Machinery Still-life Photography
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Art Subject: Machinery
Cali 180722-277 (Americana, California, Desert, Palm Tree, Gas Station, 40% OFF)
Located in Kansas City, MO
Lord Fauntleroy
Cali 180722-277
Pigment Print
Year: 2018
Visible Size: 13 x 13 inches
Framed: 20.5 x 20.5 inches
Signed: On Label
Edition: 7
COA provided
*White frame with standard ...
Category
2010s American Modern Landscape Photography
Materials
Pigment
Airplane, Wheel
By Bill Phelps
Located in Hudson, NY
This is a photograph of a Swiss made Pilatus PC-12 airplane. There are other images in this series as well.
A self-taught photographer, Phelps has won numerous awards for his photog...
Category
Early 2000s Modern Black and White Photography
Materials
Archival Ink, Archival Pigment
Orthochromatic Positive - Black & White Photography of a Typewriter
By Samuel Field
Located in Cambridge, GB
Samuel Field's still life of an Olivetti Typewriter, is given depth in the orthochromatic process he has used. Isolated in monochrome you appreciate the details of this vintage utili...
Category
1980s Conceptual Still-life Photography
Materials
Photographic Paper, Black and White, C Print, Silver Gelatin
Chowchilla #131 (US Road trip Diary) - Polaroid, Landscape, US, Color
Located in Morongo Valley, CA
Chowchilla #131, 2007
[From the series US Road Trip Diary]
Edition of 7 - numbers 1/7-3/7, 20x44x0,5cm.
Photo compilation based on 2 expired Polaroids,
printed on Plexiglass Dias...
Category
Early 2000s Contemporary Color Photography
Materials
Archival Ink, Archival Paper, Color, Archival Pigment, Polaroid
Peter Andrew Lusztyk - Defender, 2024, Printed After
Located in Greenwich, CT
Defender
Digital C-Print / Archival Pigment Print
Edition of 5 per size
Available sizes:
24" x 24"
36" x 36"
48" x 48"
Lusztyk’s “Collectible” series is a macro level exploration of...
Category
2010s Contemporary Color Photography
Materials
Archival Pigment
Orthochromatic Positive (Antique Olivetti Typewriter)
By Samuel Field
Located in Cambridge, GB
This bold graphic piece fantastically captures the iconic Italian Olivetti Typewriter.
This artwork is a limited edition of 25, lustre photographi...
Category
1980s Conceptual Still-life Photography
Materials
Photographic Paper, Black and White, C Print, Silver Gelatin
Automobili I (Ferrari) - details at iconic Italian race car performance garage
By Frank Schott
Located in San Francisco, CA
Automobili I by Frank Schott
27 x 40 inches / 69cm x 102cm
edition of 25
signed
48 x 72inches / 122cm x 183cm
edition of 7
signed
archival quality fine art pigment print
limited a...
Category
21st Century and Contemporary Contemporary Color Photography
Materials
Photographic Paper, Archival Pigment, Archival Paper
Old Cars Miami. Black and White Still life limited editionPhotography
By Luca Artioli
Located in Miami Beach, FL
The 'Miami Skin Series' it’s not a traditional collection of photos about the architecture of Miami and Miami Beach. It’s rather a quick journey between its own skin from the Art Dec...
Category
2010s Abstract Impressionist Black and White Photography
Materials
Black and White, Archival Pigment
Automobili III Ferrari - details at iconic Italian race car performance garage
By Frank Schott
Located in San Francisco, CA
Automobili III by Frank Schott
27 x 40 inches / 69cm x 102cm
edition of 25
signed
48 x 72 inches / 122cm x 183cm
edition of 7
signed
archival quality fine art pigment print
limite...
Category
21st Century and Contemporary Contemporary Color Photography
Materials
Photographic Paper, Archival Pigment
Brighton 27 - Platinum Palladium print over silver leafs, Limited edition photo
Located in Sant Cugat del Vallès, Barcelona
Brighton 27 - Platinum palladium on vellum with silver leafs
Signed and numbered edition of 8 plus 2 AP with certificate of authenticity, unframed.
The rarity of this type of p...
Category
1980s Contemporary Black and White Photography
Materials
Platinum, Silver
Mauretania - Silver Gelatin Fibre Print
Located in London, GB
Mauretania - Silver Gelatin Fibre Print
(Photo by Topical Press Agency/Getty Images)
The Cunard superliner Mauretania being refitted in the dry dock at Southampton.
Additional I...
Category
1950s Modern Still-life Photography
Materials
Black and White, Silver Gelatin
Platinum Palladium silver print, Limited Edition, Motocycle - Brighton 27
Located in Sant Cugat del Vallès, Barcelona
Brighton 27 - Platinum Palladium print over silver on vellum paper
Edition 1 of 8 , plus 2 AP ( Small size )
An old Harley Davidson motorcycle in front of a gas station garage ...
Category
1980s Contemporary Still-life Photography
Materials
Platinum, Silver
Meyer’s Ranch
Located in Carmel-by-the-Sea, CA
Titled and dated with artists reference number and stamped on the back of the mount and signed by Cole Weston. This piece was loaned to Art in Embassies...
Category
1930s Still-life Photography
Materials
Silver Gelatin
"Spools #2", contemporary, black, white, silk mill, industrial, photograph
Located in Natick, MA
Rebecca Skinner’s “Spool #2” is a black and white photo taken at an abandoned silk mill and is part of a series documenting the loss of industry in America. The 12 x 18 inch photo wi...
Category
2010s Contemporary Black and White Photography
Materials
Metal
And The Soul Wanted To Move
Located in Hudson, NY
CURRENT EXHIBITION - runs through February 26th, 2017. Any framed photographs purchased during the show will be available then. If the exhibition piece is sold or the customer orders...
Category
2010s Contemporary Black and White Photography
Materials
Archival Pigment
"Wheel", abandoned, silk mill, black and white, industrial, vintage, photograph
Located in Natick, MA
Rebecca Skinner’s “Wheel” was photographed at an abandoned silk mill and is part of a series documenting the loss of industry in America. The 12 x 18 inch black and white photo with ...
Category
2010s Contemporary Black and White Photography
Materials
Metal
"Cummins Steam Pump", 2007
By Ian Gittler
Located in Hudson, NY
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...
Category
21st Century and Contemporary Contemporary Still-life Photography
Materials
Archival Paper, Pigment
"Scale", industrial, black and white, abandoned, silk mill, vintage, photograph
Located in Natick, MA
Rebecca Skinner’s “Scale” was photographed at an abandoned silk mill and is part of a series documenting the loss of industry in America. The 18 x 12 inch black and white photo with ...
Category
2010s Contemporary Black and White Photography
Materials
Metal
"Wheels", black and white, abandoned, silk mill, industrial, vintage, photograph
Located in Natick, MA
Rebecca Skinner’s “Wheels” was photographed at an abandoned silk mill and is part of a series documenting the loss of industry in America. The 12 x 18 black and white photo with sati...
Category
2010s Contemporary Black and White Photography
Materials
Metal
"Thread", Contemporary, Black, White, Abandoned, Industrial, Vintage, Photograph
Located in Natick, MA
Rebecca Skinner’s “Thread” was photographed at an abandoned silk mill and is part of a series documenting the loss of industry in America. The 18 x 12 inch black and white photo with...
Category
2010s Contemporary Black and White Photography
Materials
Metal
Airplane, Side Propeller
By Bill Phelps
Located in Hudson, NY
This is a photograph of a Swiss made Pilatus PC-12 airplane. There are other images in this series as well.
A self-taught photographer, Phelps has won numerous awards for his photog...
Category
Early 2000s Modern Black and White Photography
Materials
Archival Ink, Archival Pigment
B-52 Cockpit
Located in New York, NY
40"40" photograph, edition of 5, signed and editioned on reverse
framed in natural wood shadowbox frame
This photograph is from a series entitled, “(UN)THINKABLE,” the culmination of 25 years of Phillip Buehler’s work photographing remnants of the Cold War throughout the United States and Europe. Buehler has visited NATO airbases, Cape Canaveral, the Airplane Graveyard, missile bunkers and silos (even within New York City’s borders) among many other sites that are historic, and yet hidden, forbidden, and forgotten. Photographs from this series will be featured in a solo exhibition this September at the Front Room Gallery.
For anyone growing up during the Cold War the sense of dread of the world’s annihilation was all to concrete. It was evidenced in films like “Dr. Strangelove” and “The Day After.” Everyone knew the U.S. had enough nuclear weapons to destroy the world 5 times over, and assumed something similar about the Russians. For those not old enough to remember this built in fear, don’t worry (worry) it is reawakening. We don’t need another Cuban Missile Crisis to push us to the brink, the renewed tension with the Russians, and now North Korea’s recent entry in the nuclear weapons club is more than enough to unnerve anyone who is watching these conflicts unfold. Phillip Buehler is watching closely. Through this comprehensive series Buehler’s photos show many aspects of this non-war war. In Buehler’s aerial photographs from a military airplane storage yard in Arizona the repetition of the same model of bomber aircraft are so abstractly pattern-based that the overall effect beginnings to feel like a Middle Eastern tapestry...
Category
2010s Contemporary Figurative Photography
Materials
Archival Pigment
"Trip Hammer", 2010
By Ian Gittler
Located in Hudson, NY
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...
Category
21st Century and Contemporary Contemporary Black and White Photography
Materials
Archival Paper, Pigment
"Solex Carburetor 1928", 2007
By Ian Gittler
Located in Hudson, NY
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...
Category
21st Century and Contemporary Contemporary Black and White Photography
Materials
Archival Paper, Pigment
"Oil Distribution Manifold", 2007
By Ian Gittler
Located in Hudson, NY
Ian Gittler’s Motor Art series-photographs of century-old engine parts, gears, sparkplugs, and brand tags-offers respite from the digital fetishism, overexp...
Category
21st Century and Contemporary Contemporary Black and White Photography
Materials
Archival Paper, Pigment
Games Before iPhone #1
By Paul Sokal
Located in Denton, TX
From series "Before iPhone"
Edition 1/10
Signed, titled and dated by artist in print verso in pen
Category
2010s Contemporary Color Photography
Materials
Archival Pigment
Jura, série "Clocks and Clouds"
Located in PARIS, FR
Photographie format 30*40cm de la série "Clocks and clouds" de Jean-Christophe Béchet, tirée par l'auteur lui-même par impression jet d'encre Fine art, avec de superbes nuances de no...
Category
2010s Contemporary Black and White Photography
Materials
Digital Pigment
Cadillac in Parking Lot, Las Vegas - the car in the dark with lights in green
Located in Vienna, AT
PREISS FINE ARTS is one of the world’s leading galleries for fine art photography representing the most famous contemporary artists.
Albert Watson is a veteran of international fine...
Category
21st Century and Contemporary Contemporary Color Photography
Materials
Archival Pigment
Green Machine I
By Paul Coghlin
Located in Carmel-by-the-Sea, CA
Signed, dated and numbered on front of print. Titled on back of print. Available in different sizes/edition numbers. Please contact the Weston Gallery...
Category
21st Century and Contemporary Color Photography
Grill I
By Paul Coghlin
Located in Carmel-by-the-Sea, CA
Signed, dated and numbered on front of print. Titled on back of print. Available in different sizes/edition numbers. Please contact the Weston Gallery f...
Category
21st Century and Contemporary Black and White Photography
Green Machine II
By Paul Coghlin
Located in Carmel-by-the-Sea, CA
Signed, dated and numbered on front of print. Titled on back of print. Available in different sizes/edition numbers. Please contact the Weston Gallery...
Category
21st Century and Contemporary Color Photography
Red and Black
By Paul Coghlin
Located in Carmel-by-the-Sea, CA
Signed, dated and numbered on front of print. Titled on back of print. Available in different sizes/edition numbers. Please contact the Weston Gallery for price and availability. www...
Category
21st Century and Contemporary Color Photography
Locomotive Drive, California
By Brett Weston
Located in Carmel-by-the-Sea, CA
Signed and dated on front of the mount.. Stamped on back of the mount Portfolio Print No. 1 with number in pencil, from Abstractions Portfolio #2. Printed in 1980.
Category
20th Century Still-life Photography
Materials
Silver Gelatin
