Baby Still-life Photography

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...

Max Grant's floral macro photography series, aptly titled "(Floral)," serves as a mesmerizing exploration of botanical beauty reminiscent of the legendary artist Georgia O'Keeffe. Th...

Humorous subject matter. Face mounted Plexi. Aluminum Braced. Archival Print. ABOUT THE ARTIST Marco studied fine art at Pratt Institute and the Art Students League in New York. New York Times photography critic Gene Thornton called Marco “a Minimalist, whose images are sensual, whimsical, often surreal, always strong, and deceptively simple.” “I’ve had the pleasure of working with Phil Marco on a number of my films. Phil is a man of extraordinary talents. It seems that his passion is to take an everyday object or event, and show it in an entirely new and exciting way.” Martin Scorsese. Phil’s work is represented in MOMA, The Museum of the Moving Image, and The George Eastman Museum of Photography. His first photographs were studies for his paintings, before he launched a career in print advertising. He eventually became a Director / DP for film and television for a vast base of national and international clients with his wife Patricia as Partner and Producer. In the 1980’s and 90’s Phil was the go to person for Special Effects in Television and Cinema, also best known for his graphic conceptual still lives, and his consummate mastery of lighting, and design. He’s won many awards for his work, including numerous Cannes Lions, Cleo’s, a Grammy for his print work on the legendary “Tommy the Who...

This early silver gelatin contact print with margins bears the photographer's numerical exposure notes in pencil on the back of the print.

Archival inks on rag paper Signed, titled, dated, and numbered, verso 14 x 14 inches (Edition of 15) 20 x 20 inches (Edition of 7) This artwork is offered by ClampArt, located in N...

Archival inks on rag paper Signed, titled, dated, and numbered, verso 14 x 20 inches (Edition of 15) 20 x 28 inches (Edition of 7) This artwork is offered by ClampArt, located in N...

Chromogenic color print Artist's blind stamp, l.r. This photograph is offered by ClampArt, located in New York City. About the artist: Marion Faller photographed...

Jelly, Contemporary Black and White Oceanic Photography Print 20" x 16" (HxW) Inkjet print on Epson lustre paper 1" white margins on top and bottom; ...

Open Edition Gelatin silver print, 13 3/4 x 18 in. Signed, titled, and dated in pencil on print verso by Mariana Yampolsky Printed 1998-99

A summery photograph of a beach-ready Ken, this piece is sure to be a bright introduction to your home. Whether in a colorful kitchen, or a bright, sunny sitting room, this work is sure to start conversations! When photographer Larry Torno...

Edition of 25 Signed, titled, dated and numbered in pencil on print verso. Paper size: 22 x 17 in., Image size: 16 x 16 in. Keith Carter is an American photographer who is known for...

Through memory, metaphor, and imagined destinies, “There’s No Other Like Your Mother” seeks to explore the complexities and constructs of female identity and the maternal subject as I reconceive my fertile state of being. The sudden death of my mother prompted the (re)birth of my artistic self at the age of 29 and the emergence of this series which contemplates my own shifting identity, once firmly rooted in the domestic tradition but now seemingly unmoored. Brandy Trigueros is a Los Angeles based artist who uses the narrative space of the camera to playfully create staged inquisitions of femininity, memoir, and the on-going transformation of self. After years of working in publishing at the Los Angeles Times and animation at Nickelodeon, she began pursuing her artistic practice full-time and received her BFA in Photography and Media from California Institute of the Arts. Her work has been exhibited nationally and internationally in venues such as the Griffin Museum of Photography, Foto Forum Santa Fe, Candela Gallery, Museo de la Naturaleza de Cantabria, Center for Photographic Art, Building Bridges Art Exchange, Center for Fine Art Photography, Berlin Foto Biennale, Los Angeles Center of Photography, and New Orleans Photo...

From the series Fragile Land

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 1 of 15. Price ...

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...

Snails Hedera X-Ray Photography Lambda Print on Dibond Still Life Nature Animals - Perspex Front UV Resistant The photography of Arie van ’t Riet is a merger of his scientific background, being an engineer and physicist, and his passion and love for flora and fauna. His focus is on the essence of nature. This process takes a sense of beauty, but also technical knowledge and insight. The animals (found dead) he uses, are placed in an optimal position together with plants and other crops. This setup, called a Biorama, is placed for a X-ray and by radiation fixated on film. For this work van ’t Riet received a special permit. Because he is specialised in working with this equipment he is able to make a picture in just one take. This is complicated because, for example, a thin leaf needs another approach than a fat...

Taking inspiration from Irving Penn and Robert Mapplethorpe, Max Grant's Cigarette Photographs find beauty in the mundane, raising the banal to elegance. ...

Taking inspiration from Robert Mapplethorpe, Max Grant's Catacomb images look at the macabre beauty of the human anatomy, recollecting his time in the Paris Catacombs. This collectio...

EMMA HACK is an Adelaide-based artist working in the unique medium of body paint installation and photography. Exhibiting extensively throughout Australia si...

MAX STEVEN GROSSMAN RAFF SQ LM Trans Mounted Metallic Print 40 x 44 in. Ed 1 of 5 Please note, there is a 3 week printing lead time** Exploring the changing accessibility and value...

Signed by the photographer

Signed and dated on mount in pencil, l.r. Mounted vintage gelatin silver print 13.25 x 10 inches (33.7 x 25.4 cm), sheet This artwork is offered by ClampArt, located in New York City.

Artist: Rachel Lauren Title: Production Date: 2019 Medium: Inkjet print Dimensions: 14 x 11 in. Photographer Rachel Lauren invites viewers to become more aware of the way natural beauty has been contorted, packed and sold as a cold, manufactured, cloned and empty product. Are women inherently beautiful, or do they require modifications? Are you seeing your uniquely created reflection through a distorted lens? By imposing a juxtaposition between real and fake through abstract portraiture, Lauren calls attention to these complex ideals in "Distorted Beauty". Lauren is currently an MFA candidate at UMKC and based in Colorado. Since the age of two, she has fostered a love for photography and traveling which have both shaped her understanding of the issues she addresses in her work. Contemporary photography, portrait photography, experimental portraiture, conceptual photography, Steve McCurry, Lisa Kristine...

Signed and numbered on the front of the print. Edition of 25. Available in two sizes (16 x 20 inches and 20 x 30 inches approximately) so please contact the gallery for information a...

Signed and numbered on the front of the print. Edition of 25. Available in two sizes (16 x 20 inches and 20 x 30 inches approximately) so please contact the gallery for information a...

Signed, stamped, dated and numbered on the back of the print.

The Day the Dam Collapses is the new detailed yet quietly poetic series from the California-based Japanese photographer. Working for the first time with digital capture, Watanabe col...

From the 50th Anniversary Portfolio (1902 - 1952). Printed 1950s by Brett Weston under Edward's supervision.

All editions signed by the photographer.

Signed on the front. Contact gallery for prices and available sizes.

Brosch’s unique celebration of female sensuality moves in fresh and fascinating directions in her ability to rework timeless classicism with a thoroughly modern twist. Other sizes an...

Other sizes and prices on request. Gerard Uferas' photographs have appeared in numerous publications, including "Liberation", "Time Magazine", "The New York Times", "Le Monde", and "...

from the series "Ill Form and Void Full" Ed. of 9