Road Photography

Marfa ( Judd ) by Frank Schott Donald Judd's art studio, from a series of impressions captured in Marfa, Texas 48 x 72 inches / 122cm x 183m edition of 7 signed 27 x 40 inches / 68cm x 102cm edition of 25 signed archival quality fine art pigment print limited art edition published by Edition EKTAlux artist signed + numbered certificate of authenticity ________________________ Frank Schott grew up in Germany and attended the prestigious Academy of Arts in Cologne, studying under Professor Arno Jansen, who was an early influence. Moving to California in 1998, Schott's work has evolved to include the epic landscapes and deserts of the American West as well as architectural, conceptual and more formal environments from both home and his travels. Influenced by a number of photographic peers and precursors such as Candida Höfer, Andreas Gursky, Thomas Struth, Jeff Wall, Michael Wolf, Gregory Crewdson, William Eggleston and Joel Sternfeld, Schott's images successfully blend technical, conceptual and formal rigor with a decisive sense of composition and color. Schott's images have an iconic sensibility and give us a bird's eye view onto humanity and its constructs. The specific is edged towards the abstract, often revealing the compelling and disjunctive moment where nature meets man. Frank Schott was born in Cologne, Germany in 1962. He currently lives and works in San Francisco...

Painting of House-  Vintage Photo is a black and white photograph of the mid-20th century. Good conditions and aged.

Suburbia II - 2004 40x40cm, Edition of 10, Archival C-Print based on the Polaroid, Not mounted. Signature label and Certificate. Artist Inventory No. 20955.01. This project "S...

Via Mizner store owners Diana 'Dysie' Davie (second from left, wearing a yellow turtleneck sweater) and Charles Amory (far left, wearing yellow pants) posed with their fellow store o...

Barefoot (Stranger than Paradise) - 1998 Edition of 5, 40x40cm. Archival C-Print, on Archive Fuji Chrystal Paper, based on the Polaroid. Artist inventory number: 1558. Signature...

Paul McMillian Hyde Park Year: 2024 Archival Pigment Print on Hahnemuehle Baryta Rag Framed Size: 13 x 13 x 0.25 inches COA provided *Ready to hang; matted and framed in a minimal b...

Frames that capture the transformation from everyday life into another reality. Images that explore how the future will look. The proposal comes from the contemporary but goes beyond...

Highlighting and capturing the raw natural beauty of the Californian coast, Oregon, Colorado, Arizona, Wyoming landscapes. Showcasing the raw natural beauty of the Oregon Coast: 48...

Greek Market is a photograph taken by Amanda Ludovisi in 2018. It represents a colorful narrow street inside the Greek market in Naxos, emblematic of the Greek culture. This is a gi...

Cannon Drive Cars driving along Cannon Drive, Beverly Hills, California. Paper size 16 x 16" inches / 40 x 40 cm Estate Stamped Collection Edition to 150 Photo by Slim Aarons...

My own private Travel Diary - Bishop, CA - Fellini and Trouble - 2001, 20x85cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid Slide. Signature labe...

Best Blondie By Martyn Goddard Signed Limited Edition Best of Blondie photo shoot on the roof of the Record Plant recording studio New York 1978 All...

Signpost In St Moritz 1963 by Slim Aarons Slim Aarons Limited Estate Edition A signpost indicating various ski slopes and toboggan tracks in the resort of St Moritz, Switzerland, ...

Lord Fauntleroy KCMO-240926-09 2024 Archival Pigment Print on Hahnemuehle Baryta Rag 315gsm Size: 20 x 9.34 inches (60.96 x 60.96cm) Edition: 17 Signed, titled and dated on label COA...

Mountain Ridge (Stranger than Paradise) - 1999 44x59cm, Edition 1/10, analog C-Print, hand-printed by the artist, based on a Polaroid. Artist inventory Number 535.01. Not mounted....

This work is offered by CLAMP in New York City.

Christmas Traffic 1953 by Slim Aarons Slim Aarons Limited Estate Edition Christmas trees and red and white automobile light trails on Park Avenue, New York, at Christmas time, Dec...

The artist's photographs capture the transformation of everyday life into another reality. Images that explore what the future will be like. Industrial, eccentric and progressive, Ca...

Killer Joe Piro 1964 by Slim Aarons Slim Aarons Limited Estate Edition American dance instructor ‘Killer’ Joe Piro (1921 – 1989) dances past the park in New York, July 1964 unfra...

Black and white fine art landscape photography. Archival pigment ink print as part of a limited edition of 9. All Gerald Berghammer prints are made to order in limited editions on Ha...

Black and white fine art landscape photography. Archival pigment ink print as part of a limited edition of 9. All Gerald Berghammer prints are made to order in limited editions on Ha...

Positano Beach 1979 by Slim Aarons Slim Aarons Limited Estate Edition Elevated view looking down on sunbathers and parasols on the beach at La Scogliera beach in Positano, Italy, ...

Digital C-print Signed and numbered, verso 20 x 20 inches (Edition of 10) 30 x 30 inches (Edition of 5) This photograph is offered by ClampArt, located in New York City. Please no...

Beverly Hills Hotel 1957 by Slim Aarons printed 2023 Slim Aarons Limited Estate Edition Cars parked outside the Beverly Hills Hotel on Sunset Boulevard in California, 1957 unfram...

Beverly Hills Hotel 1957 by Slim Aarons Slim Aarons Limited Estate Edition Sunshades and sun loungers by the swimming pool at The Beverly Hills Hotel, Beverly Hills, California, 1...

Man Walking Past Parking Lot is a Black and White Photographic Print on Hahnemuhle Paper in an Edition of 10 in this size of 24" x 34". States of America is the photographic legacy of one of the UK’s leading photographic talents whose untimely death in 1991 ended prematurely the highly promising career of a distinctive and powerful photographic voice. Michael Ormerod was born in Cheshire in 1947. He lived in Newcastle, but spent many years travelling America. Fascinated by the American image, and following in the footsteps of Robert Frank, Ormerod took to the American West to find a washed out dream of capitalism. His images capture a strange juxtaposition of an American beauty tainted by a hidden sense of menace and corruption. The photographs are understated, but show an unseen America, where the industrial heartland is decaying, highways stand empty and towns are deserted. The subjects of Ormerod’s work are the disenfranchised. A teenager cycles through her neighbourhood wearing a Halloween-style hockey mask, a Native American man stands in a graveyard, their expressions are unreadable. The work subverts traditional American icons. A white picket fence is staved in, a huge billboard for Miss Teen Dakota USA stands next to an empty highway. Inverting the famous Hollywood sign, Ormerod photographs a Texaco sign...

Need For Speed (1954) - Silver Gelatin Fibre Print (Photo by Joseph McKeown/Picture Post/Getty Images) 17th July 1954: Argentinian racer Juan Manuel Fangio (1911 - 1995) chalks up ...

Randy Hudson 39th Street Year: 2024 Archival Pigment Print on Hahnemuehle Baryta Rag Framed Size: 13 x 13 x 0.25 inches COA provided *Ready to hang; matted and framed in a minimal b...

Palazzo Rufolo, Ravello-  Vintage Photo is a black and white photograph of the early 20th century realized by Alinari. Good conditions, aged with foxing.

Stockholm, Moderna Museet #17, 2006 [Been there, done that] 25x25cm, edition of 7 Archival color print based on original Polaroid on beautiful PHOTO RAG ULTRA SMOOTH 305gsm - 100% c...

Dangerous Perch (1940) - Silver Gelatin Fibre Print (Photo by Fox Photos/Hulton Archive/Getty Images Archive London) Evacuee Barrie Peacop enjoys an ice cream as he sits on a mine ...

S Curve Shaped Road, CA, USA - no. 11902 Archival pigment ink print, edition of 9. Signed, titled, dated and numbered by artist. Certificate of authenticity included. Printed with 4c...

Marfa ( Donald Judd ) by Frank Schott Donald Judd's art studio, from a series of impressions captured in his home town Marfa, Texas 27 x 40 inches / 68cm x 102cm edition of 25 signed 48 x 72 inches / 122cm x 183m edition of 7 signed archival quality fine art pigment print limited art edition published by Edition EKTAlux artist signed + numbered certificate of authenticity ________________________ Frank Schott grew up in Germany and attended the prestigious Academy of Arts in Cologne, studying under Professor Arno Jansen, who was an early influence. Moving to California in 1998, Schott's work has evolved to include the epic landscapes and deserts of the American West as well as architectural, conceptual and more formal environments from both home and his travels. Influenced by a number of photographic peers and precursors such as Candida Höfer, Andreas Gursky, Thomas Struth, Jeff Wall, Michael Wolf, Gregory Crewdson, William Eggleston and Joel Sternfeld, Schott's images successfully blend technical, conceptual and formal rigor with a decisive sense of composition and color. Schott's images have an iconic sensibility and give us a bird's eye view onto humanity and its constructs. The specific is edged towards the abstract, often revealing the compelling and disjunctive moment where nature meets man. Frank Schott was born in Cologne, Germany in 1962. He currently lives and works in San Francisco...

St. Giovanni Church- Vintage Photo is a black and white photograph of the early 20th century realized by Anderson. Information is written on the lower in Italian. Good conditions, ...

The truth is out there - 2019 Edition of 7 plus 2 Artist Proofs, digital C-Print based on a Polaroid, not mounted. Signed on the back and with certificate. Artist inventory - PL2...

Almost daily between 1993 and 2004, Alejandro Cartagena would commute on a suburban bus from Monterrey to the suburban city of Juarez and back. Working at his family’s restaurant, he...

Buick in the Dust, features an American Car, on a British Beach (Hemsby, Norfolk) driven by a German. Richard spent years honing his skills as a drag racing photographer, a sport he ...

Angie Jennings Cold Drinks Archival Pigment Print Year: 2024 Visible Size: 10 x 15.125 inches Framed: 14 x 19.75 inches Signed: On Label COA provided *Black frame with standard ple...

Campo dei Fiori, Rome is a black and white vintage photo, realized in 1970s. Good conditions and aged. It belongs to a historical and nostalgic album including historical moments, ...

A unique, original silver gelatin black and white photograph by Keystone View and Co. View of The Halles Market in Paris, circa 1940. Features: Original silver gelatin print photography unframed. Press photography. Press agency: KEYSTONE VIEW CO, Paris. Photographer: Anonymous. Title: Paris, The Halles, circa 1940. Provenance: Private collection. Image Size: 3.15 in high (8.1 cm) by 4.33 in wide (11.6 cm) - Archivally matted in a 17 in by 13 in mat. A typed caption at the back reads "Paris 1er ardt, Les Halles...

'Stop (in the name of love)', 2020 20x24cm, Edition 1/7 plus 2 Artist Proofs, digital C-Print based on a Polaroid, not mounted. Signed on the back and with certificate. Artist in...

Street view is a black and white vintage photo, realized in Mid 20th Century. Good conditions and aged. It belongs to a historical and nostalgic album including historical moments,...

Rome in the Early 20th Century is a Historical Photo in black and white. It belongs to historical album including photo of historical events and places, all meticulously captured, an...

Chromogenic print 16 x 20 inches, sheet 12.5 x 18.5 inches, image This photograph is offered by ClampArt, located in New York City. Jeff Mermelstein is an American photojournalist and street photographer known for his photographs of New York City street life, as well as September 11th...

Paris Nights II from the Paris In Colour Series 1956-61 By Peter Cornelius 30 x 20 inches / 76 x 51 cm paper size Printed 2022 Archival pigment print Framing and size options avai...

Water is constant in the artist's visual investigation, for her water is no longer the stage in which the body's memory bursts, but rather the environment and protagonist, constant o...

Loose print. Hand printed by artist. No damage. Mint condition. Signed and titled in pencil with notations No markings on verso.

'Ryan Gossling' (Stay) - 2006, 20x20cm, Edition of 2/10, digital C-Print, based on a Polaroid Certificate and Signature label artist Inventory No. 2447.02 Not mounted. Stefanie Schneider: Torsten Scheid, “Fotografie, Kunst, Kino. Revisited.”, FilmDienst 3/2006, page 11-13

 Photography Art Cinema. Revisited Stay expands a traditional connection through new facets Interwoven between the media of photography and film is a veritable mesh-work of technical, motific, metaphorical and personal interrelationships. Extending from photo-film which, as in La Jetée by Chris Marker (France, 1962) is a montage of single, unmoving photographs all the way to the portrayal of photographic motifs in Hollywood cinema―most recently in Memento (USA, 2000) and One hour photo (USA, 2002)―is the range of filmic-photographic interactions on the one hand, and from the adaption of modes of cinematic production to the imitation of film stills on the other. For instance, with the legendary Untitled Film Stills (1978) of the American artist Cindy Sherman, who later made her debut as a film director with Office Killer (USA, 1997) and thereby, like many others, changed sides: Wim Wenders, Robert Frank and Larry Clark are doubtlessly the most successful of these photographic-filmic border crossers. This brief survey provides only a vague indication of the dimensions of this intermedial field, which in fact extends much further and is constantly being cultivated. Also as a motif in film, photography has experienced a historical transformation: Photographers were once considered to be technicians who mastered a craft but never achieved the status of artists. Photographer-figures were caught in the allure of beautiful appearance, incapable of penetrating to the actual essence of things. Such depth was reserved for literature or painting. When photography in film touched upon the sphere of art, then most often as its contrasting model, as the metaphor for a superficial access to the world. Coming to mind are Fred Astaire as a singing fashion photographer in Stanley Donen’s musical film Funny Face (USA, 1957), or the restless lifestyle-photographer in Michelangelo Antonioni’s genre-classic Blow up (GB, 1966). For the doubting Thomas, only that exists which can be photographed. He ultimately enters the world of fantasy and thereby the field of art only unwillingly, when he becomes entangled in the world of his images. The last of his detail-enlargements shows only the photographic grain and has lost all connection to reality. The photograph looks as if it had been painted by Bill, the painter who is both friend and antagonist to the protagonist.

 Photography as Art It was first around the end of the last century that numerous filmmakers discovered photography as a genuine art form. In The Bridges of Madison County (USA, 1995) a sensitive Clint Eastwood stands, camera in hand, on the threshold of artistic status, and in Smoke (USA, 1994) a tobacco merchant ripens into a philosopher through his involvement in photography. Finally, in John Water’s parody of the art market, Pecker (USA, 1998), a provincial tom-fool is hyped into celebrated stardom amid the New York art scene because of his blurred snapshots. This film about a postmodern Kaspar Hauser in photographic art (with clear parallels to Richard Billingham, the British shooting star of the nineteen-nineties), not only takes into account the exponentially expanded significance of photography in the art market, but also attributes to photography an extreme degree of conformity to the “operating system” of the visual arts. This admittedly ironic equation of photography and the visual arts is new. It is repeated with much more earnestness in Lisa Chollondencko’s High Art (USA) from the same year. Artistic photography has finally become established in a cinematic context.

 
Stay Stay (USA, 2005) could have fitted in seamlessly here. Considering that the films High Art and Pecker establish photography as an ideal art form at the end of the millennium, director Marc Forster (Monster’s Ball, Finding Neverland) takes a step backward; he revives an anti-technical, intuitive concept of art, including the customary clichés about madness and genius. This choice documents less an anachronistic notion of art (especially considering that painting is currently experiencing a Renaissance) than instead the appraisal that paintings are more suitable for representing the free objectification of the mind. Stay is not an artist-film but rather a psycho-thriller in which the borders between dream and reality become blurred.
 The psychiatrist Sam Foster (Ewan McGregor) has saved his girlfriend, the artist Lila (played by Naomi Watts) from committing suicide. Now he is attempting to keep another patient, the art student Henry Letham (Ryan Gosling...

San Francisco is a black and white photograph realized by the photographer Phil Palmer. Gelatin-silver print, photographer's credit stamp on the back. Includes frame. This vintage p...

Jill Peters finds her inspiration in the quickly changing architectural landmarks of her youth, like the demolished Miami Herald building, an abandoned roller coaster or a neglected ...

Artwork sold in perfect condition Fabrizio La Torre’s 100th Anniversary Celebration (1921-2021) Set # 10 - Canada Limited edition of 100 Coffrets for each themes, all artworks printe...

"Rain Dance" Black & White Photography 30" x 24" in Ed 1/7 by Brendan North Available sizes: Edition of 15: 20" x 16" inch Edition of 7: 30" x 24" inch Edition of 3: 50" x 40" i...

Almost daily between 1993 and 2004, Alejandro Cartagena would commute on a suburban bus from Monterrey to the suburban city of Juarez and back. Working at his family’s restaurant, he...

ABOUT THIS PIECE: My first job out of school was on a trading floor playing a never ending game of probabilities. Days and nights filled with nodes, signals, decision trees, path-dependent outcomes and calculated probabilities in every flavor I could never have imagined. I spent eight years of my life in a two-block radius around 52nd and Park working on the kind of hopeless problems nobody in history had ever successfully solved; instead of helping me understand the world better like I thought I would in my naivete, my time there instead taught me the romance of the idea that some things are more beautiful if left never understood. That there was a peace in understanding there would be no answer. This series of surfer “movement studies” is a playful reminiscence of this part of my past, an ode to a formative period of my life overlaid on my San Diegan coastal upbringing. There are few things I have experienced in my life that are as pure and total in its disconnection with the world as sitting on a bar of foam on the great rippled plane of our oceans. It is my career’s antithesis. This humorous, almost interactive scribbling of pseudo-mathematical lines and nodes laying out all the nameless surfer’s possibilities represents this tension that continues to define me. ABOUT THIS ARTIST: Albert Hong...

ABOUT THIS ARTIST: Tropico Photo is the collaborative work of Forrest Aguar and Michelle Norris. Forrest loves pairing shapes and lines to create captiva...

African American Man on Street is a dramatic Black & White photographic print on Hahnemuhle Paper available in this size in an Edition of 10. States of America is the photographic legacy of one of the UK’s leading photographic talents whose untimely death in 1991 ended prematurely the highly promising career of a distinctive and powerful photographic voice. Michael Ormerod was born in Cheshire in 1947. He lived in Newcastle, but spent many years travelling America. Fascinated by the American image, and following in the footsteps of Robert Frank, Ormerod took to the American West to find a washed out dream of capitalism. His images capture a strange juxtaposition of an American beauty tainted by a hidden sense of menace and corruption. The photographs are understated, but show an unseen America, where the industrial heartland is decaying, highways stand empty and towns are deserted. The subjects of Ormerod’s work are the disenfranchised. A teenager cycles through her neighbourhood wearing a Halloween-style hockey mask, a Native American man stands in a graveyard, their expressions are unreadable. The work subverts traditional American icons. A white picket fence is staved in, a huge billboard for Miss Teen Dakota USA stands next to an empty highway. Inverting the famous Hollywood sign, Ormerod photographs a Texaco sign...

Paul McMillian 20th & Broadway Year: 2024 Archival Pigment Print on Hahnemuehle Baryta Rag Framed Size: 13 x 13 x 0.25 inches COA provided *Ready to hang; matted and framed in a min...

This print is currently featured in our exhibition, Warm Regards, and will be available to ship after the show closes June 24th, 2017. Pentti Sammallahti is a benchmark figure in co...

Ancient Japanese ethnographic photographs from Nagasaki is a set of 8 original vintage albumen prints on single cardboard: 26 x 34 cm. Four images in the front and four on the rear ...

In American Motel Signs Steve Fitch crisscrossed the United States documenting the colorful dynamic, advertisements inviting weary traveler to park their car and pack it in for the n...