Fire Photography

1989/2002, pigmented inkjet print, 14 1/8 x 11 inches (image size: 11 x 8/5/8 inches), edition of 12, signed by Jean Conner, the artist's widow, on verso; accompanied by a photo-certificate from the Conner Family Trust BOMBHEAD was originally conceived as a newspaper and photocopy collage by Bruce Conner in 1989. This edition of BOMBHEAD was scanned using the original negatives of a portrait of Bruce Conner by Edmund Shea and a photo of an atomic bomb explosion taken from the National Archives, Library of Congress. A separate large format edition with hand-coloring was produced the same year. The image was digitally edited by Conner and Donald Farnsworth...

Fires 10 is a stunning Digital C-Type Print on Fuji Maxima Matte paper, available in this size only. This is Artist Proof 2 of 2, and is the last print of the Limited Edition. Th...

The hovering installations featured in this ongoing series of photographs are inspired by self-organizing, "emergent" systems in nature such as termite mounds, swarming locusts, scho...

El Pulpo Mechanico (Black Rock City), - Burning Man - 2010 Edition of 10, 32x49cm, Archival Print on Velvet Watercolor, 310gsm, Bright White, Acid Free. Signature label and Certificate. Not mounted. Published in Tao Ruspoli's Monography 'Midway on our Life's Journey’, 2018 The Exaltation of Imagination Photographs and Musings in Defense of Burning Man by Tao Ruspoli The press around Burning Man had gotten so bad that I almost felt embarrassed to be going this year. Even Daniel Pinchbeck, famed psychonaut and burner par excellence, had written a thoughtful piece explaining why, after 15 consecutive years, he wasn’t going back this year: the festival had changed too much--the rich had taken over, it had gone from a relevant and fascinating social experiment to epitomizing the worst elements of capitalist excess. Besides, he seemed to be saying, the world is going through too many crises, both ecological and humanitarian, to justify the extravagance of an event like this. Two burners heading to Temple, one of the massive temporary structures in Black Rock City The burning of the Temple which happens every year the night after the man burns. Keith Spencer...

'Tree' From Nina Dietzel's Borderland series. Archival Pigment print is Ed. 1/7 - Unique. 12 x 16 inches / Frame outer dimension is 15 x 19 x 1 inches. Contemporary white powder coat...

“The hovering installations featured in this ongoing series of photographs are inspired by self-organizing, "emergent" systems in nature such as termite mounds, swarming locusts, sch...

Ahmadi Oil Fields by Steve McCurry depicts two figures standing in a fiery landscape. They are both dressed in white hazmat suits with gas masks. Both figures are fixated by the fire...

Desert Hell, Kuwait, 1991 - Black and White Photography Sebastião Salgado Stamped with photographer's copyright blind stamp Signed, inscribed on reverse Silver gelatin print 20 x 24 ...

Fires 1 is a stunning Digital C-Type Print on Fuji Maxima Matte paper, available in this size from a Limited Edition of 7 + 2 Artist Proofs. Ellie has been working in the forests o...

This is a Morris Katz painting on board. In good condition measures 68x46. Buyer must pay and cover all shipping cost.

All available sizes & editions for each size of this photograph: 90 cm. x 120 cm. Edition 7 126 cm. x 170 cm. Edition 7 `Residence of Impermanence` 2017-2019 My performance series, `Residence of Impermanence`, explores our relationship to animals, fire and Nature. Through the element of fire, I have found a way to express myself in totemic ritualistic performance by burning decaying trophy animals. The element of fire is very symbolic. It represents both destruction and creation. Animals and fire have, in many ways, formed our culture since the dawn of Mankind. They have also served as essential symbols in myth, spirituality, art and religion. Fire has protected us and given us hope. Given us a means to evolve in all culture. In Greek mythology, remember Prometheus. In the hand of Man, fire can be anything. It is our ethics that define it. We have always mirrored ourselves in Nature. What we see staring back at us may not be the image we were hoping for. This series is a reminder to where we have come regarding our relation to Nature and the huge effects of climatechange in the Anthropocene. My work often juxtaposes the visually aesthetic and uneasiness. An underlying feeling of that which is lost often plays an important role. I like to explore work themes that emanate a cognitive dissonance in the viewer to reveal more profound truths. I regard trophy animals as symbols of Man´s vanity and presumed victory over Nature. To me, they also serve as symbols of our general attitude towards Nature. The flames gives each animal a last breath of life as it creates a new portrait. The animal is set free again, ending a symbolic circle of life. A closure if you will, both physically and existentially. The English-inspired wallpapers represent imperialism and a colonial idea from a time when we were obsessed by conquering Nature and other lands. These too are burned with the animals symbolizing a protest toward our autocracy towards Nature itself. The repetitive performance of burning each animal serves as both an offering and a liberation. This is a violent act, but also a meaningful and beautiful act to me. The animals` personality changes dramatically throughout the burning process. This cannot be planned and therefore the animals give off a sense of further individuality. In the process of burning animals, I am also taking an object of desire off the market for further sales. An act that hopefully will spark dialog our use of Nature, as well as where we want to be heading in the near future. Dialog foments change and action. I spent seven years collecting old trophy animals and taxidermy of different sorts. Many were bought through auctions, while others were given to me by hunters` or the widows of hunters for this specific project. During the following three years, I went through a somewhat cathartic process of burning and obsessively exploring the symbolism of fire and our relation to animals with my performance. The intention with my series is to connect the public to the crucial matters at hand through something tangible, personal, and symbolic. These three years of working with this series has made me so much more conscious of how delicate nature is and how we have taken it for granted for too long. A reminder of how crucial both animals, fire and nature, for our so-called progress in survival and progress. Through this process, exploring new questions and inviting a larger audience to ask their own crucial questions in the massive global changes we all are witnessing, is what I strive for. Loss of animal diversity, poaching and massive forest fires are increasing so rapidly that Nature itself is at a major turning point. A call for action is needed. Working so close to the animals in my project has been as uplifting as it has been obsessive and heartbreaking, as the animal's eye connects with you on a personal level as a human does in non-verbal communication. In 2016, the government in Kenya burned poached ivory worth an estimated 130 million dollars, making a clear statement that these tusks should only belong to a living animal. This dramatic action created meaningful dialog around the world beyond news and statistics. Fires are destroying critical areas of much-needed land vegetation, thus creating considerable effects on climate change. The meeting between Nature`s fragility and Mans` ego has shown that forests disappear, glaciers are melting, sea levels are rising and species become extinct. Humans have too easily exploited all parts of nature with our own culture and growth. In this short process, we have lost the very essence of what we are a part, and thus forget the very nature in ourselves. What can photography do to create questions regarding climate change, and help us move towards a sustainable future? In photography, we can ask important questions about changes in our surroundings and who we are—Man’s condition. Background: `Residence of Impermanence` has been exhibited at five museums and several galleries already (including a big solo show at Fotografiska, Stockholm (2019), and Arles Fotofestival (2019). Work from `Residence of Impermanence' is currently exhibited at the UCR: California Museum of Photography in Los Angeles with the exhibition `Facing Fire,` Art, Wildfire and The End of Nature in the New West.` This exhibition explores the ever-worsening Californian forest fires due to climate change. My previous environmental work has been nominated for the Prix Pictet Award on several occasions with my previous series for both Earth, Power and Fire themes. In 2005, my series `Arctic Technology` was shortlisted for the BMW Prize at Paris photo (through Scout Gallery, London). My other series has been shown in museums, including a symposium at Johnson Museum, N.Y. and been part of travelling exhibitions with WHATCOM (Museum of Washington) with the exhibition `Vanishing Ice` and a China tour on environmental issues with Three Shadows Photography...

Rinko KAWAUCHI (*1972, Japan) Untitled, from the series 'Ametsuchi', 2013 Lambda print Sheet 148 x 185 cm (58 1/4 x 72 7/8 in.) Edition of 3; Ed. no. 2/3 Print only Kawauchi, curre...

JUN AHN (*1981, South Korea) Self Portrait 2021 Archival pigment print, face mounted to Acrylic (Diasec) Brown flame stained and hardened wood frame Image 101,6 x 134,6 cm (40 x 53 i...

Capturing the limpid liquid forms of water in Finland, Vuokatti, the skeletal outlines of autumnal trees, and glowing lights in the woodland, Llorens' real subject is the inner psych...

'Rendez-vous 2020 50x50cm, Edition of 7 plus 2 Artist Proofs, Archival C-print, Based on the Polaroid. Signed on the back and with certificate. Artist inventory PL2020-8612 Not ...

Protests after the Death of M.L. King is a historical photograph realized in the 1968. Good conditions and aged.

“The hovering installations featured in this ongoing series of photographs are inspired by self-organizing, "emergent" systems in nature such as termite mounds, swarming locusts, sch...

Fires 8 is a stunning Digital C-Type Print on Fuji Maxima Matte paper, available in this size from a Limited Edition of 7 + 2 Artist Proofs. This is print 6 from the Limited Editio...

Influenced by late nineteenth-century expeditionary photographers such as Timothy O'Sullivan, who documented the "unexplored" territories of the West, Mark Klett visually explores th...

Fires 6 is a stunning Digital C-Type Print on Fuji Maxima Matte paper, available in this size from a Limited Edition of 7 + 2 Artist Proofs. Ellie has been working in the forests o...

Light painting technique, realized in a completly dark photographic studio, where the photographer manually "paint" by torch with light of different colours, the subjects and the ba...

Archival pigment print Signed and numbered, verso 20 x 24 inches (Edition of 5) $3,335 30 x 40 inches (Edition of 3) $4,200 40 x 50 inches (Edition of 2) $6,500 This photograph is...

Archival pigment print Signed and numbered, verso 20 x 40 inches 30 x 60 inches 40 x 77 inches 48 x 92 inches (Total edition of 15) This artwork is offered by ClampArt, located in New York City. Please note that prices increase as editions sell. With the series, "Lost" (2003-2004), Nix and Gerber continue their investigation of the constructed landscape, this time examining feelings of isolation and loneliness. Like much of their previous work, this group of photographs...

c-print mounted on board. Unframed. Still image of a wedding dress burning. Edition of 4. 2 framing options available. Series of 6 images available individually or together. Inquir...

Jason Statham Photo by Markus Klinko Limited Estate Edition C Print Produced from the original transparency Certificate of authenticity supplied Paper size 20×24 inches/ 51 x 61...

Untitled Chimney, 2010 by Rodrigo Etem From the series Ser Cosa Archival pigment print on fine art paper Size: 40 H x 26 W inches. Edition of 7 Unframed …this series of portraits t...

The hovering installations featured in this ongoing series of photographs are inspired by self-organizing, "emergent" systems in nature such as termite mounds, swarming locusts, scho...

'Fire' (Bombay Beach), Edition 1/10, 20x30cm, 2016, Color Print, printed on Velvet Watercolor, 310gsm, Bright White, Acid Free, Signature label and Certificate. About Tao Ruspoli (b...

Narcissus [From the series Broken Flowers] 30x60cm, Edition of 7. Archival art print based on the Polaroid, mounted on Aluminium 5mm. Finished with a high-gloss epoxy layer for de...

Fires 4 is a stunning Digital C-Type Print on Fuji Maxima Matte paper, available in this size from a Limited Edition of 7 + 2 Artist Proofs. Ellie has been working in the forests o...

Fires 2 is a stunning Digital C-Type Print on Fuji Maxima Matte paper, available in this size from a Limited Edition of 7 + 2 Artist Proofs. Ellie has been working in the forests of...

Fires 3 is a stunning Digital C-Type Print on Fuji Maxima Matte paper, available in this size from a Limited Edition of 7 + 2 Artist Proofs. Ellie has been working in the forests o...

"Sexy Miami Futuristic Cocktail Lounge" is a series of photographs by Ryan Rivadeneyra inspired by the Art Deco colors of Miami that show beautiful objects ...

Laurent Chéhere, a French photographer born in 1972 in Paris, makes images of flying houses and other dwellings that are informed by his wanderings in the...

Clay Lipsky's Atomic Overlook re-contextualizes a legacy of atomic bomb tests. In an attempt to keep a nuclear threat feeling contemporary and omnipresent, Lipsky introduces archival images of atomic explosions among casual scenes of vacationers. The surreal images speak to a voyeuristic culture where catastrophe is viewed as entertainment by increasingly desensitized masses. The iconic mushroom cloud in each image serves as metaphor for larger societal issues such as: global warming, nuclear power...

Clay Lipsky's Atomic Overlook re-contextualizes a legacy of atomic bomb tests. In an attempt to keep a nuclear threat feeling contemporary and omnipresent, Lipsky introduces archival...

'Yucca' From Nina Dietzel's Borderland series. Archival Pigment print is Ed. 1/7 - Unique. 16 x 12 inches / Frame outer dimension is 19 x 15 x 1 inches. Contemporary white powder coa...

Neal Slavin (American, b. 1941) Firemen, New York City Fire Department FDNY Vintage C-print [Chromogenic development print; Ektacolor prints] Hand signed and numbered by the photogra...

Title: A Landscape Aglow Location: Bryce Canyon National Park, Utah Edition: 1 of 5, signed by artist Description: The Sun kisses the horizon, and then quickly departs that embrace to climb the sky. Shadows shorten, golden light fades, morning arrives. In that brief instant between...

c-print mounted on board. unframed. Still image from a video of a burning wedding gown. 2 framing options available. Edition of 4.

c-print mounted on board. unframed. still image from a video of a wedding gown burning. Edition of 4. 2 framing options available. series of 6 photographs available individually ...

c-print mounted on board. unframed. still image from a video of a burning wedding gown. Edition of 4. 2 framing options available. 1 of a series of 6 images. Inquire about discount...

Nick Vedros Barn Burner Archival Pigment Print Hahnemühle FineArt Baryta 325 gsm Year: 2000s Size: 9x13.5in Edition: 10 Signed, dated and numbered by hand on label Stamped COA provid...

Nick Vedros Smart Caveman Archival Pigment Print Hahnemühle FineArt Baryta 325 gsm Year: 1990s Size: 11x12in Edition: 12 Signed, dated and numbered by hand on label Stamped COA provi...

This image is currently on display at the Robin Rice Gallery in the Summertime Salon 2018. It depicts the strength and beauty of nature with a whale jumping from the ocean water. The...

Archival pigment print Signed, titled, numbered, and dated, verso 17 x 22 inches, sheet (Edition of 15) 32 x 44 inches, sheet (Edition of 9) This photograph is offered by ClampArt...

Archival pigment print Signed and numbered, verso 20 x 24 inches (Edition of 5) $2,900 30 x 40 inches (Edition of 3) $4,200 40 x 50 inches (Edition of 2) $6,500 This photograph is...

This listing is for a framed and mounted print. Additional unframed sizes are available. Beth Lilly is inspired by the work of Thomas Cole, JMW Turner and...

This is an original photographic print from Southern California artist Michal Greenboim. It is an abstract color print that is 13" x 19" x 0.5" (HxLxD) and is edition 5 of 10. It is ...

Abstract Nature shot. Beautiful swamp shot in Texas. About the artist: Mital Patel is an internationally recognized nature and wildlife photographer who focuses on capturing b...

All available sizes & editions for each size of this photograph: 90 cm. x 120 cm. Edition AP 1 `Residence of Impermanence` 2017-2019 My performance series, `Residence of Impermanence`, explores our relationship to animals, fire and nature. Through the element of fire, I have found a way to express myself in totemic ritualistic performance by burning decaying trophy animals. The element of fire is very symbolic. It represents both destruction and creation. Animals and fire have, in many ways, formed our culture since the dawn of Mankind. They have also served as essential symbols in myth, spirituality, art and religion. Fire has protected us and given us hope. Given us a means to evolve in all culture. In Greek mythology, remember Prometheus. In the hand of Man, fire can be anything. It is our ethics that define it. We have always mirrored ourselves in Nature. What we see staring back at us may not be the image we were hoping for. This series is a reminder to where we have come regarding our relation to Nature and the huge effects of climatechange in the Anthropocene. My work often juxtaposes the visually aesthetic and uneasiness. An underlying feeling of that which is lost often plays an important role. I like to explore work themes that emanate a cognitive dissonance in the viewer to reveal more profound truths. I regard trophy animals as symbols of Man´s vanity and presumed victory over Nature. To me, they also serve as symbols of our general attitude towards Nature. The flames gives each animal a last breath of life as it creates a new portrait. The animal is set free again, ending a symbolic circle of life. A closure if you will, both physically and existentially. The English-inspired wallpapers represent imperialism and a colonial idea from a time when we were obsessed by conquering Nature and other lands. These too are burned with the animals symbolizing a protest toward our autocracy towards Nature itself. The repetitive performance of burning each animal serves as both an offering and a liberation. This is a violent act, but also a meaningful and beautiful act to me. The animals` personality changes dramatically throughout the burning process. This cannot be planned and therefore the animals give off a sense of further individuality. In the process of burning animals, I am also taking an object of desire off the market for further sales. An act that hopefully will spark dialog our use of Nature, as well as where we want to be heading in the near future. Dialog foments change and action. I spent seven years collecting old trophy animals and taxidermy of different sorts. Many were bought through auctions, while others were given to me by hunters` or the widows of hunters for this specific project. During the following three years, I went through a somewhat cathartic process of burning and obsessively exploring the symbolism of fire and our relation to animals with my performance. The intention with my series is to connect the public to the crucial matters at hand through something tangible, personal, and symbolic. These three years of working with this series has made me so much more conscious of how delicate nature is and how we have taken it for granted for too long. A reminder of how crucial both animals, fire and nature, for our so-called progress in survival and progress. Through this process, exploring new questions and inviting a larger audience to ask their own crucial questions in the massive global changes we all are witnessing, is what I strive for. Loss of animal diversity, poaching and massive forest fires are increasing so rapidly that Nature itself is at a major turning point. A call for action is needed. Working so close to the animals in my project has been as uplifting as it has been obsessive and heartbreaking, as the animal's eye connects with you on a personal level as a human does in non-verbal communication. In 2016, the government in Kenya burned poached ivory worth an estimated 130 million dollars, making a clear statement that these tusks should only belong to a living animal. This dramatic action created meaningful dialog around the world beyond news and statistics. Fires are destroying critical areas of much-needed land vegetation, thus creating considerable effects on climate change. The meeting between Nature`s fragility and Mans` ego has shown that forests disappear, glaciers are melting, sea levels are rising and species become extinct. Humans have too easily exploited all parts of nature with our own culture and growth. In this short process, we have lost the very essence of what we are a part, and thus forget the very nature in ourselves. What can photography do to create questions regarding climate change, and help us move towards a sustainable future? In photography, we can ask important questions about changes in our surroundings and who we are—Man’s condition. Background: `Residence of Impermanence` has been exhibited at five museums and several galleries already (including a big solo show at Fotografiska, Stockholm (2019), and Arles Fotofestival (2019). Work from `Residence of Impermanence' is currently exhibited at the UCR: California Museum of Photography in Los Angeles with the exhibition `Facing Fire,` Art, Wildfire and The End of Nature in the New West.` This exhibition explores the ever-worsening Californian forest fires due to climate change. My previous environmental work has been nominated for the Prix Pictet Award twice before with my previous series for both Earth and Power themes. In 2005, my series `Arctic Technology` was shortlisted for the BMW Prize at Paris photo (through Scout Gallery, London). My other series has been shown in museums, including a symposium at Johnson Museum, N.Y. and been part of travelling exhibitions with WHATCOM (Museum of Washington) with the exhibition `Vanishing Ice` and a China tour on environmental issues with Three Shadows Photography...

Untitled (Nr. 0113) Photography 18" x 24" Edition of 20 by Ben Cope Unframed - ships rolled in a tube Ben Cope + Rowan Daly Off the Grid Off the Grid is the culmination of a six-year photographic journey through Baja, Mexico. Ben Cope and Rowan Daly began their travels in 2014, working their way through the towns of la Salinas, Baja Mar, and Cantamar, down through Ensanada and la Bufadora. This series of photographs depicts the pair’s adventures and explorations. Off the Grid documents the textures, people, and places visited during this incredible journey. Ben Cope is a Los Angeles based portrait artist with a BFA in ceramic sculpture and photography from Columbus State University. He maintains a successful career with a diverse portfolio including fashion, editorial, celebrity portraiture and advertising. He is widely known for his celebrity and fashion portraiture, which has been published internationally in publications such as Harper’s Bazaar, Elle, GQ, The Work Magazine, Fucking Young, and l’Officiel, and has shot international campaigns for such clients as Adidas, L’Oréal, Paul Mitchell, and Vidal Sassoon. He has photographed Selena Gomez...

An original Inkjet prints, carbon and beeswax mounted to wood that was included in the artistic duo's exhibition at the world renowned Albright Knox Art Gallery. Virocode is compose...

c-print mounted on board. Unframed> framing options available. Still image from a video of a burning wedding gown. Edition of 4. series of 6 photographs available as set or individu...

Hand signed, dated and numbered by the artist. Published by Hatje Cantz Verlag, Berlin. Image: 21.75 x 15.75 in. Sheet: 23.875 x 17.875 in. Frame: 32.5 x 26.5 in. Artwork is in exce...

Signed. Photograph mounted to black paper & paper mounted to large Album Sheet. Vintage gelatin silver print

`Residence of Impermanence` 2017-2019 My performance series, `Residence of Impermanence`, explores our relationship to animals, fire and Nature. Through the element of fire, I hav...

`Zebra 2` Oslo, 2019- from the series `Residence of Impermanence` 120 x 170 cm Edition 7 `Residence of Impermanence` 2017-2019 My performance series, `Residence of Impermanence`, ...