William Carroll

Norma Jeane #11

1945

This photo was shot on set of Von Ryan's, Express, in 1964 (movie released in 1965). Sinatra played Colonel Joseph Ryan, an America pilot shot down and imprisoned in Italy during WWI...

This piece is a pigment print from the original negative, shot by Milton Greene in 1955. This photograph of Marilyn Monroe is from a photoshoot which became known as "The Pekingese Dog Sitting" because Marilyn was accompanied by her hair stylist's dog during other photographs from the same series. Marilyn was shot in a gorgeous Bill Blass gown which became an integral part of the series. This black gown juxtaposed with the stark red background make these photographs hard to forget. These photographs were seen for the first time in 2013 after being locked away and unpublished for over 50 years until Andrew Weiss Gallery...

This photograph of Marilyn Monroe was shot by photographer, George Barris, in 1962 in Los Angeles, California. This photograph is from a collection entitled "The Last Photos", which ...

This piece is a original photograph from a copy of the original negative, shot by Ted Allan in 1935 and printed at a later date. It depicts Chinese-American cinematographer, James Wong Howe on the set of the 1935 film, "Whipsaw", with American actors Spencer Tracy and Myrna Loy...

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...

All available sizes & editions for each size of this photograph: 24.4" X 38.58" Edition of 9 39.37" X 62.99" Edition of 6 55.12" X 94.49" Edition of 3 IV 475 Epupa falls Namibia Th...

This mid-1950s portrait photograph, captured by society photographer Slim Aarons, features a young woman modelling an outfit for a Saks Fifth Avenue catalog shoot. This is an estate...

BEYOND DECORUM, CLOSED AND OPEN Series, I am selling each individually. they are pairs of open and closed jackets. I will include the second photo for reference. This listing is just for the closed jacket photograph. Vintage C-print on Fuji crystal archive paper. Image size is 40 x 30", sheet measures 50 X 36 Provenance: printed by Muse X, Los Angeles. I believe these were test, proof prints. They are not signed or editioned The work of Nigerian-born Iké Udé explores a world of dualities: photographer/performance artist, artist/spectator, African/post-nationalist, mainstream/marginal, individual/everyman and fashion/art. Iké Udé (born 1964) is a Nigerian-American photographer, performance artist, Ike Ude was born in 1964 in Lagos, Nigeria where he was raised. The eldest son of a wealthy family, he was exposed to photography and portraiture at an early age by dressing up for biweekly family portraits. Udé knew he was an artist by the age of six, when he developed a habit of firing a catapult at passers-by when he disapproved of their walk or the way they were dressed. As an adolescent, Udé attended the Government Secondary School, a British boarding school in Afikpo Nigeria. He was a habitué of London before he moved to New York in 1981 to study Media Communications at Hunter College, CUNY. He began his art career in the late 1980s with abstract painting and drawing. Since the 1990s, photography has been his primary medium. Udé is a dual citizen of the United States and Nigeria. Udé's paintings and drawings are less well known than his photography, though critics and art historians have recognized his early work. The late Henry Geldzahler, said of Udé's paintings and works on paper: "I am touched and amazed at the ways in which he manages to blend invisibly the modernist tradition with his own Nigerian roots. There is never anything forced in the conjunction; air and light seem to be his media." Udé began his Cover Girls series in 1994. Each photograph imitates the cover of a popular fashion or lifestyle magazines, in which the artist himself is featured as the model. (ala the work of Cindy Sherman) The photographs were consciously stylized, posed, photographed and then paired with type matching that of the respected magazine. At first glance, each photograph appears to be an authentic magazine cover. Udé used the magazine cover as a stage to critique the fetishism of the upper class white model and the effects of popular culture on today's consumerist society. The series was exhibited in 1994 in the New York City gallery Exit Art. Udé's black and white series of photographs, Uli, references both high fashion and Uli body art, wall motifs from Udé's Igbo heritage. The photographs explore the anonymity of the inscribed and disembodied self. Udé's dynamic use of light, namely the chiaroscuro effect, serves as a critical compositional element in the series. Udé's Beyond Decorum series, begun in 1999, juxtaposes photographs of men's shirts and women's pumps with suggestive personal advertisements in place of the clothing tags. With its accompanying book, Beyond Decorum: Photographs by Iké Udé, the series traveled across the United States and Canada. The exhibition was shown at the Institute of Contemporary Art in Portland, Maine; OBORO in Montreal, Canada; Sert Gallery; Carpenter Center at the Harvard University Art Museum; and MAK Museum in Vienna, Austria before traveling for two more years internationally. Udé's Paris Hilton: Fantasy and Simulacrum is a conversation between his alter ego, Visconti, and the celebrity Paris...