Steve Miller

"Violin", 1997

1997

Listing is for UNFRAMED print. Inquire within for framing. Price and size range (Custom mural sizes available). All the photographs are in a limited edition. Edition 2 of 25. If the...

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...

The use of X-ray photography in "Pods" gives the seed pouches and stems a skeletal appearance. While all photography arrests motion, it is only the X-ray that allows us to climb in...

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...

"LB27" Photography 42" x 56" inch Edition of 4 by Giuliano Bekor INSTALLATION: 12 pieces of 14 x14 inches trim bleed (please refer to photos) Medium: Single Sided Printed on a Koda...

"Wherever You Look, You See The Chrysler Building: 2nd Avenue Highrise" is part of a new epic exhibition, Mitchell Funk Photographs The Chrysler Building for 50 Years. The Chrysler B...

In this contemporary botanical photograph, flowers, butterflies, and doves are layered and combined in an abstracted composition. Shades of violet and blue stand out brightly against...

These photographs are printed on archival pigment paper and encased in resin. They are part of a diptych, and are placed in a white float frame, placed two inches apart. They are a ...