Toy Photography

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...

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 ...

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 ...

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...

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 ...

Heidler & Heeps Vinyl Collection Set of Three Framed Artworks. Acclaimed contemporary photographers, Richard Heeps and Natasha Heidler have collaborated to make this beautifully mesm...

Puppets of Verona II Edition of 25 signed and numbered by the artist A big puppet requisite for the performance in the Arena di Verona in Italy. JJK is a pseudonym for one of the w...

Puppets of Verona II Edition of 25 signed and numbered by the artist A big puppet requisite for the performance in the Arena di Verona in Italy. JJK is a pseudonym for one of the w...

'Stay On Target!' By BATIK Archival pigment pop art print of a Star Wars TIE fighter chasing actor Cary Grant from the infamous scene in Hitchcock’s N...

Untitled Sea wrack II, 2010 by Rodrigo Etem From the series Ser Cosa Archival pigment print on fine art paper Size: 32 H x 24 W inches. Edition of 7 Unframed …this series of portra...

Since 1977, Larry Torno has worked in the graphic design business as a designer, art director, and creative director for companies large and small, from Fortune 500 to Not-for-Profit...

Artist/Designer; Manufacturer: Maxx Hermann (b. 1955) Marking(s); notes: signed; ed. 1/ 5; 2007 Country of origin; materials: German; C-print Dimensions...

The “Iconic” series was presented as part of the exhibition “Walk of Inspiration” showed in Stockholm in 2016. These vibrant unique color images are an homage to the “kitsch pop surr...

Tropicarios #2 from Tropicarios series, 2017 by Paloma Castello Digital photography print on chroma luxe. Image size: 33" W x 21,6" H inches Edition : 3/5 + 1AP Similar to the trav...

These were from a show of her work. Influenced by Surrealism and Dada Photographs these are images of old children's dolls in various states of decay....

“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...

My first female Plastic Head, I didn't want just any Barbie doll. After conducting some research, I stumbled upon the 35th anniversary Barbie, which is a reproduction of the original Barbie...

These were from a show of her work. Influenced by Surrealism and Dada Photographs these are images of old children's dolls in various states of decay. These bear the influence of Hans Bellmer, Dora Maar and Man Ray. Jo Ann Krivin born in Reasnor, Iowa in 1933, daughter to Earl Guthrie and Lillie Cramer. She graduated from Simpson College in Indianola, Iowa, with a bachelor of music degree in voice. She became a copywriter for the CBS Television affiliate in Des Moines, and then a public relations writer for Columbia Records in New York. She later owned and directed The Cramer Gallery in Glen Rock, N.J. Krivin photographed many jazz musicians during the 1980s and 1990s, and published two books of her jazz photos, "25 Years of the Jazz Room at William Paterson University" and "Jazz Studies." Her jazz and doll portraits have been exhibited in group and solo shows, museums, university galleries, and jazz festivals. She was married for over 50 years to painter, musician, and educator Martin Krivin. One of the few women in the field of jazz photography, JoAnn Krivin documented the professional jazz scene from the late 1970's until the late 1990's photographing close to 700 musicians. Her works have been exhibited frequently in solo shows at festivals, museums and galleries across the country. She has served as a still photographer for New Jersey Public Television and has contributed to a variety of national jazz publications. Her book, Twenty Five Years of the Jazz Room at William Paterson University, was published in 2003. Woman artist with a feminist tinge to these photographs. Her work was exhibited at the Ben Shahn Galleries. The exhibit featured photographs of some of the jazz world’s most well-known musicians, including Sonny Rollins, Joe Williams, Art Farmer, Benny Golson, Milt Hinton...

These were from a show of her work. Influenced by Surrealism and Dada Photographs these are images of old children's dolls in various states of decay. These bear the influence of Hans Bellmer, Dora Maar and Man Ray. Jo Ann Krivin born in Reasnor, Iowa in 1933, daughter to Earl Guthrie and Lillie Cramer. She graduated from Simpson College in Indianola, Iowa, with a bachelor of music degree in voice. She became a copywriter for the CBS Television affiliate in Des Moines, and then a public relations writer for Columbia Records in New York. She later owned and directed The Cramer Gallery in Glen Rock, N.J. Krivin photographed many jazz musicians during the 1980s and 1990s, and published two books of her jazz photos, "25 Years of the Jazz Room at William Paterson University" and "Jazz Studies." Her jazz and doll portraits have been exhibited in group and solo shows, museums, university galleries, and jazz festivals. She was married for over 50 years to painter, musician, and educator Martin Krivin. One of the few women in the field of jazz photography, JoAnn Krivin documented the professional jazz scene from the late 1970's until the late 1990's photographing close to 700 musicians. Her works have been exhibited frequently in solo shows at festivals, museums and galleries across the country. She has served as a still photographer for New Jersey Public Television and has contributed to a variety of national jazz publications. Her book, Twenty Five Years of the Jazz Room at William Paterson University, was published in 2003. Woman artist with a feminist tinge to these photographs. Her work was exhibited at the Ben Shahn Galleries. The exhibit featured photographs of some of the jazz world’s most well-known musicians, including Sonny Rollins, Joe Williams, Art Farmer, Benny Golson, Milt Hinton...

Doll No. 3 (Edition 1/25), Lucille Khornak, Color Photograph on Board with Acrylic Finish, 40 x 26, Late 20th Century Colors: Black, Blue, White,...

Dolls No. 15 (Edition 1/25), Lucille Khornak, Color Photograph on Board With Liquid Acrylic Finish/ Mixed Media, 26 x 40, Late 20th Century Colors: Bla...

Doll No. 7 (Edition 1/25), Lucille Khornak, Color Photograph on Board with Acrylic Finish, 26 x 40, Late 20th Century Colors: Black, Blue, White,...

Plastic Head: Vintage LION-O Action Figure - 1985 As a kid, I never watched this show myself, but I do remember my brother having the toy sword of Omens. I have a fond memory of that...

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 ...

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...

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, or the creation of avatars are also interesting worldwide phenomena of virtual realities that are not only relevant for children and teens. So when a middle-aged Berlin photographic artist (like Christian Rothmann) chooses to study 120 toy robots with great difference in form, it represents a journey back to his own childhood - even if at the time, he played with a steam engine rather than a robot. Once batteries had been inserted, some of the largely male or gender-neutral robots, could flash, shoot, turn around and even do more complicated things. Some can even still do it today - albeit clumsily. This, of course, can only be seen on film, but the artist intends to document that as well; to feature the robots in filmic works of art. The positioning of the figures in the studio is the same as the tableau of pictures in the exhibition room. In this way, one could say Rothmann deploys one robot after the other. This systematic approach enables a comparative view; the extreme enlargement of what are actually small and manageable figures is like the macro vision of insects whose fascinating, sometimes monster-like appearance only becomes visible when they are blown up a hundredfold. The same thing goes for the robots; in miniature form, they seem harmless and cute, but if they were larger than humans and made noises to match, they would seem more threatening. Some of the tin figures...

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 ...

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 ...

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 ...

Working with a collection of vintage Barbies, photographer Larry Torno set out to make portraits that showed the interior lives of these dolls. Burdened with the weight of being perf...

Jen's love of photography began as a child, when her grandfather, a photographer, gave her a camera. However, it wasn't until she graduated from UC Berkeley that photography became a...

Image size: 44 x 31 inches Archival Pigment Print Edition 1/7

Plastic Head: Vintage Greedo Action Figure - 1978 Greedo has to be one the most memorable characters from the Star Wars franchise. He is a bounty hunter and a member of the Rodian sp...

Digital photography from the series Fragile Things. Limited number of 5.

Archival pigment print (Edition of 5 + 2 APs) Signed, titled, dated, and numbered on label, verso This photograph is offered by ClampArt, located in New York City. Frances F. Denny'...

Archival pigment print (Edition of 5 + 2 APs) Signed, titled, dated, and numbered on label, verso This photograph is offered by ClampArt, located in New York City. Frances F. Denny'...

Pigment ink print Signed and numbered, verso (Edition of 7) This photograph is offered by ClampArt, located in New York City.

Digital photography from the series Fragile Things number 4/5 limited number of 5

Blond girls, Nude and scantily clad feminine figures, and ballerina dancers, with delicate, refined fingers and toes, are captured in idealized poses with soft pastel colors. In the most graceful pose, a beautiful blue-eyed blonde girl is captured on her tiptoes with outstretched arms. Signed, dated and numbered 3/15 recto, unframed, printed later, another size available- printed later - Printed on Hahnemühle Fine Art paper - There is an intentional light grain to the film. Robert Funk is a pioneer of toy photography, doll photography...

DAVID LEVTINTHAL was born in San Francisco and received his MFA in Photography from Yale University. He has had numerous solo and group exhibitions at institutions including the Whit...

edition 1/5 TRENITY THOMAS is a self-taught photographer who has also experimented with painting and sketching since grade school. As a photographer, he has worked in a myriad of ge...

Whether as a statement piece in an offbeat living space, or a quirky bedroom addition, this piece is sure to be a sultry, sensitive talking piece! Working with a collection of vintage Barbies to create timely, sensitive portraits that evoke the interior lives of the dolls, photographer Larry Torno...

David Levinthal is a central figure in American postmodern photography. Since the early 1970’s, he has photographed dolls and toys in settings that explore the fantasies, myths and e...

This quirky photograph is sure to be a talking point! It's tongue-in-cheek humor is as effervescent as its sparkly pink backdrop. Working with collections of vintage Barbies as his subjects, photographer Larry Torno...

Untitled (Nr. 0006) 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...

Nobuyoshi ARAKI (*1940, Japan) 67 Shooting Back #GDN019, 2007 RP Direct print 50.8 x 60 cm (20 x 23 5/8 in.) Print only – Nobuyoshi Araki Nobuyoshi Araki (Tokyo, 1940) is a Tokyo-ba...

A summery photograph of a beach-ready Ken, this piece is sure to be a bright introduction to your home. Whether in a colorful kitchen, or a bright, sunny sitting room, this work is sure to start conversations! When photographer Larry Torno...

Dressed to the nines! This wonderful portrait of Ken treats the doll with the same sensitivity as a human subject - and in doing so, sheds light on the interior lives of the doll. As...

Edition of 12 Signed, dated and numbered. Russian artist and photographer Vadim Gushchin, born in 1963, has been active since the 1980s and is known for his minimalistic still life ...

These were from a show of her work. Influenced by Surrealism and Dada Photographs these are images of old children's dolls in various states of decay....

Through memory, metaphor, and imagined destinies, “There’s No Other Like Your Mother” seeks to explore the complexities and constructs of female identity and the maternal subject as I reconceive my fertile state of being. The sudden death of my mother prompted the (re)birth of my artistic self at the age of 29 and the emergence of this series which contemplates my own shifting identity, once firmly rooted in the domestic tradition but now seemingly unmoored. Brandy Trigueros is a Los Angeles based artist who uses the narrative space of the camera to playfully create staged inquisitions of femininity, memoir, and the on-going transformation of self. After years of working in publishing at the Los Angeles Times and animation at Nickelodeon, she began pursuing her artistic practice full-time and received her BFA in Photography and Media from California Institute of the Arts. Her work has been exhibited nationally and internationally in venues such as the Griffin Museum of Photography, Foto Forum Santa Fe, Candela Gallery, Museo de la Naturaleza de Cantabria, Center for Photographic Art, Building Bridges Art Exchange, Center for Fine Art Photography, Berlin Foto Biennale, Los Angeles Center of Photography, and New Orleans Photo...

David Levinthal is a central figure in American postmodern photography. Since 1972, he has photographed dolls and toys in settings that force us to question their apparent innocence....

David Levinthal is a central figure in American postmodern photography. Since the early 1970’s, he has photographed dolls and toys in settings that explore the fantasies, myths and e...

David Levinthal is a central figure in American postmodern photography. Since the early 1970’s, he has photographed dolls and toys in settings that explore the fantasies, myths and e...

MILES ALDRIDGE (*1964, Great Britain) Doors #5, 2023 Screenprint in colours Sheet 73 x 100 cm (28 3/4 x 39 3/8 in.) Edition of 15, plus 3 AP; Ed. no. 1/15 Print only A fiercely or...

David Levinthal is a central figure in American postmodern photography. Since the early 1970’s, he has photographed dolls and toys in settings that explore the fantasies, myths and e...

Vintage 50's Barbie with vintage accessories and set. Narrative depicts title - the end of the affair. Metallic print produced on metal. Black and white Photography. Ltd Ed.

edition 1/7 TRENITY THOMAS is a self-taught photographer who has also experimented with painting and sketching since grade school. As a photographer, he has worked in a myriad of ge...

Digital Photography from the series Fragile Things. number 4/5 Limited Print of 5.

Blue eyes, and a pink tie - how very Ken! His sultry, introspective gaze shows the interior lives of these iconic dolls. As a timely reference to the social ...