Fred W. McDarrah

Gillian Bradshaw Smith in Studio

1972

Carol Beckwith, (American, b. 1945), Maasai Portrait Chromogenic print on paper, from Beckwith's book "Maasai" (1980), Hand signed in pencil, dated and titled with name of sitter ...

Carol Beckwith, (American, b. 1945), Maasai Portrait Chromogenic print on paper, from Beckwith's book "Maasai" (1980), Hand signed in pencil, dated and titled with name of sitter ...

Abe Frajndlich (German American, b. 1946) Portrait of Red Grooms 1986 Los Angeles Hand signed, titled, and dated verso Abe (Abraham Samuel) Frajndlich was born in a displaced per...

Scout Tufankjian: President Barack Obama and First Lady Michelle Obama Inauguration Night, 2009 Chromogenic print, 2009, signed and numbered 1/25 on a label from Danziger Projects, NY. 20 x 24 in. (sheet), 22 x 29 in. (frame). Provenance: A Contemporary Vision: Works from the Melva Bucksbaum Collection Sold to Benefit Art for Access at Bennington College Scout Tufankjian is an Armenian-American photojournalist and author based in Brooklyn, New York. She is well known for her photos of American President Barack Obama during his campaign leading up to his presidency. She is also known for her photojournalism work on the Armenian diaspora. She was born in Boston, Massachusetts to an Armenian-American father, Allan, a lawyer, and an Irish-American mother, Betty. She grew up in the south shore towns of Whitman and Scituate, both in Massachusetts. As a child she was separated from the Armenian community in Massachusetts. Her knowledge of the her Armenian heritage came from reading magazines and newspapers that she found at her grandparents home. She started shooting photographs in Northern Ireland at age 18. She attended and earned a B.A. in Political Science and Government from Yale University in 2000. She speaks English and Arabic. From 2006 to 2008 she covered Senator Barack Obama's campaign for President of the United States, and was the only independent journalist to follow him from the run up to his announcing his candidacy through his victory on election night. Tufankjian took more than 12,000 photographs throughout the campaign. She released a book featuring a selection of the photographs titled Yes We Can: Barack Obama's History-Making Presidential Campaign in December 2008, which sold out its initial 55,000 copy run a month before it was released. In 2010 she went to cover the Haiti Earthquake and its aftermath. From 2011 to 2012 Tufankjian went to Egypt to photograph The Egyptian Revolution. From this time she has Photos categorized as The Egyptian Revaluation, The Detainees, Along the Barricades, Endgame, The Egyptian Elections and Egypt's Salafi Community. In August 2012, Tufankjian took a photo of Michelle Obama and President Barack Obama hugging each other. The photo was taken in Dubuque, IA in Aug15th. Instead of focusing on the Obamas as political figures, Tufankjian focused on them as a couple. The Obama campaign staff sent this picture out on the official Obama Facebook and Twitter accounts the night of the election, 6 Nov. 2012. This picture became the most liked photo on Facebook and most retweeted tweet in history. In 2015 Tufankjian published in commemoration of the Centennial of the Armenian genocide, There is only the Earth: Images for Armenian Diaspora. Tufankjian took 6 years and traveled to 5 different continents gathering stories and photos of the Arminian people who were killed and displaced from their homes by the Turkish Ottoman government between 1915 and 1923. Tufankjian traveled to Ethiopia, Syria, Turkey, Lebanon, Argentina, France, United States, Hong Kong, and Canada in search of Armenian communities, photographing Armenian lives around the world. In showing how the Armenian people survived Tufankjian's photos capture everyday life, the from religious to the romantic to the familial. Works Images from the Middle East (2006) Yes We Can: Barack Obama's History-Making Presidential Campaign (2008) Haiti 2010 The Haitian Earthquake, A Tale of Two Camps Egypt 2011-2012: A Year of Revaluation There Is Only the Earth: Images from the Armenian Diaspora Project, Melcher Media, 2015. A photojournalist's study of the Armenian diaspora on its 100th anniversary Commissioned work: The HALO Trust: 100 Women in Demining (2017) Ongoing Projects Karabakh: 2002-2020 Danziger Gallery is a leading photography dealer. they have shown Robert Frank, Henri Cartier Bresson, Alice Mann...

Lord Fauntleroy Ahmedabad 151213-84 High Gloss Metal Print with Float Mount Hanger Year: 2015 Size: 12 inches diameter Signed: On Label Edition: 7 COA provided Lord Fauntleroy is a ...

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 ...

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...

The ephemeral nature of fleeting light is captured in Kodachrome in this early color photograph taken in 1971. The work is signed, dated, and numbered 3/15 lower right recto, other s...