Early 2000s Photography

Bridge - Signed limited edition archival pigment print, 2004 - Edition of 5 Detail : Pont de Bir-Hakeim or Pont de Passy, Paris, France This print that is being offered is a high...

"Two Faces" is a black & white framed silver gelatin print (photograph) of a man and woman in an embrace from artist Jenny Lynn's "Little Rituals" series. I...

Edition of 25 Signed, titled, negative date, print date and numbered. Sepia toned gelatin silver print Michael Kenna's black and white photographs are powerful and alluring. His ima...

'Call Booth', photograph from Richard Heeps Salton Sea series. This cinematic neo-noir style picture shows the classic American roadside Phone Booth, something which we look at very ...

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...

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 ...

Untitled (Traintracks) - The last Picture Show - 2004 38x37cm. Edition of 5, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certificate. Arti...

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...

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...

Motel Entrance II, photograph from Richard Heeps Salton Sea series. Classic mid-century architecture in this artwork from the Salton Sea California. Rich blues, palm trees with pops ...

Black and white fine art landscape photography. Archival pigment ink print as part of a limited edition of 9. All Gerald Berghammer prints are made to order in limited editions on Ha...

Motel Desert Shores, photograph from Richard Heeps Salton Sea series. This picture has the a vibe of a Southern California American road trip, the colours are so seductive, the palm ...

An original signed archival pigment print on Hahnemühle Photo Rag® Baryta 315 gsm paper by Scottish artist Ian Sanderson (1951- 2020) titled ‘Ariane Signed by Ian Sanderson lower ri...

Massimo Vitali (b. Como, Italy in 1944) is an Italian photographer based in Lucca. Vitali studied photography at the London College of Printing. He initially worked as a photojournal...

Artist: Mary McCartney (1960) Title: ​Covering Kate, 2004 Year: Circa 2004 Medium: Chromogenic print Edition: 1/5 Size: 20 x 16 inches Condition: Excell...

Edition of 10 more sizes on request The black and white picture shows the very young orphaned baby elephant named Suguta which is pushing another little elephant with its head. Both...

In “American Motel Signs” Steve Fitch crisscrossed the United States documenting the colorful dynamic, advertisements inviting weary traveler to park their car and pack it in for the...

Dance - Signed limited edition archival pigment print , 2004 - Edition of 5 Photographed in Vienna during a Strauss concert. Signed,embossed + numbered by artist with certifica...

Citylights Paris Edition of 25 signed and numbered by the artist The view from the Montparnasse Tower to the Eiffel Tower in Paris at sunset. JJK is ...

View from Bombay Beach, from Richard Heeps Salton Sea series. Cool shades of blue in this serene waterscape below sea level in the Salton Sea. The suspended cloud creates a dreamy sy...

Untitled (Paradise) - 1999, 50x50cm. Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature label and Certificate. Artist Inventory No. 18550. No...

Nobuyoshi ARAKI (*1940, Japan) 69YK #19, 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...

Fog (The Last Picture Show) 2005 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and signature label. Artist inventory...

Black and white fine art landscape photography. Archival pigment ink print as part of a limited edition of 9. All Gerald Berghammer prints are made to order in limited editions on Ha...

Nobuyoshi ARAKI (*1940, Japan) 69YK #61, 2009 Gelatin silver print 60 x 50.8 cm (23 5/8 x 20 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...

Spiegelbild (Stage of Consciousness), 2008 125x154cm, Edition 4/5, analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, matte surface, based on a Polaroid. Cer...

Pool Slide, from Richard Heeps Dream in Color series. This fun original artwork really shows Richard's unique eye as a photographer, creating this kitsch pop-art picture from an Amer...

Motel Desert Shores, photograph from Richard Heeps Salton Sea Series. This artwork has the a vibe of a Southern California American road trip, the colours are so seductive, the palm ...

Radha Shooting II (Stranger than Paradise) - 1999 38x36cm, Edition of 30, digital C-Print based on a Polaroid, Signature label and Certificate. Artist Inventory No 259.34. Not mo...

Le Marais - Signed limited edition archival pigment print, 2005 - Edition of 5 This is an Archival Pigment print on fiber based paper ( Hahnemühle Photo Rag® Baryta 315 gsm , Aci...

Domestic Vacations: The Dutch proverb "a Jan Steen household" originated in the 17th century and is used today to refer to a home in disarray, full of rowdy children and boisterous f...

Dancer - Signed limited edition archival pigment print, Edition of 5 Signed + numbered by artist with certificate of authenticity , unframed Photographed in Vienna during a Strauss ...

This stylish artwork, 'Lilac Gloves' taken at the glamorous retro event Goodwood Revival, perfectly captures feminine sophistication with a vintage vibe. This artwork featured in Ric...

First Violin #03 - 2013 [From the series Need to be] 25x25cm + white border 0,5cm (total 26x26cm) Archival color print based on original Polaroid on beautiful PHOTO RAG ULTRA SMOOTH...

The Diva and the Boy (Beachshoot) - 2005 Edition of 10 plus 2 artist Proofs. 37x36cm each, installed 126x123cm. 9 archival C-Prints, based on the 9 Polaroids. Certificate and Sig...

Half Angels Half Demons - Zebra #26, 2008 by Mauricio Velez Black & White Photography Archival Pigment Print Image size: 29 in. H x 29 in. W Sheet size: 32.5 in. H x 32.5 in. W Edit...

Black and white fine art monochrome long exposure seascape - landscape photography. Archival pigment ink print as part of a limited edition of 7. All Gerald Berghammer prints are mad...

Black and white fine art 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 Ha...

Fear (Stage of Consciousness) - 2007 20x24cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature label and Certificate. Artist Inventory No. 7...

Facing Trains (Stranger than Paradise) - 1999 55x73cm, Edition 2/5. Aanalog C-Print, printed by the artist, based on the Polaroid. Mounted on Aluminum with matte V-Protection. A...

Stefanie Schneider Polaroid-sized unlimited Mini 'Angie' (Heavenly Falls) - 2016 - signed in front, not mounted. 1 Archival Color Photograph based on the Polaroid. Polaroid siz...

Pool Time (Suburbia) - 2004 40x50cm, Edition of 10, Archival C-Print based on a Polaroid, Signed on verso with Certificate, Artist inventory number: 1722. Not mounted. This pro...

NICK BRANDT (*1966, England) Sitting Lionesses, Serengeti 2002 Platinum print Image 69.5 x 88 cm (27 3/8 x 34 5/8 in.) Sheet 76.5 x 99 cm (30 1/8 x 39 in.) Edition of 25; Ed. no. 16/25 Framed Nick Brandt is a contemporary English photographer. His work focuses on the disappearing natural world. Since 2001, he has photographed the changing African continent and established a style of portrait photography of animals...

Through the looking Glass (Deconstructivism) - 2015 - about the narrative potential of images. 50x50cm, Edition of 10, digital C-Print, based on a Polaroid, Artist Inventory 2027...

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...

Actor Girl II (Stage of Consciousness) - 2008 including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 192 pages, hardcover, published by Snap Collective, 2024....

A set of three framed silver gelatin prints by James Sparshatt. These black and white portraits of cigar smokers in Havana, Cuba, were taken at the turn of the 21st Century. Each...

Influenced by late nineteenth-century expeditionary photographers such as Timothy O'Sullivan, who documented the "unexplored" territories of the West, Mark Klett visually explores these landscapes and the marks left on them by man. His images, like O'Sullivan's, have a human context - whether it be the lights of a city, a hat, foot or shadow jutting into the frame, or debris/artifacts left behind by ancient or modern passers-by. Working mostly in the desert Southwest...

Domestic Vacations: The Dutch proverb "a Jan Steen household" originated in the 17th century and is used today to refer to a home in disarray, full of rowdy children and boisterous f...

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...

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...

'Sun Kissed Wendy', from Richard Heeps 'Man's Ruin' Series. This contemporary portrait is part of a sequence of artworks photographing Wendy at the Rockabilly Weekender, Viva Las Veg...

Stefanie Schneider Polaroid-sized unlimited Mini 'Waiting' (Sidewinder) - 2005 - signed in front, not mounted. 1 Archival Color Photograph based on the Polaroid. Polaroid sized ...

So Still (Sidewinder), 2005 Edition 2/5, 128x130cm, Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the original Polaroid. Certificate and signat...

Limited Edition of 15 More sizes on request Sebastian Copeland is considered a photographer "who has created works of outstanding artistic quality and conveys messages of urgent glo...

Reinhard Görner’s Leda with Swan unveils an intimate and evocative perspective on Correggio’s 16th-century masterpiece, capturing the painter’s exquisite handling of light, texture, ...

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 Invento...

Michael WOLF (1954 – 2019, Germany) Transparent City #62, 2007 C–print Sheet 182.9 x 233.7 cm (72 x 92 in.) Frame 190 x 240 x 5 cm (74 3/4 x 94 1/2 x...

Black and white fine art landscape photography. Single mystical tree in morning fog on madeira island in Portugal. Archival pigment ink print as part of a limited edition of 9. All G...

An original signed archival pigment print on Hahnemühle Photo Rag® Baryta 315 gsm paper by Scottish artist Ian Sanderson (1951- 2020) titled ‘ Pont d' Arcole ‘, a bridge of Paris, Fr...

A black-and-white image shot on film, Roberta Fineberg captures on a carefree summer day a child's hand waving goodbye, prophetically perhaps at the Worl...

"WOODLANDS" by Mat Hennek The photos from the Woodlands cycle are the outcome of numerous excursions through all sorts of bosk - wood impressions with bewitching atmospheres. Carefu...

Those Kabuki players you see in my photographs are not with the mainstream Kabuki companies in Tokyo. They are with localized small groups located in various parts of Japan. They are...

OIivier - 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...

Cinematic sign porn from an American road trip photographed in Kanab. The area was often used as Western movie locations due to its scenic backdrop and...

Debbie Harry 1978 by Mick Rock: A lush, vibrant & timeless portrait of Debbie Harry, Blondie taken by the legendary photographer Mick Rock in New York City in 1978.  Mick Rock once said of his photo shoot with Debbie Harry, "I first shot her against a pink/red background and was soon very pumped by the Polaroids I reviewed. Although the moniker ‘punk Marilyn’ had already been attached to her image, I saw very little ‘punk’ and lots of ‘Marilyn’! I was absolutely consumed for the next three hours by the beautiful apparition that flowed into my lens. She was an absolute gift to photographers. A timeless beauty who remains to this day the most photogenic subject the rock music scene has ever produced. And she had such a great sense of humour about herself. Very relaxed, nothing forced, she was totally at ease in front of the camera.” Medium: Chromogenic Print. 1978/printed later. Dimensions: 14 x 11 inches. Very good overall vintage condition. Hand signed in marker on the lower right from an edition of unknown. Provenance: Maripol. Gifted to the former by Rock. Mick Rock BRITISH, B. 1949: Mick Rock is often referred to as "The Man Who Shot the Seventies" for his iconic images of Syd Barrett, David Bowie, Lou Reed, Iggy Pop, Queen, the Sex Pistols, the Ramones, Blondie, The Rocky Horror Picture Show and more. The London-born legendary rock photographer has resided in New York for the past 35 years. He has shot over 100 album covers. Related categories: CBGB. Punk photography...

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...

Oldsmobile and Sinful Barbie's, from Richard Heeps' 'Man's Ruin' Series. This artwork is part of a sequence capturing Wendy at the Rockabilly Weekender, Viva Las Vegas, these Barbie'...

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

Into the Sky (Deconstructivism) - 2015 - about the narrative potential of images. 20x20cm, Edition of 10, digital C-Print, based on a Polaroid, Artist Inventory 20275. Signature ...

Citylights Paris Edition of 25 signed and numbered by the artist The view from the Montparnasse Tower to the Eiffel Tower in Paris at sunset. JJK is ...

Play among the Stars (Till Death Do Us Part) - 2005 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature labe...

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 ...