Shirt Art

The Collection Photo by Markus Klinko Limited Estate Edition Semi nude woman in front of photographic collection. C Print Produced from the original transparency Certificate of...

This lithe, elegant female figure was sculpted by Quebec artist Paul Duval. One of a series of paper mache, wire and metal table top pieces, each one imbued with a distinct personality. Duval uses simple gestures, posture, and colour to convey each character’s individuality. Celestine is clothed in a royal blue gown...

Digital C-print Signed and numbered, verso 11 x 14 inches, sheet (Edition of 20) 16 x 20 inches, sheet (Edition of 10) This photograph is offered by ClampArt, located in New York ...

Victoria - 2019 50x40cm, Edition of 10. Photograph printed in Canson Barita Fiber Rag 340gr, based on a reclaimed Fuji Instant Film Negative (not mounted). Signed on back with Cer...

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...

"How to capture the past, present and future at the same time; this is at the center of my work as an artist and as a father, son, friend and lover. As we navigating our daily lives,...

Colin Jordan is a black and white vintage photo, realized in January 1965. It belongs to a historical and nostalgic album including historical moments, places, families, artworks, r...

The Map (Stage of Consciousness) - 2007 20x24cm, Edition of 10, Archival C-Print, artist Inventory Nr. 7709.01 Certificate and signature label, Not mounted, featuring Udo Kier. ...

A piece of art from the movie 'Stay' by Stefanie Schneider Stefanie created the art for both main actors Naomi Watts and Ryan Gosling in the movie 'Stay' directed by Marc Forster. S...

Richard Heeps' is well known for his Rockabilly Series, 'Man's Ruin' which features many aspects of the Rockabilly lifestyle such a the cars, the fashion and the people. This cool co...

I love walking the streets of the private sector when the weather is nice. It feels like being in a small town rather than in the center of a metropolis. I've aimed to capture the co...

One day, my friend Sasha Lanin, who is a motorcycle racer, offered to teach me how to ride his IZH Planeta Sport motorcycle. We headed out of town, with me sitting at the wheel and h...

'Untitled' by Stefanie Schneider (Oilfields) 2004, 60x60cm, Edition of 10, Analog C-Print, based on the Polaroid Certificate and Signature label artist Inventory Nr. 1215.05 Not mo...

Light (Stage of Consciousness) - 2007 20x24cm, Edition of 10, Archival C-Print, Not mounted, artist Inventory Nr. 7729.01, featuring Udo Kier THE GREATER THE EMPTINESS THE G...

Badwater - Memories of Green, quadriptych (four pieces), - 2003 Edition 1/5, each 58x56cm, installed with gaps 122x117cm, analog C-Prints, hand-printed by the artist on Fuji Crysta...

The Decision - The Getaway (The Last Picture Show) - 1999 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist Inventory #762. ...

The Hideout - The Getaway (The Last Picture Show) - 1999 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist Inventory #725. S...

Sara, France, 2018 by Julia Gat is a 19” x 13” archival pigment print, edition 1/5, titled, dated, signed on photo verso, and printed by the artist. Julia Gat enjoys observing everyday life and documenting photographically what she refers to as chaotic harmony. Often using her large family and circle of friends as models in her work, Julia is drawn simultaneously to heart-warming intimacy and provocative freedom. Based in France, the photographer as a child was home-schooled. Alternative education has played a significant role in her work. Julia has been immersed in an artistic milieu in her native Israel and her adopted home in Marseille, France where she has grown up in a family of 6. Provenance: Gat Studio *** Artist’s Bio: Born in Israel in 1997 Julia Gat won the European Prize ISEM Young Photographers in 2020 and 1st Prize at the Portrait Festival 2016 (Vichy, France). In 2017 her photography was exhibited at the Maison Européenne de la Photographie (Paris), and then at the Netherlands photo museum (2021-2022). In 2022 she exhibited at Arles Photo Festival. Her first photo book with French publisher Actes Sud was released in 2022 during the annual summer photography...

This is a 39.5 x 59 inches archival giclée black and white print on archival exhibition paper. It is part of a limited edition of 6 plus 2 AP. Signed and numbered in the back. It sh...

BOA - The Getaway (The Last Picture Show) - 2000 20x25cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist Inventory #342. Signature label and Certificate. Not mounted. Stefanie Schneider's photographs evoke scintillating moments suspended between daydreams and waking reality. Each scene, captured in the southwestern United States, radiates a surreal enchantment. The artist's role appears minimal yet pivotal, providing the decisive impulse that sets the imagery into motion. The figures in her photographs remain as elusive as the motivations behind their actions, and the narratives woven through her sequences are tantalizingly open to interpretation. Atmospheric disturbances in Schneider's work emerge as the result of a deliberate narrative arrangement, compelling viewers to navigate between visual mementos and the gaps in memory they conjure. Yet, her artistry is no less purposeful in its engagement with medium. Despite the inherent unpredictability of expired Polaroid film, Schneider wields it with calculated intent. The photo-chemical self-developing process, altered by age and decay, transforms the initial exposure into something alien yet mesmerizing. This dysfunction is a cornerstone of MIND SCREEN, a multi-part work that explores the fragility of reality, authenticity, and comprehension. Schneider juxtaposes this brittleness with a magical realism steeped in chimeras, crafting dreamlike sequences that resist definitive narratives. She entrusts viewers with the responsibility of piecing together presumed storylines, refusing to offer a manual for interpretation. Instead, her work draws us into a realm where the unreal reigns—shimmering scenes that evoke the mirage of a road movie, a moment of violence, or a tragic self-sacrifice. Film genres are invoked and subverted in a single breath: Paris, Texas by Wim Wenders is reimagined through a rose-tinted lens, Thelma...

'Impregnable' (Heavenly Falls) - 2016 50x50cm, Edition of 10, Lambda Print based on the Polaroid Certificate and signature label artist inventory num...

The Winner. XIV Olympic Winter Games, Sarajevo is a vintage poster realized by the artist Gottfried Helnwein, in occasion of the XIV Winter Olympics games in Sarajevo, in 1984. Very...

Dominique and Felix (Stranger than Paradise) - 1997 38x48cm, Edition of 30, Archival C-Print based on the Polaroid Not mounted, Signature label and Certificate, artist Inventory N...

This is an 39.5 x 59 inches archival giclée black and white print on archival exhibition paper. It is part of a limited edition of 6 plus 2 AP. Signed and numbered in the back. An e...

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...

11 x 14" vintage silver gelatin photograph of Abstract Minimalist painter Charles Hinman at an exhibition of his work in Manhattan, 1967. Signed on the verso by Jack Mitchell. Comes...

Felix and Dominique (California Blue Screen) - 1997 44x59cm, sold out Edition of 5, Artist Proof 1/2, analog C-Print, hand-printed by the artist, based on the Polaroid, Mounted o...

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...

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...

Screen Print Idol Oversize Signed limited edition - Pop Art - Frank Sinatra by the London based contemporary pop art image creator and artist, BATIK. Measures approximately 40 x 30" inches / 101 x 76 cm paper size Edition 2/15 limited to 15 only this size. signed and numbered by the artist. certificate of authenticity provided. unframed. (Framing and Other Sizes available - please enquire) In 1938, a 23-year-old Frank Sinatra was arrested in Bergen County, N.J. on charges of seduction and adultery. According to the FBI reports, "On the second and ninth days of November 1938 at the Borough of Lodi" and "under the promise of marriage" Sinatra "did then and there have sexual intercourse...

Alaska (Stranger than Paradise) - 2002 Edition of 3/5, 105x150cm installed, 48x46 cm each. 6 Analog C-Prints, hand printed by the artist and based original 6 Polaroids. Signature...

Gabriela at Seven (2015) 40x40 cm, Edition of 10 plus 2 Artist Proofs. Giclée Print on Hahnemühle Fine Art Baryta, based on a Fuji Instant Film. Signed on back with Certificate. N...

'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...

Gasoline IIb (Stranger than Paradise) - 1999 Edition of 10, 39x37cm. Archival C-Print, based on a Polaroid Artist inventory Number 270b. Not mounted. Stefanie Schneider: A Germa...

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...

New and exclusive, set of three David Bowie prints by Markus Klinko This stunning set features three individual 20x24" limited edition prints, signe...

A piece of art from the feature film movie 'Stay' by Stefanie Schneider Stefanie created the art for both main actors Naomi Watts and Ryan Gosling in the movie 'Stay' directed by Ma...

Yoshitomo Nara Untitled, ca. 2013 Felt pen on printed paper 9 1/10 × 7 1/10 in 23 × 18 cm Frame included - 15 3/4 x 11 7/8 40 × 30 cm Condition: Artwork in perfect condition. Fram...

Edition 25 Also available in 101 x 127 cm / 40 x 50 inch, Edition 10 Black and white portrait of the actress Raquel Welch. From personality portraits and advertising campaigns to ...

For me, an artistic process is an act of investigation – a passionate attempt to establish an understanding of the natural world – a version that incorporates both intellectual and e...

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 ...

Edition of 50. Pete Townsend is a striking portrait, on fibre paper, from iconic 20th Century photographer David Steen. Steen’s introduction to photography was as a 15-year-old scho...

Road Trip (In the 80's) - 2016 20x20cm, Edition of 10, Digital C- Print, based on a Polaroid. Certificate and signature label. Artist inventory number: 19470 Not mounted. Stefan...

In the realm of iconic cinema, the silent film star Charlie Chaplin continues to shine brightly. The 1986 silkscreen print, "Cinéma Charlie Chaplin," skillfully crafted by artist Vincent Blom, stands as a visual ode to the enduring legacy of this cinematic legend. Blom's artistic interpretation adds a unique touch to the homage, elevating the print beyond a mere reproduction to a distinctive piece of art that captures the essence of Chaplin's timeless charm. Charlie Chaplin, with his timeless characters like the Tramp, left an indelible mark on cinematic history. The 1986 silkscreen print by Vincent Blom pays homage to Chaplin's enduring legacy, inviting viewers to rediscover the magic of silent cinema. The print serves as a tribute to Chaplin's ability to evoke laughter, pathos, and social commentary through his expressive performances. Vincent Blom's artistic expertise shines through in the 1986 silkscreen edition. The use of the silkscreen medium allows for a meticulous rendering of Chaplin's features, capturing the nuances of light and shadow that defined the silent film era. Blom's attention to detail adds a layer of sophistication to the homage, creating a visual symphony that resonates with Chaplin's cinematic artistry. Cinema - Exhibition - Charlie Chaplin Silvio Zamorani...

The Los Angeles Olympics Torch /runner Original, hand signed and numbered #232/300 "The Olympic Torch Runner". Printed on fine textured paper in 1980 ...

Marilyn Minter RESIST T-Shirt (Hand signed and dated by Marilyn Minter), 2018 Silkscreened Cotton T-Shirt (XL), hand signed in indelible marker Boldly signed and dated 2018 in indeli...

Kate Moss - Limited Edition Mick Rock Estate Print Kate Moss in a Lou Reed vest, 2002 (photo Mick Rock). All prints are numbered by the Estate. Edition s...

Ghost Story - 2020 Edition of 10 plus 2 Artist Proof, 20x25cm, Digital C-Print based on an original Polaroid on Hahnemuhle photo rag paper, not mounted. Signed on back with certif...

Greenpeace demonstration on "The Top of Europe"  is a black and white vintage photo, realized in September 22th. 1989. The photo depicts two Japanese tourists flash v-signs posing f...

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

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...

This painting depicts the enthusiasm, strength, and passion in getting things done with the readiness to achieve the dream of their talent and charisma Shipping Procedure Ships in ...

I want to return from a walk at sunset. A wonderful day is behind us, Ahead is tea and a delicious dinner in a comfortable chair... This artwork from the series "Life in the Avatar" ...

Painting 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.

11 x 14" vintage silver gelatin photograph of dancer, teacher and historian Vincent Warren, 1969. Signed by Jack Mitchell on the print verso. Comes dire...

The Princess (The Princess and her Lover), 2009 - Edition of 2/5, 125x123cm. Analog C-Print, hand printed by the artist and based on a Polaroid, mount...

'Self-portrait at the Green Wall' 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, n...