital Color Photographs based on a Polaroid. Polaroid sized open Editions 1999-2016 10.7 x 8.8cm...

From a stunning collection of contemporary nudes from celebrated photographer, Markus Klinko, featuring amongst others, Dita Von Teese, Stoya and Aubrey O’Day This print is availabl...

From a stunning collection of contemporary nudes from celebrated photographer, Markus Klinko, featuring amongst others, Dita Von Teese, Stoya and Aubrey O’Day This print is availabl...