Early 2000s Photography

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...

Snap–15 Minutes of Fame (Wastelands) - 4 pieces, 2003 Edition of 5, 105x100cm each, 220x220cm installed. Analog C-Prints, hand-printed by the artist on Fuji Crystal Archive Paper,...

Leonard Freed’s authenticated/stamped vintage (back of photo), 16" x 20", gelatin silver print, Kate #14, is from the Kate series, 2002. A photographer herself, model and yogini Kate remains complicit in striking dramatic poses for the Kate nude series by Freed. In this image Kate is supine, arms outstretched, body arched on the backside of a person in a downward dog yoga pose. On the edge of a cliff with the ebb and flow of the sea and waves many feet below, the duo remain in balance above swirling waters. Kate's trust in the universe, a face of abandon, reveals youthful fearlessness and love of freedom. Freed captures a self-possessed modern woman and partner in a dance of sorts that Kate shares on the edge of time...

The Juncture (Till Death do us Part) - 2005 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Certificate and Signature label. Artist Inventor...

Edition of 25 4 Girls sitting on bed and brushing hair in an old french palace. The artist, photographer and director Iris Brosch, living between New Y...

Marion - Signed limited edition archival pigment print , France, 2003 - Edition of 5 This is an Archival Pigment print on fiber based paper ( Hahnemühle Photo Rag® Baryta 315 g...

Magic Mountain 12 (Memories of Green), Edition 1/5 , 58x56cm, 2003 analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on a Polaroid, Artist inventory Nu...

Kate #5, 2002 by American photographer Leonard Freed is an 8” x 10” signed black and white photograph stamped "vintage" by the Freed estate on verso (back of photo). Model, photograp...

This giant isolated roadside sign set against a vast blue sky is a remnant of 'The Sundowner Bar and Restaurant' of the motel which is sadly no more. This photograph, part of Richard...

On the Run (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 Inventor...

Jules and Jim II (Renée's Dream) from the 29 Palms, CA series - 2007 125x123cm, Edition 3/5. Analog C-Print, hand-printed by the artist, based on the original Polaroid. Certific...

Fair Weather (Till Death Do Us Part) - 2005, 20x24cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print print, based on the Polaroid, Certificate and Signature label Artist ...

Nothing to do with my Will (The Princess and her Lover) - 2007 part of the 29 Palms, CA project. Edition of 10, 20x24cm. Archival C-Print, based on a Polaroid. Signature labe...

Liu Ye in his studio with muse, Beijing, 16 May 2007 X Photographed by Jonathan Becker Contemporary 44" x 44.5" Archival Pigment Print Edition Nº 1 of 9 Cert...

Digital C-print Stamped and numbered, verso 20 x 24 inches (Edition of 10) 30 x 40 inches (Edition of 5) This photograph is offered by ClampArt, located in New York City. Please n...

This photograph is printed on Japanese Paper. The price is for an unframed photograph. The Robin Rice Gallery is pleased to announce, 25 Years of Polaroids, a new exhibit by Jose ...

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...

A classic American icon, the roadside giant Cowboy "Muffler Man", captured on Richard Heeps' road trip between Mecca and the Salton Sea. Part of a series of pictures by Richard Heeps...

Black and white fine art landscape photography. Crooked tree in fairy forest in foggy mood, Fanal, Portugal. Archival pigment ink print as part of a limited edition of 7. All Gerald ...

Circle of Magic - Shazam (29 Palms, CA) - 2009 20x24cm, Edition 6/10. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #2823.06. Not m...

This iconic image was captured by Richard while at Viva Las Vegas 2001, where he was photographing for Classic American magazine where it was chosen as the lead image for the feature...

Black and white fine art long exposure waterscape - landscape photography. Archival pigment ink print as part of a limited edition of 7. All Gerald Berghammer prints are made to orde...

NICK BRANDT (*1966, England) Elephants Walking Through Grass, Amboseli 2008 Platinum print Image 58.42 x 106.68 cm (23 x 42 in.) Sheet 76 x 111.2 cm (29 7/8 x 43 3/4 in.) Edition of ...

The Prince (The Princess and her Lover), 2007, part of the 29 Palms, CA project, Edition of of 10, 20x20cm, digital C-Print based on a Polaroid, Signature label and Certificate, a...

Blue Lotus, 2003 is a contemporary color photograph by Japanese artist Tadayuki Naito. Naito created a series on the blue lotus, a flower of peace and hope. The artist’s desire was t...

Ground Control (Stranger than Paradise) - 2008 40x40cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certificate. Artist Inv...

'View from Bombay Beach', cool shades of blue are key to this serene waterscape below sea level in the Salton Sea. The suspended cloud creates a dreamy symmetry. The artwork is a li...

Set of two Framed Fun Typography Pop Art Prints. FUN! Carter's Yard, Maidenhead, 2022 Swim-in-Pool Supply Co. Las Vegas, 2003 Each individually framed artwork measures 39.5" x 33.5"...

Walk the Line Edition of 25 signed and numbered by the artist A man walks along the shore of the coastline in Ghana. JJK is a pseudonym for one of the world's most successful photo...

William Wegman is a renowned photographer famous for his unique and artistic photographs of Weimaraner puppies. His approach to is far from conventional, avoiding the typical "cuddly...

Part of Richard Heeps 'Dream in Colour' Series, 'Nicely's Café' has a vibe of an American road trip, the classic diner interior has a cool cinematic feel. This artwork is a limited ...

Narween (Saigon) - 2003 58x56cm, Edition 4/5. Analog C-Print, hand-printed by the artist, based on the original Polaroid. Artist inventory Number 469.04. Signature labe and Cert...

This intriguing offset lithograph print, signed and numbered out of 200 by an unknown artist in ballpoint pen, features a puff of smoke or a cloud hovering over a fence. The minimali...

Belles of Shoreditch, from Richard Heeps Burlesque series. Richard Heeps became well-known for his Burlesque Photography after he spent 2003 ca...

A slow Wake-up, 2008, 40x40cm from the series mme.xposed, digital print based on a Polaroid mounted on Dibond - matt Hand signed & numbered by the artist edition of 7 - nr 1 Carmen...

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...

Traditional photographic techniques mixed with digital manipulation work to create slightly surreal homoerotic imagery for the prints in Jenkins' Liquid series. Signed, titled and nu...

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...

Summertime (Malibu) - 2004 Edition 4/5, 39x37cm. Analog C-Print, hand-printed by the artist, based on a Polaroid. Artist inventory Number 660.04. Mounted on Aluminum with matt...

Memories of Love II (The Girl Behind the White Picket Fence), 2013 including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 192 pages, hardcover, published by S...

The Kiss (Sidewinder) - 2005 125x154cm, Edition 2/5, analog C-Print, hand-printed by the artist on Fuji Crystal Archive paper, based on the original Polaroid. Signed on verso. Artist Inventory No. 3120.02. Mounted on Aluminum with matte UV-Protection. This piece ships in a crate. Schneider harnesses the unpredictable chemical mutations of expired Polaroid film, where bursts of color erupt across the surface, destabilizing the photograph's traditional allegiance to reality. These vivid distortions draw her characters into ethereal, trance-like dreamscapes. Like fleeting sequences from a vintage road movie, Schneider’s images shimmer with a transitory quality, dissolving before any definitive conclusions can be drawn. Their ephemeral essence is conveyed through subtle gestures and enigmatic motives. Refusing to yield to the constraints of reality, Schneider’s work keeps alive a delicate interplay of dream, desire, fact, and fiction, blurring the boundaries between them with poetic ambiguity. Stefanie Schneider’s work echoes the heart of American art, channeling the cinematic nostalgia of Ed Ruscha’s roadscapes, the stark sensuality of Georgia O’Keeffe’s deserts, and the haunting solitude of Edward Hopper...

Winter (The Last Picture Show) - 2005, 50x49cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artist I...

Chinstrap Penguins, Deception Island, Antarctica, 2005 - Sebastião Salgado Stamped with photographer’s copyright blind stamp Signed, inscribed on re...

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...

Springtime (Suburbia) - 2004 50x60cm, Edition of 10, Archival C-Print based on the Polaroid, Signed on verso with Certificate, Artist inventory number: 18251. Not mounted. Thi...

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...

Nobuyoshi ARAKI (*1940, Japan) 69YK #15, 2009 Gelatin silver print 50.8 x 60 cm (20 x 23 5/8 in.) Print only Nobuyoshi Araki (Tokyo, 1940) is a Tokyo-based photographer. Araki completed his studies at Chiba University’s Department of Photography, Painting and Engineering with a focus on the study of film and photography. His photographic project Satchin earned him the prestigious Taiyo Award in 1964, shortly after he had joined the advertising agency Dentsu, where he worked until 1972. At Dentsu he met his wife Yoko, to whom he paid homage in Sentimental Journey, a photographic record of their honeymoon published in 1971. Eros and thanatos (sex and death) has been a central theme in Araki’s work; an abiding fascination with female genitalia and women’s bodies in Japanese bondage...

Chorus Mysticus Edition of 25 signed and numbered by the artist In this nude photograph, the artist refers to Chorus Mysticus from Goethe's Faust. CHORUS MYSTICUS (Goethe's Faust) ...

Willy Ronis is one of the most famous members of the French Humanist photography. Silver print on photographic paper Hand-signed by the artist lower right Stamp of the artist's stud...

Plane ghost - 2008 40x40cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certificate. Artist Inventory #4638. Not mounted. ...

Radha Mind Screen (29 Palms, CA) - 2016 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory ...

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...

Lone Star Bus- blue - 48x120 (10 ft) 2006 © Bruce Jefferies Reinfeld Limited edition archival pigment photograph KODAK Tri-X 400 black and white film with digital filters South ...

Troubled Henry (Stay) with Ryan Gosling - 2006 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 5091. Not...

"Markus Klinko is an award-winning, international fashion/celebrity photographer and director, who has worked with many of today's most iconic stars of film, music, and fashion. Kli...

Dogs, USA, Greenwich, CT is a 5" x 7" black and white photograph, stamped “vintage” by the Freed estate on verso (back) of gelatin silver press. Provenance: Freed archive. The photo...

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...

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...

All prints are produced to order. Lead times between 5-10 days. Due to currency fluctuations prices may change. Please contact the gallery for more information about this print or...

Martini Corner, is an interior photograph by Richard Heeps, captured in Arizona as part of his Dream in Color series. The artwork has rich orange colours and an elegant mid-century f...