21st Century and Contemporary Photography

As books are beginning to disappear in physical form this picture is perfect for book lovers, it even gives you the sense of book hunting in a store. Photographed in Delhi in 2013 th...

Part of Richard Heeps 'Salton Sea' Collection, this large advertising sign on the bank of California's largest marina, once a popular celebrity ...

What are we gonna do? (Till Death Do Us part) - 2005 24x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Certificate and signature label. artist...

Ballad (Bombay Beach) - 2023 20x25cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Signature label and certificate. Artist inventory PL2023-08. N...

Frida is a photomosaic artwork by Destro. The first release in a series mosaic works called "Icons". Destro has created large prints which are made up of many hundreds of smaller i...

large format Panorama photograph of sun reflections on pool water surface, mesmerizing light reflections of glistening sunlight on turquoise aquamarine water surface, an homage to th...

Black and White Fine Art waterscape long exposure photography - Boat house in fog at the beautiful Almsee, Austria. Archival pigment ink print, edition of 9. Signed, titled, dated an...

Marise Nature H 35.5 in. x 27.5 in. W Edition of 6 + 1 AP Unframed Marise Nature Series The artist explored nature and how the body can be part of these landscapes with the help o...

Black and white fine art long exposure waterscape - landscape photography. Archival pigment ink print as part of a limited edition of 20. All Gerald Berghammer prints are made to ord...

The Games we played (Till Death do us Part) - 2005 20x20cm, Edition of 10, plus 2 artist proofs. Archival C-Print print, based on the Polaroid. Certificate and Signature label, a...

Doll - 2017 - 20x20cm, Edition 4/7 plus 2 Artist Proofs. Digital C-print, based on an original Polaroid. Signed on the back and with certificate. Artist inventory PL2017-128. ...

Living in a Dream (Till Death do us Part) - 2005 20x20cm, Edition of 10, Archival C-Print print, based on the Polaroid. Certificate and Signature label, artist Inventory No. 9781. Not mounted. on offer is a piece from the movie "Till Death do us Part" Stefanie Schneider’s Till Death Do Us Part or “There is Only the Desert for You.” BY DREW HAMMOND Stefanie Schneider’s Til Death to Us Part is a love narrative that comprises three elements: 1. A montage of still images shot and elaborated by means of her signature technique of using Polaroid formats with outdated and degraded film stock in natural light, with the resulting im ages rephotographed (by other means) enlarged and printed in such a way as to generate further distortions of the image. 2. Dated Super 8 film footage without a sound track and developed by the artist. 3. Recorded off-screen narration of texts written by the actors or photographic subjects, and selected by the artist. At the outset, this method presupposes a tension between still and moving image; between the conventions about the juxtaposition of such images in a moving image presentation; and, and a further tension between the work’s juxtaposition of sound and image, and the conventional relationship between sound and image that occurs in the majority of films. But Till Death Do Us Part also conduces to an implied synthesis of still and moving image by the manner in which the artist edits or cuts the work. First, she imposes a rigorous criterion of selection, whether to render a section as a still or moving image. The predominance of still images is neither an arbitrary residue of her background as a still photographer—in fact she has years of background in film projects; nor is it a capricious reaction against moving picture convention that demands more moving images than stills. Instead, the number of still images has a direct thematic relation to the fabric of the love story in the following sense. Stills, by definition, have a very different relationship to time than do moving images. The unedited moving shot occurs in real time, and the edited moving shot, despite its artificial rendering of time, all too 2009often affords the viewer an even greater illusion of experiencing reality as it unfolds. It is self-evident that moving images overtly mimic the temporal dynamic of reality. Frozen in time—at least overtly—still photographic images pose a radical tension with real time. This tension is all the more heightened by their “real” content, by the recording aspect of their constitution. But precisely because they seem to suspend time, they more naturally evoke a sense of the past and of its inherent nostalgia. In this way, they are often more readily evocative of other states of experience of the real, if we properly include in the real our own experience of the past through memory, and its inherent emotions. This attribute of stills is the real criterion of their selection in Til Death Do Us Part where consistently, the artist associates them with desire, dream, memory, passion, and the ensemble of mental states that accompany a love relationship in its nascent, mature, and declining aspects. A SYNTHESIS OF MOVING AND STILL IMAGES BOTH FORMAL AND CONCEPTUAL It is noteworthy that, after a transition from a still image to a moving image, as soon as the viewer expects the movement to continue, there is a “logical” cut that we expect to result in another moving image, not only because of its mise en scène, but also because of its implicit respect of traditional rules of film editing, its planarity, its sight line, its treatment of 3D space—all these lead us to expect that the successive shot, as it is revealed, is bound to be another moving image. But contrary to our expectation, and in delayed reaction, we are startled to find that it is another still image. One effect of this technique is to reinforce the tension between still and moving image by means of surprise. But in another sense, the technique reminds us that, in film, the moving image is also a succession of stills that only generate an illusion of movement. Although it is a fact that here the artist employs Super 8 footage, in principle, even were the moving images shot with video, the fact would remain since video images are all reducible to a series of discrete still images no matter how “seamless” the transitions between them. Yet a third effect of the technique has to do with its temporal implication. Often art aspires to conflate or otherwise distort time. Here, instead, the juxtaposition poses a tension between two times: the “real time” of the moving image that is by definition associated with reality in its temporal aspect; and the “frozen time” of the still image associated with an altered sense of time in memory and fantasy of the object of desire—not to mention the unreal time of the sense of the monopolization of the gaze conventionally attributed to the photographic medium, but which here is associated as much with the yearning narrator as it is with the viewer. In this way, the work establishes and juxtaposes two times for two levels of consciousness, both for the narrator of the story and, implicitly, for the viewer: A) the immediate experience of reality, and B) the background of reflective effects of reality, such as dream, memory, fantasy, and their inherent compounding of past and present emotions. In addition, the piece advances in the direction of a Gesammtkunstwerk, but in a way that reconsiders this synaesthesia as a unified complex of genres—not only because it uses new media that did not exist when the idea was first enunciated in Wagner’s time, but also because it comprises elements that are not entirely of one artist’s making, but which are subsumed by the work overall. The totality remains the vision of one artist. In this sense, Till Death Do Us Part reveals a further tension between the central intelligence of the artist and the products of other individual participants. This tension is compounded to the degree that the characters’ attributes and narrated statements are part fiction and part reality, part themselves, and part their characters. But Stefanie Schneider is the one who assembles, organizes, and selects them all. THE RELATIONSHIP BETWEEN THIS IDEA (above) AND PHOTOGRAPHY This selective aspect of the work is an expansion of idea of the act of photography in which the artistic photographer selects that which is already there, and then, by distortion, definition or delimitation, compositional and lighting emphasis, and by a host of other techniques, subsumes that which is already there to transform it into an image of the artist’s contrivance, one that is no less of the artist’s making than a work in any other medium, but which is distinct from many traditional media (such as painting) in that it retains an evocation of the tension between what is already there and what is of the artist’s making. Should it fail to achieve this, it remains, to that degree, mere illustration to which aesthetic technique has been applied with greater or lesser skill. The way Til Death Do Us Part expands this basic principle of the photographic act, is to apply it to further existing elements, and, similarly, to transform them. These additional existing elements include written or improvised pieces narrated by their authors in a way that shifts between their own identities and the identities of fictional characters. Such characters derive partially from their own identities by making use of real or imagined memories, dreams, fears of the future, genuine impressions, and emotional responses to unexpected or even banal events. There is also music, with voice and instrumental accompaniment. The music slips between integration with the narrative voices and disjunction, between consistency and tension. At times it would direct the mood, and at other times it would disrupt. Despite that much of this material is made by others, it becomes, like the reality that is the raw material of an art photo, subsumed and transformed by the overall aesthetic act of the manner of its selection, distortion, organization, duration, and emotional effect. * * * David Lean was fond of saying that a love story is most effective in a squalid visual environment. In Til Death Do Us Part, the squalor of the American desert...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition M (Edition of 6) 35.4 x 23.6 inches (90 x 60 cm) - Edition L (Edition of 6) 47.2 x 31.5 inches (120 x 80 cm) - Edition XL (Edition of 3) 88.8 x 58.8 inches (225 x 150 cm) PUR - Price Upon Request -------------- Since 1979 Christian Rothmann had more than 40 solo and 80 group exhibitions worldwide. Christian Rothmann had guest lectures, residencies, art fairs and biennials in Europe, Japan, USA, Australia and Korea. Christian Rothmann (born 1954 in Kędzierzyn, Poland ) is a painter, photographer, and graphic artist.⁠ ⁠ In 1976 he first studied at the “Hochschule für Gestaltung” in Offenbach, Germany and moved to Berlin in 1977, where he graduated in 1983 at the “Hochschule der Künste”. From 1983 to 1995 he taught at the university as a lecturer and as an artist with a focus on screenprinting and American art history. To date, a versatile body of work has been created, which includes not only paintings but also long-standing photo projects, videos, and public art.⁠ ⁠ Guest lectures, teaching assignments, scholarships and exhibitions regularly lead Rothmann to travel home and abroad.⁠ ------------------------ Rothmann's Robots These creatures date back to another era, and they connect the past and the future. They were found by Christian Rothmann, a Berlin artist, collector and traveler through time and the world: In shops in Germany and Japan, Israel and America, his keen eye picks out objects cast aside by previous generations, but which lend themselves to his own work. In a similar way, he came across a stash of historic toy robots of varied provenance collected by a Berlin gallery owner many years ago. Most of them were screwed and riveted together in the 1960s and 70s by Metal House, a Japanese company that still exists today. In systematically photographing these humanoids made of tin - and later plastic - Rothmann is paraphrasing the idea of appropriation art. Unknown names designed and made the toys, which some five decades on, Rothmann depicts and emblematizes in his extensive photo sequence. In their photographs of Selim Varol's vast toy collection, his German colleagues Daniel and Geo Fuchs captured both the stereotypical and individual in plastic figures that imitate superheroes which were and still are generally manufactured somewhere in Asia. Christian Rothmann looks his robots deep in their artificially stylized, painted or corrugated eyes - or more aptly, their eye slits - and although each has a certain degree of individuality, the little figures remain unknown to us; they project nothing and are not alter egos. Rothmann trains his lens on their faces and expressions, and thus, his portraits are born. Up extremely close, dust, dents, and rust become visible. In other words, what we see is time-traces of time that has passed since the figures were made, or during their period in a Berlin attic, and - considering that he robots date back to Rothmann's childhood - time lived by the photographer and recipients of his pictures. But unlike dolls, these mechanical robots bear no reference to the ideal of beauty at the time of their manufacture, and their features are in no way modeled on a concrete child's face. In this art project the robots appear as figures without a context, photographed face-on, cropped in front of a neutral background and reduced to their qualities of form. But beyond the reproduction and documentation a game with surfaces is going on; our view lingers on the outer skin of the object, or on the layer over it. The inside - which can be found beneath - is to an extent metaphysical, occurring inside the observer's mind. Only rarely is there anything to see behind the robot's helmet. When an occasional human face does peer out, it turns the figure into a robot-like protective casing for an astronaut of the future. If we really stop and think about modern toys, let's say those produced from the mid 20th century, when Disney and Marvel films were already stimulating a massive appetite for merchandising, the question must be: do such fantasy and hybrid creatures belong, does something like artificial intelligence already belong to the broader community of humans and animals? It is already a decade or two since the wave of Tamagotchis washed in from Japan, moved children to feed and entertain their newly born electronic chicks in the way they would a real pet, or to run the risk of seeing them die. It was a new form of artificial life, but the relationship between people and machines becomes problematic when the machines or humanoid robots have excellent fine motor skills and artificial intelligence and sensitivity on a par with, or even greater than that of humans. Luckily we have not reached that point yet, even if Hollywood adaptations would have us believe we are not far away. Rothmann's robots are initially sweet toys, and each toy is known to have a different effect on children and adults. They are conceived by (adult) designers as a means of translating or retelling history or reality through miniature animals, knights, and soldiers. In the case of monsters, mythical creatures, and robots, it is more about creating visions of the future and parallel worlds. Certainly, since the success of fantasy books and films such as Lord of the Rings or The Hobbit, we see the potential for vast enthusiasm for such parallel worlds. Successful computer and online games such as World of Warcraft, or the creation of avatars are also interesting worldwide phenomena of virtual realities that are not only relevant for children and teens. So when a middle-aged Berlin photographic artist (like Christian Rothmann) chooses to study 120 toy robots with great difference in form, it represents a journey back to his own childhood - even if at the time, he played with a steam engine rather than a robot. Once batteries had been inserted, some of the largely male or gender-neutral robots, could flash, shoot, turn around and even do more complicated things. Some can even still do it today - albeit clumsily. This, of course, can only be seen on film, but the artist intends to document that as well; to feature the robots in filmic works of art. The positioning of the figures in the studio is the same as the tableau of pictures in the exhibition room. In this way, one could say Rothmann deploys one robot after the other. This systematic approach enables a comparative view; the extreme enlargement of what are actually small and manageable figures is like the macro vision of insects whose fascinating, sometimes monster-like appearance only becomes visible when they are blown up a hundredfold. The same thing goes for the robots; in miniature form, they seem harmless and cute, but if they were larger than humans and made noises to match, they would seem more threatening. Some of the tin figures...

Art Edition “David Byrne” (No. 1–275). Hardcover volume in a slipcase, accompanied by the portrait David Byrne, Los Angeles, 1986. For over 50 years, Annie Leibovitz has been creating a body of work that is unequaled in breadth and influence. From the viscerally immediate reportage made for Rolling Stone magazine in the 1970s and extending through the more stylized portraiture of her work for Vanity Fair and Vogue, her pictures make up what is essentially a family album of our time. In 2014, in close collaboration with Annie, TASCHEN published a SUMO edition of her work: over 200 photographs, many of them famous (the naked John Lennon entwined in a last embrace with Yoko Ono, Patti Smith on fire) and some rarely, if ever, seen before. In 2022, to accommodate a wider audience, this volume was recreated as an unlimited XXL edition. The XXL volume is now available as an Art Edition in four different versions, each accompanied by a signed, numbered and framed dye-sublimation ChromaLuxe aluminum print. David Byrne, Los Angeles, 1986 is included in an edition of 275 copies. In 1986, David Byrne wrote, directed and starred in his only feature film, True Stories. It was a quirky view of life in small-town rural Texas. Several of his collaborators on the project were from the downtown New York performing-arts world. Music was an integral element in the film and much of it was supplied by Byrne’s band, the Talking Heads...

'Mirror, Mirror' (Bombay Beach) 2019 50x50cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Signed on the back and with certificate. Artist inventory...

90 Minutes Tinted Blue, artwork from the Heidler & Heeps Tape Collection The Heidler & Heeps collaborations are creative representations of Natasha Heidler and Richard Heeps’, perso...

"Real 2" Black & White Photography 39" x 39" in Edition 1/3 by Olha Stepanian Printed on Epson Professional Paper Signed and numbered by the artist Not framed. Ships in a tube. ...

large format photograph of Cote d'Azur beach by iconic Italian photographer Massimo Vitali, renowned for his grand scale topographical observations of the rites and rituals of modern leisure Plage des Catalans...

The first encounter I had with the abyss, was arriving to a place that does not exist, a point suspended in time where I am without being. An unreal world expands in front of me, eve...

This is a contemporary photograph of an African Lion. Printed on archival paper using archival inks. 40x60 Unsigned Print Printed on archival paper and using archival inks Framing ...

'Figure study in black and white I' 2016, Edition 2/7 plus 2 Artist Proofs Based on a Polaroid, digital C-Print, not mounted. Signed on the back and with certificate. Artist invent...

Powerline - 2021 - 20x20cm, Edition of 7 plus 2 Artist Proofs, digital C-Print based on a Polaroid, Signed on the back and with certificate. Artist inventory PL2021-1063. Not m...

Skindeep, 2018, 50x50cm, Edition 1/7 plus 2 Artist Proofs, Digital C-print, based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2018-448. Not mounted...

Oui Mon Cul (The Eyes Of The Fox) - 2015 / 2018 40x30cm, edition of 7. High-end art print based on the original Polaroid. Mounted on aluminum 5mm. Finished with a high-gloss ep...

Heidler & Heeps Vinyl Collection Fifteen Piece Rainbow Installation. Acclaimed contemporary photographers, Richard Heeps and Natasha Heidler have collaborated to make this beautifull...

Burned (Self Portrait), 1999 Edition of 2/10, 20x20cm Print on Velvet Watercolor, 310gsm, No OBAs, Bright White, Acid Free based on the Polaroid. Signature label and Certificate. N...

The root of these unique photographic works by the artist Celso Castro occurred when the artist returned from Italy to live back in Colombia in 1987. Castro wanted to produce from t...

'New York Skyline' by Stuart Möller The skyline of New York City, 2014. The magnificent skyline of the iconic city of New York. Beautiful mint condition SIGNED LIMITED Edition Ar...

Unique piece More sizes and an Essay from Lyle Rexer about this series on request. Joachim Schmeisser’s work rescues photography from the centuries-old straightjacket of realism to...

Explore our collection of elegant black and white nude woman photography, capturing the beauty of the human form. Perfect as wall art for modern...

Please bear in mind that all prints are produced to order. Lead times between 15-20 days. All items are shipped as a print only and come unframed. Tim Flach is a graduate of St. Ma...

TABACCHI at Twilight from Richard Heeps series, 'A Short History of Milan' which began in November 2018 for a special project featuring at the Affordable Art Fair Milan 2019 and the ...

Untitled 03 (Saigon) - 2003 58x56cm, Edition of 5. Analog C-Print, hand-printed by an artist on Fuji Crystal Archive Paper, matte surface, based on the Polaroid. Artist invento...

White lies - 2021 20x25cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2021-1080. Not ...

Black and White Fine Art Landscape Photography. Wine press house with tree in snowy field, Winter, Weinviertel, Austria. Archival pigment ink print, edition of 7. Signed, titled, dat...

The secret life of plants - 2020 50x50cm, Edition of 7 plus 2 Artist Proofs, digital C-Print based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2020-...

Body Paint tribute to the Afro and pre-Columbian cultures, taking erotic and suggestive poses such as reading among others. Jose Sierra work is deeply influenced by themes of self-r...

49 Via Dezza at Sunset, Italian street photography from Richard Heeps series, A Short History of Milan. A Short History of Milan' began in N...

Vegetables from my garden #6 by Zoltan Gerliczki From the Vegetables from my garden series Archival Pigment Print Image size: 39 in H x 48 in W. Edition of 9 + 2AP Unframed 2021 "W...

Playing Ball - 2020 20x20cm, Edition of 7 plus 2 Artist Proofs, Archival C-Print based on the Polaroid. Signed on the back and with certificate. Artist inventory PL2020-838. Not ...

An insipid notion (The astonished world) is a collection of unreal experiences caused by the feeling of late and inexperienced love, and the inability to fully know the experience of...

Sparks - 2024 - 20x25cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. inventory PL2024-27. Not mounted...

THIS PIECE IS AVAILABLE FRAMED. Please reach out to the gallery for more information. ABOUT THIS ARTIST: Cameron Burns is a freelance 3D artist who pri...

First Kiss (Till Death do us Part) - 2005 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Certificate and Signature label. Artist Inventory ...

R2D2 from the original Kenner release of the Star Wars toys in May of 1977 This is pre release is the first release in the much anticipated series "The Toys" These iconic figures hav...

The first encounter I had with the abyss, was arriving to a place that does not exist, a point suspended in time where I am without being. An unreal world expands in front of me, eve...

from a series of large scale photographs capturing a mesmerizing color palette of classic blue ocean SEASCAPE XVII by Frank Schott 72.5 x 58 inches / 184cm x 147cm signed edition...

'Jimi Hendrix Palm Trees' (Stranger than Paradise) - 2016 20x20cm, Edition of 10, Archival C-Print, based on a Polaroid, Certificate and Signature label, Not mounted. "Jimi He...

'Come on' part of the series 'A girl called N.' - 2019, 20x20cm, Edition 4/7. Archival C-Print based on a Polaroid. Signature label and certificate. Artist inventory PL2019-51...

Fruits from my garden #1, by Zoltan Gerliczki From the Vegetables from my garden series Archival Pigment Print Image size: 39 in H x 48 in W. Edition of 9 + 2AP Unframed 2021 "We e...

"Faces 3" Black & White Photography 39" x 39" in Edition 1/3 by Olha Stepanian Printed on Epson Professional Paper Signed and numbered by the artist Not framed. Ships in a tube....

Black and White Fine Art Landscape Photography. Row of trees at the field with big clouds, Weinviertel, Austria. Archival pigment ink print, edition of 9. Signed, titled, dated and n...

'Whisky and Water VI' (Sidewinder), diptych - 2005 Edition 1/5, 45x36cm each, installed 45x80cm including gaps. 2 analog C-Prints, hand-printed by the artist on Fuji Crystal Archi...

This rare photograph #27, taken during The Central Park Gates Project in 2005 by Christo and Jeanne-Claude, was never released to the public as the couple were not satisfied with the...

Artist: Chuck Close Title: Untitled (Kates #15) Year: 2005 Medium: Digital pigment print on Hahnemuhle Satin paper Edition: 25 + Proofs; signed, dated and numbered in pencil Sheet: 2...

Brand new artwork by Richard Heeps featuring the iconic Empire State building in the mist. Photographed in New York City in 2017, he just executed this in his darkroom, printing it i...

Gerald Berghammer - Limited Edition 1/9. Silver Gelatin Prints, Selenium Toned, Printed 2018. Signed, numbered, dated by Artis. Handmade wood frame, dark-brown, natural white archiva...

"The 2 buildings on either sides and the Manhattan Bridge framed the Empire State Building nicely, like a portal into NYC. Just like Ellis Island of the past, this is a portal into a...