C Print Still-life Photography

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...

'Nude in Pink', (Strange Love) - 2010 48x47cm, Edition of 5, analog C-Print printed on Fuji Archive Paper, hand-printed by the artist based on the Polaroid, signature label and c...

"I create glowing, jellied scale models of urban sites, transforming ordinary physical surroundings into something unexpected and ephemeral. Lit from below, the molded shapes of the ...

Yellow Flower (The Last Picture Show) - 2005 128x125cm, Edition of 5, analog C-Print, based on the Polaroid, hand-printed by the artist on Fuji Crystal Archive Paper. (matte) Ar...

This floral photography has a dramatic sense of composition which recalls the careful arrangements of Dutch and Flemish still life paintings from the 17-18 century. Belgian photog...

"I create glowing, jellied scale models of urban sites, transforming ordinary physical surroundings into something unexpected and ephemeral. Lit from below, the molded shapes of the ...

Hand signed and titled in ink by the artist from edition of 50 (plus proofs). Color Photo printed at CVI Lab by master printer Guy Stricherz. Published by Prestige Art Ltd. From the ...

Chromogenic print Signed, verso 11 x 14 inches, sheet 10 x 13 inches, image This photograph is offered by ClampArt, located in New York City.

An intimate portrayal of nature’s elaborate choreography, Cosmic Dance is a fine art photograph that invites the viewer into a world of vibrant textures and earthy chromatics. With i...

A breathtaking homage to the grandeur of knowledge, Reinhard Görner’s Shining Wall of Books captures the luminous beauty of one of the world’s most revered libraries. This masterfull...

Miscellany circa 1990 by Christopher Simon Sykes A wall of discarded implements, including a large scythe, in the attics at Doddington Hall, Lincolnshire circa 1990 This beautiful...

This is a photograph of a stack of playing cards by Ralph Gibson. This image, produced as a chromogenic print, is offered by CLAMP in New York City.

A masterpiece of Baroque symmetry and intellectual grandeur, Reinhard Görner’s Wren Library, Cambridge captures the timeless elegance of one of Brita...

A masterpiece of Baroque symmetry and intellectual grandeur, Reinhard Görner’s Wren Library, Cambridge captures the timeless elegance of one of Brita...

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...

Kai Schaeffer World Records Accutrac 4000 Kraftwerk - Das Model 41 x 45 cm 16 x 18 in Edition of 10 91 x 100 cm 36 x 40 in Edition of 5 127 x 138 cm 50 x 54 in Edition of 5 Wor...

This is a proof print. signed and marked bat (for bon a tirer or good to print) This is a single print from 1998 Birds. Suite of eight Cibachromes. Edition of fifteen. 10″ × 10″ (sheet size). Muse [X] Editions. Taxidermy Bird. Brenda Zlamany has shown widely in the United States and Europe. Her work has been reproduced in The New York Times Magazine, Artforum, Flashart, Art in America, Art and Antiques, and The New Yorker. She was born in New York City in 1959. 1976 - 77 Yale College Before College Program, New Haven, Conn. 1981 Wesleyan University, Middletown, Conn. (BA) Stanley William Hayter s Atelier 17, Paris. Tyler School of Art, Rome. 1984 Skowhegan School of Painting and Sculpture, Maine. Select Museums: Museum of Contemporary Art, Taipei; the National Portrait Gallery of the Smithsonian Institution; the National Museum, Gdansk; Museum voor Schone Kunsten, Ghent. Select Collections: Cincinnati Art Museum; Deutsche Bank; the Museum of Modern Art, Houston; the Neuberger Museum of Art; the Virginia Museum of Fine Art; the World Bank; the Yale University Art Gallery. Select Commissions the World Bank, Memorial Sloan-Kettering Cancer Center the New York Times Magazine (Marian Anderson for an article by Jessye Norman, Osama bin Laden for the September 11, 2005, cover, Jeffrey Dahmer) Select Grants and Awards: Fulbright Fellowship (2011), Pollock-Krasner Foundation grant (2006–07), New York Foundation for the Arts Artists’ Fellowship in Painting (1994). MacDowell Colony (1995, 1992, 1986) Yaddo (1997). For many years, Brenda Zlamany has painted portraits of other artists, including Chuck Close, Alex Katz, and David Hockney. She has also been a subject for them; as she puts it, “we are professional posers.” Recently, however, she has worked to paint portraits of those whose gaze is more internal—monks and nomads in Tibet, aboriginal people in Taiwan—creating large bodies of portraits that investigate the limits of the genre. She returned, with her daughter, to Hockney’s studio in 2014, not only to sit for him but to paint him once again. Her practice involves the long sittings and intense looking required of traditional portrait-making. Muse X Editions. An (now defunct) LA based innovative publisher of limited-edition prints, Muse X has launched its first group of prints and is just beginning to make itself known to artists, curators, dealers and collectors. Among works just off the press are otherworldly landscapes by Barbara Kasten and Oliver Wasow...

Digital C-print Signed and dated on label, verso 14 x 11 inches (Edition of 5) 24 x 20 inches (Edition of 5) 40 x 30 inches (Edition of 5) This photograph is offered by ClampArt, located in New York City. Please note that prices increase as editions sell. “There are these two worlds vying for my attention at all times. In one of them this diagnosis has metastasized to the brain and I am no longer able to care for my children. The bank takes over the house and I become an albatross in hands not fully formed. . . In the other world, noise shuts down for a very split second and the smallest fragment of light becomes a pathway to immortality. Color is no longer a placeholder and language no longer a tool. . . You can read this as small moments of clarity or large chunks of confusion. Either way, they mix with the noise and become gaps I long to posses.” — Joshua Lutz The images and text accompanying Joshua Lutz's series, "Mind the Gap...

Biblioteca della Biennale, Venice, Italy 2022 A view of the main table and globe of the main scientific library in the Istituto Ortopedico Rizzoli, named for Italian King Umberto I...

In Pinball Wizard, part of Görner's Secret World of Plants series, the interplay of vibrant greens and soft-focus spheres creates a mesmerizing, otherworldly scene. This German macro...

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 ...

Reinhard Görner 'Study Center' Duchess Anna Amalia Library Weimar, Germany 2017 A luminous ode to architectural grandeur and intellectual heritage, Reinhard Görner’s masterful phot...

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 ...

Winchester (Wastelands) - 2003 Edition of 5, 57x56cm, Analog C-Print, hand-printed and enlarged by the artist on Fuji Crystal Archive Paper, based on the Polaroid, certificate and ...

Pebbles (Zuma Beach) - 2004 38x37cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #20425. Not...

Stefanie Schneider's work was used for Marc Forster's movie 'Stay'. Featuring Ewan McGregor, Naomi Watts and Ryan Gosling. Naomi and Ryan were both portraying artists and Stefanie's ...

In Out of Nowhere, part of Reinhard Görner's Secret World of Plants series, the delicate interplay of deep purples, vibrant greens, and soft-focus backgrounds creates an evocative an...

Stefanie created the art for both main actors Naomi Watts and Ryan Gosling in the movie 'Stay' directed by Marc Forster. She also created the art for several dream sequences and the ...

Trade Wind (Sidewinder) 2005 58x56 cm, Edition 1/5, analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the Polaroid. Signature label and Certifica...

An exquisite meditation on knowledge and architectural splendor, Reinhard Görner’s The Blue Books invites the viewer into the hallowed halls of Oxford’s Upper Library. The interplay ...

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 ...

In Pinball Wizard, part of Görner's Secret World of Plants series, the interplay of vibrant greens and soft-focus spheres creates a mesmerizing, otherworldly scene. This German macro...

A large scale Cibachrome photograph. An abstract work from the series titled, "Fairfax Ladies," (the historic old Jewish neighborhood of Los Angeles) produced 1983. The subject was created through by placing diaphanous fashion garments onto photo-sensitive paper, embellishing them with objects, paper bits, and flora, and layering in painterly surfaces with scratches, completely covering the image. The series won a prize in the BCibachrome competition (1985), sponsored by BC Space Gallery (Laguna Beach, CA), and was exhibited at "Robin Valle: From Darkroom to Digital, Works from 1974-2009," posthumously presented August 2009 at El Camino College Gallery (Torrance, CA). Work presented under plexiglass in a custom wood frame. Work Size: 39.5 x 29.5 in. Framed Dimensions: 43.5 X 33.5 X 2 in. Valle, Robin Joy (1953-2009) After receiving her BA from SMU and an MFA in Photo/Cinematography from the University of Illinois in 1977, she moved to Los Angeles. Valle exhibited her one-of-a-kind Cibachrome photographs at galleries and museums locally and nationally. In 1982, she was selected for the NEA funded, "Life in LA" project, sponsored by the Los Angeles Women's Building. Valle taught photography at many Southland colleges as well as the LA County High School for the Arts. She was one of the first LA based photographers to explore digital media, receiving an Innovative Instruction Grant from Chaffee College in 1989 to create their first photography class in digital media. In 1998 she became a member of the full-time faculty at El Camino College, where she was instrumental in developing the Digital Arts program. Her work ranged from Black and white photographs to colorful, intricately layered patterns that command the gallery walls. It isn’t surprising that she, along with fellow art instructor, Joyce Dalal, contributed largely to the ECC art department’s merge towards digital art. As one of the first local photographers to explore digital media, she was crucial to the development of the Digital Arts Program. Before computers became commonplace, Valle’s techniques show a digital influence. “Her work was always inventive”, said ECC art curator, Susanna Meiers. An effect that can easily be done now with a few mouse clicks on Adobe Photoshop, required a long process of rubbing dye into the actual photograph in the ’70s. Her methods of illustrating were just as unique as the topics themselves. Photographs of the violent Chinese protest at Tiananmen Square in 1989 where military response murdered protestors in large numbers included photographing images from her television screen. “Crime Stats/ Hollywood” was a theme she dedicated to the gang violence around her neighborhood in the early ’90s. With washed out gang members as the focal point, and graffiti as well as mapped out grids of Los Angeles as the backdrop, Valle’s layering, collage-like technique is continued on and more developed. “There is a fanciful, imaginary quality of her work,” said Meiers. From her quirky pieces of birds, zebras, and even dinosaurs enveloped in patterned, colorful, designs to her more serious themed feminist pieces, her eclectic, colorful style breaks through. Her feminism is on display in “Expectations” which illustrates women’s ability to “look good and produce children.” A bright human embryo steals your attention dead center, with a “June Cleaver” type 1950’s woman smirking at you from either side of it. A mustard yellow backdrop, brings the entire piece together illustrating society’s views of women as well as her playfulness as an artist. “Robin was terribly funny and had a laugh that would just set people off,” Meiers said. The art curator designed a section of the gallery similar to Valle’s apartment. A bright pink shelf...

Horizon (Zuma Beach) - 1999 48x47cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #20431. Not...

In Out of Nowhere, part of Reinhard Görner's Secret World of Plants series, the delicate interplay of deep purples, vibrant greens, and soft-focus backgrounds creates an evocative an...

In this mesmerizing macro photograph, Görner masterfully captures the delicate interplay between form and color within a flower's intimate landscape. The soft, diaphanous pink petals...

In this mesmerizing macro photograph, Görner masterfully captures the delicate interplay between form and color within a flower's intimate landscape. The soft, diaphanous pink petals...

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 ...

This exquisite fine art photograph captures the delicate interplay of light and texture, inviting the viewer to explore the ephemeral beauty of nature in intimate detail. A celebrati...

An intimate portrayal of nature’s elaborate choreography, Cosmic Dance is a fine art photograph that invites the viewer into a world of vibrant textures and earthy chromatics. With i...

This exquisite fine art photograph captures the delicate interplay of light and texture, inviting the viewer to explore the ephemeral beauty of nature in intimate detail. A celebrati...

This exquisite fine art photograph captures the delicate interplay of light and texture, inviting the viewer to explore the ephemeral beauty of nature in intimate detail. A celebrati...

In this captivating macro photograph, Görner skillfully unveils the intricate interplay between texture and light within the delicate anatomy of a flower. The vibrant yellow hues rad...

Scepter'd Isle English Rose Photo The Tappen House, Little Compton, RI (Rhode Island). Hand signed and numbered. small edition of 15 (these are on Kodak pro...

Reinhard Görner Open Space, City Library Stuttgart, Germany 2014 Contemporary Interior Architecture Photograph A vision of contemporary minimalism and infinite knowledge, Reinhard ...

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 ...

In this mesmerizing macro photograph, Görner masterfully captures the delicate interplay between form and color within a flower's intimate landscape. The soft, diaphanous pink petals...

In this mesmerizing macro photograph, Görner masterfully captures the delicate interplay between form and color within a flower's intimate landscape. The soft, diaphanous pink petals...

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 ...

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 ...

REVERENCE No. 6. Paris. France, 2017 From the REVERENCE Series C-print archival Size: 40 H x 60 W in. Edition of 10 + 2AP Unframed Photographer Victoria Cohen was granted unpreced...

Pound (of Putty), Photo, The Tappen House, Little Compton, RI (Rhode Island). Hand signed and numbered. small edition of 15, This one is marked proof. (these are on Kodak professiona...

Edition # 1/10 This is a framed C-Print, and is also available in 2 additional unframed print sizes. In her new collection of photographs, British born photographer Heal creates ...

This is a proof print. signed and marked bat (for bon a tirer or good to print) This is a single print from 1998 Birds. Suite of eight Cibachromes. Edition of fifteen. 10″ × 10″ (sheet size). Muse [X] Editions. Taxidermy Bird. Brenda Zlamany has shown widely in the United States and Europe. Her work has been reproduced in The New York Times Magazine, Artforum, Flashart, Art in America, Art and Antiques, and The New Yorker. She was born in New York City in 1959. 1976 - 77 Yale College Before College Program, New Haven, Conn. 1981 Wesleyan University, Middletown, Conn. (BA) Stanley William Hayter s Atelier 17, Paris. Tyler School of Art, Rome. 1984 Skowhegan School of Painting and Sculpture, Maine. Select Museums: Museum of Contemporary Art, Taipei; the National Portrait Gallery of the Smithsonian Institution; the National Museum, Gdansk; Museum voor Schone Kunsten, Ghent. Select Collections: Cincinnati Art Museum; Deutsche Bank; the Museum of Modern Art, Houston; the Neuberger Museum of Art; the Virginia Museum of Fine Art; the World Bank; the Yale University Art Gallery. Select Commissions the World Bank, Memorial Sloan-Kettering Cancer Center the New York Times Magazine (Marian Anderson for an article by Jessye Norman, Osama bin Laden for the September 11, 2005, cover, Jeffrey Dahmer) Select Grants and Awards: Fulbright Fellowship (2011), Pollock-Krasner Foundation grant (2006–07), New York Foundation for the Arts Artists’ Fellowship in Painting (1994). MacDowell Colony (1995, 1992, 1986) Yaddo (1997). For many years, Brenda Zlamany has painted portraits of other artists, including Chuck Close, Alex Katz, and David Hockney. She has also been a subject for them; as she puts it, “we are professional posers.” Recently, however, she has worked to paint portraits of those whose gaze is more internal—monks and nomads in Tibet, aboriginal people in Taiwan—creating large bodies of portraits that investigate the limits of the genre. She returned, with her daughter, to Hockney’s studio in 2014, not only to sit for him but to paint him once again. Her practice involves the long sittings and intense looking required of traditional portrait-making. Muse X Editions. An (now defunct) LA based innovative publisher of limited-edition prints, Muse X has launched its first group of prints and is just beginning to make itself known to artists, curators, dealers and collectors. Among works just off the press are otherworldly landscapes by Barbara Kasten and Oliver Wasow, a sizzling sunset by Peter Alexander, abstract compositions by Pauline Stella Sanchez and Jennifer Steinkamp...

All available sizes & editions for each size of this photograph: 21” x 26" Edition of 7 32” x 40" Edition of 7 44” x 55” Edition of 10 What makes Burdeny’s Cuba series different fro...

This floral photography has a dramatic sense of composition which recalls the careful arrangements of Dutch and Flemish still life paintings from the 17-18 century. With multiplied ...

Heidler & Heeps Vinyl Collection Set of Three Framed Artworks. Acclaimed contemporary photographers, Richard Heeps and Natasha Heidler have collaborated to make this beautifully mesm...

A mesmerizing portrait of architectural elegance and intellectual grandeur, Reinhard Görner’s Uris Library, Ithaca immerses viewers in the ornate beauty of Cornell University’s iconi...

Star Link (Wastelands) - 2003 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist inventory Number 1194. Signature label and Ce...

Expanses of Time (Wastelands) - 2003 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist inventory Number 1193. Signature label...