21st Century and Contemporary Portrait Photography

American actors Paul Newman and Lee Marvin wearing cowboy hats Tucson, Arizona for a publicity still for Stuart Rosenberg’s 1972 comedy western film ‘Pocket Money’. From what Terry O...

Randy and I (Wastelands) - 2003 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist inventory Number 1170. Signature label and Cer...

Edition of 25 signed and numbered by the artist Peppa was the bishop's pig in Ghana. The sun shines into the stable and makes her ears light up. JJK is a pseudonym for one of the w...

Last Season I - so I walked away from my Valley (Wastelands), diptych - 2003 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist...

Boxing Elena (Odd Stories) - 2014 Published in Carmen De Vos's new book 'The Eyes of the Fox'. 80x60cm, edition of 5, Digital archival pigment print 
based on an original Polaroi...

Sükan created the ‘La Notte’ series as he was working for international magazines documenting the fashion shows and backstage as well as the social times of the fashion world in Pari...

'Orangutan #1, Los Angeles, CA, 2011' is a limited-edition photograph by contemporary artist Brad Wilson from the ‘Affinity’ series which features studio portraits of wild animals. ...

This archival illustrative photography pigment print on cotton rag by Andrew Pinkham measures 20in x 16in and is signed and numbered. This piece is part of a small edition of 10. A...

Promise Me (Till Death Do Us Part) - 2005, 38x37cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventor...

Rick Rubin - Signed Limited Edition Print Personal Work September 4 2013 Malibu, California (photo Kevin Westenberg) NB All prints are signed and n...

Signed limited edition print of acclaimed British fashion designer, Vivienne Westwood by photographer, Andrew Cotterill. “I took this picture when i was assisting in the early 90’s. The photographer i was working with said take one of my other cameras and shoot what you see. It was a very kind gesture to mention this, so i did and had a great time. Vivian was wonderful and totally eccentric having created this tiny room she called her “Saloon”. Its was a little scary but probably got me on my way.” This print is available in different sizes: 12 x 16” - Edition 25 16 x 20” - Edition 20 20 x24” - Edition 15 30 x 40” - Edition 10 East London born Andrew Cotterill is a Photographer with a genuine passion and engendered affinity with his subject matter. His work for Q Magazine, Mojo, Spin, Sony Style, NME, Big Issue and Dazed & Confused has taken him from court photographer of the mid-90's drum 'n' bass explosion to the expert eye on Jamaica's dancehall renaissance. Andrew's, association with music runs true and deep - his passage into photography was a natural progression from his passion of the 80's club and warehouse-party scene. Andrew's entry into magazines came, suitably enough, with pictures of Public Enemey's Chuck D...

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...

Kira Schlepp The Hierophants Journey Part 4 Archival Pigment Print Year: 2024 Visible Size: 7 x 10.5 inches Framed: 11 x 14 x 1.5 inches Signed: On Label COA provided *Float mounted...

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...

'Camille's Catching' (Beachshoot) The Original Polaroid - Unique Piece 1/1 - 2005 10.8x8.8cm including white Polaroid frame Artist inventory 21384.00 signed on verso Stefanie Schne...

Home of the Brave (Oxana's 30th Birthday) - 2007 A Captivating Journey Through Faded Dreams Dimensions: 48x46cm Edition: Limited edition of 10, / plus 2 Artist Proofs Medium: Archi...

Mermaid's Daughter (Till Death do us Part) - 2005, 70x85cm, Edition of 10. Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artist Inventory ...

This mid-1970s portrait photograph, captured by society photographer Slim Aarons, features Sarah Marson Williams enjoying a cocktail on the beach at the Hilton Hotel, Needhams Point,...

Rendering Memories II (The Girl Behind the White Picket Fence) - 2013 20x24cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Signature label and certificate. Artist Inventory #13388. Not mounted. Offered is a piece from the movie: The Girl Behind the White Picket Fence. Written and directed by Stefanie Schneider A tale told with blemished and expired Polaroid film about the hopes and dreams of a newly orphaned girl after losing her parents who lived in the Californian desert in an old travel trailer. -filmed with Polaroid film stock and Super-8 footage, overlaid with poetic voice-over monologue - this feature film creates a dynamic kaleidoscope of words and pictures, a dreamy tale that channels Terrence Malick, Gus Van Sant, and pages torn from a lonely girl's journal. (Palms Springs life magazine / Caroline Ryder) Stefanie Schneider By Caroline Ryder Travel up a bumpy dirt road in Morongo Valley, the trail strewn with rocks, and you’ll come upon a gigantic 1950s trailer in pristine condition, ringed by a white picket fence, with cottontail rabbits hopping among neat little rose bushes that bloom in spite of the broiling desert heat. Inside the trailer are period accents—a vintage radio, vintage fridge, little crocheted doilies, and dusty gilt-framed photographs. It’s a surreal home-sweet-home, an Americana fantasy as imagined by German artist and experimental filmmaker Stefanie Schneider whose work is so inspired by the desert landscape, she made it her home in 2005. “There’s a completely different light here than in Germany, a beautiful light,” says Schneider, whose property in Morongo is dotted with vintage trailers. They surround her midcentury home and serve as sets for her photoshoots or as guest lodgings for her friends from Hollywood and Berlin. “But what I really love about the desert is the desolation,” she continues. “The sense of hope for something that might or might not come. It’s easy to see our dreams projected in the desert.” Famed for shooting trailer park chic fine art photographs exclusively on vintage Polaroid film, Schneider recently completed her most ambitious project to date—a feature film made entirely of Polaroid stills (4000 images in total), the story set around her magnificent 1950s trailer. The film, called “The Girl Behind The White Picket Fence” tells the story of a broken-hearted girl who lives in the trailer. Her name is Heather, and she is played by model Heather Megan Christie, girlfriend of actor Joaquin Phoenix, and former partner of Red Hot Chili Peppers singer Anthony Kiedis, with whom she has a son. Heather stars opposite Kyle Larson (who plays ‘Hank’), a real-life gypsy fisherman who catches crab in Alaska when he’s not surfing in Southern California. Neither of the two had ever acted before, and never in the history of movie-making has a director shot a film entirely on Polaroid film. “There was great difficulty shooting a film this way,” says Schneider, who, with her long straight hair, wide innocent eyes, and thick-framed glasses, conjures an art-house Gretel. “If I had used a regular camera I would have had 36 exposures per minute, much faster and easier than using the old Polaroid camera which takes a long time to shoot one frame. Also, sometimes it doesn’t shoot at the exact moment you think it’s going to—but that’s really great because then you miss the perfect moment…and often those are the best shots.” Individually, the Polaroid photographs that comprise 29 PALMS, CA stand alone, but together and in sequence, filmed with super 8 and 16mm film stock and overlaid with poetic voice-over monologues, they create a dynamic kaleidoscope of words and pictures, a dreamy tale that channels Terrence Malick. Gus Van Sant, and pages torn from a lonely girl’s journal. The idea to shoot a movie in this way came about in 2004 when Schneider was working with leading German director Mark Forster (Monster’s Ball, Finding Neverland, Quantum of Solace) on his film Stay. She had met Forster at director Wim Wender’s birthday party in Hollywood. A few years later, Forster asked Schneider to shoot Polaroids of scenes from Stay as he filmed; he used those photographs for dream and memory sequences in the movie. For the first time, Schneider saw her Polaroids strung together in sequence, moving with rhythm like a flipbook, in the context of a story. When Forster urged her to consider making a feature film using that technique, the seed of 29 PALMS, CA was sown. She mentioned the idea to her good friend German actor Udo Kier, who also gave the idea a big thumbs up, and agreed to play the part of a mysterious shaman in the film. Thanks to her strong reputation in the art world and her Hollywood connections, getting talented people on board was the easy part (for a while, Charlotte Gainsbourg was pegged to play the starring role, although she pulled out two weeks before shooting commenced because she was pregnant and not fit to travel to the desert.) The hard part was finding the perfect trailer—and bringing it to the desert. “This trailer almost killed us,” says Schneider’s partner Lance Waterman, who lives and works with Schneider in Morongo Valley. After finding it on eBay, the couple drove to Utah to pick it up, the plan being to tow it all the way back to the high desert themselves. Bad idea. “We were driving down a hill with this enormous trailer behind us when we realized that if we wanted to stop, there would be no way to do so without the trailer crushing us,” says Waterman. Adds Schneider: “Lance was even giving me instructions on how to jump out of the truck if we needed to.” Thankfully the road leveled and as soon as they were able to slow down and pull over, they called a professional towing company, which transported the trailer the remaining distance to Morongo Valley. Filming took place in Spring 2011 and 2012. Schneider recently submitted the film to major film festivals in Europe and the US, and it will be broadcast in 2013 by leading German television channel, Arte. While Schneider may come from a long tradition of photographers-turned-filmmakers—Stanley Kubrick started out as a photographer, as did Ken Russell (Tommy, Women in Love) and Larry Clark, who was a controversial fine art photographer before directing smash hit Kids—she does not see her future in Hollywood, directing blockbusters. Not necessarily. “I don’t think I want to make more films,” she says. “The actors were saying they would love to work with me again, and were asking if I would like to make other movies. But being on movie sets is far too stressful, and at least with this, I was in complete power of what was going on creatively. That said, if this gets a lot of acclaims…we can always think again. One should never say never.” Film features original soundtrack with songs by Adam Weiss, Daisy McCrackin, Billy Harvey, Sophie Huber, Zoe Bicat, Max Sharam, Cheyenne Randall...

'Seriema #1, Albuquerque, NM, 2013' is a limited-edition photograph by contemporary artist Brad Wilson from the ‘Affinity’ series which features studio portraits of wild animals. T...

Edition of 25 signed and numbered by the artist A women looks in to a plastic of a cow. This photo was taken in a Museum in Berlin. JJK is a pseudonym for one of the world's most s...

Maggie Taylor's digital creations are emblematic, afterimages that invite, transport and are unforgettable. Taylor's images are built, layer by layer and object by object, through a ...

Trickle (Stage of Consciousness) - 2007 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and signature label. Artist In...

The term "hijra" applies to a very diverse group of people in India who identify as third gender. They can range from a natural born hermaphrodite to a male cross dresser. Dating bac...

Limited edition graphic on Archival Canson Platine Fibre Rag paper. Signed and numbered by the artist. Edition size: 25 16" x 20" Print Please inquire for framing options BIO...

Fred Hughes in Andy Warhol’s Factory with Liz Taylor Painting 860 Broadway NYC 1987 Archival Inkjet on Paper *Also available on Aluminum. Please inquire regarding sizing and price...

Truly Genuine (Beachshoot) - 2005 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #906. ...

"Untitled 32" A young Suri boy displays the confidence prevalent in his tribe. Jewelry and ornamentation is an important part of his culture, and he takes great pride in wearing his...

Four Sisters and a Brother - diptych - 2020 - 25x65cm, Edition of 7, plus 2 Artist Proofs. Photograph printed in Canson Barita Fiber Rag 340gr, based ...

On One's Own (Stage of Consciousness) - 2007 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and signature label. Artist Invent...

Museum quality fine art print of Beyonce by photographer Markus Klinko. Shot in 2003 during the cover sessions for the album, Dangerously In Love This print is available in the fol...

Can't take my Eyes off you (Till Death do us Part) - 2005 48x47cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signatu...

NIGHTMARE by the photographer Nia Mora is a very unique self portrait color photograph exhibiting lush deep tones of intense red and jet-black, with haunting surrealist imagery of three figures positioned on a bed in a red walled room: one wearing a skeleton mask robed in black velvet, two with ghostly white faces all portraying the artist's self portrait as three entities of a nightmare. Photo Print size - 24 x 24 inches, unframed, excellent condition, signed in black ink on reverse by photographer Nia Mora Edition of 10 Year produced - 2007 Nia Mora, an American photographer, artist and chef, focuses her commercial work towards her passions of food, wine, and travel. Originally from Detroit, Michigan, her father is the jazz percussionist Francisco Mora...

"Untitled 20" In this best-selling, award-winning black and white photograph, a Suri boy elegantly perched in a tree looks over his livestock. The distinctly preserved cultures of...

Leaving II (Sidewinder) - 2005 48x46cm each, installed 110x215cm, Edition of 10. 8 Archival C-Prints based on 8 Polaroids. Signature label and Certificate. Artist Inventory No. 34...

Stefanie Schneider's Minis Skywhale (Stay), 2006 signed and signature brand on verso Lambda Color Photographs based on the Polaroid. from the movie 'Stay' by Marc Forster, featur...

"Feathers" Papua New Guinea, 2006 30 x 20 in / Edition of 6 - $4,500 Also available: 48 x 32 in / Edition of 6 - $7,500 60 x 40 in / Edition of 6 - $10,500 75 x 50 in / Edition of...

Don't Give up on Us Baby (Till Death do us Part) - 2007 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature...

For years, Jahiel has been photographing the cowboys of the Great Basin–perhaps one of the most inhospitable regions of the already rugged West. These people represent one of the ...

"Align III" This award-winning image features the braided tail of a white horse. The print series Equus: Light & Form focuses on the details of some of the world’s most elite jump...

Cotton thread sewn on Photo Rag matt paper plus 24 carat Gold Leaf

Please bear in mind that all prints are produced to order and lead times are between 15-20 days. This print may be available in another size, please contact the gallery for more information. "The Carousel. Palm Beach Zoo. West Palm...

Shadows (Till Death do us Part) - 2007 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artist In...

Archival pigment print Signed and numbered, verso 30 x 24 inches (Edition of 6) 40 x 30 inches (Edition of 6) This photograph is offered by ClampArt, located in New York City. Plea...

'Giraffe #3, Los Angeles, CA, 2011' is a limited-edition photograph by contemporary artist Brad Wilson from the ‘Affinity’ series which features studio portraits of wild animals. T...

Coldplay - Oversize Signed Limited Edition Print Coldplay, from left to right: Christ Martin (vocals), Will Campion (drums), Guy Berryman...

Morning in A City, 2012, limited edition photograph, signed and numbered Hopper Meditations is a personal photographic response to the work of the A...

A woman trains a horse for the militia in Inner Mongolia, China in 1979. All available sizes and editions: 20" x 24", Edition of 25 + 3 Artist Proofs 24" x 34", Edition of 25 + 3 Ar...

Topsy Turvy [From the series Need to be] - 2014 - 20x16cm, Edition of 30. Giclee archival pigment print on PHOTO RAG ® ULTRA SMOOTH paper
305gsm, 100% c...

Edition of 7 Portrait of a man. Hamer ethnic group, Ethiopia. This artwork is offered by IMMAGIS · ART PHOTOGRAPHY, one of the leading galleries for contemporary Fine Art Photography, located in Munich/Germany. A long time ago warriors of the tribe used to drive the enemies away using self-made weapons and brightly-colored warpaint. In our days automatic weapons and attributes of well-known superheroes became deterrents with greater convincing power. Olga Michi...

You See Me (Suburbia) - 2004 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Signature label with Certificate. Ar...

Vacancy (Instantdreams) - 1998 Edition of 5, 58x57cm. Analog C-Print, hand-printed by the artist on Archive Fuji Chrystal Paper, based on the Polaroid. Artist inventory number: 1...

Edition 12 more sizes on request An old man of the Hadza tribe is making fire. Born in Germany in 1958, Joachim Schmeisser is best known for his major photographic series he has d...

In the series “Comedy of Double Meaning’ Japanese photographer Hiroshi Watanabe photographs members of a Venetian theatrical troupe, the Pantakin Company, dressed as Pulcinella, Inna...

Transient - the Picker's Wife (American Depression) - 2004 featuring Radha Mitchell 20 x 20 cm, Edition of 10, plus 2 artist Proofs. Archival C-Prints based on the original Polar...

All photographs are platinum/palladium prints. These metals are hand coated on 100% rag cotton water color paper with natural deckled edges and contact printed. Since platinum, like ...

Please bear in mind that all prints are produced to order. Lead times are expected between 15-20 days. 'Monkey Eyes' is a stunning C-Type print by contemporary British photographer ...

A portrait of Ltailson, a Samburu man from northern Kenya in 2019. John Kenny’s work is all shot on location in some of the remotest corners of Africa. His images are all taken with...

Red Roses (Oxana's 30th Birthday) - 2007 from the 29 Palms, CA project 24x29cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label with ...

Laura Harring and Naomi Watts Mulholland Drive Signed Limited Edition Cannes, 2001 by Kevin Westenberg Signed Limited Edition Kevin Westenberg is famed for his creation of provoc...