Tape Photography

Still Image Motion Photography. :: Photograph :: Color :: This piece comes with an official certificate of authenticity signed by the artist :: Ready to Hang: No :: Signed: Yes :: S...

Ian Gittler’s Motor Art series-photographs of century-old engine parts, gears, sparkplugs, and brand tags-offers respite from the digital fetishism, overexposure and one-hundred-forty-character bursts of communication that seem to define our era. Gittler is no luddite, he loves his iPhone. But these images, often obscuring the objects beyond identification, take unsentimental pleasure in elements of weight, ground, volume and permanence that are more closely associated with a bygone heyday of industrialization. These photographs are about a tangible physical experience, about moving parts. Gittler’s expert printing-his ability to see the potential in a frame and employ the techniques necessary to articulate that vision on paper-brings the work to life. There’s wit in the brand iconography and a documentary component, but Gittler resists prescribing interpretations, saying subtext isn’t the point. His use of extremely shallow depth of field, intense contrast and exploded grain is muscular and poetic. But subtext is relevant. Although Robin Rice first approached Ian Gittler about his vector-based art on photo paper, the gallerist challenged him to create a series of photographs with that kind of machismo. As a native New Yorker who was marched through the halls of MOMA as a toddler, Gittler’s inspiration-his idea of macho-has less to do with cowboys and racecar drivers than with Franz Kline brushstrokes and modernist design. For Gittler, macho means the maximum amount of black ink that can lie across a sheet of photo paper. That kind of force. He narrowed his field of view for this series-often to a centimeter or two-in order to achieve a purely visual, visceral response. Gittler titled the work Motor Art in tribute to the 1934 Museum of Modern Art exhibit, Machine Art. Upon its sixtieth anniversary, Phillip Johnson wrote of the show (and of his own essay for its original opening), “The thrust was clear: anti-handicraft, industrial methods alone satisfied our age; Platonic dreams of perfection were the ideal.” Ian Gittler photographs, draws, writes, and makes music. He has created album covers for Willie Nelson, Roy Hargrove...

Measures 8 x 10 inches and is Unframed. Also available: 5 x 7 inches.

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...

Olivier Hedoux Grand cru Silver print on foam board 1/3 2001 Signed 80 x 60 cms Small claw in the lower right corner ( can be repaired ) 390 euros

From "The Good Dishes" Collection Royal Albert Gratitude with Cherry, 2019 Archival Pigment Print Signed en verso/Signed Certificate of Authenticity 30" x 20" Photograph Edition o...

In his "Absence" series, Denis Darzacq’s mines his own work for raw material. By cutting and tearing recent photographic prints of his own work, he generated a wealth of formal mater...

Historia, Memoria y Silencios (Silencios) Unopened X, 2009 Archival Ink on Cotton Paper 16h x 16w in 1/5 Lorena Guillén Vaschetti was born in Rosario, Argentina in 1974 and current...

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 ...

Red high-heels crushing a bunch of Rolex, photographed by the iconic Tony Kelly. All prints are limited edition. Available in multiple sizes. High-end framing on request. All prin...

Signed by the photographer

Signed by the photographer

Signed by the photographer

Signed by the photographer

Signed by the photographer

This photograph is printed on Japanese Paper. The price is for an unframed photograph. The Robin Rice Gallery is pleased to announce, 25 Years of Polaroids, a new exhibit by Jose Picayo. The opening reception will be held Wednesday, November 7th, from 6:00pm to 8:00pm. The exhibit will run through January 6, 2019. In this exhibition, Picayo seeks to revive the concept of unadulterated beauty captured as a single moment in time. An unapologetic user of film, Picayo prides himself on his avoidance of digital processing for personal work. When asked why it remains his preferred medium, Picayo answers, “Digital is so overpoweringly real; photography is more magical to me.” For Picayo, Polaroid film is a medium where he can capture something as is – a moment in time. Just to hold the photograph in his hands is enough. 25 Years of Polaroids showcases Picayo’s most iconic work. This exhibit includes personal photographs of Cuba from 1994, Polaroid image transfers showcasing his impressive use of visual texture and his eye for fashion. Also included are his Atget-esque tree portraits from a New Jersey public arboretum in 2012. Additionally, a selection of 8” x 10” Polaroids from Mugshots 2008, will be included, exploring how a person’s soul can be captured in what appear to be basic photographs. The main questions at the heart of Picayo’s photography stem from the mystery of human perception and the precious things that are lost to time. The invitational image, Rotating Doll, 1997, features a multi-paneled display of polaroids which cover an entire length of a wall. These 20” x 24” Polaroids appear larger than life and were given much praise in Picayo’s recent exhibit Polaroids 2016 at The Erie Museum in Erie, PA. This series stems from a collection of children’s dolls Picayo has found over the years, each one with its own strange and authentic story to tell. By cultivating a deteriorated look reminiscent of antique fresco painting, Picayo examines time using the inanimate faces of broken dolls, reflecting on the objects we hold dear and how they fall apart as we try to hold onto them. Picayo speaks of his own influences, crediting photographers Eugène Atget, Walker Evans, and Edward Curtis, Michael Disfarmer, and Torkil Gudnason with impact on both his fine and commercial art. He is well known for his work in fashion, but for Picayo his personal and commercial work are interrelated, each extensions of one another. Born in Cuba, Picayo immigrated to Puerto Rico during his childhood and settled in New York City by the early 80s. After receiving his BFA from Parsons School of Design, Picayo began his professional career as a commercial photographer, shooting for magazines such as Vanity Fair, Sassy, Taxi, and Connoisseur. Picayo’s work has since appeared in Harper’s Bazaar, L.A. Style, New York Times Magazine, Esquire, Rolling Stone, NY Magazine, HG, and Elle Décor. Picayo has held nine solo exhibits to date at the Robin Rice Gallery. still life, baking pans...

Photograph available in 15 x 15" (edition of 20), 22 x 22" (edition of 20) and 38 x 38" (edition of 10). Availability and pricing is subject to change without notice. Patty Carroll h...

This photograph is an edition of 50. See below for other editions available. All editions are signed by the photographer. Larger sizes may be available upon request.

After graduating from the University of California at Berkeley in 1971 with a bachelors degree in anthropology, and while teaching photography at the ASUC Studio on the Berkeley camp...