Wheel Still-life Photography

Heidler & Heeps B Side Vinyl Collection Six Piece Set. Acclaimed contemporary photographers, Richard Heeps and Natasha Heidler have collaborated to make this beautifully mesmerising ...

Anonymous Women: Domestic Demise In the latest narratives, “Domestic Demise,” the woman becomes the victim of domestic disasters. Her activities, obsessions and objects are overwhel...

A Fish Out of Water, limited edition photograph, archival ink, signed Holding Arabesque is an inward reflection that investigates our relationship with food and nostalgia and how ...

ABOUT THIS PIECE: Let's not pretend that we don't enjoy 80's music. ABOUT THIS ARTIST: Floyd P. Stanley is an LA based photographer creating product shot photographs of mixed tapes....

Tropicarios #1 From The Tropicarios series by Paloma Castello Digital photography print on chroma luxe. 33" x 21,6" Edition : 3/5 + 1AP Similar to the travel logs of the ancient e...

Tropicarios #2 from Tropicarios series, 2017 by Paloma Castello Digital photography print on chroma luxe. Image size: 33" W x 21,6" H inches Edition : 3/5 + 1AP Similar to the trav...

“IDEAL" features a 1.5 horsepower lawnmower engine manufactured in 1924 that still works. And the brand name-Ideal-speaks to an attitude about fabrication and manufacture linking pri...

This listing is for the unframed photograph. The Robin Rice Gallery is pleased to present a photographic exhibition by Tina West, featuring a special new collaboration between Robin ...

Audrey Hepburn Washes Car, c15_29 -- Audrey Hepburn on the set of Sabrina. Out take from the photo essay shot for the December 7, 1953 issue of LIFE. Image size is 10" x 15" (for 11"...

Gelatin silver print mounted to archival board Signed and dated, verso 9 x 9 inches (Edition of 15) 15 x 15 inches (Edition of 15) This artwork is offered by ClampArt, located in ...

Gelatin silver print mounted to archival board Signed and dated, verso 9 x 9 inches (Edition of 15) 15 x 15 inches (Edition of 15) This artwork is offered by ClampArt, located in ...

30"x40" edition of 5, photograph signed by the artist. This photograph depicts a constructed landscape created entirely out of white paper. The quality of light and color are achieved through the staging of the scene the aritst, Ken Ragsdale, creates. A scenic overlook into a vast landscape, with a camper in the foreground of the campsite, creates a dreamlike vision. Far off into the distance what appears almost as a mirage is a ferris wheel form, perhaps from a carnival or fair, or just in imagined. The installation landscape scene created by Ken Ragsdale exisits only to be photographed. With each scene, the artist meticulously cuts paper and folds each component to be captured by his lens. This photograph of cut paper constructions depicts a bus ride through a forest scene from the artists memory. The hues of ambient amber, green, red and blue are created through lighting the staged scene created in white paper Ken Ragsdale’s process begins with rough sketches of places and things from his past that are relevant to current themes he is considering. This series focuses on a time period of 1974-78, in the regions of Northern Idaho, to Eastern Oregon and the areas between. As his working drawings solidify the dimensions of the objects which represent his memories from that era, Ragsdale considers the landscape, terrain and weather, filtered through his personal memories and experiences. 

Once the composition and components are determined as to capture the aura of a memory, schematic drawings are documented and prepared for hand assembly. Laboriously the schematics are cut out, folded and tabbed to create their final 3-dimensional formats. As each object is placed and the structures oriented, Ragsdale modifies the scenes to perfectly frame each scenario for the final photograph. From simple sheets of white Bristol Vellum, the atmosphere and lighting brings each image to life and allows for a reminiscent view of a wistful past. Pacific Northwest native Kenneth Ragsdale’s work, derived from personal memories, involves a mixture of drawing, painting, sculpture, paper-craft, theatre lighting...

Rebecca Skinner’s “Unaccompanied” was photographed in an abandoned train repair yard. A rusty hose reel leaves a black shadow along the graffiti filled wall ...

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 ...

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...

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...

20"x30" available unframed, edition of 5 Signed and editioned From the series: "The Hundred Acre Wood" Ragsdale’s process begins with rough sketch...

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...

As if developed from memory, West’s latest collection channels imagery from a familiar past life. Just as the DaDa artists utilized art objects in unconventional forms produced by u...

As if developed from memory, West’s latest collection channels imagery from a familiar past life. Just as the DaDa artists utilized art objects in unconventional forms produced by un...

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...

1/10 One out of a series of Ten signed and numbered Photos mounted on non glare Plexiglas with a wood frame on back to hang floated on wall. Born in Tallahasee Fl, William started his artistic career as a color consultant for his family's Design and Painting company that took on constant projects of custom painted interiors and decorating. This work of 20 yrs lead him to his fascination with textiles and paint, along with custom furniture. After creating and selling dozens of unique pieces of furniture, here began his transition from wall, to wood on furniture, to canvas. Painting on canvas was the culmination of his creative outlet. William feels that his lack of formal training in Fine Art has afforded him a freedom to paint what he envisions and feels, rather than conform to specific style or genre that he feels is limiting Inspired by hard edge abstraction and color field art such as Kenneth Noland, Joseph Albers, Gene Davis, Frank Stella, Anne Truitt, Imi knobel.William is showing his work locally and nationally and being collected in Palm Beach Island, Washington and New York. Gallery Representation DTR Modern Galleries 440 S. County, Palm Beach FL 33480 DTR Modern Galleries Boston, MA NoSo Fine Art, 3716 S. Dixie Hwy West Palm Beach, FL 33405 Gary Rubinstein...

Eel X-Ray Photography on Dibond Lambda Print Fish Nature Still Life Color - Perspex Front UV Resistant The photography of Arie van ’t Riet is a merger of his scientific background,...

Steve Schlackman is a lawyer by profession and a photographer by choice. Fascinated by the magical world of photography since his youth, he honed this...

From series "Before iPhone" Edition 1/10 Signed, titled and dated by artist in print verso in pen

Legs and Lego photographed by Jesse Frohman. All prints are limited edition. Available in multiple sizes. High-end framing on request. All prints are done and signed by the artist....

Other sizes and framing on request PREISS FINE ARTS is one of the world’s leading galleries for fine art photography representing the most famous contemporary artists...

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...