Pill Photography

THIS PIECE IS AVAILABLE FRAMED. Please inquire for more information. ABOUT THIS PIECE: Let's not pretend that we don't enjoy 80's music. ABOUT THIS ARTIST: Floyd P. Stanley is an ...

This is new release in the much anticipated series "The Music" by pop Artists Destro These iconic tapes have become more than just timeless music. They encapsulate an era instantly...

The Drugs Don't Work II - Oversize limited edition - Pop Art - Twiggy by the London based contemporary pop art image creator and artist, BATIK. Measures 30 x 20" inches / 76 x 41 ...

Slim Aarons Estate Stamped Edition Limited to 150 only Close-up of a woman playing backgammon in Haiti, in January 1975. (Photo by Slim Aarons) This photograph epitomises the travel style and glamour of the period's wealthy and famous, beautifully documented by Aarons. In his words, he loved to photograph 'attractive people in attractive places, doing attractive things'. A beautiful and classic Slim Aarons C Type photograph (unframed). Limited edition to 150 only numbered and stamped by The Slim Aarons Estate on verso. Supplied with certificate of authenticity. Gorgeous print measuring 30 x 20" inches / ca 76.2 x 50.8 cm’s paper size. Stamped by the Estate on right and numbered in ink on left - limited edition to 150 only. Produced utilising the original transparency held at archive source. FRAMING: Please note that this piece is unframed – however, we offer a full framing service. If you would like this piece framed, please contact us for a quote. We ship regularly using Fedex Express services and shipping to all international locations. Keywords Caribbean Sea luxury island yacht club yachts boating in the Caribbean vivid colors red red bikini sensual woman red nail polish backgammon lovers blue white emerald green light green blue sky light blue clouds palm trees wonderful life people having fun relaxing time summer weather hot and sunny day white sand beach 70s bikinis...

Frances F. Denny By my wand (Tea Rose) 2023 Signed, titled, dated, and numbered on label, verso Archival pigment print 28 x 21 inches (Edition of 5 + 2 APs) $3,000 16 x 12 inche...

This is an archival pigment print depicting an abstracted still life printed on Hahnemuhle Photo Rag 308 gsm by artist Paul Cava. It is from the "Table Top" series, which is one of three series, along with his "Still Life" and his "Flora" series, making up a larger body of work produced between the years 2019-2021. The leading actor in this three-part drama is the late afternoon light with the supporting cast being the objects of his attention -- a deer antler, a dying flower, plaster casts of his daughter’s hand and foot, the various vessels and forms in relation to each other as the light moves across their surfaces. The elephant in the room for the latter work is the lockdown mood that intensifies and thickens the air in these still lifes. Image size is approx. 14 1/2 x 11” printed on 19 x 13” sheets, edition of 10. Also available as image size approx. 19 x 14 1/4” printed on 22 x 17” sheets, edition of 5 ($2,500) - listed separately. Signed, titled, dated and numbered lower margin. Brooklyn-born artist Paul Cava began his career as an artist in the late 1960's. Cava made his first explorations as a poet, multi-media artist, filmmaker, photographer and painter. He finally settled in the last three decades on a hybrid form of expression that synthesized his previous efforts and anticipated the current digital use of photography by combining photographs, words, collage, drawing, painting, and printmaking into his own visual language, the core of which is a personal visual poetry. Cava has exhibited paintings, drawings and photo-based works from 1976 to the present in galleries and museums in the United States and Europe. His work has been collected by a broad range of private and public institutions, including The Museum of Fine Arts, Houston, The Philadelphia Museum of Art, The Princeton University Museum of Art, and The Bibliotheque Nationale, Paris. His work has been featured in many publications including "Eyemazing Magazine" and "Das Magazin." Cava was a recipient of Pennsylvania Council on the Arts grants in 1981 and 1999. In 2005, the German publisher Edition Galerie Vevais released "Walt Whitman and Paul Cava / Children of Adam," a deluxe volume of Cava’s photo-based art and Walt Whitman’s poetry. The artist’s second book, "Paul Cava: Photographs Collages...

Backgammon In Haiti 1975 by Slim Aarons Slim Aarons Limited Estate Edition Close-up of a woman playing backgammon in Haiti, in January 1975. unframed c type print printed 2023 24...

Assembled guitars bodies & necks from rescued guitars (built by the artist) Creating the Ícara I was like an initiation. the work contains about 800 feathers and it has a very rock and roll feel as it reminds us of Lenny Kravitz’s love for feathers and boas. It also explores a rite of passage: leaving Buenos Aires, its music, its flavors and ultimately a remembrance, an homage to a dear Argentine singer-songwriter Gustavo Cerati...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition M (Edition of 6) 35.4 x 23.6 inches (90 x 60 cm) - Edition L (Edition of 6) 47.2 x 31.5 inches (120 x 80 cm) - Edition XL (Edition of 3) 88.8 x 58.8 inches (225 x 150 cm) PUR - Price Upon Request -------------- Since 1979 Christian Rothmann had more than 40 solo and 80 group exhibitions worldwide. Christian Rothmann had guest lectures, residencies, art fairs and biennials in Europe, Japan, USA, Australia and Korea. Christian Rothmann (born 1954 in Kędzierzyn, Poland ) is a painter, photographer, and graphic artist.⁠ ⁠ In 1976 he first studied at the “Hochschule für Gestaltung” in Offenbach, Germany and moved to Berlin in 1977, where he graduated in 1983 at the “Hochschule der Künste”. From 1983 to 1995 he taught at the university as a lecturer and as an artist with a focus on screenprinting and American art history. To date, a versatile body of work has been created, which includes not only paintings but also long-standing photo projects, videos, and public art.⁠ ⁠ Guest lectures, teaching assignments, scholarships and exhibitions regularly lead Rothmann to travel home and abroad.⁠ ------------------------ Rothmann's Robots These creatures date back to another era, and they connect the past and the future. They were found by Christian Rothmann, a Berlin artist, collector and traveler through time and the world: In shops in Germany and Japan, Israel and America, his keen eye picks out objects cast aside by previous generations, but which lend themselves to his own work. In a similar way, he came across a stash of historic toy robots of varied provenance collected by a Berlin gallery owner many years ago. Most of them were screwed and riveted together in the 1960s and 70s by Metal House, a Japanese company that still exists today. In systematically photographing these humanoids made of tin - and later plastic - Rothmann is paraphrasing the idea of appropriation art. Unknown names designed and made the toys, which some five decades on, Rothmann depicts and emblematizes in his extensive photo sequence. In their photographs of Selim Varol's vast toy collection, his German colleagues Daniel and Geo Fuchs captured both the stereotypical and individual in plastic figures that imitate superheroes which were and still are generally manufactured somewhere in Asia. Christian Rothmann looks his robots deep in their artificially stylized, painted or corrugated eyes - or more aptly, their eye slits - and although each has a certain degree of individuality, the little figures remain unknown to us; they project nothing and are not alter egos. Rothmann trains his lens on their faces and expressions, and thus, his portraits are born. Up extremely close, dust, dents, and rust become visible. In other words, what we see is time-traces of time that has passed since the figures were made, or during their period in a Berlin attic, and - considering that he robots date back to Rothmann's childhood - time lived by the photographer and recipients of his pictures. But unlike dolls, these mechanical robots bear no reference to the ideal of beauty at the time of their manufacture, and their features are in no way modeled on a concrete child's face. In this art project the robots appear as figures without a context, photographed face-on, cropped in front of a neutral background and reduced to their qualities of form. But beyond the reproduction and documentation a game with surfaces is going on; our view lingers on the outer skin of the object, or on the layer over it. The inside - which can be found beneath - is to an extent metaphysical, occurring inside the observer's mind. Only rarely is there anything to see behind the robot's helmet. When an occasional human face does peer out, it turns the figure into a robot-like protective casing for an astronaut of the future. If we really stop and think about modern toys, let's say those produced from the mid 20th century, when Disney and Marvel films were already stimulating a massive appetite for merchandising, the question must be: do such fantasy and hybrid creatures belong, does something like artificial intelligence already belong to the broader community of humans and animals? It is already a decade or two since the wave of Tamagotchis washed in from Japan, moved children to feed and entertain their newly born electronic chicks in the way they would a real pet, or to run the risk of seeing them die. It was a new form of artificial life, but the relationship between people and machines becomes problematic when the machines or humanoid robots have excellent fine motor skills and artificial intelligence and sensitivity on a par with, or even greater than that of humans. Luckily we have not reached that point yet, even if Hollywood adaptations would have us believe we are not far away. Rothmann's robots are initially sweet toys, and each toy is known to have a different effect on children and adults. They are conceived by (adult) designers as a means of translating or retelling history or reality through miniature animals, knights, and soldiers. In the case of monsters, mythical creatures, and robots, it is more about creating visions of the future and parallel worlds. Certainly, since the success of fantasy books and films such as Lord of the Rings or The Hobbit, we see the potential for vast enthusiasm for such parallel worlds. Successful computer and online games such as World of Warcraft...

Backgammon By The Pool, 1975 Chromogenic Lambda Print Estate edition of 150 Women playing backgammon while sunbathing at the Habitation Leclerc pool in Haiti, January 1975. Estate ...

Backgammon By The Pool, 1975 Chromogenic Lambda Print Estate edition of 150 Women playing backgammon while sunbathing at the Habitation Leclerc pool in Haiti, January 1975. Estate ...

"M16 LED" Photography (FRAMED) 73" x 37" inch Edition 1/2 by Giuliano Bekor Print size 72x36 Inches trim bleed Artwork finished size 73x37 Inches Limited edition 1 of 2 Artist pr...

Susan Swihart is a photographic artist, born and raised in Massachusetts, now living in Los Angeles, CA. Her photographs are enquiries into the nature of identity and the persistence...

Happy New Year by Nancy Baron is a 16.5 x 16.5 inch archival pigment print. This photograph is available in an edition of 10. The photograph features the i...

Karine Giboulo creates colourful miniature worlds in which depictions of reality and flights of fantasy mingle. Her intricate sculpted scenes use pathos and humour to comment on the ...

All prints are limited edition. Available in multiple sizes. High-end framing on request. All prints are done and signed by the artist. The collector receives an additional certifi...

Beverly Hills Pills - a hand with jewelry grabing pills out of a pink bag All prints are available in limited editions. Available in multiple sizes. High-quality framing available ...