Steve Miller

"Foot and Ball", 1999

1999

Robin Rice Gallery from New York and Bridgehampton comes to Beacon, NY. This year, as part of the Beacon Open Studios 10th Anniversary event, Robin Rice Gallery is proud to present a group show of gallery artists curated especially for the new gallery space, Gallery II at 82 Mason Circle at the Lofts at Beacon. The gallery at the Beacon Lofts is located on the 12-acre property of a 19th century textile mill, just along the banks of Fishkill Creek. Drawing on the industrial design of the live/work lofts themselves, the space makes use of reclaimed brick...

Black and white, fashion, model, street, mercer st, NYC, New York, New York City Photography, woman, model, fashion photography, B&W, black and white photography, Todd Burris, Listing is for UNFRAMED print. Inquire within for framing. Edition of 2 of 25 If the exhibition piece is sold or the customer orders a different print size, the photograph is produced upon purchase. Please allow two weeks for production. Shipping time depends on method of shipping. Price is subject to availability. The Robin Rice Gallery reserves the right to adjust this price depending on the current edition of the photograph This exhibition is a visual dance of contradictions. Whimsical and sophisticated. Stylistic and simple. Studied and carefree. That’s what emerges when you take a photojournalist by study, fashion photographer by trade and fine artist by instinct and leave him alone with his camera and a muse. Burris’ work is influenced by his early career spent working with fashion photographer Bill King and inspired by the decisive moment made known by the Henri Cartier Bresson. He defies the confines of either discipline. It is not fashion photography, which is by nature produced, but rather purely spontaneous. Todd left the world of fashion photography after building his own career in Milan and New York to go to LA and find his niche. He embraced his fascination with flea markets and penchant for discarded items that wouldn’t ever be chosen because they were trendy but because they were interesting. Burris packed his 1979 white Pontiac station wagon with his finds. When he came upon a stage that fit the props, he called on his muses and created a visual story on the spur of a moment. The collection of black and white images conveys a sense of effervescence and Élan. It includes photographs from Burris' time in Los Angeles as well as earlier experimental work in Milan and New York City. Anything but superficial, the invitational image, "Paget #1" challenges the traditional symmetry of beauty. We see a dramatic close up of a woman’s face, her intense eyes framed by the stark contrast between her porcelain skin and jet black hair. The lighting is such that her face is divided by shadow, one half dark and mysterious, the other half light and classically beautiful. The effect is deeply engaging. The viewer doesn’t know when the photo was taken but you want to know more. In “Mercer Street...

Listing is for UNFRAMED print. Edition 1 of 15. CURRENT EXHIBITION - runs through September 4th, 2016. Any framed photographs purchased during the show will be available after September 4th. If the exhibition piece is sold or the customer orders a different print size, the photograph is produced upon purchase. Please allow two weeks for production. Shipping time depends on method of shipping. Price is subject to availability. The Robin Rice Gallery reserves the right to adjust this price depending on the current edition of the photograph. ABOUT: Since the early ‘90s, gallerist Robin Rice and designer Antony Todd...

Ian Gittler’s Motor Art series-photographs of century-old engine parts, gears, sparkplugs, and brand tags-offers respite from the digital fetishism, overexposure and one-hundred-forty-character bursts of communication that seem to define our era. Gittler is no luddite, he loves his iPhone. But these images, often obscuring the objects beyond identification, take unsentimental pleasure in elements of weight, ground, volume and permanence that are more closely associated with a bygone heyday of industrialization. These photographs are about a tangible physical experience, about moving parts. Gittler’s expert printing-his ability to see the potential in a frame and employ the techniques necessary to articulate that vision on paper-brings the work to life. There’s wit in the brand iconography and a documentary component, but Gittler resists prescribing interpretations, saying subtext isn’t the point. His use of extremely shallow depth of field, intense contrast and exploded grain is muscular and poetic. But subtext is relevant. Although Robin Rice first approached Ian Gittler about his vector-based art on photo paper, the gallerist challenged him to create a series of photographs with that kind of machismo. As a native New Yorker who was marched through the halls of MOMA as a toddler, Gittler’s inspiration-his idea of macho-has less to do with cowboys and racecar drivers than with Franz Kline brushstrokes and modernist design. For Gittler, macho means the maximum amount of black ink that can lie across a sheet of photo paper. That kind of force. He narrowed his field of view for this series-often to a centimeter or two-in order to achieve a purely visual, visceral response. Gittler titled the work Motor Art in tribute to the 1934 Museum of Modern Art exhibit, Machine Art. Upon its sixtieth anniversary, Phillip Johnson wrote of the show (and of his own essay for its original opening), “The thrust was clear: anti-handicraft, industrial methods alone satisfied our age; Platonic dreams of perfection were the ideal.” Ian Gittler photographs, draws, writes, and makes music. He has created album covers for Willie Nelson, Roy Hargrove...

Ian Gittler’s Motor Art series-photographs of century-old engine parts, gears, sparkplugs, and brand tags-offers respite from the digital fetishism, overexposure and one-hundred-forty-character bursts of communication that seem to define our era. Gittler is no luddite, he loves his iPhone. But these images, often obscuring the objects beyond identification, take unsentimental pleasure in elements of weight, ground, volume and permanence that are more closely associated with a bygone heyday of industrialization. These photographs are about a tangible physical experience, about moving parts. Gittler’s expert printing-his ability to see the potential in a frame and employ the techniques necessary to articulate that vision on paper-brings the work to life. There’s wit in the brand iconography and a documentary component, but Gittler resists prescribing interpretations, saying subtext isn’t the point. His use of extremely shallow depth of field, intense contrast and exploded grain is muscular and poetic. But subtext is relevant. Although Robin Rice first approached Ian Gittler about his vector-based art on photo paper, the gallerist challenged him to create a series of photographs with that kind of machismo. As a native New Yorker who was marched through the halls of MOMA as a toddler, Gittler’s inspiration-his idea of macho-has less to do with cowboys and racecar drivers than with Franz Kline brushstrokes and modernist design. For Gittler, macho means the maximum amount of black ink that can lie across a sheet of photo paper. That kind of force. He narrowed his field of view for this series-often to a centimeter or two-in order to achieve a purely visual, visceral response. Gittler titled the work Motor Art in tribute to the 1934 Museum of Modern Art exhibit, Machine Art. Upon its sixtieth anniversary, Phillip Johnson wrote of the show (and of his own essay for its original opening), “The thrust was clear: anti-handicraft, industrial methods alone satisfied our age; Platonic dreams of perfection were the ideal.” Ian Gittler photographs, draws, writes, and makes music. He has created album covers for Willie Nelson, Roy Hargrove...

Ian Gittler’s Motor Art series-photographs of century-old engine parts, gears, sparkplugs, and brand tags-offers respite from the digital fetishism, overexp...

'Into the Beyond' Limited edition archival photograph. Unframed, hand signed and numbered _________________ Painted pools of light dance across the richly layered mountainscape of t...

'In which Time and Tide Strip Back The Layers of love' Limited Edition (1 of 25) Archival Photograph. Unframed. _________________ Crystal Cove, Orange County, California, an empty beach cottage...

'Synthesis' Limited Edition Black and White Archival Photograph. Unframed _________________ The wild Atlantic explodes in a raw release of energy, blurring the boundary between ocea...

'Into the Beyond' Limited edition archival photograph. Unframed, hand signed and numbered _________________ Painted pools of light dance across the richly layered mountainscape of t...

'Last Light' Limited Edition (1 of 25) Archival Photograph. Unframed. _________________ Dusk throws on her spotlights, casting deep silhouettes and revealing rich layers in the vast...

'Presence' Limited Edition (1 of 25) Archival Photograph. Unframed. _________________ Serenity of the morning, captured in the peace and tranquility of a Californian pastoral landsc...