Early 2000s Photography

Archival pigment print Signed and numbered, verso 42 x 25 inches 50 x 32 inches 70 x 40 inches 84 x 48 inches (Total edition of 15) This artwork is offered by ClampArt, located in New York City. Please note that prices increase as editions sell. With the series, "Lost" (2003-2004), Nix and Gerber continue their investigation of the constructed landscape, this time examining feelings of isolation and loneliness. Like much of their previous work, this group of photographs...

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...

Black and white fine landscape photography. Archival pigment ink print as part of a limited edition of 7. All Gerald Berghammer prints are made to order in limited editions on Hahnem...

'A Wish II' (Circle of Magic) - from the 29 Palms, CA project - 2009 40x50cm, Edition 1/10 Digital C-Print based on the Polaroid. Certificate and signature label. Artist inventory...

Lorenzo 1, 3 and 4 Triptych by Celso José Castro Daza From the Series Guerreros. Photomontage on archival paper intervened by the artist with bland ink mounted on archival paper. Ove...

Village Motel - Heated Pool (The Last Picture Show) - 2005 58x56cm, Edition of 5, analog C-Print, hand-printed by the artist on Fuji Chrystal Archive Paper, based on the Polaroid...

Ferguson Racing Streamliner, photograph taken in the iconic home of speed, Bonneville Salt Flats, just as the mountains contrast with the flatness, Richard Heeps captured this racing...

'Austen and Daisy in front of Trailer II' (Till Death do Us part), 2005 - 128x126 cm, Edition of 5, analog C-Print, hand-printed by the artist, based on the Polaroid, Certific...

From The series Guerreros. Photomontage on archival paper intervened by the artist with bland ink mounted on archival paper. Unframed Signed, titled and dated by the artist The root...

Castro’s labor-intensive, photo-collage works of drug kingpins, smugglers, hitmen, countrymen, street vendors, soldiers, paramilitaries, kidnappers, and pimps pose showing with pride...

Castro’s labor-intensive, photo-collage works of drug kingpins, smugglers, hitmen, countrymen, street vendors, soldiers, paramilitaries, kidnappers, and pimps pose showing with pride...

This is a black and white contemporary portrait photograph of a female nude by Leonard Freed, Kate Resting, is in the photographer's series "Kate". A 20" x 16" gelatin silver photograph signed verso (back of photo) by the Freed estate (provenance). The self-assigned photo series on Kate became a welcome reprieve for Leonard Freed who during a long photo...

Combined Edition 25 Also available in 50 x 60 cm/ 20 x 24 inch and as combined Edition 10 in 76 x 101 cm / 30 x 40 inch 101 x 127 cm / 40 x 50 inch Portrait of American actor Donald Sutherland...

Please bear in mind that all prints are produced to order. Lead times between 15-20 days. Edition 19/150 All items are shipped as a print only and come unframed. Tim Flach is a gra...

Leaving Town (Sidewinder) - 2005 80x80cm, Edition of 10, plus 2 Artist Proofs, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 3...

Circle of Magic - Elixirs (29 Palms, CA) - 2009 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inv...

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...

Through the Veil (Oxana's 30th Birthday) - 2007 20x65cm including the white frame. Edition of 10, plus 2 Artist Proofs. Archival C-Print print, based on the original Polaroid. C...

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...

Anthony in the Tub 2004 Signed, titled, numbered, and dated, verso Archival pigment print 17 x 22 inches, sheet (Edition of 15) $1,400.00 11 x 17 inches...

'Pink Floral Dress' and 'Gloves & Handbag' taken at the glamorous retro event Goodwood Revival, perfectly captures feminine sophistication with a vintage vibe. This artwork featured ...

Castro’s labor-intensive, photo-collage works of drug kingpins, smugglers, hitmen, countrymen, street vendors, soldiers, paramilitaries, kidnappers, and pimps pose showing with pride...

Formalist style color still life photograph of five sardine fish on a white marble tabletop with a mint green background "Five Fish", 2007 Archival pigment print, edition of 25 Image size: 11 x 14 inches 17 x 21 inches with light wood frame with non-glare glass and 8-ply white mat Excellent condition, ready to hang as is Halliday captures the beauty of a traditional still life with a contemporary spin. Here 5 fish lay on a table against a light green background. The print is part of an edition of 25, is currently framed in a light wood frame with non-glare glass and an 8-ply white mat. The artist's signature is located on the back and front. About the Artist: David Halliday's photographs are about beauty, pure and simple. His primary subjects are carefully composed still lifes, portraits and landscapes which he shoots in black and white film with only natural light. He is a purist behind the lens, rarely manipulating his negatives in any way, and a master in the darkroom. His work has an ethereal quality that's translated not only through the subject, but also by the warm colors and sepia tones he uses in his printing. More about the work: A master of light, David Halliday produces lush and elegant images that are both classical and modern. Celebrated for his ‘purist’ eye, he poetically captures the nude male body in a selection of sepia-toned prints from 1996. Rarely revealing the model's face, Halliday prefers to focus on the natural drape of limbs, soft folds of flawless skin, and curvature of the spine. Overall, a stunningly intimate portrayal of the male form done with elegance and charm. Resume: Born 1958, Glen Cove, New York Lives in Schodack Landing, NY EDUCATION 1998 Penland School of Crafts, Penland, North Carolina 1988 The Maine Photographic Workshops, Rockport, Maine 1976-79 Syracuse University, New York 1974-76 Wooster School Community Art Center, Danbury, Connecticut SELECTED SOLO EXHIBITIONS 2013 Threadbare/New Photographs, Arthur Roger Galley, New Orleans, LA McMurtrey Gallery, Houston, TX 2012 The Past Still Present, Ogden Museum of Southern Art, New Orleans, LA 2010 Arthur Roger Gallery, New Orleans, LA Wessel+O’Connor Fine Art, Lambertville, NJ Julie Heller Gallery, Provincetown, MA Graficas Gallery, Nantucket, MA 2009 Culinary Delights, San Antonio Museum of Art, San Antonio, TX Two Decades: David Halliday, Carrie Haddad Photographs, Hudson, NY 2008 Arthur Roger Gallery, New Orleans, LA Still-Life, Stephen Cohen Gallery, Los Angeles, CA Carrie Haddad Gallery, Hudson, NY Watermark Gallery, Houston TX Strange Fruit: David Halliday and Greg Kuharic...

Minimalist landscape photograph of black and white lilies on water "Lily Pond", photographed by Betsy Weis in 2006 archival inkjet print on watercolor paper 20 x 30 inches, 27 x 37 inches in white frame with white mat & anti-reflective non-glare glass Wire backing for easy installation, ready to hang as is Photographed at the Brooklyn Botanic Garden, this black and white archival pigment print by Betsy Weis captures a cluster of water lilies afloat on a glassy, onyx-like body of water. Looming clouds are reflected in the pond's serene surface. Crisp, moody, and rich in texture, the photograph can stand on its own as a quiet glimpse at nature, or can be juxtaposed with others in the series to form a more complete vision. This photograph is available unframed, $1700. The image measures 20 x 30 inches, and the paper measures 24 x 26 inches. Artist statement: Nature provides the perfect model of beauty, according to Plato and Socrates. In the classical period, something was considered beautiful because it existed in nature; art was secondary. In the 18th Century, the German philosopher Johann Joachim Winckelmann argued against the idea that art imitates life, believing that qualities superior to nature are found in art, specifically, ideal beauty, and “brain-born images”. Neoclassical thought represented that art need not serve any end other than its own existence. For me, beauty is an ideal, nature is real, and art comes from the brain. I take pictures in nature, finding shifting, disparate, and beautiful landscapes. I develop my pictures of trees...

Tussle (The Princess and her Lover) - 2009 including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 192 pages, hardcover, published by Snap Collective, 2024. ...

Capturing the cinematic Glass Pool Motel which is sadly no longer there, and an iconic Chevy Bel Air, it is a perfect example of a Lost Vegas. This is one of Richard Heeps' classic A...

Archival pigment print Signed, titled, and inscribed in pencil, recto 17 x 17 inches, sheet 11 x 11 inches, image This artwork is offered by ClampArt, located in New York City. Ro...

From Richard Heeps Dream in Color series a cinematic scene, a doorway in a motel in Nevada on an American road trip. Warm evening sunlight glows casting shadows across the picture. ...

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...

Daisy and Austen in front of Trailer (Till Death do us Part) - 2005 Proof b4 Printing / 128x125cm signed, analog C-Print, hand-printed by the artist, based on the Polaroid, signed ...

Castro’s labor-intensive, photo-collage works of drug kingpins, smugglers, hitmen, countrymen, street vendors, soldiers, paramilitaries, kidnappers, and pimps pose showing with pride...

From The series Guerreros One-of-a-kind Photomontage on archival paper Unframed The root of these unique photographic works by the artist Celso Castro occurred when the artist retur...

The End of Love - Oxana's 30th Birthday (29 Palms, CA) - 2010 - Edition 1/10 , 20x24cm. Archival C-Print, based on the original Polaroid. Artist inventory Number 4898.13. Sign...

150,000 Dollars (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 Ce...

Dayworker (American Depression), diptych - 1999 Edition of 10, plus 2 Artist Proofs. 58x57cm each, 58x122cm installed including an 8cm gap in between both pieces. 2 analog C-Prin...

Artist: Marilyn Minter (1948-) Title: ​Prism Year: 2009 Medium: ​C-Print Edition: 9/27, 18 proofs Size: 20 x 15.88 inches Condition: Excellent Inscription: Signed, titled, dated, and...

Color fine art waterscape - landscape photography. Archival pigment ink print as part of a limited edition of 8. All Gerald Berghammer prints are made to order in limited editions on...

From The series Frutas Color Unique Photomontage on archival paper Unframed Signed, titled and dated by the artist The root of these unique photographic works by the artist Celso C...

Chromogenic print Signed, titled, dated, and numbered (4/8) in pencil, verso This photograph is offered by ClampArt, located in New York City. Price includes framing. About the arti...

Vampire is an original photograph realized by Plinio Martelli in 2000s. The artwork represents a vampire woman. Excellent conditions. Hand-signed and...

Digital C-print (Edition of 10) Signed, dated, and numbered, verso 30 x 35.5 inches, sheet 22 x 27 inches, image This photograph is offered by ClampArt, located in New York City. Ple...

Lovefight (The Princess and her Lover) from 29 Palms, CA - 2009 120x180cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on 15 original Polaroids. Certificate and S...

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...

An original signed archival pigment print on Hahnemühle Photo Rag® Baryta 315 gsm paper by Scottish artist Ian Sanderson (1951- 2020) titled ‘ Torso ‘ who was captured on film in 19...

Digital C-print Stamped and numbered, verso 20 x 24 inches (Edition of 10) 30 x 40 inches (Edition of 5) 50 x 60 inches (Edition of 3) This photograph is offered by ClampArt, loc...

In Other Words (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 Invent...

Last Frame (29 palms, CA) - 2008 48x47cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certificate. Artist Inventory #4655. ...

So Still (Sidewinder) - 2005 including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 192 pages, hardcover, published by Snap Collective, 2024. 20x20cm, Edit...

Wonder Valley (Sidewinder) - 2005 Edition of 5, 156x125cm. Archival C-Print based on the Polaroid. Signature label and Certificate. Artist Inventory No. 3094. Not mounted. "...

Color fine art long exposure seascape - landscape photography. Archival pigment ink print as part of a limited edition of 8. All Gerald Berghammer prints are made to order in limited...

My Girl (Till Death do us Part) - 2005 48x46cm, Edition of 10, plus 2 Artist Proofs, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #92...

This 2007 photograph features six beautiful blondes posing on a bed. The photograph is from John Stoddart’s, “Risqué” series, where he explored a form of photography that seeks to sh...

This 2009 photograph features a beautiful red-haired woman, titled Salome (a temptress who lures men away from salvation). The photograph is from John Stoddart’s, “Risqué” series, wh...

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....

Breathing I (Deconstructing) - 2015 - about the narrative potential of images. 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid, Artist Inventory 15835. Signature...

Nobuyoshi ARAKI (*1940, Japan) 67 Shooting Back #GDN224, 2007 RP Direct print 50.8 x 60 cm (20 x 23 5/8 in.) Print only – Nobuyoshi Araki Nobuyoshi Araki (Tokyo, 1940) is a Tokyo-ba...

It's gonna be ok (Till Death do us Part) - 2008 Including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 192 pages, hardcover, published by Snap Collective, 202...

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

Into the Wild (Stranger than Paradise) - 2001, 32x52cm, Edition of 10, Archival C-Print based on the Polaroid, Signature label and Certificate. Artist Inventory No. 2896. Not m...

Please bear in mind that all prints are produced to order. Lead times between 15-20 days. Edition 2/10 All items are shipped as a print only and come unframed. Tim Flach is a grad...