Contemporary Photography

NICK BRANDT (*1966, England) Elephants Walking Through Grass, Amboseli 2008 Platinum print Image 58.42 x 106.68 cm (23 x 42 in.) Sheet 76 x 111.2 cm (29 7/8 x 43 3/4 in.) Edition of ...

Nine Cherry Trees Study 2, Austria - no. 18138 Black and white fine art landscape photography. Archival pigment ink print as part of a limited edition of 9. All Gerald Berghammer pri...

Aerial Views, Tulip Fields 36 is a limited-edition photograph by German contemporary artist Bernhard Lang. This photograph is sold unframed as a print only. It is available in 4 di...

Ancient Laurisilva Forest Study 5, Portugal - no. 21024 Black and white fine art landscape photography. Mystical forest with bent trees and cows in fog, Fanal, Madeira, Portugal. Arc...

Michael Kenna is a master of contemporary photography. Known for clean compositions, long exposures and minimalist aesthetics, Kenna’s signature style remains highly influential amon...

This stunning black and white studio portrait features Greta Garbo posed for her role in "Inspiration". Greta Garbo was a Swedish-American film actress during the 1920s and 1930s. ...

This photograph by Bill Costa is offered by CLAMP in New York City. They Stripped Him and Put on Him a Scarlet Rob[e] 1990 Signed, titled, dated, and numbered in ink, verso Gelati...

Baltic Ice, Kloogaranna 021 is a limited-edition photograph by German contemporary artist Bernhard Lang. This photograph is sold unframed as a print only. It is available in 4 dime...

Couli #1 and 2- Diptych From Lullaby Series Overall size: 50 in H x 70 in. W Individual image sieze: 50 in. x 35 in. W Limited edition of 3 + 1AP Production time is 2 to 3 weeks. Un...

Chaco Terada, originally from Japan, was trained at a young age in the art of calligraphy. When Chaco was in her twenties she had the opportunity to work on her calligraphy in ten countries as a part of the cultural exchange programs, Up with People and The Ship for World Youth. When her time with those groups ended she moved to the United States, where she discovered photography and started incorporating it with calligraphy. Chaco has led demonstrations and has taught calligraphy workshops at the Dallas Museum of Art, The Crow Asian Art Museum, Greenhill School, and Saint Mark’s School of Texas among others. Chaco’s artwork has been exhibited in Dallas, Santa Fe, New York and Los Angeles and Paris. Process Statement My work uses the Japanese and Chinese calligraphic characters that I have practiced since childhood. I take a line...

Series: The Western Collection Archival Pigment Print Unframed Sizes: 20" x 40" - $5,800.00 30" x 60" - $7,000.00 40" x 80" - $9,500.00 Framed Sizes: 27" x 47" - $6,800.00 37" x 67...

Manhattan Bridge, Brookly, New York City, USA - no. 18069 Archival pigment ink print, edition of 9. Signed, titled, dated and numbered by artist. Certificate of authenticity include...

Chaco Terada, originally from Japan, was trained at a young age in the art of calligraphy. When Chaco was in her twenties she had the opportunity to work on her calligraphy in ten countries as a part of the cultural exchange programs, Up with People and The Ship for World Youth. When her time with those groups ended she moved to the United States, where she discovered photography and started incorporating it with calligraphy. Chaco has led demonstrations and has taught calligraphy workshops at the Dallas Museum of Art, The Crow Asian Art Museum, Greenhill School, and Saint Mark’s School of Texas among others. Chaco’s artwork has been exhibited in Dallas, Santa Fe, New York and Los Angeles and Paris. Process Statement My work uses the Japanese and Chinese calligraphic characters that I have practiced since childhood. I take a line from one character, and when that brushstroke is made it tells me where the next one should be placed. This method of working is untraditional. I have found that the details and individual lines of a character are beautiful by themselves. I may use the individual brushstrokes that form a written word, Japanese letters...

image size: 8 x 10 inches Standing Young Nude Man Polaroid Transfer on 22 x 15 inch Rives BFK paper, unframed signed SM Beard in pencil on bottom left corner. ed. 1/6 This is one i...

'Orange Poppies No.3' Analogue colour floral photography. London, United Kingdom 2024. Limited edition of 20. Printed on the finest archival Hahnemühle Photo Rag paper, these lim...

Bill Costa Untitled (Rollerena Fairy Godmother) n.d./2022 Accompanied by a Certificate of Authenticity Chromogenic print (Edition of 5 + 2 APs) 10 x 8 inches (25.4 x 20.32 cm), sheet 9.25 x 6.5 inches (23.5 x 15.875 cm), image From The Center (New York City’s Lesbian, Gay, Bisexual & Transgender Community Center): “Rollerena Fairy Godmother came into being on the evening of Saturday, September 16, 1972 by a young man from Kentucky who put on a gown, a 1950s hat, and a straw basket and skated up and down Christopher Street in Greenwich Village, New York City. Over time, Rollerena added to her outfit: rhinestone glasses...

Think - 2021 48x40cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. Artist inventory PL2021-1015. Not mou...

Original large format still life photograph from Linda Rosewall's series "Flora Italiana", an intensely beautiful body of works exploring the botanical ...

original large format photography triptych by Italian photographer Massimo Vitali, renowned for his grand scale topographical observations of the rites and rituals of modern leisure Trittico Forum (2011) three individually framed original archival photography prints, each with diasec (acrylic glass) face mount in contemporary light grey lacquered gallery frames 76.7 in x 61.25 in (194.8cm x 156cm) / each 4,6m / 183.75" / 15' 4" installation width limited edition of 6 + 2AP signed, titled and dated verso 'Roman Forum' was installed at the US Embassy in Rome, Italy, as part of 2014 'Art in Embassies' exhibition curated by Virginia Shore and Claire D...

David Burdeny (b. 1968. Winnipeg, Canada) graduated with a Masters in Architecture and Interior Design and spent the early part of his career practicing in his field before establish...

An underwater black and white photograph of beautiful naked young woman breasts covered with air bubbles. “In my line of photography all best shots are ...

Black and White Fine Art landscape photography. Half dome with big cloud, with forest and shadow from a tree, National Park, California, USA. Archival pigment ink print, edition of 7...

Sükan created the ‘La Notte’ series as he was working for international magazines documenting the fashion shows and backstage as well as the social times of the fashion world in Pari...

Black and white 1956 vintage capture of star actress Audrey Hepburn posed with Mel Ferrer and her Ford Thunderbird in the driveway of their home. Audrey Hepburn was a British actres...

'Call Booth', photograph from Richard Heeps Salton Sea series. This cinematic neo-noir style picture shows the classic American roadside Phone Booth, something which we look at very ...

Mere Mortal #4 (Archival Photograph of Male Nude in Islamic Window) 30 x 18 inches archival pigment print, unframed Limited edition of 10 Inspired by the story of Icarus in Greek my...

156.13.11 is a limited-edition black & white photograph by contemporary artist Klaus Kampert from the series entitled Torsi. This photograph is sold unframed as a print only. It is ...

The production of sea salt is one of the oldest forms of human intervention in natural spaces. Sea salt comes from natural evaporation of seawater out of artificial created ponds. Th...

Available Sizes: 37.5 x 30 in Edition of 15 50 x 40 in Edition of 10 60 x 48 in Edition of 5 Over 40,000 years ago, we began to depict animals in cave drawings. Throughout history, ...

Through Jay’s photography, context evaporates, and we as the viewer are left to engage the subjects, trade places, and for a moment, live behind their eyes. David Jay's work gives a unique and intimate perspective on how we define beauty. A confrontation between the perception of beauty and the transitory nature of existence, Jay’s subjects, muses, and warriors, reside within the unseen domain of the human narrative. Hotel Bondi...

Black Dahlia #2 is a rich and luxurious Archival Inkjet Print by contemporary photographer Philip Gatward. It is available in this size of 32" x 32" in an Edition of 10. Gatward'...

Coming from an earlier interest in portraits and street photography, my Nudes in Water are less about eroticism and more about body as the human vessel for our multi-faceted but brie...

The angel is a being that religion has bequeathed us as a sign of purity, innocence, and goodness, from the same source, we have been sold to the devil as the form that represents ev...

The Beatles (John Lennon, George Harrison, Ringo Starr, and Paul McCartney) in the cockpit of their Liverpool bound plane. The Beatles were an English rock band formed in Liverpool ...

"Firestarter" Black & White Photography 39 x 29.5 in Ed. of 4 by Lukas Dvorak The photo is signed on the back. The print motif is slightly smaller than the overall size. The motif i...

Rocky Peaks Panorama Study 5, Spain - no. 21234 Giant rocks on the sandy beach of the Atlantic coast in France. Archival pigment ink print, edition of 7. Signed, titled, dated and nu...

Stefanie Schneider Polaroid sized unlimited Mini 'Beachshoot' - 1999 signed in front, not mounted. 1 Digital Color Photograph based on a Polaroid. Polaroid sized open Editions 1...

Great Grey Owl, limited edition photograph, signed, Platinum/Palladium Print My fascination with birds of prey began eight years ago. There have been nesting owls on my family’s lan...

Digital C-print Stamped and numbered, verso 20 x 24 inches (Edition of 10) 30 x 40 inches (Edition of 5) 50 x 60 inches (Edition of 3) This photograph is offered by ClampArt, loc...

Available sizes: 30" x 37.5", Edition of 15 40" x 50", Edition of 10 48" x 60", Edition of 5 Over 40,000 years ago, we began to depict animals in cave drawings. Throughout history, ...

Shot of Led Zeppelin standing in a group, shot under a staircase during the Chateau Marmont set with Jay Thompson. Widely considered one of the most successful, innovative, and inf...

Seafront Shelters, are a typical of the British Seaside, they are part of a Seaside Towns identity, with nods to various architectural heritage. Photograph from Richard Heeps', On-Se...

"Doris and Henry (and her brothers)" is an original piece by Shawn Theodore made from found/family photos, polaroid lift, acrylic on wood panel. This pieces measures 16.75"h x 16.75"...

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...

The artist inspiration is deeply rooted in the notion of discovery through visual reflections and a strong passion for symmetry and linear structure. Her architectural works of Refle...

Stefanie Schneider's work was used for Marc Forster's movie 'Stay', featuring Ewan McGregor, Naomi Watts and Ryan Gosling. Naomi and Ryan were both portraying artists and Stefanie Sc...

Living in a Dream (Till Death do us Part) - 2005 20x20cm, Edition of 10, Archival C-Print print, based on the Polaroid. Certificate and Signature label, artist Inventory No. 9781. Not mounted. on offer is a piece from the movie "Till Death do us Part" Stefanie Schneider’s Till Death Do Us Part or “There is Only the Desert for You.” BY DREW HAMMOND Stefanie Schneider’s Til Death to Us Part is a love narrative that comprises three elements: 1. A montage of still images shot and elaborated by means of her signature technique of using Polaroid formats with outdated and degraded film stock in natural light, with the resulting im ages rephotographed (by other means) enlarged and printed in such a way as to generate further distortions of the image. 2. Dated Super 8 film footage without a sound track and developed by the artist. 3. Recorded off-screen narration of texts written by the actors or photographic subjects, and selected by the artist. At the outset, this method presupposes a tension between still and moving image; between the conventions about the juxtaposition of such images in a moving image presentation; and, and a further tension between the work’s juxtaposition of sound and image, and the conventional relationship between sound and image that occurs in the majority of films. But Till Death Do Us Part also conduces to an implied synthesis of still and moving image by the manner in which the artist edits or cuts the work. First, she imposes a rigorous criterion of selection, whether to render a section as a still or moving image. The predominance of still images is neither an arbitrary residue of her background as a still photographer—in fact she has years of background in film projects; nor is it a capricious reaction against moving picture convention that demands more moving images than stills. Instead, the number of still images has a direct thematic relation to the fabric of the love story in the following sense. Stills, by definition, have a very different relationship to time than do moving images. The unedited moving shot occurs in real time, and the edited moving shot, despite its artificial rendering of time, all too 2009often affords the viewer an even greater illusion of experiencing reality as it unfolds. It is self-evident that moving images overtly mimic the temporal dynamic of reality. Frozen in time—at least overtly—still photographic images pose a radical tension with real time. This tension is all the more heightened by their “real” content, by the recording aspect of their constitution. But precisely because they seem to suspend time, they more naturally evoke a sense of the past and of its inherent nostalgia. In this way, they are often more readily evocative of other states of experience of the real, if we properly include in the real our own experience of the past through memory, and its inherent emotions. This attribute of stills is the real criterion of their selection in Til Death Do Us Part where consistently, the artist associates them with desire, dream, memory, passion, and the ensemble of mental states that accompany a love relationship in its nascent, mature, and declining aspects. A SYNTHESIS OF MOVING AND STILL IMAGES BOTH FORMAL AND CONCEPTUAL It is noteworthy that, after a transition from a still image to a moving image, as soon as the viewer expects the movement to continue, there is a “logical” cut that we expect to result in another moving image, not only because of its mise en scène, but also because of its implicit respect of traditional rules of film editing, its planarity, its sight line, its treatment of 3D space—all these lead us to expect that the successive shot, as it is revealed, is bound to be another moving image. But contrary to our expectation, and in delayed reaction, we are startled to find that it is another still image. One effect of this technique is to reinforce the tension between still and moving image by means of surprise. But in another sense, the technique reminds us that, in film, the moving image is also a succession of stills that only generate an illusion of movement. Although it is a fact that here the artist employs Super 8 footage, in principle, even were the moving images shot with video, the fact would remain since video images are all reducible to a series of discrete still images no matter how “seamless” the transitions between them. Yet a third effect of the technique has to do with its temporal implication. Often art aspires to conflate or otherwise distort time. Here, instead, the juxtaposition poses a tension between two times: the “real time” of the moving image that is by definition associated with reality in its temporal aspect; and the “frozen time” of the still image associated with an altered sense of time in memory and fantasy of the object of desire—not to mention the unreal time of the sense of the monopolization of the gaze conventionally attributed to the photographic medium, but which here is associated as much with the yearning narrator as it is with the viewer. In this way, the work establishes and juxtaposes two times for two levels of consciousness, both for the narrator of the story and, implicitly, for the viewer: A) the immediate experience of reality, and B) the background of reflective effects of reality, such as dream, memory, fantasy, and their inherent compounding of past and present emotions. In addition, the piece advances in the direction of a Gesammtkunstwerk, but in a way that reconsiders this synaesthesia as a unified complex of genres—not only because it uses new media that did not exist when the idea was first enunciated in Wagner’s time, but also because it comprises elements that are not entirely of one artist’s making, but which are subsumed by the work overall. The totality remains the vision of one artist. In this sense, Till Death Do Us Part reveals a further tension between the central intelligence of the artist and the products of other individual participants. This tension is compounded to the degree that the characters’ attributes and narrated statements are part fiction and part reality, part themselves, and part their characters. But Stefanie Schneider is the one who assembles, organizes, and selects them all. THE RELATIONSHIP BETWEEN THIS IDEA (above) AND PHOTOGRAPHY This selective aspect of the work is an expansion of idea of the act of photography in which the artistic photographer selects that which is already there, and then, by distortion, definition or delimitation, compositional and lighting emphasis, and by a host of other techniques, subsumes that which is already there to transform it into an image of the artist’s contrivance, one that is no less of the artist’s making than a work in any other medium, but which is distinct from many traditional media (such as painting) in that it retains an evocation of the tension between what is already there and what is of the artist’s making. Should it fail to achieve this, it remains, to that degree, mere illustration to which aesthetic technique has been applied with greater or lesser skill. The way Til Death Do Us Part expands this basic principle of the photographic act, is to apply it to further existing elements, and, similarly, to transform them. These additional existing elements include written or improvised pieces narrated by their authors in a way that shifts between their own identities and the identities of fictional characters. Such characters derive partially from their own identities by making use of real or imagined memories, dreams, fears of the future, genuine impressions, and emotional responses to unexpected or even banal events. There is also music, with voice and instrumental accompaniment. The music slips between integration with the narrative voices and disjunction, between consistency and tension. At times it would direct the mood, and at other times it would disrupt. Despite that much of this material is made by others, it becomes, like the reality that is the raw material of an art photo, subsumed and transformed by the overall aesthetic act of the manner of its selection, distortion, organization, duration, and emotional effect. * * * David Lean was fond of saying that a love story is most effective in a squalid visual environment. In Til Death Do Us Part, the squalor of the American desert...

In the series 'She Disappeared into Complete Silence' (2014) Mona Kuhn takes a new direction into abstraction. She turns to a highly austere and restrained reductionist geometry and distilled formal purity, connecting the interior to the exterior, the visible to the hidden. These reflections cause one to linger, as they merge to create a dynamic equilibrium of tension, spaces and rythms. AD7517 (She Disappeared into Complete Silence) 30" x 40" / 76cm x 102cm edition of 8 + 2AP 45" x 60" / 114cm x 152cm edition of 8 + 2AP limited edition photograph printed under artist supervision + accompanied by signed artist certificate: artist signature labels are 8x10 in size signed, editioned, dated and titled by the artist, and stamped for authenticity label is placed centered on verso of the mounted print __________________ About the artist Acclaimed for her contemporary depictions, Kuhn is considered a leading artist in the world of figurative discourse. Throughout a career spanning more than twenty years, the underlying theme of her work is her reflection on humanity’s longing for spiritual connection and solidarity. As she solidified her photographic style, Kuhn created a notable approach to the nude by developing friendships with her subjects, and employing a range of playful visual strategies that use natural light and minimalist settings to evoke a sublime sense of comfort between the human figure and its environment. Her work is natural, restful, and a reinterpretation of the nude in the canon of contemporary art. For the past two decades, the Los-Angeles based artist's works have been shown steadily, revealing an astonishing consistency in technique, of subject and of purpose. In 2001, Kuhn’s photographs were first seen by an influential audience during the exhibition at Charles Cowles Gallery in Chelsea, New York. Kuhn’s distinct aesthetic has propelled her as one of the most collectible contemporary art photographers—her work is in private and public collections worldwide and she is represented by galleries across the United States, Europe and Asia. Kuhn was born in São Paulo, Brazil, in 1969, of German descent. In 1989, Kuhn moved to the US and earned her BA from The Ohio State University, before furthering her studies at the San Francisco Art Institute. She is currently an independent scholar at The Getty Research Institute in Los Angeles. Occasionally, Mona teaches at UCLA and the Art Center College of Design in Pasadena. Mona Kuhn’s first monograph, Photographs, was debuted by Steidl in 2004; followed by Evidence (2007), Native (2010), Bordeaux Series (2011), Private (2014), and She Disappeared into Complete Silence (2018/19). In addition, Kuhn's monograph titled Bushes and Succulents has been published by Stanley/Barker Editions, with a debut at Jeu de Paume in Paris, in 2019. A stunning career retrospective of Mona Kuhn's works has been published by Thames & Hudson, Spring 2021. Kuhn's forthcoming publication Kings Road, will be published and released by Steid this Fall 2021. Mona Kuhn’s work is in private and public collections worldwide, including The J. Paul Getty Museum, Los Angeles County Museum of Art, The Hammer Museum, Perez Art Museum Miami, Museum of Fine Arts, Houston, and the Kiyosato Museum in Japan. Kuhn's work has been exhibited at The Louvre Museum and Le Bal in Paris; The Whitechapel Gallery and Royal Academy of Arts in London; Musée de l’Elysée in Switzerland; Leopold Museum in Vienna Austria, The Polygon Gallery in Vancouver Canada, Taipei Fine Arts Museum in Taiwan and Australian Centre for Photography. Mona Kuhn lives and works in Los Angeles. __________________ Solo Exhibitions 2024 Mona Kuhn: Between Modernism and Surrealism, Houk Gallery, New York, NY 2023 Mona Kuhn: Kings Road, Galerie XII...

'A Portrait of the Artist as a Young Woman' part of the series 'A Girl Called N.' - 2019 20x24cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on a Polaroid. Signatu...

Fire - 2017, Edition of 7 plus 2 Artist Proofs Archival Print, based on aPolaroid, not mounted. Signed on the back and with certificate. Artist inventory PL2017-108. Kirsten Thys...

Flat - 2020 48x60cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. Artist inventory PL2020-964. Not mount...

Prairie Rose, 2019 20x20cm, Edition 1/7 plus 2 Artist Proofs, digital C-Print based on a Polaroid, not mounted. Signed on the back and with certificate. Artist inventory - PL2019...

Black and White Fine Art panorama landscape photography. Lots of sheep in a beautiful tree avenue in the Netherlands. Archival pigment ink print, edition of 9. Signed, titled, dated ...

'Spring Flood' is a black and white landscape photograph taken near the Chattahoochee River. Additional sizes are available. This listing is for an unframed print, edition 2/10. Richard Skoonberg is inspired by the work of Eliot Porter...

Untitled IX and VIII, Diptych, 2022 by Salvatore Arnone From the Balance series Untitled IX: Photography, ink and acrylic on paper Untitled VIII: Photography and acrylic on paper Ove...

This artwork was created by the artistic duo Hunter & Gatti (2010–2023). These works are part of the archive managed and exhibited by Cristian Hunter. The artist's technique consists...

Flora 05 is a vibrant Digital C-Type print in an Edition of 15 in this size by contemporary photographer duo Tortora & Travezan. Photography duo Tortora & Travezan create vibrant po...

"Encounter" The Bahamas 20 x 30 in / Edition of 6 - $4,500 Also available: 32 x 48 in / Edition of 6 - $7,500 40 x 60 in / Edition of 6 - $10,500 50 x 75 in / Edition of 6 - $15,...

This is a black and white photograph by Bob Mizer depicting a young and handsome nude Forrester Millard at age 21. Forrester Millard, Age 21 1947 Vintage silver print 9.5 x 7.5 in...

Breathing I (Deconstructing) - 2015 - about the narrative potential of images. 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid, Artist Inventory 15835. Signature...