Pants Photography

Between Words (Stage of Consciousness) - 2008 including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 196 pages, hardcover, published by snap Collective, 2024....

Brigitte Bardot and Roger Vadim is a vintage photographic press print on single coated paper. Photograph by Antonio Pantano. A portrait of Roger Vadim an...

Henry and Athena - Henry's Memory Sequence (Stay) - 2006 featuring Ryan Gosling and Elizabeth Reaser 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate...

Henry and Athena - Henry's Memory Sequence (Stay) - 2006 featuring Ryan Gosling and Elizabeth Reaser 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate...

Big Boy (Stay) - 2006 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory # 2266 Not mounted. Stefanie Schneide...

Coffee Break (Stay) - 2006 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 1576. Not mounted. Stefanie...

'Reno' 1979 by Alain Le Garsmeur Signed Limited Archival Pigment Print A group of Reno City Casino Staff on a break, Nevada, USA in 1979. Paper size : 40x30 inches / 101 x 76 cm Limited edition Edition Size 5 only this paper size Printed 2024 certificate of authenticity provided All prints are on archival photographic papers and limited edition per paper size offered. 10x12 inches edition size 25 12x16 inches edition size 20 20x16 inches edition size 20 20x24 inches edition size 15 30x20 inches edition size 8 40x30 inches edition size 5 60x40 inches edition size 5 72x48 inches edition size 2 Alain Le Garsmeur was born in France in 1943 and after assisting the likes of Helmut Newton, Guy Bourdin and Donald Silverstein became a prolific editorial documentary photographer for publications which included Fiagaro Magazine, The Independent, Newsweek and the The Observer as well as The Sunday Times. See photo Bio for more details. 1970s 1970 70s Vegas Worker Uniform Casino Nevada Gamble USA Car Vintage Parking lot...

Gianni Morandi - Vintage Photo is a vintage black and white photograph realized in the 1980s. Good conditions.

From a portfolio of ten gelatin silver prints from original Meatyard negatives (1959-71) Printed April 1974 Edition of 130 Credit stamp, verso 7 x 7 inches, image 15 x 12 inches, mount This photograph is offered by ClampArt, located in New York City. An optician by trade, Ralph Eugene Meatyard was a self-described “dedicated amateur” photographer. He pursued his own vision to produce an exquisitely enigmatic, widely admired body of work. Meatyard began taking photographs in 1950, roaming the backwoods and towns in Kentucky, experimenting with framing, multiple exposures, and blurring to produce haunting, abstracted images of natural and manmade environments. In the late 1950s, he began incorporating monstrous, oversized latex masks...

Vintage Photo. The Italian Actress Ornella Muti.

James Dean Sitting at Car Rally by Globe Photo Archives Candid black and white capture of actor and racer James Dean sitting with his back turne...

Between Words (Stage of Consciousness) - 2007 40x48cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Signature label and certificate. Arti...

Into Eternity (Wastelands) - 2003 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist inventory Number 893. Signature label and Certificate. Not mounted. For sale is a piece from the Wastelands series. Reality with the Tequila: Stefanie Schneider’s Fertile Wasteland by James Scarborough “How much more than enough for you for I for both of us darling?” (E. E. Cummings) Until he met her, his destiny was his own. Petty and inconsequential but still his own. He was cocksure and free, young and unaccountable, with dark hair and aquiline features. His expression was always pensive, a little troubled, but not of a maniacal sort. He was more bored than anything else. With a heart capable of violence. Until she met him, she was pretty but unappreciated. Her soul had registered no seismic activity. Dustbowl weary, she’d yet to see better days. A languorous body, a sweet face with eyes that could be kind if so inclined. Until she met him, she had not been inclined. It began when he met her. She was struck in an instant by his ennui. The sum of their meeting was greater than the imbroglios and chicaneries of their respective existences. He was struck by the blank slate look in her eyes. They walked, detached and focused on the immediate, obscenely unaware of pending change across a terrain of mountainous desert, their eyes downcast and world-weary, unable to account for the buoyant feeling in her heart. His hard-guy shtick went from potentiality to ruse. The gun was not a weapon but a prop, a way to pass time. Neither saw the dark clouds massing on the horizon. They found themselves alone in the expanses of time, unaware of the calamity that percolated even as they posed like school kids for the pictures. Happiness brimmed in that wild terrain. Maybe things were beginning to look up. That’s when the shooting started… Stefanie Schneider assumes that our experience of lived reality (buying groceries, having a relationship with someone, driving a car) does not correspond to the actual nature of lived reality itself, that what we think of as reality is more like a margarita without the tequila. Stefanie Schneider’s reality is reality with the tequila. She does not abolish concepts that orient us, cause and effect, time, plot, and storyline, she just plays with them. She invites us to play with them, too. She offers us a hybrid reality, more amorphous than that with a conventional subject, verb, and predicate. Open-ended, this hybrid reality does not resolve itself. It frustrates anyone with pedestrian expectations but once we inebriate those expectations away, her work exhilarates us and even the hangover is good. An exploration of how she undermines our expectation of what we assume to be our lived reality, the reasons why she under- mines our expectations, and the end result, as posited in this book, will show how she bursts open our apparatus of perception and acknowledges life’s fluidity, its density, its complexity. Its beauty. She undermines expectations of our experience of reality with odd, other-worldly images and with startling and unexpected compressions and expansions of time and narrative sequence. The landscape seems familiar enough, scenes from the Old West: broad panoramic vistas with rolling hills dotted with trees and chaparral, dusty prairies with trees and shrubs and craggy rocks, close-up shots of trees. But they’re not familiar. These mis-en-scenes radiate an unsettling Picasso Blue Period glow or the intense celestial blue of the cafe skies that Van Gogh painted in the south of France. Yellow starbursts punctuate images as if seen through the viewfinder of a flying saucer. At the same time, objects appear both vintage and futuristic, the landscape of a post-apocalyptic world. Landscapes change seemingly at random as do the seasons. Stefanie Schneider offers no indication of how time flows here, except that it conceivably turns in on itself and then goes its merry way. Time is a river whose source is a deep murky spring which blusters about with an occasional swirling eddy. That Stefanie Schneider thwarts an easy reading is obvious but why does she do this? Since she will not countenance anything linear, logical, or sequential, and because she does not relish anything concrete and specific, she has to roil things up a bit. Nor does she seem comfortable with a book of images that is settled, discrete, and accountable. Instead she wants to create a panoply of anxious moments...

Jules and Jim II (Renée's Dream) from the 29 Palms, CA series - 2007 50x49cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Certificate and signatu...

Lonely Hearts (The Girl behind the White Picket Fence) - 2013 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Signature label and Certificate. Artist Inventory No. 16346. Not mounted. In Stefanie Schneider's evocative piece "Her Last Call," she presents a poignant scene featuring the talented actor Heather Megan Christie. The composition centers around a captivating image of Christie holding a red rotary phone...

Farewell (Haley and the Birds) - 2013 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory # ...

Dolls (Till Death do us Part) - 2016 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C- Print, based on the Polaroid. Certificate and signature label. Artist inventory numb...

Ron Brouillette, Mulholland Drive 1966/2001 Signed, titled, dated, and numbered, recto Cibachrome print (Edition of 50) 24 x 20 inches, sheet 18 x ...

Maksim and Vitally Ukraine 2018 Signed and numbered, verso Archival pigment print 37 x 37 inches (Edition of 5 + 2 APs) $7,500 17 x 17 inches (Edition of 10 + 2 APs) $4,000 Plea...

'Santa Maria Smoke' 1981 by Alain Le Garsmeur Limited Edition Archival Pigment Print Villagers sharing a smoke in Santa Maria, a small village on the border with Honduras, Nicaragua, Central America, 1981. Paper size : 40x30 inches / 101 x 76 cm Limited edition Edition Size 5 only this paper size Printed 2021 certificate of authenticity provided All prints are on archival photographic papers and limited edition per paper size offered. Total editions per image 100 only. 10x12 inches edition size 25 12x16 inches edition size 20 20x16 inches edition size 20 20x24 inches edition size 15 30x20 inches edition size 8 40x30 inches edition size 5 60x40 inches edition size 5 72x48 inches edition size 2 Alain Le Garsmeur was born in France in 1943 and after assisting the likes of Helmut Newton, Guy Bourdin and Donald Silverstein became a prolific editorial documentary photographer for publications which included Fiagaro Magazine, The Independent, Newsweek and the The Observer as well as The Sunday Times. See photo Bio for more details. 1980s 1980 80 USA smoking smoke lads men boys...

Last Chance (Wastelands) - 2003 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist inventory Number 24104. Signature label and...

Gianni Morandi and his Ex-Manager Lionetti - Vintage Photo is a vintage black and white photograph realized in the 1970s. Good conditions.

Sylva Koscina - Vintage Photo is a vintage black and white photograph realized in the mid 20th Century. Good conditions. Sylva Koscina is considered one of the best actresses of he...

"Women of the IDF" Large Exhibition color Photograph 30 x 40 inches, mounted on masonite and laminated. Edition of 4 + 2 artists proof. minor dings and bumps to edges Born in Tehran, Iran, Ashkan Sahihi moved with his family to West Germany at the age of seven. Although he began taking photographs as a teenager, Sahihi traces the beginning of his professional trajectory to New York in 1987, a thriving “pop culture metropolis” where he could do the kind of photography work that he wanted to do, exploring the underbelly of the society around him. Taking assignments from German publications such as the Süddeutsche Zeitung Magazine, Der Spiegel, Dummy and GEO, he photographed subjects like prisoners on death row, players in the hip-hop scene, and the downtown art scene of New York. Neither black nor white, an insider among outsiders, he found himself able to navigate spaces and dynamics that others might have had difficulty entering. He considered this both a privilege and an obligation – to visit these places and tell these stories. His success led to commissions from American publications as well, including the New York Times Magazine, the New Yorker, Rolling Stone, and Vogue. Put off by the limitations of photojournalism (the expectation that he would illustrate the writer’s perspective rather than author a narrative of his own), Sahihi began to embark on independent, highly compact conceptual series. His main goal in these series has been to drive forward public discourse on topics he believes have not provoked enough or the right kind of discussion: drugs, gender in the media, women in the military, etc. His portraits draw on a familiar visual language – often seated subjects before a neutral backdrop – but push the viewer to feel and think about entirely new things. Although he constantly challenges the comfort level of both the viewer and the subject, Sahihi never removes himself from the line of fire; all of his work requires the artist to immerse himself in uncomfortable situations and challenge his own emotional fortitude. Photographic Series In the “Face Series”, latex-gloved hands manipulate the subjects’ features, stretching, pushing, squeezing, pinching at the whim of external direction – from the artist? The customer? The public? The “Hypnosis Series” comprises 8 portraits of hypnotized subjects each experiencing a single emotion, e.g. helplessness, withholding/anger, or regret. In a society that rewards the suppression of such naked emotion, the purity of these depictions is arresting. In 2006, Sahihi photographed himself in the homes and with the families of six ex-girlfriends and one ex-wife, imposing himself more or less awkwardly on the constellations that emerged after he had exited their lives (“Exes Series”). For Sahihi’s most well-known work, the “Drug Series,” he convinced 11 non–drug users to consume a particular drug, then took their portraits over the course of their trips. The series was born out of Sahihi’s frustration with the hypocrisy of the political conversation about drugs in the United States. “By attempting to present an objective image of drug use, the artist addresses the cultural politics that allow our society to simultaneously glamorize the ‘drug look’ in fashion magazines and the entertainment industry and meanwhile turn a blind eye to the complicated, and vast, problem of drug abuse.” Sahihi has exhibited this series at MoMA PS1 New York in 2001, in Dresden in 2008, and alongside his installation “100 Million in Ready Cash." Sahihi’s dense explorations through small photographic series include “Women of the IDF," portraits of female Israeli soldiers...

Kurt Markus, American (1947) Batwings, Oro Ranch, Prescott, Arizona Archival Pigment Print, Edition of 300, # 149, Signed and numbered. Framed. Measurements: Frame: H 57.15 cm/22.5 in x W 45.72 cm/18.5 in - Sight H 33.02 cm/13.5 in x W 25.4 cm/10.5 in Kurt Markus, self-taught American photographer, was born in rural Montana. Markus is a nationally and internationally published photographer. Markus’s work began with a focus on American West Cowboys...

Commited (29 Palms, CA) - 1999 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Certificate and signature label. Artist inventory ...

Reportage from Albania - Tirana - Photograph is a color photograph realized in the Late 1980s. Good conditions. the landscape of Albania through the art of photography is captured ...

'Funk In Tuscany' 1969 Italian fashion designer, model, and socialite, Marta Marzotto (1931 - 2016), playing a James Brown album on an Italian Brionvega Radiofonograph RR126 stereo...

Untitled, c. later 20th century Three black and white photographs Dimensions: 1. 8 5/8 x 6 3/4 in. 2. 10 x 7 3/4 in. 3. 7 1/2 x 9 1/2 in. Each photograph laid to mat board measuring...

This Vintage Photo shows the Italian Film Director Marco Bellocchio. Good condition.

Vintage Photo. Harry Dean Stanton and Dean Stockwell in a scene from "Paris, Texas", a 1984 drama film directed by Wim Wenders. Good condition.

Signed and numbered, verso This artwork is offered by ClampArt, located in New York City. These images were taken in Matador Schools and Military Boarding Schools over the course o...

James Dean in Restroom by Globe Photo Archives Hilarious black and white candid shot of actor James Dean talking on the phone while using the re...

' Cola Café ' Limited Edition Archival Pigment Print Children wait outside a cafe with Pepsi Cola sign in Tegucigalpa, Honduras, Central America, 1981. Note all prints are limit...

Another Monday Morning (29 Palms, CA) 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certificate, Artist inventory nu...

Dreamgirl (29 Palms, CA) 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certificate, Artist inventory number: 19318. ...

Vintage Photo. The Kessler twins on a tv backstage. By Italian News Agency S.P.A.

Gianni Morandi - Vintage Photo is a vintage black and white photograph realized in the 1970s. Good conditions.

A Violent Life - by David Emmer is a vintage black and white photograph realized in the 1960s.. Good conditions.

Signed and numbered by artist Edition of 100

Chromogenic print Signed, titled, dated, and numbered, verso 22.5 x 30 inches (Edition of 5 + 2 APs) 45 x 60 inches (Edition of 3 + 2 APs) This artwork is offered by ClampArt, loc...

Women at Work - Historical Photograph About Women Rights is an original black and white photograph realized in 1965 by the Agency of "Photo Svicher" Wit...

Women at Work - Historical Photograph About Women Rights is an original black and white photograph realized in 1978 by the Agency of "Ansa" With the cop...

The Grateful Dead started out their careers as the Warlocks. This photograph was taken in 1965 in San Francisco's Presidio Park.

'Skiing Holiday' 1977 Slim Aarons Limited Estate Edition American political novelist William F Buckley Jnr takes a break from skiing near Gstaad with C...

Something Today (The Girl Behind the White Picket Fence) - 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signatur...

Good Times (The Girl Behind the White Picket Fence) - 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature lab...

On Air (The Girl Behind the White Picket Fence) - 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label. ...

Labyrinth (Haley and the Birds) - 2013 40x50cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #...

Elvis Presley in Jailhouse Rock is a vintage photographic print on single-coated paper. Photograph is an official picture from the set of 1957 MGM's fi...

'Smeralda Architect' 1978 Slim Aarons Limited Estate Edition Print circa 1978: Architect Jacques Couelle at the Costa Smeralda, Karim Aga Khan's deve...

Luigi Tenco by Pietro Pascuttini is a vintage photographic print on baryta paper. Photograph realized by famous portraitist Pietro Pascuttini. Artist's ink stamp and pen notes on th...

'Harriet at Mougins' 1957: Viscountess Harriet de Rosiere at Mougins, near Cannes in France. 40 x 40" inches / 101 x 101 cm paper size Estate Stamped Collection Edition to 150...

Vintage gelatin silver print Signed in black ink, l.r. 14 x 11 inches, sheet size 13 x 9 inches, image size This artwork is offered by ClampArt, located in New York City. Born in ...

Self Portrait with Honda Motorcycle c. 1970s Signed in black ink, l.r. Vintage hand-painted gelatin silver print 8 x 10 inches (20.3 x 25.4 cm) This work is offered by ClampArt in...

Vintage Photo. The British Actor David Niven.

Christin, 1992 Edition 2/10, 29.5x37cm including white frame, 25x33cm (image area). Analog C-Print, hand-printed by the Artist, based on the original Polaroid. Certificate and Si...

The Pink Dress (Stage of Consciousness) - 2007 40x48cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and signature label. Artist Inve...