Frank Yamrus

untitled (Kiss)

2007

Gelatin silver print (Edition of 15) Signed, dated, and numbered, verso From the series, "Rapture" This photograph is offered by ClampArt, located in New York City. Please note that...

Chromogenic print (Edition of 25) Signed and numbered, verso From the series, "Male Fantasy Icon" This artwork is offered by ClampArt, located in New York City. Pacifico Silano is ...

Gelatin silver print (Edition of 15) Signed, dated, and numbered, verso From the series, "Rapture" This photograph is offered by ClampArt, located in New York City. Please note that...

Digital C-print (Edition of 11) Signed, dated, and numbered, verso This photograph is offered by ClampArt, located in New York City. Please note that prices increase as editions sel...

In 2018, the Museum of Contemporary Art (MOCA) in Los Angeles hosted the exhibition "Real Worlds: Brassaï, Arbus, Goldin," which ran from March 4 to September 3. To promote this even...

Colorful lips blowing circles. Printed on Hahemühle archival paper .Print has a 10 cm white border and comes with a certificate. :: Photograph :: Color :: This piece comes with an ...

Born in 1967 in a small village in the south of Israel, Eitan Vitkon is an acclaimed contemporary photographer whose work has been exhibited and applauded worldwide. In 1996, Eitan m...

Text by Nancy Webb It’s Saturday night and Karine Payette is in her studio. We meander into a conversation about the dog she used to have and her soft spot for German shepherds, an intensely obedient and loyal breed in a deceivingly wolf-like package. Payette’s most recent series of photographs, sculptures and video work seem to speak directly to this preoccupation with the multifaceted nature of human-animal relationships—the dialogues of control, intimacy, violence and domestication that subtly take place on an interspecies level. Her workspace is part laboratory, part prop closet—a bowl of fur sits not far from her computer. Somehow in this bright, open, chemical-clean scented room, Payette conjures wildness. We are taken to a strange place, the borderlands of interspecies mingling. At one extreme of the animal-human dynamics scale is the stalwart compliance of a professionally trained German shepherd who responds to commands with robotic precision. Here, power is comfortably held by an off-screen voice, animality pacified by a set of linguistic prompts. At the other end of the scale is a sculpture of a human figure clad in red, sharing a languorous kiss with a wolf. The story of Little Red Riding Hood is immediately called to mind, except that here our hooded protagonist seems to have bailed on grandmother’s orders, instead opting for a forest floor make-out with her canine stalker. This taboo mise-en-scène is a brazen inquiry into the boundaries we maintain with our animal counterparts. Its scale and three-dimensionality contribute to a feeling of immersion that the artist has been courting with her work for the past several years. It feels as though you’ve just walked in on something: you are implicated and your discomfort is like an invisible mist that coats these inanimate beings. Elsewhere in Payette’s suite of anthropomorphic works, the demarcation between species grows even fainter. A photographic series depicts the slow encroachment of fur, scales and feathers on human skin—a striking process of contamination facilitated by touch. The fusion of flesh, charcoal cat fur and a pale silky dress...