Women Still-life Photography

Jakub Dolejš is an artist who lives and works in London. Jakub Dolejs' work been included in exhibitions at the National Gallery of Canada, Vancouver Art Gallery, East International...

Born in 1939 in Louisville Kentucky, David Gibson is primarily a self-taught photographer. Years of developing and refining his photographic technique have afforded him much recognit...

Born in 1939 in Louisville Kentucky, David Gibson is primarily a self-taught photographer. Years of developing and refining his photographic technique have afforded him much recognit...

Born in 1939 in Louisville Kentucky, David Gibson is primarily a self-taught photographer. Years of developing and refining his photographic technique have afforded him much recognit...

Eternal Recurrence #13 Archival Pigment Print of Photographic Paper 60" x 53.5" Edition 1/5 2015 _______________________________ Natasha Zupan’s work juxtaposes emotion, reflection...

Limited edition graphic on Archival Canson Platine Fibre Rag. Additional sizes available. All editions are signed and numbered by the artist 16" x 20" Print Please inquire for...

Listing is for UNFRAMED print. Inquire within for framing. Edition of 25. If the exhibition piece is sold or the customer orders a different print size, the photograph is produced upon purchase. Please allow two weeks for production. Shipping time depends on method of shipping. Price is subject to availability. The Robin Rice Gallery reserves the right to adjust this price depending on the current edition of the photograph. ABOUT: The beauty of Tina West’s latest show lies in the maturity and wonder of her still lives. For every photo, West stages her scene with unique treasures from her vast collection. Allowing them to speak to her, rather than the opposite, each object is chosen not because of an image West is trying to recreate from her mind, but because of each object’s sheer attraction. The sharp subconscious connection West feels to her still life objects comes across strongly. This produces a magical end product that has both transformed and repurposed the photographed objects entirely. Though still lives are considered a classic image, West exemplifies a charming, experimental take that pushes the boundaries of the historical still life. The invitational image, entitled “Constraint Inspires Creativity,” embodies the breadth of her work in capturing a warm rich okra-gold “Do Not...

The subject is the conflation of woman and home. In the previous “Anonymous Women: Draped” photographic series, a lone woman is hidden in a vignette within the drapery, where she per...

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

The subject is the conflation of woman and home. In the previous “Anonymous Women: Draped” photographic series, a lone woman is hidden in a vignette within the drapery, where she per...

The subject is the conflation of woman and home. In the previous “Anonymous Women: Draped” photographic series, a lone woman is hidden in a vignette within the drapery, where she per...

The subject is the conflation of woman and home. In the previous “Anonymous Women: Draped” photographic series, a lone woman is hidden in a vignette within the drapery, where she per...

The subject is the conflation of woman and home. In the previous “Anonymous Women: Draped” photographic series, a lone woman is hidden in a vignette within the drapery, where she per...

The subject is the conflation of woman and home. In the previous “Anonymous Women: Draped” photographic series, a lone woman is hidden in a vignette within the drapery, where she per...

The subject is the conflation of woman and home. In the previous “Anonymous Women: Draped” photographic series, a lone woman is hidden in a vignette within the drapery, where she per...

The subject is the conflation of woman and home. In the previous “Anonymous Women: Draped” photographic series, a lone woman is hidden in a vignette within the drapery, where she per...

The subject is the conflation of woman and home. In the previous “Anonymous Women: Draped” photographic series, a lone woman is hidden in a vignette within the drapery, where she per...

The subject is the conflation of woman and home. In the previous “Anonymous Women: Draped” photographic series, a lone woman is hidden in a vignette within the drapery, where she per...

Signed, titled, dated and copyrighted 1983 on back of print. Stamped, 'Signed silver print of this negative not exceeding' and 78 written in pencil on back of print. Annotated, 'Copy...

Nicholas and Sheila Pye By Tatiana Mellema As spouses and artistic collaborators Nicholas and Sheila Pye take both a delicate and dangerous look at married life. Working in perf...

Listing is for UNFRAMED print. Inquire within for framing. Edition of 25. If the exhibition piece is sold or the customer orders a different print size, the photograph is prod...

Signed on the mount by the artist. Vintage print.

DETAIL FROM: FOUR REGENTS OF THE GROOT-KRAMERGILD, 2008 WERNER J. VAN DEN VALCKERT, 1622, PAINTING GALLERY BERLIN 40 x 53.4 inches ed. of 7 $4,400 50 x 66.7 inches ed. of 5 $6,800

Signed on mount recto; titled with artist stamp on mount verso. Edition of 15 in this size.

Signed on mount recto; titled with artist stamp on mount verso. Edition of 15. Price subject to change without notice.

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...

Beau Simmons has been a professional photographer since 2009. He grew up just outside Joshua Tree National Park, CA. He made a name for himself at 21 in the fashion photography indus...

Beau Simmons has been a professional photographer since 2009. He grew up just outside Joshua Tree National Park, CA. He made a name for himself at 21 in the fashion photography industry working with clients including Marc Jacobs, 7 For All Mankind...

Beau Simmons has been a professional photographer since 2009. He grew up just outside Joshua Tree National Park, CA. He made a name for himself at 21 in the fashion photography industry working with clients including Marc Jacobs, 7 For All Mankind...

MAX STEVEN GROSSMAN RAFF SQ BL Trans Mounted Metallic Print 40 x 44 in. Ed 4 of 5 Exploring the changing accessibility and value of books and photography, Max Steven Grossman’s Book...

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

Frame adds 7" to dimensions. Artwork is available in three sizes: 32 in. x 40 in. 48 in. x 60 in. 60 in. x 75 in. Artist Journal Entry: "Last year I introduced the release of "The World Needs More Cowboys...

Frame adds 7" to dimensions. Artwork is available in three sizes: 32 in. x 40 in. 48 in. x 60 in. 60 in. x 75 in. Artist Journal Entry: "I find a lot of inspiration from the 70s era. The classic cars, the lifestyle, it's always captivated me. I went into this idea with the thought of a typical warm summer day in 1978. These types of photos are always a joy to produce because I get to outsource outdated items such as classic cars and vintage wardrobes but still add a Western twist to them. To me, it's something you'd expect to see every day in the country. Where a cowboy would cool his horse off after working all morning under a hot sun, mixed in with the everyday customer looking to detail their car before hitting up the honky tonk that night. This image just looks like it was taken in a much simpler time. When the little things like your local carwash were an everyday thing. I was fortunate enough to include local cowboys and cowgirls to help bring this vision to life. We staged the vehicles on a Sunday morning and trailered the horse out with us to be the focal point of the image. Each one of these men and women either rodeo full-time or work on a nearby ranch. After developing the film and getting the final image back from the lab, it brought back so many memories of my own. I remember growing up getting excited to grab a handful of quarters and help my parents wash the car. If we didn't have change, I would just wash the cars at home and take a drink from the outside hose when it got too hot out. This artwork is dedicated to those memorable times while also creating a sense of wonder for the viewer." About The Artist: Beau Simmons...

Frame adds 7" to dimensions. Artwork is available in three sizes: 20 in. x 40 in. 30 in. x 60 in. 40 in. x 80 in. "The Four Aces Motel" Artist Journal Entry: "I have always been fascinated by the lifestyles surrounding the 1970s-1990s era. I grew up in the 90s in a small town located in the Mojave Desert in California. The nostalgic imagery captured back in those days has such a unique feel to them. With that in mind and other inspiration drawn from classic movies, I wanted to capture a series of images that reflected a 1970s story based in the vast desert surrounding my hometown. In this particular image out of the series, I wanted to create a scenario of a woman who just showed up at this motel in the middle of the desert in her classic 1971 Ford Galaxy. A place where cowboys and other drifters come together. Something that tells a story of how cowboys in the 70s could ride their horses up and stay the night. Where vagabonds could escape and call this place home for a night or two as they pass through town. I wanted to create an image that takes your mind back to this time period and gives you an idea of what an ordinary day might have looked like back then. This location is an actual Hollywood film set called The Four Aces. I contacted the owner and after an extensive interview process, receiving an LA County film permit, and production insurance, I was finally able to create a series of images that have been on my mind for quite some time." About The Artist: Beau Simmons has been a professional photographer since 2009. He grew up just outside Joshua Tree National Park, CA. He made a name for himself at 21 in the fashion photography industry working with clients including Marc Jacobs, 7 For All Mankind, Guess Jeans, and Converse. He was a go-to photographer for such agencies as Elite Models, IMG, and Ford Models. The fashion scene began to grind on Beau. Being a cowboy is in his blood. In this spirit, he decided to pursue his love for the western lifestyle and the wonder of the American landscape. Beau captures his artwork exclusively on film using the lost art of medium and large format film photography. Taking inspiration from masters of film photography like Kurt Marcus and Steven Shore...

Limited Edition of 25. Other sizes and prices on request. Albert Watson has made his mark as one of the world’s most successful fashion and commercial photographers during the last four decades, while creating his own art along the way. Over the years, his striking images have appeared on more than 100 covers of Vogue around the world and been featured in countless other publications, from Rolling Stone to Time to Interview and Vibe _ many of the photographs iconic portraits of rock stars...

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...

Other sizes and price on request. Available in 60 x 80 cm as well. PREISS FINE ARTS is one of the world’s leading galleries for fine art photography representing the most famous contemporary artists. Gerard Uferas...

Other sizes and price on request. Available in 80 x 120 cm as well. PREISS FINE ARTS is one of the world’s leading galleries for fine art photography representing the most famous co...

Other sizes and price on request. Available in 80 x 120 cm as well. PREISS FINE ARTS is one of the world’s leading galleries for fine art photography representing the most famous contemporary artists. Gerard Uferas...

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 color saturated 1980's. A portrait by Leonardo da Vinci, nail polish, a pink rose, pocket watch, green pear. "Leonardo's Lady" a still life tableaux. Audrey L. Flack (born May 30, 1931 in New York City, New York) is an American artist. Her work pioneered the art genre of photorealism; her work encompasses painting, sculpture, and photography. From Audrey Flack: 12 Photographs 1973 to 1983. A set of this portfolio is in the collections of the Harvard Art Museums. The Kodakchrome photos were photgraphed with a NIkon camera, the Ektachrome photographs were taken with a Hasselblad camera. Each negative was printed on a 20 X24 inche fiber based paper, dry mounted wth seal MT5 dry mounting tissue to 4 ply 100% cotton fiber board by Arnon Ben-David and Ari Rivera Gonzales under the supervision of Carol Brower. Flack has numerous academic degrees, including both a graduate and an honorary doctorate degree from Cooper Union in New York City. Additionally she has a bachelor's degree in Fine Arts from Yale University and attended New York University Institute of Fine Arts where she studied art history. In May 2015, Flack received an honorary Doctor of Fine Arts degree from Clark University, where she also gave a commencement address. Flack's work is displayed in several major museums, including the Museum of Modern Art, the Metropolitan Museum of Art, the Whitney Museum of American Art, and the Solomon R. Guggenheim Museum. Flack's photorealist paintings were the first such paintings to be purchased for the Museum of Modern Art’s permanent collection, and her legacy as a photorealist lives on to influence many American and International artists today. J. B. Speed Art Museum in Louisville, Kentucky, organized a retrospective of her work, and Flack’s pioneering efforts into the world of photorealism popularized the genre to the extent that it remains today. Flack attended New York's High School of Music & Art. She studied fine arts in New York from 1948 to 1953, studying under Josef Albers among others. She earned a graduate degree and received an honorary doctorate from Cooper Union in New York City, and a Bachelor of Fine Arts from Yale University. She studied art history at the Institute of Fine Arts, New York University. 1953 New York University Institute of Fine Arts, New York City 1952 BFA, Yale University, New Haven, Connecticut 1948-51 Cooper Union, New York City Career Flack's early work in the 1950s was abstract expressionist; one such painting paid tribute to Franz Kline. Most influential amongst her early supporters was the Bauhaus artist Josef Albers. It was he who persuaded Flack to take up a scholarship at Yale with the mission of shaking up the institution's stuffy academic reputation. The ironic kitsch themes in her early work influenced Jeff Koons. But gradually, Flack became a New Realist and then evolved into photorealism during the 1960s. Her move to the photorealist style was in part because she wanted her art to communicate to the viewer. She was the first photorealist painter to be added to the collection of the Museum of Modern Art in 1966. Between 1976 and 1978 she painted her Vanitas series, including the piece Marilyn. The critic Graham Thompson wrote, "One demonstration of the way photography became assimilated into the art world is the success of photorealist painting in the late 1960s and early 1970s. It is also called super-realism, radical realism, or hyper-realism and painters like Richard Estes, Chuck Close, and Audrey Flack as well, often worked from photographic stills to create paintings that appeared to be photographs." In the early 1980s Flack's artistic medium shifted from painting to sculpture. She describes this shift as a desire for "something solid, real, tangible. Something to hold and to hold on to." Flack discusses the fact that she is self-taught in sculpture. She incorporates religion and mythology into her sculpture rather than the historical or everyday subjects of her paintings. Her sculptures often demonstrate a connection to the female form, including a series of diverse, heroic women and goddess figures. These depictions of women differ from those of traditional femininity, but rather are athletic, older, and strong. As Flack describes them: "they are real yet idealized... the 'goddesses in everywoman.'" Flack has claimed to have found the photorealist movement too restricting, and now gains much of her inspiration from Baroque art. Flack is currently represented by the Louis K. Meisel Gallery and Hollis Taggart Galleries. Her work is held in the collections of museums around the world, including the Metropolitan Museum of Art, The Museum of Modern Art, the Solomon R. Guggenheim Museum, the Whitney Museum of American Art, the Allen Memorial Art Museum, and the National Gallery of Australia in Canberra, Australia. She was awarded the St. Gaudens Medal from Cooper Union, and the honorary Albert Dome professorship from Bridgeport University. She is an honorary professor at George Washington University, is currently a visiting professor at the University of Pennsylvania and has taught and lectured extensively both nationally, and internationally. Flack lives and works in New York City and Long Island. Audrey Flack is best known for her photo-realist paintings and was one of the first artists to use photographs as the basis for painting. The genre, taking its cues from Pop Art, incorporates depictions of the real and the regular, from advertisements to cars to cosmetics. Flack's work brings in everyday household items like tubes of lipstick, perfume bottles, Hispanic Madonnas, and fruit. These inanimate objects often disturb or crowd the pictorial space, which are often composed as table-top still lives. Flack often brings in actual accounts of history into her photorealist paintings, such as World War II' (Vanitas) and Kennedy Motorcade. Women were frequently the subject of her photo realist paintings. In her Neoclassical public sculpture of gilded bronze...

Other sizes an framing on request. PREISS FINE ARTS is one of the world’s leading galleries for fine art photography representing the most famous contemporary artists. Massimo Listri is an Italian photographer and best known for his large-scale images of majestic, empty interior spaces. In his famous series and photographs of libraries...

Other sizes an framing on request. PREISS FINE ARTS is one of the world’s leading galleries for fine art photography representing the most famous contemporary artists. Massimo Listri is an Italian photographer and best known for his large-scale images of majestic, empty interior spaces. In his famous series and photographs of libraries...

Frame adds 7" to dimensions. Artwork is available in three sizes: 32 in. x 40 in. 48 in. x 60 in. 60 in. x 75 in. “Regal” Artist Journal Entry: "The crew took a break under the high Texas sun while sharing laughs and stories about past times. I captured this photo just before we headed back to headquarters for a quick lunch break before working the calves again for the second part of the day. Covered in dirt, sweat, and blood, this photo captures the bond these men share while working in these tough conditions. The winters can be brutal and the heat of the summers can kill a man if he isn’t prepared. No matter what the day calls for, there is work to get done and I can promise you, it takes a lot more than the heat to kill these men. Texas just does things differently from the rest of the world. It’s a place where hospitality is celebrated and generosity is in your blood. A place where legends are born. Most importantly, it’s a place where people have taught me a lot about myself. I always count down the days to once again return to this beautiful state. Until then, I’ll just reminisce on moments like this." About The Artist: Beau Simmons...

Edition 2 of 50 Digitally Printed Signature and Edition number on Front. Stamped by Estate Terry O'Neill - photographer / English singer and songwriter Elton John performs at Dodger Stadium...

PAUL CAPONIGRO, Bell Pepper Cross Section, Winthrop, MA. 1964. Vintage Polaroid, Type 53. Unique one-of-a-kind positive print. edition 1/1.

Parish Kohanim has been intimately involved with professional photography for over 25 years. Parish, who is a renowned commercial photographer, is now devoting his efforts towards hi...

MAX STEVEN GROSSMAN Fashion SQ 3 Trans Mounted Metallic Print 50 x 55 in. Ed of 5 Please note, there is a 3 week printing lead time** Exploring the changing accessibility and value...

20" x 16" on a 24" x 20" paper Edition of 30 40" x 32" on a 48" x 40" paper Edition of 5 Signed and editioned in pencil on recto. Titled and dated in pencil on verso Mounted and F...

20" x 16" on a 24" x 20" paper Edition of 30 40" x 32" on a 48" x 40" paper Edition of 5 Signed and editioned in pencil on recto. Titled and dated in pencil on verso Mounted and F...

Underwater Study #2461 - model swimming in an ocean blue water The artwork is made and signed by the artist in a strictly limited edition. Other sizes and editions on request. PREISS FINE ARTS is one of the world’s leading galleries which represents only the most famous fine art photographers of the world. For more than 10 years the gallery one of the most successful players on the international art market and responsible for the developing importance of fine art photography. Howard Schatz is an award-winning photographer nowliving in New York City and has exhibited extensively around the world. His photographs are included in the permanent collections of numerous museums. With twenty books of photographs to his credit, Schatz's wide-ranging artistic oeuvre includes studies of actors, dancers, athletes, portraiture , and a world of underwater imagery, different from anything ever seen. Additionally, his photographs have appeared in countless magazines throughout the world, including a running series in Vanity Fair along with the covers of TIME, Sports Illustrated, US News...

New York Still Life, 1947/April 1980 Signed, titled, dated, numbered, and inscribed in pencil, verso Platinum-palladium print on Rives paper mo...

After graduating from the University of Philadelphia with an engineering degree, Grossman soon discovered his passion for photography. In 2000, he graduated from NYU and the Interna...

After graduating from the University of Philadelphia with an engineering degree, Grossman soon discovered his passion for photography. In 2000, he graduated from NYU and the Interna...

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 color saturated 1980's. "Rolls Royce Lady" featuring a sculpture the Spirit of Ecstasy, a crystal goblet, dice, flowers, a pocket watch, jewelry, perfume and a red rose. Audrey L. Flack (born May 30, 1931 in New York City, New York) is an American artist. Her work pioneered the art genre of photorealism; her work encompasses painting, sculpture, and photography. From Audrey Flack: 12 Photographs 1973 to 1983. A set of this portfolio is in the collections of the Harvard Art Museums. The Kodakchrome photos were photgraphed with a NIkon camera, the Ektachrome photographs were taken with a Hasselblad camera. Each negative was printed on a 20 X24 inche fiber based paper, dry mounted wth seal MT5 dry mounting tissue to 4 ply 100% cotton fiber board by Arnon Ben-David and Ari Rivera Gonzales under the supervision of Carol Brower. Flack has numerous academic degrees, including both a graduate and an honorary doctorate degree from Cooper Union in New York City. Additionally she has a bachelor's degree in Fine Arts from Yale University and attended New York University Institute of Fine Arts where she studied art history. In May 2015, Flack received an honorary Doctor of Fine Arts degree from Clark University, where she also gave a commencement address. Flack's work is displayed in several major museums, including the Museum of Modern Art, the Metropolitan Museum of Art, the Whitney Museum of American Art, and the Solomon R. Guggenheim Museum. Flack's photorealist paintings were the first such paintings to be purchased for the Museum of Modern Art’s permanent collection, and her legacy as a photorealist lives on to influence many American and International artists today. J. B. Speed Art Museum in Louisville, Kentucky, organized a retrospective of her work, and Flack’s pioneering efforts into the world of photorealism popularized the genre to the extent that it remains today. Flack attended New York's High School of Music & Art. She studied fine arts in New York from 1948 to 1953, studying under Josef Albers among others. She earned a graduate degree and received an honorary doctorate from Cooper Union in New York City, and a Bachelor of Fine Arts from Yale University. She studied art history at the Institute of Fine Arts, New York University. 1953 New York University Institute of Fine Arts, New York City 1952 BFA, Yale University, New Haven, Connecticut 1948-51 Cooper Union, New York City Career Flack's early work in the 1950s was abstract expressionist; one such painting paid tribute to Franz Kline. Most influential amongst her early supporters was the Bauhaus artist Josef Albers. It was he who persuaded Flack to take up a scholarship at Yale with the mission of shaking up the institution's stuffy academic reputation. The ironic kitsch themes in her early work influenced Jeff Koons. But gradually, Flack became a New Realist and then evolved into photorealism during the 1960s. Her move to the photorealist style was in part because she wanted her art to communicate to the viewer. She was the first photorealist painter to be added to the collection of the Museum of Modern Art in 1966. Between 1976 and 1978 she painted her Vanitas series, including the piece Marilyn. The critic Graham Thompson wrote, "One demonstration of the way photography became assimilated into the art world is the success of photorealist painting in the late 1960s and early 1970s. It is also called super-realism, radical realism, or hyper-realism and painters like Richard Estes, Chuck Close, and Audrey Flack as well, often worked from photographic stills to create paintings that appeared to be photographs." In the early 1980s Flack's artistic medium shifted from painting to sculpture. She describes this shift as a desire for "something solid, real, tangible. Something to hold and to hold on to." Flack discusses the fact that she is self-taught in sculpture. She incorporates religion and mythology into her sculpture rather than the historical or everyday subjects of her paintings. Her sculptures often demonstrate a connection to the female form, including a series of diverse, heroic women and goddess figures. These depictions of women differ from those of traditional femininity, but rather are athletic, older, and strong. As Flack describes them: "they are real yet idealized... the 'goddesses in everywoman.'" Flack has claimed to have found the photorealist movement too restricting, and now gains much of her inspiration from Baroque art. Flack is currently represented by the Louis K. Meisel Gallery and Hollis Taggart Galleries. Her work is held in the collections of museums around the world, including the Metropolitan Museum of Art, The Museum of Modern Art, the Solomon R. Guggenheim Museum, the Whitney Museum of American Art, the Allen Memorial Art Museum, and the National Gallery of Australia in Canberra, Australia. She was awarded the St. Gaudens Medal from Cooper Union, and the honorary Albert Dome professorship from Bridgeport University. She is an honorary professor at George Washington University, is currently a visiting professor at the University of Pennsylvania and has taught and lectured extensively both nationally, and internationally. Flack lives and works in New York City and Long Island. Audrey Flack is best known for her photo-realist paintings and was one of the first artists to use photographs as the basis for painting. The genre, taking its cues from Pop Art, incorporates depictions of the real and the regular, from advertisements to cars to cosmetics. Flack's work brings in everyday household items like tubes of lipstick, perfume bottles, Hispanic Madonnas, and fruit. These inanimate objects often disturb or crowd the pictorial space, which are often composed as table-top still lives. Flack often brings in actual accounts of history into her photorealist paintings, such as World War II' (Vanitas) and Kennedy Motorcade. Women were frequently the subject of her photo realist paintings. In her Neoclassical public sculpture of gilded bronze angels...

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 color saturated 1980's. "Queen" featuring a red rose, paint, a cameo portrait locket, makeup, a chess piece, a pocket watch and a red lucite dice piece . Audrey L. Flack (born May 30, 1931 in New York City, New York) is an American artist. Her work pioneered the art genre of photorealism; her work encompasses painting, sculpture, and photography. From Audrey Flack: 12 Photographs 1973 to 1983. A set of this portfolio is in the collections of the Harvard Art Museums. The Kodakchrome photos were photgraphed with a NIkon camera, the Ektachrome photographs were taken with a Hasselblad camera. Each negative was printed on a 20 X24 inche fiber based paper, dry mounted wth seal MT5 dry mounting tissue to 4 ply 100% cotton fiber board by Arnon Ben-David and Ari Rivera Gonzales under the supervision of Carol Brower. Flack has numerous academic degrees, including both a graduate and an honorary doctorate degree from Cooper Union in New York City. Additionally she has a bachelor's degree in Fine Arts from Yale University and attended New York University Institute of Fine Arts where she studied art history. In May 2015, Flack received an honorary Doctor of Fine Arts degree from Clark University, where she also gave a commencement address. Flack's work is displayed in several major museums, including the Museum of Modern Art, the Metropolitan Museum of Art, the Whitney Museum of American Art, and the Solomon R. Guggenheim Museum. Flack's photorealist paintings were the first such paintings to be purchased for the Museum of Modern Art’s permanent collection, and her legacy as a photorealist lives on to influence many American and International artists today. J. B. Speed Art Museum in Louisville, Kentucky, organized a retrospective of her work, and Flack’s pioneering efforts into the world of photorealism popularized the genre to the extent that it remains today. Flack attended New York's High School of Music & Art. She studied fine arts in New York from 1948 to 1953, studying under Josef Albers among others. She earned a graduate degree and received an honorary doctorate from Cooper Union in New York City, and a Bachelor of Fine Arts from Yale University. She studied art history at the Institute of Fine Arts, New York University. 1953 New York University Institute of Fine Arts, New York City 1952 BFA, Yale University, New Haven, Connecticut 1948-51 Cooper Union, New York City Career Flack's early work in the 1950s was abstract expressionist; one such painting paid tribute to Franz Kline. Most influential amongst her early supporters was the Bauhaus artist Josef Albers. It was he who persuaded Flack to take up a scholarship at Yale with the mission of shaking up the institution's stuffy academic reputation. The ironic kitsch themes in her early work influenced Jeff Koons. But gradually, Flack became a New Realist and then evolved into photorealism during the 1960s. Her move to the photorealist style was in part because she wanted her art to communicate to the viewer. She was the first photorealist painter to be added to the collection of the Museum of Modern Art in 1966. Between 1976 and 1978 she painted her Vanitas series, including the piece Marilyn. The critic Graham Thompson wrote, "One demonstration of the way photography became assimilated into the art world is the success of photorealist painting in the late 1960s and early 1970s. It is also called super-realism, radical realism, or hyper-realism and painters like Richard Estes, Chuck Close, and Audrey Flack as well, often worked from photographic stills to create paintings that appeared to be photographs." In the early 1980s Flack's artistic medium shifted from painting to sculpture. She describes this shift as a desire for "something solid, real, tangible. Something to hold and to hold on to." Flack discusses the fact that she is self-taught in sculpture. She incorporates religion and mythology into her sculpture rather than the historical or everyday subjects of her paintings. Her sculptures often demonstrate a connection to the female form, including a series of diverse, heroic women and goddess figures. These depictions of women differ from those of traditional femininity, but rather are athletic, older, and strong. As Flack describes them: "they are real yet idealized... the 'goddesses in everywoman.'" Flack has claimed to have found the photorealist movement too restricting, and now gains much of her inspiration from Baroque art. Flack is currently represented by the Louis K. Meisel Gallery and Hollis Taggart Galleries. Her work is held in the collections of museums around the world, including the Metropolitan Museum of Art, The Museum of Modern Art, the Solomon R. Guggenheim Museum, the Whitney Museum of American Art, the Allen Memorial Art Museum, and the National Gallery of Australia in Canberra, Australia. She was awarded the St. Gaudens Medal from Cooper Union, and the honorary Albert Dome professorship from Bridgeport University. She is an honorary professor at George Washington University, is currently a visiting professor at the University of Pennsylvania and has taught and lectured extensively both nationally, and internationally. Flack lives and works in New York City and Long Island. Audrey Flack is best known for her photo-realist paintings and was one of the first artists to use photographs as the basis for painting. The genre, taking its cues from Pop Art, incorporates depictions of the real and the regular, from advertisements to cars to cosmetics. Flack's work brings in everyday household items like tubes of lipstick, perfume bottles, Hispanic Madonnas, and fruit. These inanimate objects often disturb or crowd the pictorial space, which are often composed as table-top still lives. Flack often brings in actual accounts of history into her photorealist paintings, such as World War II' (Vanitas) and Kennedy Motorcade. Women were frequently the subject of her photo realist paintings. In her Neoclassical public sculpture of gilded bronze...

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 color saturated 1980's. "Wheel of Fortune" featuring a tarot card, a skull, lipstick, a crystal necklace, candle, mirror etc. Audrey L. Flack (born May 30, 1931 in New York City, New York) is an American artist. Her work pioneered the art genre of photorealism; her work encompasses painting, sculpture, and photography. From Audrey Flack: 12 Photographs 1973 to 1983. A set of this portfolio is in the collections of the Harvard Art Museums. The Kodakchrome photos were photgraphed with a NIkon camera, the Ektachrome photographs were taken with a Hasselblad camera. Each negative was printed on a 20 X24 inche fiber based paper, dry mounted wth seal MT5 dry mounting tissue to 4 ply 100% cotton fiber board by Arnon Ben-David and Ari Rivera Gonzales under the supervision of Carol Brower. Flack has numerous academic degrees, including both a graduate and an honorary doctorate degree from Cooper Union in New York City. Additionally she has a bachelor's degree in Fine Arts from Yale University and attended New York University Institute of Fine Arts where she studied art history. In May 2015, Flack received an honorary Doctor of Fine Arts degree from Clark University, where she also gave a commencement address. Flack's work is displayed in several major museums, including the Museum of Modern Art, the Metropolitan Museum of Art, the Whitney Museum of American Art, and the Solomon R. Guggenheim Museum. Flack's photorealist paintings were the first such paintings to be purchased for the Museum of Modern Art’s permanent collection, and her legacy as a photorealist lives on to influence many American and International artists today. J. B. Speed Art Museum in Louisville, Kentucky, organized a retrospective of her work, and Flack’s pioneering efforts into the world of photorealism popularized the genre to the extent that it remains today. Flack attended New York's High School of Music & Art. She studied fine arts in New York from 1948 to 1953, studying under Josef Albers among others. She earned a graduate degree and received an honorary doctorate from Cooper Union in New York City, and a Bachelor of Fine Arts from Yale University. She studied art history at the Institute of Fine Arts, New York University. 1953 New York University Institute of Fine Arts, New York City 1952 BFA, Yale University, New Haven, Connecticut 1948-51 Cooper Union, New York City Career Flack's early work in the 1950s was abstract expressionist; one such painting paid tribute to Franz Kline. Most influential amongst her early supporters was the Bauhaus artist Josef Albers. It was he who persuaded Flack to take up a scholarship at Yale with the mission of shaking up the institution's stuffy academic reputation. The ironic kitsch themes in her early work influenced Jeff Koons. But gradually, Flack became a New Realist and then evolved into photorealism during the 1960s. Her move to the photorealist style was in part because she wanted her art to communicate to the viewer. She was the first photorealist painter to be added to the collection of the Museum of Modern Art in 1966. Between 1976 and 1978 she painted her Vanitas series, including the piece Marilyn. The critic Graham Thompson wrote, "One demonstration of the way photography became assimilated into the art world is the success of photorealist painting in the late 1960s and early 1970s. It is also called super-realism, radical realism, or hyper-realism and painters like Richard Estes, Chuck Close, and Audrey Flack as well, often worked from photographic stills to create paintings that appeared to be photographs." In the early 1980s Flack's artistic medium shifted from painting to sculpture. She describes this shift as a desire for "something solid, real, tangible. Something to hold and to hold on to." Flack discusses the fact that she is self-taught in sculpture. She incorporates religion and mythology into her sculpture rather than the historical or everyday subjects of her paintings. Her sculptures often demonstrate a connection to the female form, including a series of diverse, heroic women and goddess figures. These depictions of women differ from those of traditional femininity, but rather are athletic, older, and strong. As Flack describes them: "they are real yet idealized... the 'goddesses in everywoman.'" Flack has claimed to have found the photorealist movement too restricting, and now gains much of her inspiration from Baroque art. Flack is currently represented by the Louis K. Meisel Gallery and Hollis Taggart Galleries. Her work is held in the collections of museums around the world, including the Metropolitan Museum of Art, The Museum of Modern Art, the Solomon R. Guggenheim Museum, the Whitney Museum of American Art, the Allen Memorial Art Museum, and the National Gallery of Australia in Canberra, Australia. She was awarded the St. Gaudens Medal from Cooper Union, and the honorary Albert Dome professorship from Bridgeport University. She is an honorary professor at George Washington University, is currently a visiting professor at the University of Pennsylvania and has taught and lectured extensively both nationally, and internationally. Flack lives and works in New York City and Long Island. Audrey Flack is best known for her photo-realist paintings and was one of the first artists to use photographs as the basis for painting. The genre, taking its cues from Pop Art, incorporates depictions of the real and the regular, from advertisements to cars to cosmetics. Flack's work brings in everyday household items like tubes of lipstick, perfume bottles, Hispanic Madonnas, and fruit. These inanimate objects often disturb or crowd the pictorial space, which are often composed as table-top still lives. Flack often brings in actual accounts of history into her photorealist paintings, such as World War II' (Vanitas) and Kennedy Motorcade. Women were frequently the subject of her photo realist paintings. In her Neoclassical public sculpture of gilded bronze...

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...

An unknown lobster is photographed for the cover of British Vogue magazine, July 1949. The artwork is framed high-end with a black hardwood box, mat and 99% UV-resistant acrylic glas...