Shirt Art

Rapscallion (Stage of Consciousness) - 2007 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and signature label. Artist Invento...

Shipping Procedure Ships in a well-protected tube. This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. About Artist Adebayo Taiwo, ...

The Doctor (Heather's Dream) - 2013 part of "The Girl Behind the White Picket Fence" starring Udo Kier 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on th...

A serene black and charming girl child with luscious dreadlocks finding support in a tree amidst a vibrant ochre-dominated forest. This captivating artwork celebrates Africa's natur...

Shipping Procedure Ships in a well-protected tube. This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. About Artist Adebayo Taiwo, ...

Edition 10 signed on a separate certificate and label Also available in 40 x 50 cm / 16 x 20 inch, Edition 25 Portrait of famous singer Iggy Pop in Painter's pants. From personali...

"Brothers" by Ademola Ajayi encapsulates the enduring bond shared between siblings with heartfelt authenticity. Inspired by the poignant sentiment expres...

War Baby by Kiki Kogelnik, Austrian (1935–1997) Date: 1980 Screenprint, signed and numbered in pencil Edition of 200, AP 35 Size: 39 in. x 26 in. (99.06 cm x 66.04 cm) Printer: Studi...

'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...

Mr. Brainwash (after) Obama Superman, 2009 Offset Lithograph Poster Plate signed on lower right front 36 × 24 inches Unframed This Mr. Brainwash poster ...

Shipping Procedure Ships in a well-protected tube from Nigeria. This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. About Artist Bakare Babatunde...

Dreams and fantasies from the past and present are portrayed by Léa Bon’s subjects, which she uses as her own personal dolls. Léa Bon work is a profound explo...

Graffiti and visual artist Keith Haring photographed with one of his paintings in April 1984. One of Mitchell's most beautiful color photograph...

Very stylish, unique and original 1930's French fashion design, no doubt of Parisian origin. The painting, executed in gouache/ watercolor and pencil, is dated to the upper corner ...

Photographer Michael James O'Brien documented with beautiful and unique images the final part of Matthew Barney's lyric opera cycle about a tragic love story set in romantic Budapest...

It suddenly became cold. Long lines formed in the fitting rooms of the stores. Everyone wants something warm and soft. Dutch acrylic paints Amsterdam and Italian fine-grained cotton...

The body, in opposition to this language system and ironically living it, speaks through organs, plays with images, sounds, smells, textures, mixtures, everything reacts, absorbs and...

This stylish artwork, 'Pink Floral Dress' taken at the glamorous retro event Goodwood Revival, perfectly captures feminine sophistication with a vintage vibe. This artwork featured i...

Donald J. Trump- Vintage Photo is a black-and-white photograph, realized by Randy Drouke in the 1980s. Good condition.

Dread minus lock plus identity, meaning deadlock as an identity that symbolizes spirituality Our hair is unique and distinct like our skin color. You can call it a symbol. It is mor...

Morning Glory (The Girl behind the White Picket Fence) 2013, 80x80cm, Edition 1/5. Analog C-Print, hand-printed by the artist. Certificate and Signature label. Artist Inventory # 164...

Halston (1932-1990) Heroes Tour Olympic Tower, 2016 cardboard, paint, pencil, screw, and bolt 12 in. H x 9 in. W x 3 in. D Doug Meyer Studio is located...

Edition of 10 More sizes available on request. Silhouette of a woman in black and white. Artist Statement: Art is the air that I breathe. I grew up in an artistic family, surround...

Original 1960s fashion design from a Northern Italian fashion house. Sketched and coloured by hand with a pencil sketch of the reverse. The name and description of the outfit is type...

Shipping Procedure Ships in a well-protected tube This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity (Issued by the Gallery) About Artist Born in 1991 in the Western Ugandan town of Fort Portal, Switzin Twikirize...

Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity (Issued by the Gal...

THIS PIECE IS AVAILABLE FRAMED. Please reach out to the gallery for additional information. ABOUT THIS ARTIST: Karol Malecki is a fine art photographe...

Desert Center (Stranger than Paradise) - 2000 Edition of 10, 20x20cm. Archival Print, based on a Polaroid. Mounted on dibond with matte UV-Protection. Signature label and Certificate. Artist Inventory No. 1986. Published in Stranger than Paradise, Hatje Cantz (monograph) Stefanie Schneider: A Discovery on Polaroid. An essay by Eugen Blume How is it that the photographic works of Stefanie Schneider do not allow anything other than one single association, namely that of America? Because they were taken in America itself? That fact alone would not yet be a compelling argument. Many photographs of America possess a reckless ambivalence which allows even the different country of their own particular creator to seem so similar as to be confused with America itself. Does this ambiguity have something to do with the ongoing, accelerating Americanization of the entire world? Or is it simply connected with our personal clichés which we attribute to a country the size of North America as valid expressions of its very essence, thereupon negligently allowing it not only to dwindle down into any size whatever, but also to expand to a great extent, from Germany by way of Luxembourg right through to Japan? Now it is certainly true that the figures of Thelma and Louise in the desert do not represent an American reality, not even after their resurrection as Radha and Max in the series 29 Palms from 1999. Strangely enough, it is nature which allows this utterly artificial scene to grow into an American verity. The harsh sunlight in the barren landscape establishes the fundamental tone out of which the women emerge in excessive hysteria from beneath their colored wigs. It is inherently absurd to celebrate the feminine aspect in the middle of a mercilessly inhospitable environment. The image of the two women is a monument of resistance, the meaningful assertion of a lifestyle which stands in contradiction to each and every convention. The pictorial structure and the captured movement along the edge of the format are a means of blending the glaring luminosity with the plot in a manner which perhaps functions successfully only in the “simple” instant technique of the Polaroid. Stefanie Schneider’s pictorial narratives are striking in their formal elegance. She utilizes the chemical faults of the Polaroids, their tendency towards overexposure and double-images as a sovereignly controlled means of artistic design. The defects become, as it were, metaphorical levels which plumb depths lying far beneath the surface. The overly bright colors and schlieren seek out the uncanny; they provide a counterweight to a narration that is deliberately kept superficial. They tell of an invisible strand. They illuminate, in the truest sense of the word, underground processes. Although we are familiar with a series featuring American flags which could not indicate the site of its narrations any more clearly, nevertheless there remains a fundamental doubt as to whether the initially described association with America is identical with that which we deem to be America in a geographical sense. Although I have in the meantime been in America several times, in both South and North America, deep down I remain uncertain as to whether the New World actually exists. Columbus’ error of continuing to believe, even when having arrived on land, that he was encountering the India which was the actual goal of his journey has burrowed down deep into the European unconscious as a cultural convention. Peter Bichsel’s amusing story “Amerika gibt es nicht” (There is no America) still remains today an undeniable truth: America’s northern half is a film, not a continent. Everything which signifies the U.S.A. – from the Indians, whose most noble savages were invented in Europe, all the way to September 11th and the subsequent war in Iraq, the aliens and the revival of the dinosaurs, the terminators as governors and presidents as actors and vice versa, the electric chairs, the godfather Marlon...

Untitled (Olancha) - 2006 38x37cm. Edition of 5, plus 2 Artist Proofs. Analog C-Print, hand-printed by the artist, based on a Polaroid. Signature label and Certificate. Artist I...

Untitled (Olancha) - 2006, 38x37cm. Edition of 5, plus 2 Artist Proofs. Analog C-Print, hand-printed by the artist, based on a Polaroid. Signature label and Certificate. Artist...

This artwork captures a young woman standing against a deep nocturnal backdrop illuminated by the glowing signage of “Moonshadows.” Her calm, confident posture — hands casually place...

Albrecht Fuchs Drew Straker at Work Giclee on heavy Baryta Rag 2018 24.01 x 18.5 inches (61 x 47 cm) Edition: 20 - BAT (respectively "Archive") Signed, da...

Signed limited edition print by photographer Pat Pope of Morrissey. Taken in 1997 for the August edition of Melody Maker and shot in London, England. The Melody Maker feature was tit...

Somewhere Between Here and There 2017 "Over and over, the works in 'Somewhere Between Here and There' invoke not only the borderlands of dreams but the shadow world inhabited by thos...

Nick Todhunter, Contemporary, Oil on canvas. Astral in the Stable. Signed 'Todhunter' and dated '2025' verso.

Max Blue (The last Picture Show) Proof b4 Printing, 38x36cm, 2005 analog C-Print, hand-printed by the artist, based on a Polaroid, signed on front. This is a raw analog C-print, ha...

Call Me Timothée #5 10/27/2024 Polaroid (Unique) Signed, titled, and dated, verso 4.25 x 3.5 inches

Untittled from the Dwell Series, 2017, Edition 1/10 plus 2 Artist Proof, 24x20cm, Digital Print based on a Polaroid photograph on Hahnemühle photo rag paper, not mounted. Signature ...

The body, in opposition to this language system and ironically living it, speaks through organs, plays with images, sounds, smells, textures, mixtures, everything reacts, absorbs and...

ABOUT THE PIECE: The Colorsafe paintings are an exploration of the use of color and pattern. They are constructed from 'vintage' catalogs of the late 1960s / early 70s, a particularl...

Gouache painting of elegant woman with bright blue boa, 1990s. Signed lower right. Original artwork on paper displayed on a white mat with ...

The Los Angeles Olympics Torch /runner. 1984 Los Angeles Olympics original vintage poster. Original, hand signed and numbered #232/300 "The Olympic Tor...

My girlfriend and Me liked to dress up "take it off and throw it away"). We were looked at on the street, some advised us to go to a madhouse, but we liked it.) Tanka lived on the fi...

French 1950s women's fashion design from 'Les Tendances de la Mode' a Parisien fashion periodical showing the designs of Gaston Verbie. Descriptions in F...

11 x 14" vintage silver gelatin photograph of actor and filmmaker Warren Beatty, photographed the year he wrote, produced, directed and starred in 'Heaven Can Wait', 1978. Signed by ...

11 x 14" vintage silver gelatin photograph of professional bodybuilder Arnold Schwarzenegger posing at the top of his form in October 1976.. Signed by Jack Mitchell on the verso. Co...

'Bobby' Vanity Fair cricket portrait of Robert Abel. Abel was a right hand batsman and bowler for Surrey and England. 390mm by 265mm (image)

Silver Gelatin Photograph Limited Edition of 50 Hand Signed by Artist

Vincent Cassel - Signed Limited Edition Print Vincent Cassel Leading Men Paris Magazine Cover Shoot November 1 2000 (photo Kevin Westenberg) NB All prints are signed and numbered by the artist. Unframed Signed and numbered by the artist. Edition limited to 25 only this size Printed 2020 This size image: 20 x 24" / 51 x 61 cm About the image: Vincent Cassel is a French actor. He first achieved recognition for his performance as a troubled French Jewish youth, in Mathieu Kassovitz's 1995 film La Haine...

Venetian Blinds by Kiki Kogelnik, Austrian (1935 - 1997) Year: 1980 Medium: Screenprint, signed and numbered in pencil Edition: 200, AP 35 Size: 37 x 26 in. (93.98 x 66.04 cm)

Red Leaves Red Leaves, oil painting on linen, 43x36x1.5in. Artist signed lower right corner and hand inscribed title and dated on verso. Depicting a young woman standing before a stylized red leaf patterned background. The figure is rendered with a pale complexion and dark hair styled in a topknot, wearing a sheer patterned blouse adorned with multicolored floral elements and a green skirt. The composition emphasizes decorative pattern, color contrast, and a refined figurative style. Joan Barber...

Keith Haring Larry Levan 1992: Rare sought-after memorial invitation for the legendary DJ Larry Levan featuring offset artwork by Keith Haring. The event was held at London’s seminal & much historic dance club, Ministry of Sound - shortly after the passing of Levan in 1992. Artwork presented frontside originates from the 1986 artwork Haring produced to promote Levan’s birthday party at Paradise Garage. Not to be passed upon. Offset printed folding announcement card. 1992. Dimensions: 8x5 inches; folding out to 8x10 inches (open). Minor signs of handling; good to very good overall vintage condition. Further Background: Larry Levan was an American DJ best known for his decade-long residency at the legendary New York City nightclub Paradise Garage, the prototype of the modern dance club. Levan developed a cult following who referred to his sets as "Saturday Mass". Influential post-disco DJ François Kevorkian credits Levan with introducing the dub aesthetic into dance music. Levan experimented with drum machines...

Portrait of Young Franco Battiato is a vintage black and white photograph on photography paper, realized by an anonymous photographer Good conditions.

archival pigment print, edition of 20 image is 16 inches in diameter This minimalist circular archival pigment print depiccting a rusted length of chain is the work of Hudson Valley-based photographer David Halliday. Halliday adopts a nautical theme with this photograph, a choice that is consistent with much of his photography. Halliday splits the background of the composition horizontally and diametrically into textured taupe and non-textured white planes, grounding the composition, as ever, in minimalism and sophistication. About the artist: Whether traveling to a foreign land, wandering through a neighborhood marketto shop for food, or engaging in convivial conversation with a friend at his home,David Halliday is easily charmed, intrigued, excited, or amused by all that surroundshim. An artful documenter of life, Haliday uses his camera as a tool for recording themultitudinous special moments that capture his attention. Once in the darkroom, heeditorializes his finds, subtly embellishing each image until it somehow evokes thesensation that led him to photograph a subject in the first place. With the exception of a series of platinum print portraits, Halliday produces all of hisphotographs as sepia toned silver gelatin prints. Both processes are highly trad-itional and, in requiring that the artist avoid the use of any color other than sepia,they stand in sharp contrast to splashier modes such as Cibachrome, Polaroid, or digitally produced Iris prints […]. For Halliday, the warm tones afforded by age-old processes reflect his desire to reclaim the past or cherish the present in the form of soft, tranquil, frozen moments...

Signed limited edition print of Björk, taken in Reykjavik, Iceland, 1988 by acclaimed photographer Timothy White "Shot for Rolling Stone magazine. Spent five days in Iceland shooting pictures. We drove out into the frozen outback and came across this scene. It was so cold the camera cord froze instantly, but Bjork seemed to not notice the cold." - Timothy White Signed artist proof print

Nick Vedros American Grit George Brett Archival Pigment Print on Epson Legacy Platine 100% Cotton Fibre, 314 gsm, Acid and Lignin free Year: 1983 Size: 1...

Lost Shadow by Chase Chen Chenoff, Chinese/American (1964) Date: circa 1990 Screenprint, signed and numbered in pencil Edition of EA 55 Size: 37.5 in. x 45 in. (95.25 cm x 114.3 cm)

Artist: Sijan, Marc Title: Pinky Date: 2024 Medium: Polyresin with oil paint and mixed media Signature: Signed lower leg Edition: Unique Variant Marc Sijan (born 1946) is a Se...

11 x 14" vintage silver gelatin photograph of musician/singer David Byrne, founding member and principal songwriter of the American New Wave b...

Maggie Taylor creates evocative single-scene narratives in her whimsical and often elaborate photomontages. Working intuitively, Taylor combines 19th Century photographs, found objec...