C Print Portrait Photography

The Rolling Stones drummer, Charlie in the dressing room before a show in San Francisco. July 26th, 1966 Signed limited edition, signed and numbered by Bill Wyman and featuring the ...

Fellow Travelers II - 2005 20x24cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certificate. Artist Inventory No. 21735. ...

The Letter (The Girl behind the White Picket Fence) - 2005 20x24cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certificate...

'Red River' photograph from Richard Heeps Dream in Colour series. The vintage television set plays Red River, set in a warm wood-panelled interior. Thi...

'The Misfits' photograph from Richard Heeps Dream in Colour series. The vintage tv plays The Misfits, set in a warm wood panelled interior. This artwork is a limited edition of 25, ...

'Without Love' photograph from Richard Heeps Dream in Colour series. The vintage tv plays Without Love, set in a warm wood panelled interior. This artwork is a limited edition of 25...

Hanging Off Bed (Bobby Kendall), mid- to late 1960s/2022 Signed, dated, and numbered, verso Digital C-print 31 x 31 inches, image (Edition of 15) $4,500 22 x 22 inches, image (Ed...

The Letter (Till Death Do Us Part) - 2005 Including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 192 pages, hardcover, published by Snap Collective, 2024. 2...

It’s Written in the Moonlight (Till Death Do Us Part) - 2005 Including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 192 pages, hardcover, published by Snap Co...

New release September 2022. David Bowie, Flipped, 2001 by Markus Klinko Reworked negative image of David Bowie, taken from Markus Klinko's original imag...

Norman Parkinson Jerry Hall in Feathered Dior 1975 C print Estate stamped and numbered edition of 21 on verso Caption: Jerry Hall is photographed wearing a one-shouldered satin colu...

The swimming pool at Arturo Pani's villa, Acapulco, Mexico, January 1968. Complimentary dealer shipping to your framer, worldwide. Undercurrent Projects is proud to offer this vibr...

A long afternoon lunch at Acapulco. Among the guest are (from left to right) film star Douglas Fairbanks Junior (1909 - 2000), couturiers Oscar de la Renta, and standing behind him E...

'Sunkissed 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 Vega...

The Muse (29 Palms, CA) - 2009 including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 196 pages, hardcover, published by Snap Collective, 2024. 20x25cm, so...

Sunset (Oxana’s 30th Birthday) - 2007 featuring Radha Mitchell including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 196 pages, hardcover, published by Snap ...

The Party is Over (29 Palms, CA) - 2007 including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 196 pages, hardcover, published by Snap Collective, 2024. 20x...

The coastline near Warren Avis' villa in Las Brisas, Acapulco, January 1978. Complimentary dealer shipping to your framer, worldwide. Undercurrent Projects is proud to offer this v...

Signed limited edition print of the Beastie Boys by Jake Chessum. Jake recalls ” This was from April 1994. I flew from London to shoot at Mike D’s ba...

Norman Parkinson’s homage to a painting by Dutch artist Kees van Dongen entitled The Corn Poppy. Adele Collins wearing an Otto Lucas velvet toque. British V...

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...

Signed limited edition print of Kate Bush photographed by Brian Aris in London. Brian Aris limited edition prints, signed and numbered by Brian and carrying...

Untitled (Beachshoot) - 2005 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certificate. Artist Inventory No. 1400. Not mounted. featuring Australian actress Radha Mitchell. Beachshoot These photographic phantasies are determined by carefully chosen constraints and the use of symbolic attributes. Telegraph poles, airplanes, vast wastelands, a train bridge or a 50s American car tell in the same manner different stories, as do lurid wigs, kids toys, a headscarf or an old super 8 camera...

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...

1996 Brooklyn Nocturne 1996 Signed, verso Chromogenic print (Edition of 100) 5 x 7 inches (12.7 x 17.8 cm) This work is offered by CLAMP in New York City.

Rebirth C-print on Fuji Paper Collection: THE REBIRTH OF THE DUTCH FLOWER One size: 62.2 x 56.7 Edition of 8 + 2 Artist Proofs THE REBIRTH OF THE DUTCH FLOWER COLLECTION Isabelle va...

Solitary (Haley and the Birds) - 2013 48x47cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory # ...

Departure (Bombay all Day) - 2019 50x50cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. Artist inventory...

Very berry Cosmo II (Suburbia) - 2004 40x48cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Certificate and signature label. Artist inventory #209...

The Muse (29 Palms, CA) - 2009 including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 196 pages, hardcover, published by Snap Collective, 2024. 20x20cm, SOL...

Because I Am (Stage of Consciousness) - 2008 including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 196 pages, hardcover, published by Snap Collective, 2024. ...

Because I Am (Stage of Consciousness) - 2008 including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 196 pages, hardcover, published by Snap Collective, 2024. ...

Because I Am (Stage of Consciousness) - 2008 including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 196 pages, hardcover, published by Snap Collective, 2024. ...

Because I Am (Stage of Consciousness) - 2008 including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 196 pages, hardcover, published by Snap Collective, 2024. ...

Please note that as of 1st March 2025, the Slim Aarons Estate Stamped Collection aligned its pricing across the entire collection. Please bear in mind that all prints are produced t...

Digital C-print Stamped and numbered, verso 24 x 20 inches (Edition of 10) 40 x 30 inches (Edition of 5) 60 x 50 inches (Edition of 3) This photograph is offered by ClampArt, located in New York City. Please note that prices increase as editions sell. Luke Smalley was an American artist known for his photographic work, which pairs a coolly minimalist aesthetic with a retro nostalgia. Images from his early in his career were inspired by fitness manuals and yearbooks c. 1910. This is not surprising since Smalley graduated with a degree in sports medicine from Pepperdine University and worked for a number of years as a model and personal trainer. Smalley shot the bulk of his photographs in his home state of Pennsylvania, using real high school athletes as models. “Exercise at Home” is Luke Smalley’s second major body of work. Shot in and around the tiny Pennsylvania town the artist called home, Smalley revisits themes of adolescent growing pains acted out under the guise of earnest athleticism. Teenagers engage in simple yet strange competitions meant to establish their standings amongst one another. Two youths practice boating safety...

Please note that as of 1st March 2025, the Slim Aarons Estate Stamped Collection aligned its pricing across the entire collection. Please bear in mind that all prints are produced t...

Ron Brouillette, Mulholland Drive 1966/2001 Signed, titled, dated, and numbered, recto Cibachrome print (Edition of 50) 24 x 20 inches, sheet 18 x ...

Untitled (The Queen Rollerena and her Scepter) n.d./2022 Accompanied by a Certificate of Authenticity Chromogenic print (Edition of 5 + 2 APs) 8 x 10 inches (20.32 x 25.4 cm), sheet 6.5 x 9.25 inches (15.875 x 23.5 cm), image From The Center (New York City’s Lesbian, Gay, Bisexual & Transgender Community Center): “Rollerena Fairy Godmother came into being on the evening of Saturday, September 16, 1972 by a young man from Kentucky who put on a gown, a 1950s hat, and a straw basket and skated up and down Christopher Street in Greenwich Village, New York City. Over time, Rollerena added to her outfit: rhinestone glasses, costume jewelry, a small horn, and a magic wand to bless mortals became regular accessories to her character. She skated in gay neighborhoods, the Easter Parade, Gay Pride...

Just For a Time (The last Picture Show) - 2004 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid, Signature label and Certificate. Artist Inventory No. 1035. Not mounted. LIFE’S A DREAM (The Personal World of Stefanie Schneider) Projection is a form of apparition that is characteristic of our human nature, for what we imagine almost invariably transcends the reality of what we live. And, an apparition, as the word suggests, is quite literally ‘an appearing’, for what we appear to imagine is largely shaped by the imagination of its appearance. If this sounds tautological then so be it. But the work of Stefanie Schneider is almost invariably about chance and apparition. And, it is through the means of photography, the most apparitional of image-based media, that her pictorial narratives or photo-novels are generated. Indeed, traditional photography (as distinct from new digital technology) is literally an ‘awaiting’ for an appearance to take place, in line with the imagined image as executed in the camera and later developed in the dark room. The fact that Schneider uses out-of-date Polaroid film stock to take her pictures only intensifies the sense of their apparitional contents when they are realised. The stability comes only at such time when the images are re-shot and developed in the studio, and thereby fixed or arrested temporarily in space and time. The expired and at times unstable film she adopts for her works also creates a sense of chance within the outcome that can be imagined or potentially envisaged by the artist Schneider. But this chance manifestation is tightly controlled with an existential sense of chance, which becomes pre-disposed by the immediate circumstances of her life and the project she is undertaking at the time. Hence the choices she makes are largely open-ended choices, driven by a personal nature and disposition allowing for a second appearing of things whose eventual outcome remains undefined. And, it is the alliance of the chance-directed material apparition of Polaroid film, in turn explicitly allied to the experiences of her personal life circumstances, that provokes the potential to create Stefanie Schneider’s open-ended narratives. Therefore they are stories based on a degenerate set of conditions that are both material and human, with an inherent pessimism and a feeling for the sense of sublime ridicule being seemingly exposed. This in turn echoes and doubles the meaning of the verb ‘to expose’. To expose being embedded in the technical photographic process, just as much as it is in the narrative contents of Schneider’s photo-novel exposés. The former being the unstable point of departure, and the latter being the uncertain ends or meanings that are generated through the photographs doubled exposure. The large number of speculative theories of apparition, literally read as that which appears, and/or creative visions in filmmaking and photography are self-evident, and need not detain us here. But from the earliest inception of photography artists have been concerned with manipulated and/or chance effects, be they directed towards deceiving the viewer, or the alchemical investigations pursued by someone like Sigmar Polke. None of these are the real concern of the artist-photographer Stefanie Schneider, however, but rather she is more interested with what the chance-directed appearances in her photographs portend. For Schneider’s works are concerned with the opaque and porous contents of human relations and events, the material means are largely the mechanism to achieving and exposing the ‘ridiculous sublime’ that has come increasingly to dominate the contemporary affect(s) of our world. The uncertain conditions of today’s struggles as people attempt to relate to each other - and to themselves - are made manifest throughout her work. And, that she does this against the backdrop of the so-called ‘American Dream’, of a purportedly advanced culture that is Modern America, makes them all the more incisive and critical as acts of photographic exposure. From her earliest works of the late nineties one might be inclined to see her photographs as if they were a concerted attempt at an investigative or analytic serialisation, or, better still, a psychoanalytic dissection of the different and particular genres of American subculture. But this is to miss the point for the series though they have dates and subsequent publications remain in a certain sense unfinished. Schneider’s work has little or nothing to do with reportage as such, but with recording human culture in a state of fragmentation and slippage. And, if a photographer like Diane Arbus dealt specifically with the anomalous and peculiar that made up American suburban life, the work of Schneider touches upon the alienation of the commonplace. That is to say how the banal stereotypes of Western Americana have been emptied out, and claims as to any inherent meaning they formerly possessed has become strangely displaced. Her photographs constantly fathom the familiar, often closely connected to traditional American film genre, and make it completely unfamiliar. Of course Freud would have called this simply the unheimlich or uncanny. But here again Schneider almost never plays the role of the psychologist, or, for that matter, seeks to impart any specific meanings to the photographic contents of her images. The works possess an edited behavioural narrative (she has made choices), but there is never a sense of there being a clearly defined story. Indeed, the uncertainty of my reading here presented, acts as a caveat to the very condition that Schneider’s photographs provoke. Invariably the settings of her pictorial narratives are the South West of the United States, most often the desert and its periphery in Southern California. The desert is a not easily identifiable space, with the suburban boundaries where habitation meets the desert even more so. There are certain sub-themes common to Schneider’s work, not least that of journeying, on the road, a feeling of wandering and itinerancy, or simply aimlessness. Alongside this subsidiary structural characters continually appear, the gas station, the automobile, the motel, the highway, the revolver, logos and signage, the wasteland, the isolated train track and the trailer. If these form a loosely defined structure into which human characters and events are cast, then Schneider always remains the fulcrum and mechanism of their exposure. Sometimes using actresses, friends, her sister, colleagues or lovers, Schneider stands by to watch the chance events as they unfold. And, this is even the case when she is a participant in front of camera of her photo-novels. It is the ability to wait and throw things open to chance and to unpredictable circumstances, that marks the development of her work over the last eight years. It is the means by which random occurrences take on such a telling sense of pregnancy in her work. However, in terms of analogy the closest proximity to Schneider’s photographic work is that of film. For many of her titles derive directly from film, in photographic series like OK Corral (1999), Vegas (1999), Westworld (1999), Memorial Day (2001), Primary Colours (2001), Suburbia (2004), The Last Picture Show (2005), and in other examples. Her works also include particular images that are titled Zabriskie Point, a photograph of her sister in an orange wig. Indeed the tentative title for the present publication Stranger Than Paradise is taken from Jim Jarmusch’s film of the same title in 1984. Yet it would be dangerous to take this comparison too far, since her series 29 Palms (1999) presages the later title of a film that appeared only in 2002. What I am trying to say here is that film forms the nexus of American culture, and it is not so much that Schneider’s photographs make specific references to these films (though in some instances they do), but that in referencing them she accesses the same American culture that is being emptied out and scrutinised by her photo-novels. In short her pictorial narratives might be said to strip films of the stereotypical Hollywood tropes that many of them possess. Indeed, the films that have most inspired her are those that similarly deconstruct the same sentimental and increasingly tawdry ‘American Dream’ peddled by Hollywood. These include films like David Lynch’s Blue Velvet (1986), Wild at Heart (1990) The Lost Highway...

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...

Spiegelbild (Stage of Consciousness) part of the 29 Palms, CA project - 2008 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature labe...

The Party is over (Oxana's 30th Birthday) - 2007, from the 29 Palms, CA project - 40x50cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signatur...

Please note that as of 1st March 2025, the Slim Aarons Estate Stamped Collection aligned its pricing across the entire collection. Please bear in mind that all prints are produced t...

She Is Here C Print On Fuji Paper Collection: Flower Evolution One size: 44.5 x 40.5 Edition of 7 + 3 Artist Proofs "FLOWER EVOLUTION The most highly coveted of ornamental plants, ...

The Nurse (Heather's Dream) - 2013 20x24cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid, Certificate and signature label. Artist Inventory Number 15...

The Pursuit of Happiness (29 Palms, CA) - 2009 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature Label. Arti...

Divine Nude No.29 is a limited-edition photograph by French contemporary artist Ronald Martinez. This photograph is sold unframed as a print only. It is available in 2 dimensions: ...

Actor Girl - part I (29 Palms, CA) - 2008, 20x24cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print print, based on the Polaroid. Certificate and Signature label. Artist ...

In Hiding (29 Palms, CA) - 2005 20x20cm, Edition of 10, plus 2 Artist Proofs, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #5723. Not...

False Pretenses (29 Palms, CA) - 2008 20x24cm, Edition of 10, plus 2 Artist Proofs, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #573...

Cinderella (29 Palms, CA) - 2008 20x20cm, Edition of 10, plus 2 Artist Proofs, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #5721. No...

The Letter (Till Death Do Us Part) - 2005 50x49cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artist...

The Letter (Till Death Do Us Part) - 2005 250x49cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artis...

It's over! (Till Death do us Part) - 2008 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artist...

I don't like it (Till Death do us Part) - 2008 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label. A...

What are we gonna do?! (Till Death do us Part) - 2008 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature la...

Deserted (Stage of Consciousness) - 2007 40x48cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and signature label. Artist Inventory ...