Flower Still-life Photography

Dutch dog #1 White Chihuahua - Signed limited edition archival pigment print - Edition of 3 A series of four images inspired by the 17th century golden age of Dutch still life painting. Often referred to as “Dutch Masters”. And of course, my love of dogs! These paintings often featured food, flowers and household props such as bottles and glassware. They have an instantly recognisable style characterised by impeccable composition and use of directional light. Well known artists include Willem Claesz...

ABOUT THIS ARTIST: Neal Grundy is a freelance photographer with almost 20 years experience. He studied at Falmouth College of Arts in Cornwall, UK. Neal is adept in a range of lens b...

Eton College School Windsor England 1980s by Homer Sykes oversize 40x30 inches / 101 x 76 cm paper size signed limited edition print edition of 5 only this size printed 2022 Certificate of authenticity provided Homer Sykes Sykes's father, Homer Warwick Sykes, was a Canadian-born American of English extraction who worked for the China National Aviation Corporation in Shanghai; his mother, Helen Grimmitt, was Canadian-born and raised in Hong Kong. The couple were married in August 1947, but in June 1948, in an early stage of his wife's pregnancy, Homer was killed in an accident at Lunghua airfield. Helen returned to her family home in Vancouver, and the son was born three weeks later, in 1949.[1][2] When the boy's mother remarried in 1954, the family moved to England.[3] Homer was a keen photographer as a teenager, with a darkroom both at home and at boarding school. In 1968 he started a three-year course at the London College of Printing (LCP),[1][3] while sharing a house in St John's Wood.[4] In the summer vacation during his first year, he went to New York, and was impressed by the work of current photographers – Cartier-Bresson, Davidson, Friedlander, Frank, Uzzle and Winogrand – that he saw at the Museum of Modern Art.[3] Solo exhibitions "Traditional British Calendar Customs", Arnolfini Gallery (Bristol), 1977;[14] Side Gallery (Newcastle), 31 August – 25 September 1977.[15] "Shanghai Odyssey", Open Eye Gallery (Liverpool), 24 May – 20 June 2003.[14][16] Festival of Photography and Contemporary Art (Biella), 2005.[14] "On the Road Again", Hereford Town Hall (Hereford Photography Festival), 2002.[17] "Green Man and Friends, photographs from the 1970s", WPS (Hastings), 2009.[18] "England 1970–1980", Maison de la photographie Robert Doisneau (Gentilly, Paris), 27 June – 12 October 2014.[10][11][19][20] "My Britain 1970–1980", Les Douches la Galerie, Paris. 5 September – 31 October 2015.[21][22][23] "Once a Year – Homer Sykes", Lucy Bell Gallery, St Leonards-on-Sea, May–June 2021[24] Other exhibitions "Personal Views 1850–1970", British Council touring exhibition, 1970.[3] "Traditional Country Customs" (with work by Benjamin Stone), ICA (London), 1971.[3][14] "Young British Photographers", Museum of Modern Art (Oxford), 1971.[14] Exhibition of photographs by Stone and Sykes of festivals, customs and pageants, Southampton and Birmingham, 1973.[7] "Reportage Fotografen", Museum des 20. Jahrhunderts (Vienna), 1978.[14] "Il Regno Unito si diverte". British Council, Milan, 1981. With Chris Steele-Perkins and Patrick Ward.[25] "The Other Britain", National Theatre (London), and touring in Britain, 1982.[26] "A British Eye on the World", Museum of Modern Art (Rio de Janeiro), 1986.[14] "Viva, une agence photographique", Jeu de Paume (Paris), 2007.[27][28] "How We Are: Photographing Britain." Tate Britain (London), 2007.[29][30] "No Such Thing as Society: Photography in Britain 1968–1987", Aberystwyth Arts Centre; Tullie House (Carlisle); Ujazdów Castle (Warsaw).[31] "Unpopular culture." De La Warr Pavilion (Bexhill), 2008.[32] "The Other Britain Revisited: Photographs from New Society", Victoria and Albert Museum, 2010.[26] "Goodbye London: Radical art and politics in the seventies", Neue Gesellschaft für Bildende Kunst (Berlin), 26 June – 15 August 2010. With Stuart Brisley, Victor Burgin, David Hall, Margaret Harrison, Derek...

Flowers - Signed limited edition archival pigment print, 2015 - Edition of 5 This is an Archival Pigment print on fiber based paper ( Hahnemühle Photo Rag® Baryta 315 gsm , Aci...

Still life with a green skull, by Zoltan Gerliczki From the series "Still Life" Archival Pigment Print Image size: 31.5 in H x 25.5 in W. Edition of 6 + 2...

Brigitte Carnochan, Gallery Flowers, 2020, 22 x 22. Framed 23 x 23 x 1", Archival pigment ink print mounted to dibond. Edition of 10.

Still Life with Shells, by Zoltan Gerliczki From the series "Still Life" Archival Pigment Print Image size: 31.5 in H x 25.5 in W. Edition of 6 + 2AP...

Still life photograph, red rose series, mounted on aluminum. Élisabeth Montagnier was born in Algeria. She is a little lost when she arrives in Marseille in 62, does not understand ...

Untitled #6, 2021 by Ying Chen From the series "There is an ocean in my glass II", Archival pigment print Image size: 80 in. H x 60 in. W Edition of 5 + 1AP Unframed There Is An Ocean In My Glass I have a reoccurring dream: scenery consisting of cloud filled Sky, fields of grass, and a body of water. In this foggy but colorful dream, sky is cloudy, yet everything is brightly lit. there is a thick fog blurring vision that I cannot discern whether it is imagined or familiar scenes.I wanted to capture in photos how small flower cuttings can inspire/trigger those dreamt memories of landscapes. By composing nature figures into a photo, I wanted to represent how flower cutting can channel those dreamscapes in a photo. Stitch-like lines were added to make a person question if what they are seeing is paper cutting...

'Rosegarden' - part 1, (Suburbia) - 2013 20x24cm, Edition of 10, Archival C-Print based on the Polaroid Certificate and signature label, artist inventory number: 403.11 Not mounted Stefanie Schneider...

Untitled #3, 2021 by Ying Chen From the series "There is an ocean in my glass II". Archival pigment print Image size: 80 in. H x 60 in. W Edition of 5 + 1AP Unframed There Is An Ocean In My Glass I have a reoccurring dream: scenery consisting of cloud filled Sky, fields of grass, and a body of water. In this foggy but colorful dream, sky is cloudy, yet everything is brightly lit. there is a thick fog blurring vision that I cannot discern whether it is imagined or familiar scenes.I wanted to capture in photos how small flower cuttings...

Cy DeCosse, King of the Night, 1999. Platinum palladium print. Signed, editioned, titled and dated on print verso. Signed on print recto. Edition of 50 which has been sold out for ye...

Dark Flora #6 – Horsetail: Foraged from a damp, boggy area of woodland in mid-summer. It includes Horsetail (Marestail), buckthorn, mallow, tutsan berry, blackberry and heather. I s...

Tulip 98, archival pigment print photograph, printed on Fine Art paper by Tim Nighswander. It is 32x24, framed in a white frame to 40x32 with a UV plexiglass. It is a limited edition of 15, signed and numbered. The fine detail makes this stunning pink tulip appear to be a painting. It will be printed and framed upon purchase. Timing will be 4-6 weeks for delivery. His career in photography began in college at Kent State University and has led him from photojournalism and award-winning commercial photography to his current status as a sought-after photographer in the specialized field of photographing fine art. For many years he has photographed comprehensive art collections through the US and this knowledge and exposure to art, has given Nighswander great understanding of themes that have been a consistent part of his personal imagery. This botanical series of photographs dance...

A black and white photograph of a young woman with flowers

Untitled #2. From the series "There is an ocean in my glass", 2020 by Ying Chen Archival pigment print Image size: 80 in. H x 60 in. W Edition of 5 + 1AP Unframed There Is An Ocea...

Untitled #1. From the series "There is an ocean in my glass", 2020 by Ying Chen Archival pigment print Image size: 80 in. H x 60 in. W Edition of 5 + 1AP Unframed There Is An Ocea...

Untitled #6. From the series "There is an ocean in my glass", 2020 by Ying Chen Archival pigment print Image size: 60 in. H x 80 in. W Edition of 5 + 1AP Unframed There Is An Ocea...

Untitled #3. From the series "There is an ocean in my glass", 2020 by Ying Chen Archival pigment print Image size: 80 in. H x 60 in. W Edition of 5 + 1AP Unframed There Is An Ocean In My Glass I have a reoccurring dream: scenery consisting of cloud filled Sky, fields of grass, and a body of water. In this foggy but colorful dream, sky is cloudy, yet everything is brightly lit. there is a thick fog blurring vision that I cannot discern whether it is imagined or familiar scenes.I wanted to capture in photos how small flower cuttings...

Elise Gagliardi Summer II Medium: Photography Year: 2021 Size: 8 x 10 inches (other sizes available upon request) Edition size: 25 Signed, numbered and inscribed by hand COA provided Ref.: 924802-1017 Elise Gagliardi is an experimental multi-media artist. She studies photography at the University of Colorado at Boulder. She graduated with her BFA in 2006. Her work has been exhibited nationally. It has been featured in various publications. She currently works as a curator and a mother raising her three young children. Since becoming a mother she has embraced a heritage of storytelling. In her work, she introspectively examines her relationship to the matriarchal figures in her life and contemplates her own legacy. Her work is best described through the words of Author Joseph Campbell in what he describes as “The Myth of the Eternal Return”. Every flower carries...

Yellow Tulip 19, archival pigment print photograph, printed on Fine Art paper by Tim Nighswander. It is 32x24, framed in a white frame to 40x32 with a UV glass It is a limited edit...

In Chinese, the Persian Silk tree or Mimosa (Albizia julibrissin) is called: Hé Huân Huà. The ‘Materia Medica’ describes the bark (Hé Huân Pi) to not only ...

Black Leaf V by Stuart Möller 2022 signed limited Oversize Print Limited to 10 only this size Archival pigment print Other Edition Sizes paper sizes in inches 10×12 25 12...

The work 'Aturalia' is part of Margriet her most recent series of works from Fruits de Rococo, where she found her inspiration in the style period of Rococo. Aturalia is together with Nartificilia a diptych, but can also be enjoyed perfectly seperate from one another. In the series Fruits de Rococo, artist Margriet Smulders takes us into the maelstrom of her thoughts about our existence. In thirty still lifes, she depicts life as a flowing river. Smulders takes us from the source to the sea, from the dark origin to the sublime end. Fascinated as she is by the cycle of life, she guides us through birth, bloom and decay, with heaven as the apotheosis. about Margriet Smulders In the works by Margriet Smulders (1955, the Netherlands), the theme ‘lust and temptation’ play a major role. Standing in front of them, her impressive photograph’s cause the feeling of being sucked into the image. Large compositions are seducing the viewer and lead the eye from one to the other detail. In her work, Smulders mostly uses exotic flowers and fruit. To arrange the objects she uses colored draperies, water and mirrors. The result looks like a detail from a mysterious fairy tale world. Even though people are absent in these surrealistic landscapes, these works seem to tell a story or hold a meaning. It feels like Margriet Smulders paints with her photo camera.

Elise Gagliardi Peony Arrangment II Medium : Photography Year: 2021 Size:: 36 x 24 inches (other sizes available upon request) Edition size: 25 Signed, numbered and inscribed by hand COA provided Ref.: 924802-1019 Elise Gagliardi is an experimental multi-media artist. She studies photography at the University of Colorado at Boulder. She graduated with her BFA in 2006. Her work has been exhibited nationally. It has been featured in various publications. She currently works as a curator and a mother raising her three young children. Since becoming a mother she has embraced a heritage of storytelling. In her work, she introspectively examines her relationship to the matriarchal figures in her life and contemplates her own legacy. Her work is best described through the words of Author Joseph Campbell in what he describes as “The Myth of the Eternal Return”. Every flower carries...

Elise Gagliardi Peony Arrangment I Medium : Photography Year: 2021 Size:: 24 x 36 inches (other sizes available upon request) Edition size: 25 Signed, numbered and inscribed by hand COA provided Ref.: 924802-1018 Elise Gagliardi is an experimental multi-media artist. She studies photography at the University of Colorado at Boulder. She graduated with her BFA in 2006. Her work has been exhibited nationally. It has been featured in various publications. She currently works as a curator and a mother raising her three young children. Since becoming a mother she has embraced a heritage of storytelling. In her work, she introspectively examines her relationship to the matriarchal figures in her life and contemplates her own legacy. Her work is best described through the words of Author Joseph Campbell in what he describes as “The Myth of the Eternal Return”. Every flower carries...

A pair of limited edition ceramic plates incorporating Robert Mapplethorpe’s Cala Lily and Poppy Flower photographic images. This set is new, ...

The Robin Rice Gallery is pleased to present Flowers, a photographic exhibition by Leonardo Pucci. Flowers is Pucci’s second solo exhibition at the Robin Rice Gallery. Paralleling his previous, “episodes (without real order)”, this series is also a project about beauty and intimacy. Flowers was created in the beginning of the pandemic. Pucci says, “the lockdown came to get me out of a creativity crisis I was going through at the time.” He was inspired by a Hojō Jutsu manual while being isolated in his residence in Paris. He studied the art of Shibari and performed it on cut flowers: calla lilies, anemones, carnations, proteas, roses and tulips were tied with strings like bent and constricted bodies and then photographed. “Tulip 1:15pm” was the first image created for this ongoing series. Hojō Jutsu is the martial art of restraining captives with rope, commonly used on the battlefield by the Empire of Japan from 1400 to 1700, that hundreds of years later it evolved into the refined technique of Shibari (literally “to tie”), the spiritual art...

This print features the playful relationship between natural forms and botanicals. In this image Erin uses the natural composition of the pink and green ranunculus, and her own colla...

This print features the playful relationship between natural forms and botanicals. In this image Erin uses the natural composition of the purple flowers, and her own collage work, to...

The Robin Rice Gallery is pleased to present Flowers, a photographic exhibition by Leonardo Pucci. Flowers is Pucci’s second solo exhibition at the Robin Rice Gallery. Paralleling his previous, “episodes (without real order)”, this series is also a project about beauty and intimacy. Flowers was created in the beginning of the pandemic. Pucci says, “the lockdown came to get me out of a creativity crisis I was going through at the time.” He was inspired by a Hojō Jutsu manual while being isolated in his residence in Paris. He studied the art of Shibari and performed it on cut flowers: calla lilies, anemones, carnations, proteas, roses and tulips were tied with strings like bent and constricted bodies and then photographed. “Tulip 1:15pm” was the first image created for this ongoing series. Hojō Jutsu is the martial art of restraining captives with rope, commonly used on the battlefield by the Empire of Japan from 1400 to 1700, that hundreds of years later it evolved into the refined technique of Shibari (literally “to tie”), the spiritual art...

The Robin Rice Gallery is pleased to present Flowers, a photographic exhibition by Leonardo Pucci. Flowers is Pucci’s second solo exhibition at the Robin Rice Gallery. Paralleling his previous, “episodes (without real order)”, this series is also a project about beauty and intimacy. Flowers was created in the beginning of the pandemic. Pucci says, “the lockdown came to get me out of a creativity crisis I was going through at the time.” He was inspired by a Hojō Jutsu manual while being isolated in his residence in Paris. He studied the art of Shibari and performed it on cut flowers: calla lilies, anemones, carnations, proteas, roses and tulips were tied with strings like bent and constricted bodies and then photographed. “Tulip 1:15pm” was the first image created for this ongoing series. Hojō Jutsu is the martial art of restraining captives with rope, commonly used on the battlefield by the Empire of Japan from 1400 to 1700, that hundreds of years later it evolved into the refined technique of Shibari (literally “to tie”), the spiritual art...

Artist statement Scent of Broqpa Broqpa is the name of a small village in Nepal. Ziesook first learned of it from a TV documentary, The Last Empire. Ziesook was moved by what she le...

The Robin Rice Gallery is pleased to present Flowers, a photographic exhibition by Leonardo Pucci. Flowers is Pucci’s second solo exhibition at the Robin Rice Gallery. Paralleling hi...

The Robin Rice Gallery is pleased to present Flowers, a photographic exhibition by Leonardo Pucci. Flowers is Pucci’s second solo exhibition at the Robin Rice Gallery. Paralleling his previous, “episodes (without real order)”, this series is also a project about beauty and intimacy. Flowers was created in the beginning of the pandemic. Pucci says, “the lockdown came to get me out of a creativity crisis I was going through at the time.” He was inspired by a Hojō Jutsu manual while being isolated in his residence in Paris. He studied the art of Shibari and performed it on cut flowers: calla lilies, anemones, carnations, proteas, roses and tulips were tied with strings like bent and constricted bodies and then photographed. “Tulip 1:15pm” was the first image created for this ongoing series. Hojō Jutsu is the martial art of restraining captives with rope, commonly used on the battlefield by the Empire of Japan from 1400 to 1700, that hundreds of years later it evolved into the refined technique of Shibari (literally “to tie”), the spiritual art...

For me, an artistic process is an act of investigation – a passionate attempt to establish an understanding of the natural world – a version that incorporates both intellectual and e...

For me, an artistic process is an act of investigation – a passionate attempt to establish an understanding of the natural world – a version that incorporates both intellectual and e...

This print features the playful relationship between natural forms and botanicals. In this image Erin uses the natural composition of the purple flowers, and her own collage work, to...

For me, an artistic process is an act of investigation – a passionate attempt to establish an understanding of the natural world – a version that incorporates both intellectual and e...

For me, an artistic process is an act of investigation – a passionate attempt to establish an understanding of the natural world – a version that incorporates both intellectual and e...

For me, an artistic process is an act of investigation – a passionate attempt to establish an understanding of the natural world – a version that incorporates both intellectual and e...

The Robin Rice Gallery is pleased to present Flowers, a photographic exhibition by Leonardo Pucci. Flowers is Pucci’s second solo exhibition at the Robin Rice Gallery. Paralleling hi...

Artist: after Robert Mapplethorpe, American (1946 - 1989) Title: Calla Lily Date: circa 2000 Medium: Porcelain Plate, printed signature verso Edition Size: 500 Diameter: 8.25 inches ...

The Robin Rice Gallery is pleased to present Flowers, a photographic exhibition by Leonardo Pucci. Flowers is Pucci’s second solo exhibition at the Robin Rice Gallery. Paralleling hi...

This print features the playful relationship between natural forms and botanicals. In this image Erin uses the natural composition of the beige orange dahlia, and her own collage wor...

Betty Hahn Title: Belladonna Date: 1980 Original Polaroid Large Format Print (Photo-Internal dye diffusion transfer) Location: Cambridge Massachusetts United States Dimensions: Image: 27 1/2 x 20 1/2 in. (69.9 x 52.1 cm), Paper: 29 1/4 x 21 1/2 in. (74.3 x 54.6 cm) This depicts a still life of a flower with an old botanical drawing print plate. From "Five Still Lifes" New York: Paradox Editions, Ltd., 1980. 5 original Polaroid color prints. Each hand signed, titled, dated and numbered 37/40 in ink in the margin. Each approximately 24 x 20in (image size). Each is on original as there are no negatives in this process. The photographers included: Robert Cumming, Robert Fichter, Betty Hahn, Victor Schrager and William Wegman. The photos were produced in the Polaroid Corporation’s 20×24 studio in Cambridge, Massachusetts. This is an internal Dye Diffusion print (large format) Polaroid print. These are exceedingly rare now. This format was used by many of the leading photographers of the second half of the 20th century, among them Peter Beard, Chuck Close, David Levinthal, Robert Frank, David Hockney, Lucas Samaras, Andy Warhol, Robert Mapplethorpe and, perhaps most significantly, Ansel Adams More recently Ellen Carey has created large abstract masterpieces using this format. Betty Hahn (born 1940) is an American photographer known for working in alternative and early photographic processes. She completed both her BFA (1963) and MFA (1966) at Indiana University. Initially, Hahn worked in other two-dimensional art mediums before focusing on photography in graduate school. She is well-recognized due to her experimentation with experimental photographic methods which incorporate different forms of media. By transcending traditional concepts of photography, Hahn challenges the viewer not only to assess the content of the image, but also to contemplate the photographic object itself. Betty Hahn was born on October 11, 1940 in Chicago, Illinois where she also grew up. At the age of ten, Hahn was given her first camera by an aunt. Hahn later on went to graduate from Scecina Memorial Catholic High School. Soon after, she enrolled at Indiana University with a full scholarship where she furthered her studies in Fine Arts, receiving both her BFA (1963) and her MFA (1966). Throughout her undergraduate years, she concentrated in drawing and painting; however, as she entered graduate study, she worked in photography. During this important developmental period, Hahn studied under one of the most well-known photography teachers of the time, Henry Holmes Smith, who encouraged Hahn's work in alternative processes. Once she graduated, Hahn moved to Rochester where she taught at the Rochester Institute of Technology until 1975. Hahn then relocated to Albuquerque where she was professor at University of New Mexico until her retirement in 1997. Hahn is best known for her explorations of alternative processes in photography, using both older methods of darkroom developing such as gum-bichromate and cyanotypes, with other art mediums, including hand-painting and even embroidery. She is noted as one of the first photographers to successfully integrate such a variety of art mediums. Hahn encourages the viewer to think more deeply through not only the use of different physical processes in her artwork, but also through the multiplicity of meanings in her photographs. In most of her work, Hahn integrates humor and irony as she explores the meanings generated by formal combinations. Some of her prints include the sprocket holes of the 35mm negative, which allude to its 35mm film origins: but by hand coloring with bright paints, she draws attention to the mixture of craft with industrial mediums. Once she started experimenting with the gum-bichromate process, Hahn started stitching into her photographs. Printing onto canvas and other fabrics allowed her to use thread to highlight certain aspects of the photograph. In combining her photographs with conventional practices, Hahn successfully intertwines formal and conceptual aspects. Not only does she speak to the mundane tasks of everyday life, but also about routine and normativity. In highlighting the ordinary in her work, Hahn elevates and revives that which has been lost in the practice of daily life. Embroidery references femininity, as Hahn underlines the feminist issue of the anonymity of women's handicraft. Her embroidery often emphasized flowers with its three-dimensionality, furthering the idea of femininity; she later on pursued this as a symbol and incorporated it in several of her other series. In her work, Hahn delivers a powerful feminist message in regards to women and embroidery. It is quite evident through time that women's labor is needlework, and that their labor is frequently undervalued as craft both when dissimilar and alike to men's work. In a time period where men overshadowed women in the traditional art, such as painting and sculpture, women oftentimes reverted to other mediums like textiles. It has been suggested that women's work, especially in embroidery, is of little value in the art field since it is considered a craft. Since "arts and crafts" are more often than not paired together, it is obvious they are in the same category; however, there is a clear distinction. For 300 years, women have been taught needlework through practice and tradition, and in inadvertently, promoted obedience and household effeminate behavior. As a result, instead of regarding stitching as an art, many viewed it as a thoughtless skill, lacking originality. On the contrary, however, it is far more than evident that the hand of woman is more than a mindless and conforming thing, it is one of sensitivity, thought, patience, perseverance, and strength. By incorporating embroidery and stitching, Betty Hahn pushes the audience to acknowledge the work of women not as craft or tradition, but as meticulous, creative and unique. Exhibitions The Division of Photographic History at the Smithsonian Institution exhibited Hahn's work in a group exhibit in the 1960s as a part of a developing series of displaying the works of women photographers. Afterwards her work was featured in multiple thematic exhibitions at the Smithsonian. Hahn's first solo show exhibiting her work was in 1973 at the Witkin Gallery in New York City. Thereafter, she received several grants from the National Endowment for the Arts in 1974, 1978, and 1983 to continue her work in explorative photography. Hahn's art has been exhibited throughout the country and worldwide featured in museums highlighting historical processes in Baltimore, Maryland (1972) and nature photography exhibitions in Osaka, Japan (1990). Her work has been displayed at the Albuquerque Museum of Art and Art History (2017), Phoenix Art Museum (2015), and the George Eastman House (2012, 2016). Hahn's work is held in private collectors, galleries, and in permanent museum collections, including the San Francisco Museum of Modern Art, Center for Creative Photography and the Museum of Modern Art. Exhibitions 1996 – George Eastman House International Museum of Photography and film, Rochester, New York 1997 – A History of Women Photographers, Akron Art Museum 1997 – Eye of the Beholder, Photographs of the Avon Collection, International Center of Photography, Midtown, New York City 1998 – Passing Shots: A Travel Series, University of New Mexico Art Museum, Albuquerque, New Mexico 1998 – The City Series, Taos, Albuquerque, Santa Fe, Cedar Rapids Museum of Art, Cedar Rapids, IA 1999 – Photography Or Maybe Not, a Betty Hahn traveling retrospective, Mikhailovsky Palace, St. Petersburg, Russia 2000 – 20/20 Twentieth Century Photographic Acquisitions by 20 leading patrons, Museum of New Mexico, Museum of Fine Arts 2000 – Photography Or Maybe Not, a Betty Hahn traveling retrospective, Santa Fe de Granada, Spain 2001 – In the Eyes of the Beholder: Ten Photographers View Albuquerque, The University of New Mexico Hospital, Albuquerque, NM 2002 – Sun Works Contemporary Alternative Photography, The Art Institute of Boston 2002 – Flowers from the Permanent Collection, The Albuquerque Museum, Albuquerque, New Mexico 2004 – 30th Anniversary Permanent Collection Exhibition, New Mexico State, University Art Gallery, Las Cruces, New Mexico 2005 – New Mexico State University Art Gallery, Las Cruces, New Mexico 2005 – Ace in the Hole, the legacy of Peter Walch, University Art Museum, University of New Mexico, Albuquerque, NM 2006 – The collectible moment, Norton Simon museum, Pasadena, California 2006 – The Social Lens, University of Virginia Art Museum, Charlottesville, Virginia 2007 – Seeing Ourselves: Masterpieces of American Photography, A Traveling 2007 – Exhibition, George Eastman House, Rochester, New York 2008 – Flower Power: a Subversive Botanical, New Mexico Museum of Art, Santa Fe, NM 2008 – Bernalillo County Arts Board Gallery, One Civic Plaza NW, Albuquerque, NM 2008 – Giving Shelter 516 Arts Albuquerque, NM (A Sister Exhibition to the Cradle Project) 2008 – Betty Hahn, Joyce Neimanas, and Judith Golden, Harwood Art Center Albuquerque, NM 2009 – Through the Lens: Creating Santa Fe, Palace of the Governors, The New Mexico History Museum, Santa Fe, 2009 – Altered Land: Photography in the 1970s, Sheldon Museum of Art, University of Nebraska, Lincoln, Nebraska 2010 – Sole Mates Cowboy Boots & Art, New Mexico Museum of Art 2010 – Rock Scissors Paper, Anderson Contemporary Arts, Albuquerque, NM 2010 – Recollection 2010, Works from the Colorado Photographic Arts Center, The Central Library, Vida Ellison Gallery, 2012 – 60 From the 60's (an exhibit of influential photos from the 1960s) George Eastman House, Rochester, New York 2012 – Albuquerque Now-Fall and Albuquerque Now-Winter, The Albuquerque Museum of Art and History, 2013 – It's About Time: 14,000 Years of Art in New Mexico, The New Mexico Museum of Art, Albuquerque, NM 2014 – Alternative Lineage – Honoring Betty Hahn; 5 Decades of Mentoring 2014 – Alternative Photographic Processes, Center for Photographic Art Carmel, California 2014 – Alternative Lineage, Northlight Gallery, Arizona State University, Tempe, Arizona 2014 – Transformational Imagemaking, Handmade Photography Since 1960 2014 – An Exhibition Curated by Robert Hirsch, CEPA Gallery, Buffalo, NY 2014 – Museum Project, dnj Gallery, Santa Monica, California 2014 – American Heritage Center and Art Museum, University of Wyoming, Laramie, Wyoming 2014 – Hubbard Museum of the American West, Ruidoso, New Mexico 2015 - One-Of-A-Kind, unique photographic objects from the Center of Creative Photography, University of Arizona, 2015 – Unconfined – Empowering Women Through Art, African American Performing Arts Center, New Mexico Expo, 2015 – Visualizing Albuquerque: Art of Central New Mexico, Albuquerque Museum, Albuquerque, NM 2015 – Healing ... For the Time Being, A mixed media exhibition in conjunction with On the Map: Albuquerque Art and Design, Jonathan Abrams MD 2015 – The AIPAD Photography Show, Represented by Joseph Bellows Gallery, New York, New York 2016 – Transformational Imagemaking, traveling exhibition March-16- April 16; Muhlenberg College, Allentown, Pa. 2016 – Fall-Rochester Institute of Technology, Bevier Gallery, Rochester, NY 2016 – 60 from the 60's: Selections from the George Eastman Museum, At the Hyde Collection, Glens Falls, New York (The featured artists included were Harry Callahan, Benedict J. Fernandez, Hollis Frampton...

Allan Forsyth UNTITLED GARDEN 2 Limited Edition Archival Chromagenic Photographic Print Edition 12 Sheet Size: H 100cm x W 100cm x D 2cm Diasec Framed Ready to Hang Please note that ...

Purple Tulip 16, archival pigment print photograph, printed on Fine Art paper by Tim Nighswander. It is 24x24, framed in a white frame to 32x32 with a Museum Glass. It is a limited edition of 15, signed and numbered. The fine detail makes this stunning purple tulip appear to be a painting. His career in photography began in college at Kent State University and has led him from photojournalism and award-winning commercial photography to his current status as a sought-after photographer in the specialized field of photographing fine art. For many years he has photographed comprehensive art collections through the US and this knowledge and exposure to art, has given Nighswander great understanding of themes that have been a consistent part of his personal imagery. This botanical series of photographs dance...

Tulip 18, archival pigment print photograph, printed on Fine Art paper by Tim Nighswander. It is 32x24, framed in a white frame to 40x32 with a UV plexiglass. It is a limited edition of 15, signed and numbered. The fine detail makes this stunning pink tulip appear to be a painting. His career in photography began in college at Kent State University and has led him from photojournalism and award-winning commercial photography to his current status as a sought-after photographer in the specialized field of photographing fine art. For many years he has photographed comprehensive art collections through the US and this knowledge and exposure to art, has given Nighswander great understanding of themes that have been a consistent part of his personal imagery. This botanical series of photographs dance...

The past year afforded more time than normal for stillness and observation. I am thrilled to be alive and sentient. I love making things, whether it be building a guitar, cooking a m...

Classic Beauty - The Noble Thistle - Polaroid Photographic Print Framed by Pia Clodi The blue tones within her work should not be interpreted as coldness, as her works are full of f...

This print features the playful relationship between natural forms and botanicals. In this image Erin uses the natural composition of the pink flowers, and her own collage work, to c...

The past year afforded more time than normal for stillness and observation. I am thrilled to be alive and sentient. I love making things, whether it be building a guitar, cooking a m...

The past year afforded more time than normal for stillness and observation. I am thrilled to be alive and sentient. I love making things, whether it be building a guitar, cooking a m...

The past year afforded more time than normal for stillness and observation. I am thrilled to be alive and sentient. I love making things, whether it be building a guitar, cooking a m...

The past year afforded more time than normal for stillness and observation. I am thrilled to be alive and sentient. I love making things, whether it be building a guitar, cooking a m...

The past year afforded more time than normal for stillness and observation. I am thrilled to be alive and sentient. I love making things, whether it be building a guitar, cooking a m...

The past year afforded more time than normal for stillness and observation. I am thrilled to be alive and sentient. I love making things, whether it be building a guitar, cooking a m...