Wood Portrait Photography

Mixed Media on wood featuring the infamous Keith Richards. Photographed by Joester. About the Artist: Steve Joester is a British-born Rock & Roll photographer and mixed media a...

Ceci nest pas is the third serie of Miguel Vallina' surreal images that reconsider the human form. ‘ceci n’est pas’ — meaning ‘this is not’ in french — explores the concept of identi...

Done Crying (The Girl Behind the White Picket Fence) - 2013 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Signed Certi...

IGGY POP - FROM THE ALBUM COVER SOLDIER 1980, STUDIO PORTRAIT (1979), 1979 Archival Pigment Print, Framed Image size 30 x 30 cm Frame: 55 x 45.5 cm © Brian Griffin "I remember this...

Gravity (The Girl behind the White Picket Fence) - 2013 80x80cm, Edition 2/5. Analog C-Print printed on Fuji Archive Paper, hand-printed by the artist, based on the Polaroid. Mou...

Done Crying (The Girl Behind the White Picket Fence) - 2013 Edition 1/10, 48,7 x 50 cm (External dimensions: 53,1 x 54,4 cm) Archival C-Print, based on the Polaroid, mounted on Alu-...

With his multimedia portraits, Moroccan artist Hassan Hajjaj thrives in a space between cultures, traditions, mediums, and artistic movements. The subjects of his photography range f...

With his multimedia portraits, Moroccan artist Hassan Hajjaj thrives in a space between cultures, traditions, mediums, and artistic movements. The subjects of his photography range f...

With his multimedia portraits, Moroccan artist Hassan Hajjaj thrives in a space between cultures, traditions, mediums, and artistic movements. The subjects of his photography range f...

With his multimedia portraits, Moroccan artist Hassan Hajjaj thrives in a space between cultures, traditions, mediums, and artistic movements. The subjects of his photography range f...

With his multimedia portraits, Moroccan artist Hassan Hajjaj thrives in a space between cultures, traditions, mediums, and artistic movements. The subjects of his photography range f...

Treasure II (Stage of Consciousness) 29 Palms, CA, 2007, 75x93cm, Edition 3/5. Analog C-Print printed on Fuji Archive Paper, hand-printed by the artist, based on a Polaroid. Sign...

"Women of the IDF" Large Exhibition color Photograph 30 x 40 inches, mounted on masonite and laminated. Edition of 4 + 2 artists proof. minor dings and bumps to edges Born in Tehran, Iran, Ashkan Sahihi moved with his family to West Germany at the age of seven. Although he began taking photographs as a teenager, Sahihi traces the beginning of his professional trajectory to New York in 1987, a thriving “pop culture metropolis” where he could do the kind of photography work that he wanted to do, exploring the underbelly of the society around him. Taking assignments from German publications such as the Süddeutsche Zeitung Magazine, Der Spiegel, Dummy and GEO, he photographed subjects like prisoners on death row, players in the hip-hop scene, and the downtown art scene of New York. Neither black nor white, an insider among outsiders, he found himself able to navigate spaces and dynamics that others might have had difficulty entering. He considered this both a privilege and an obligation – to visit these places and tell these stories. His success led to commissions from American publications as well, including the New York Times Magazine, the New Yorker, Rolling Stone, and Vogue. Put off by the limitations of photojournalism (the expectation that he would illustrate the writer’s perspective rather than author a narrative of his own), Sahihi began to embark on independent, highly compact conceptual series. His main goal in these series has been to drive forward public discourse on topics he believes have not provoked enough or the right kind of discussion: drugs, gender in the media, women in the military, etc. His portraits draw on a familiar visual language – often seated subjects before a neutral backdrop – but push the viewer to feel and think about entirely new things. Although he constantly challenges the comfort level of both the viewer and the subject, Sahihi never removes himself from the line of fire; all of his work requires the artist to immerse himself in uncomfortable situations and challenge his own emotional fortitude. Photographic Series In the “Face Series”, latex-gloved hands manipulate the subjects’ features, stretching, pushing, squeezing, pinching at the whim of external direction – from the artist? The customer? The public? The “Hypnosis Series” comprises 8 portraits of hypnotized subjects each experiencing a single emotion, e.g. helplessness, withholding/anger, or regret. In a society that rewards the suppression of such naked emotion, the purity of these depictions is arresting. In 2006, Sahihi photographed himself in the homes and with the families of six ex-girlfriends and one ex-wife, imposing himself more or less awkwardly on the constellations that emerged after he had exited their lives (“Exes Series”). For Sahihi’s most well-known work, the “Drug Series,” he convinced 11 non–drug users to consume a particular drug, then took their portraits over the course of their trips. The series was born out of Sahihi’s frustration with the hypocrisy of the political conversation about drugs in the United States. “By attempting to present an objective image of drug use, the artist addresses the cultural politics that allow our society to simultaneously glamorize the ‘drug look’ in fashion magazines and the entertainment industry and meanwhile turn a blind eye to the complicated, and vast, problem of drug abuse.” Sahihi has exhibited this series at MoMA PS1 New York in 2001, in Dresden in 2008, and alongside his installation “100 Million in Ready Cash." Sahihi’s dense explorations through small photographic series include “Women of the IDF," portraits of female Israeli soldiers...

the painting is being offered with a work and authenticity certificate

"Women of the IDF" Large Exhibition color Photograph 30 x 40 inches, mounted on masonite and laminated. Edition of 4 + 2 artists proof. minor dings and bumps to edges Born in Tehran, Iran, Ashkan Sahihi moved with his family to West Germany at the age of seven. Although he began taking photographs as a teenager, Sahihi traces the beginning of his professional trajectory to New York in 1987, a thriving “pop culture metropolis” where he could do the kind of photography work that he wanted to do, exploring the underbelly of the society around him. Taking assignments from German publications such as the Süddeutsche Zeitung Magazine, Der Spiegel, Dummy and GEO, he photographed subjects like prisoners on death row, players in the hip-hop scene, and the downtown art scene of New York. Neither black nor white, an insider among outsiders, he found himself able to navigate spaces and dynamics that others might have had difficulty entering. He considered this both a privilege and an obligation – to visit these places and tell these stories. His success led to commissions from American publications as well, including the New York Times Magazine, the New Yorker, Rolling Stone, and Vogue. Put off by the limitations of photojournalism (the expectation that he would illustrate the writer’s perspective rather than author a narrative of his own), Sahihi began to embark on independent, highly compact conceptual series. His main goal in these series has been to drive forward public discourse on topics he believes have not provoked enough or the right kind of discussion: drugs, gender in the media, women in the military, etc. His portraits draw on a familiar visual language – often seated subjects before a neutral backdrop – but push the viewer to feel and think about entirely new things. Although he constantly challenges the comfort level of both the viewer and the subject, Sahihi never removes himself from the line of fire; all of his work requires the artist to immerse himself in uncomfortable situations and challenge his own emotional fortitude. Photographic Series In the “Face Series”, latex-gloved hands manipulate the subjects’ features, stretching, pushing, squeezing, pinching at the whim of external direction – from the artist? The customer? The public? The “Hypnosis Series” comprises 8 portraits of hypnotized subjects each experiencing a single emotion, e.g. helplessness, withholding/anger, or regret. In a society that rewards the suppression of such naked emotion, the purity of these depictions is arresting. In 2006, Sahihi photographed himself in the homes and with the families of six ex-girlfriends and one ex-wife, imposing himself more or less awkwardly on the constellations that emerged after he had exited their lives (“Exes Series”). For Sahihi’s most well-known work, the “Drug Series,” he convinced 11 non–drug users to consume a particular drug, then took their portraits over the course of their trips. The series was born out of Sahihi’s frustration with the hypocrisy of the political conversation about drugs in the United States. “By attempting to present an objective image of drug use, the artist addresses the cultural politics that allow our society to simultaneously glamorize the ‘drug look’ in fashion magazines and the entertainment industry and meanwhile turn a blind eye to the complicated, and vast, problem of drug abuse.” Sahihi has exhibited this series at MoMA PS1 New York in 2001, in Dresden in 2008, and alongside his installation “100 Million in Ready Cash." Sahihi’s dense explorations through small photographic series include “Women of the IDF," portraits of female Israeli soldiers...

"Women of the IDF" Large Exhibition color Photograph 30 x 40 inches, mounted on masonite and laminated. Edition of 4 + 2 artists proof. minor dings and bumps to edges Born in Tehran, Iran, Ashkan Sahihi moved with his family to West Germany at the age of seven. Although he began taking photographs as a teenager, Sahihi traces the beginning of his professional trajectory to New York in 1987, a thriving “pop culture metropolis” where he could do the kind of photography work that he wanted to do, exploring the underbelly of the society around him. Taking assignments from German publications such as the Süddeutsche Zeitung Magazine, Der Spiegel, Dummy and GEO, he photographed subjects like prisoners on death row, players in the hip-hop scene, and the downtown art scene of New York. Neither black nor white, an insider among outsiders, he found himself able to navigate spaces and dynamics that others might have had difficulty entering. He considered this both a privilege and an obligation – to visit these places and tell these stories. His success led to commissions from American publications as well, including the New York Times Magazine, the New Yorker, Rolling Stone, and Vogue. Put off by the limitations of photojournalism (the expectation that he would illustrate the writer’s perspective rather than author a narrative of his own), Sahihi began to embark on independent, highly compact conceptual series. His main goal in these series has been to drive forward public discourse on topics he believes have not provoked enough or the right kind of discussion: drugs, gender in the media, women in the military, etc. His portraits draw on a familiar visual language – often seated subjects before a neutral backdrop – but push the viewer to feel and think about entirely new things. Although he constantly challenges the comfort level of both the viewer and the subject, Sahihi never removes himself from the line of fire; all of his work requires the artist to immerse himself in uncomfortable situations and challenge his own emotional fortitude. Photographic Series In the “Face Series”, latex-gloved hands manipulate the subjects’ features, stretching, pushing, squeezing, pinching at the whim of external direction – from the artist? The customer? The public? The “Hypnosis Series” comprises 8 portraits of hypnotized subjects each experiencing a single emotion, e.g. helplessness, withholding/anger, or regret. In a society that rewards the suppression of such naked emotion, the purity of these depictions is arresting. In 2006, Sahihi photographed himself in the homes and with the families of six ex-girlfriends and one ex-wife, imposing himself more or less awkwardly on the constellations that emerged after he had exited their lives (“Exes Series”). For Sahihi’s most well-known work, the “Drug Series,” he convinced 11 non–drug users to consume a particular drug, then took their portraits over the course of their trips. The series was born out of Sahihi’s frustration with the hypocrisy of the political conversation about drugs in the United States. “By attempting to present an objective image of drug use, the artist addresses the cultural politics that allow our society to simultaneously glamorize the ‘drug look’ in fashion magazines and the entertainment industry and meanwhile turn a blind eye to the complicated, and vast, problem of drug abuse.” Sahihi has exhibited this series at MoMA PS1 New York in 2001, in Dresden in 2008, and alongside his installation “100 Million in Ready Cash." Sahihi’s dense explorations through small photographic series include “Women of the IDF," portraits of female Israeli soldiers...

Nan Goldin Supreme Skateboard Decks, 2018 (set of 2): – Misty and Jimmy Paulette in a taxi, (NYC 1991) – Nan as a Dominatrix (Cambridge MA 1978) Set of 2 limited edition Nan Goldin ...

Captain Nelson (29 Palms, CA) - 2007 37x49x3.5cm, Edition 1/5. Artist Inventory No 4033.01. Analog C-Print, Hand-printed by the artist, mounted on a wooden box with matte UV-Prot...

Second Skin is the fist serie of Miguel Vallinas' surreal images that reconsider the human form. Second Skin explores the concept of identity and personal ...

Second Skin is the fist serie of Miguel Vallinas' surreal images that reconsider the human form. Second Skin explores the concept of identity and personal ...

D. and Felix (Stranger than Paradise) - 1997 Edition of 2/30. Image size 16 x 21.6 inch, External dimensions: 17.7 x 23.3 inch. Archival C-Print, based on the Polaroid. Mounted...

'Bambi Pang Pang - The Bride' by Carmen De Vos (Odd Stories) - 2/25, 2014 mounted on black mdf, dimensions 15x11,3cm (the second image shows a sample piece mounted) hand signed by th...

Homage to the late great musician Tupac Shakur. Images. Lyrics from his songs. Not framed. Acrylic paint on sheet music wheat pasted to wood panel. ...

Ceci nest pas is the third serie of Miguel Vallina' surreal images that reconsider the human form. ‘ceci n’est pas’ — meaning ‘this is not’ in french — explores the concept of identi...

Kanariepiet (Odd Stories) 2/25, 2014 digital print mounted on mdf (15x11cm - 0,8 mm), matt coating hand signed by the artist on the back. -- Part of Carmen De Vos' solo show Odd St...

Ceci nest pas is the third serie of Miguel Vallina' surreal images that reconsider the human form. ‘ceci n’est pas’ — meaning ‘this is not’ in french — explores the concept of identi...

Ceci nest pas is the third serie of Miguel Vallina' surreal images that reconsider the human form. ‘ceci n’est pas’ — meaning ‘this is not’ in french — explores the concept of identi...

April Blue Eyes (Suburbia) - 2004, 60x80cm, Edition of 2/5, analog C-Print, hand-printed by the artist, based on a Polaroid. Mounted on Aluminum with matte UV-Protection, with o...

Second Skin is the fist serie of Miguel Vallinas' surreal images that reconsider the human form. Second Skin explores the concept of identity and personal choice with a connection wi...

Ceci nest pas is the third serie of Miguel Vallina' surreal images that reconsider the human form. ‘ceci n’est pas’ — meaning ‘this is not’ in french — explores the concept of identi...

Ceci nest pas is the third serie of Miguel Vallina' surreal images that reconsider the human form. ‘ceci n’est pas’ — meaning ‘this is not’ in french — explores the concept of identi...

Ceci nest pas is the third serie of Miguel Vallina' surreal images that reconsider the human form. ‘ceci n’est pas’ — meaning ‘this is not’ in french — explores the concept of identi...

Ceci nest pas is the third serie of Miguel Vallina' surreal images that reconsider the human form. ‘ceci n’est pas’ — meaning ‘this is not’ in french — explores the concept of identi...

Ceci nest pas is the third serie of Miguel Vallina' surreal images that reconsider the human form. ‘ceci n’est pas’ — meaning ‘this is not’ in french — explores the concept of identi...

Ceci nest pas is the third serie of Miguel Vallina' surreal images that reconsider the human form. ‘ceci n’est pas’ — meaning ‘this is not’ in french — explores the concept of identi...

Ceci nest pas is the third serie of Miguel Vallina' surreal images that reconsider the human form. ‘ceci n’est pas’ — meaning ‘this is not’ in french — explores the concept of identi...

Second Skin is the fist serie of Miguel Vallinas' surreal images that reconsider the human form. Second Skin explores the concept of identity and personal cho...

Second Skin is the fist serie of Miguel Vallinas' surreal images that reconsider the human form. Second Skin explores the concept of identity and personal choice with a connection wi...

Ceci nest pas is the third serie of Miguel Vallina' surreal images that reconsider the human form. ‘ceci n’est pas’ — meaning ‘this is not’ in french — explores the concept of identi...

Ceci nest pas is the third serie of Miguel Vallina' surreal images that reconsider the human form. ‘ceci n’est pas’ — meaning ‘this is not’ in french — explores the concept of identi...

Ceci nest pas is the third serie of Miguel Vallina' surreal images that reconsider the human form. ‘ceci n’est pas’ — meaning ‘this is not’ in french — explores the concept of identi...

Second Skin is the fist serie of Miguel Vallinas' surreal images that reconsider the human form. Second Skin explores the concept of identity and personal choice with a connection wi...

Ceci nest pas is the third serie of Miguel Vallina' surreal images that reconsider the human form. ‘ceci n’est pas’ — meaning ‘this is not’ in french — explores the concept of identi...

Ceci nest pas is the third serie of Miguel Vallina' surreal images that reconsider the human form. ‘ceci n’est pas’ — meaning ‘this is not’ in french — explores the concept of identi...

Second Skin is the fist serie of Miguel Vallinas' surreal images that reconsider the human form. Second Skin explores the concept of identity and personal choice with a connection wi...

Ceci nest pas is the third serie of Miguel Vallina' surreal images that reconsider the human form. ‘ceci n’est pas’ — meaning ‘this is not’ in french — explores the concept of identi...

Ceci nest pas is the third serie of Miguel Vallina' surreal images that reconsider the human form. ‘ceci n’est pas’ — meaning ‘this is not’ in french — explores the concept of identi...

Ceci nest pas is the third serie of Miguel Vallina' surreal images that reconsider the human form. ‘ceci n’est pas’ — meaning ‘this is not’ in french — explores the concept of identi...

Ceci nest pas is the third serie of Miguel Vallina' surreal images that reconsider the human form. ‘ceci n’est pas’ — meaning ‘this is not’ in french — explores the concept of identi...

Second Skin is the fist serie of Miguel Vallinas' surreal images that reconsider the human form. Second Skin explores the concept of identity and personal ...

Second Skin is the fist serie of Miguel Vallinas' surreal images that reconsider the human form. Second Skin explores the concept of identity and personal ...

Ceci nest pas is the third serie of Miguel Vallina' surreal images that reconsider the human form. ‘ceci n’est pas’ — meaning ‘this is not’ in french — explores the concept of identi...

Ceci nest pas is the third serie of Miguel Vallina' surreal images that reconsider the human form. ‘ceci n’est pas’ — meaning ‘this is not’ in french — explores the concept of identi...

Ceci nest pas is the third serie of Miguel Vallina' surreal images that reconsider the human form. ‘ceci n’est pas’ — meaning ‘this is not’ in french — explores the concept of identi...

Ceci nest pas is the third serie of Miguel Vallina' surreal images that reconsider the human form. ‘ceci n’est pas’ — meaning ‘this is not’ in french — explores the concept of identi...

Second Skin is the fist serie of Miguel Vallinas' surreal images that reconsider the human form. Second Skin explores the concept of identity and personal ...

Ceci nest pas is the third serie of Miguel Vallina' surreal images that reconsider the human form. ‘ceci n’est pas’ — meaning ‘this is not’ in french — explores the concept of identi...

Ceci nest pas is the third serie of Miguel Vallina' surreal images that reconsider the human form. ‘ceci n’est pas’ — meaning ‘this is not’ in french — explores the concept of identi...