Feminist Art
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"Running Lights", New York, 2010
By Tina West
Located in Hudson, NY
As if developed from memory, West’s latest collection channels imagery from a familiar past life. Just as the DaDa artists utilized art objects in unconventional forms produced by un...
Category
21st Century and Contemporary Contemporary Feminist Art
Materials
Archival Pigment
"1940", New York, 2010
By Tina West
Located in Hudson, NY
As if developed from memory, West’s latest collection channels imagery from a familiar past life. Just as the DaDa artists utilized art objects in unconventional forms produced by un...
Category
21st Century and Contemporary Contemporary Feminist Art
Materials
Archival Pigment
"Trip Hammer", 2010
By Ian Gittler
Located in Hudson, NY
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...
Category
21st Century and Contemporary Contemporary Feminist Art
Materials
Archival Paper, Pigment
"Marston Excelsior", 2007
By Ian Gittler
Located in Hudson, NY
Ian Gittler’s Motor Art series-photographs of century-old engine parts, gears, sparkplugs, and brand tags-offers respite from the digital fetishism, overexpo...
Category
21st Century and Contemporary Contemporary Feminist Art
Materials
Archival Paper, Pigment
"Speed Lever", 2010
By Ian Gittler
Located in Hudson, NY
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...
Category
21st Century and Contemporary Contemporary Feminist Art
Materials
Archival Paper, Pigment
"Pressure Gauge", 2007
By Ian Gittler
Located in Hudson, NY
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...
Category
21st Century and Contemporary Contemporary Feminist Art
Materials
Archival Paper, Pigment
"Cutting Dies", 2010
By Ian Gittler
Located in Hudson, NY
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...
Category
21st Century and Contemporary Contemporary Feminist Art
Materials
Archival Paper, Pigment
"Solex Carburetor 1928", 2007
By Ian Gittler
Located in Hudson, NY
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...
Category
21st Century and Contemporary Contemporary Feminist Art
Materials
Archival Paper, Pigment
"Ideal", 2007
By Ian Gittler
Located in Hudson, NY
“IDEAL" features a 1.5 horsepower lawnmower engine manufactured in 1924 that still works. And the brand name-Ideal-speaks to an attitude about fabrication and manufacture linking pri...
Category
21st Century and Contemporary Contemporary Feminist Art
Materials
Archival Paper, Pigment
"Knotted Wire Brush", 2010
By Ian Gittler
Located in Hudson, NY
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...
Category
21st Century and Contemporary Contemporary Feminist Art
Materials
Archival Paper, Pigment
"Oil Distribution Manifold", 2007
By Ian Gittler
Located in Hudson, NY
Ian Gittler’s Motor Art series-photographs of century-old engine parts, gears, sparkplugs, and brand tags-offers respite from the digital fetishism, overexp...
Category
21st Century and Contemporary Contemporary Feminist Art
Materials
Archival Paper, Pigment
Iris Atropurpea 06B P
By Ori Gersht
Located in New York, NY
From the series Fragile Land
Category
2010s Feminist Art
Materials
Archival Pigment
Iris Atropurpea 05B P
By Ori Gersht
Located in New York, NY
From the series Fragile Land
Category
2010s Feminist Art
Materials
Archival Pigment
Cyclamen P04
By Ori Gersht
Located in New York, NY
From the series Fragile Land
Category
2010s Feminist Art
Materials
Archival Pigment
Lilium Candidum P04
By Ori Gersht
Located in New York, NY
From the series Fragile Land
Category
2010s Feminist Art
Materials
Archival Pigment
Iris Atropurpea 04B P
By Ori Gersht
Located in New York, NY
From the series Fragile Land
Category
2010s Feminist Art
Materials
Archival Pigment
Lilium Candidum P01
By Ori Gersht
Located in New York, NY
From the series Fragile Land
Category
2010s Feminist Art
Materials
Archival Pigment
1828
By Sharon Core
Located in New York, NY
From the series "1606 - 1907"
Ed. of 7
Category
Feminist Art
Materials
Archival Pigment
1866
By Sharon Core
Located in New York, NY
From the series 1606 - 1907
Ed. of 7
Category
Feminist Art
Materials
Archival Pigment
Iris Atropurpea 02W P
By Ori Gersht
Located in New York, NY
From the series Fragile Land
Category
2010s Feminist Art
Materials
Archival Pigment
Lilium Candidum P03
By Ori Gersht
Located in New York, NY
From the series Fragile Land
Category
2010s Feminist Art
Materials
Archival Pigment
Cyclamen P02
By Ori Gersht
Located in New York, NY
From the series Fragile Land
Category
2010s Feminist Art
Materials
Archival Pigment
Iris Atropurpea 03W P
By Ori Gersht
Located in New York, NY
From the series Fragile Land
Category
2010s Feminist Art
Materials
Archival Pigment
1905
By Sharon Core
Located in New York, NY
Category
Feminist Art
Materials
Archival Pigment
1890
By Sharon Core
Located in New York, NY
Category
Feminist Art
Materials
Archival Pigment
1627
By Sharon Core
Located in New York, NY
Category
Feminist Art
Materials
Archival Pigment
Roses with Antique Head
By Horst P. Horst
Located in New York, NY
Photographer’s stamp on the verso
Category
1980s Feminist Art
Materials
Photographic Paper
Bust with Ties, Paris
Located in New York, NY
Signed by the photographer
Category
1980s Modern Feminist Art
Materials
C Print
Still life No. 3
By Ernesto Esquer
Located in Santa Monica, CA
Signed, titled, dated, numbered on verso.
Category
2010s Feminist Art
Materials
Silver Gelatin
Calla Lillies
By Ernesto Esquer
Located in Santa Monica, CA
Signed, titled, dated, numbered on verso.
Category
2010s Feminist Art
Materials
Silver Gelatin
Chrysanthemum Yukidoro
Located in Santa Monica, CA
Vintage Hand Colored Albumen Print
Category
Late 19th Century Feminist Art
Roses
By Olivia Parker
Located in Santa Monica, CA
This is a Vintage Silver Gelatin Print, signed, titled, dated, and numbered in ink on recto.
Category
1980s Feminist Art
Carnations
By Ernesto Esquer
Located in Santa Monica, CA
Signed, titled, dated, numbered on verso.
Category
2010s Feminist Art
Materials
Silver Gelatin
Still Life
By Ernesto Esquer
Located in Santa Monica, CA
Signed, titled, dated, numbered on verso.
Category
2010s Feminist Art
Materials
Silver Gelatin
Chrysanthemum (Senjogataki)
Located in Santa Monica, CA
Vintage Hand Colored Albumen print
Category
Late 19th Century Feminist Art
Lotus
Located in Santa Monica, CA
Vintage Hand Colored Albumen Print
Category
Late 19th Century Feminist Art
N.Y. Still Life I
By Horst P. Horst
Located in Santa Monica, CA
Paper 16 x 20 inches; Image 13 3/4 x 17 1/2 inches
Signed, titled, & dated in pencil on print verso; Embossed with artist's signature on recto
Horst began his photography career in 1931 working for Paris Vogue. Shortly after he succeeded his friend and mentor, George Hoyningen-Huene, as head photographer of Vogue's photo studios. It was during the 1930's that Horst established his trademark style, which incorporated dramatic lighting and an unparalleled eye for grace that enabled Horst to create images that portray his subjects as emblems of elegance.
For sixty years, Horst photographed...
Category
1940s Feminist Art
Materials
Silver Gelatin
Moonsnails
By Olivia Parker
Located in Santa Monica, CA
This is a Vintage Silver Gelatin Print, signed, titled, dated, and numbered in ink on recto.
Category
1970s Feminist Art
Materials
Silver Gelatin
Chrysanthemum (1 Washigamine 2 Riukonoisami)
Located in Santa Monica, CA
Vintage Hand Colored Albumen print
Category
Late 19th Century Feminist Art
Camellia
Located in Santa Monica, CA
Vintage Hand Colored Albumen print
Category
Late 19th Century Feminist Art
Venetian Lemons
By Tessa Traeger
Located in New York, NY
This photograph is an Edition of 36. All editions are signed by the photographer. Larger sizes may be available upon request.
Category
2010s Feminist Art
Materials
Archival Pigment
1907
By Sharon Core
Located in New York, NY
Category
Feminist Art
Materials
Archival Pigment
Drown Two
By Ori Gersht
Located in New York, NY
From the series Falling Bird
Category
Early 2000s Feminist Art
Materials
Archival Pigment
At The Armory Show - 1891
By Sharon Core
Located in New York, NY
From the series "1606 - 1907"
Ed. of 7
Category
Feminist Art
Materials
Archival Pigment
Lilium Candidum P02
By Ori Gersht
Located in New York, NY
From the series Fragile Land
Category
2010s Feminist Art
Materials
Archival Pigment
Cyclamen P03
By Ori Gersht
Located in New York, NY
From the series Fragile Land
Category
2010s Feminist Art
Materials
Archival Pigment
1879
By Sharon Core
Located in New York, NY
Category
Feminist Art
Materials
Archival Pigment
1885
By Sharon Core
Located in New York, NY
Category
Feminist Art
Materials
Archival Pigment
Caladium and Hosta Leaves
By Horst P. Horst
Located in New York, NY
Signed by the photographer
Category
Late 20th Century Feminist Art
Materials
Photographic Paper
Classical Bust with Orchids, New York, 1988
By Horst P. Horst
Located in New York, NY
Signed by the photographer
Edition 9/10
Category
1980s Feminist Art
Materials
Platinum
Eggs
By Tessa Traeger
Located in New York, NY
This photograph is an Edition of 36. All editions are signed by the photographer. Larger sizes may be available upon request.
Category
1970s Feminist Art
Materials
Archival Pigment
Cyclamen P05
By Ori Gersht
Located in New York, NY
From the series Fragile Land
Category
2010s Feminist Art
Materials
Archival Pigment
Iris Atropurpea 01W P
By Ori Gersht
Located in New York, NY
From the series Fragile Land
Category
2010s Feminist Art
Materials
Archival Pigment
1665
By Sharon Core
Located in New York, NY
Category
Feminist Art
Materials
Archival Pigment
"Martha Stewart Living Magazine, Australian Tree", California, 2005
By Jose Picayo
Located in Hudson, NY
This photograph is printed on Japanese Paper.
The price is for an unframed photograph.
11" X 14" Edition of 25.
The Robin Rice Gallery is pleased to announce, 25 Years of Polaroi...
Category
Early 2000s Contemporary Feminist Art
Materials
Photographic Paper
Picea abies Pendula 2 - Pendula Weeping Norway Spruce
By Jose Picayo
Located in Hudson, NY
Black and White, Trees, Botanical, Nature, Still Life, Ecological, Jose Picayo, B&W, Black and White Photography, trees, outdoor, nature.
Listing is for UNFRAMED print. Inquire withi...
Category
21st Century and Contemporary Contemporary Feminist Art
Materials
Silver Gelatin
Scary Baby
By Ted Adams
Located in Hudson, NY
Listing is for UNFRAMED print. Inquire within for framing.
Edition of 25.
If the exhibition piece is sold or the customer orders a different print size, the photograph is produced upon purchase. Please allow two weeks for production.
Shipping time depends on method of shipping.
Price is subject to availability. The Robin Rice Gallery reserves the right to adjust this price depending on the current edition of the photograph.
Ted Adams’ first solo show at the Robin Rice Gallery juxtaposes surrealism with the documentary art form. What differentiates Mr. Adams’ work from traditional photojournalism is his keen eye for capturing the irony in the events that unfold before our eyes. It is the found objects in everyday life to which Adams is most attuned. He creates a subtle mood and visual mystery that conveys meaning not only from the image itself but also through imagining what exists just beyond the frame.
"I see photography as a way of cropping the world—selectively taking things out of context—which often results in stripping the meaning out of the original subject matter, or at least making the image open to interpretation. It’s the opposite of traditional photojournalism whose intention is to create ‘narrative’ and context rather than discard them."
While he has exhibited artistic photography in a variety of genres, in the past five years he turned his artistic eye inward to reflect a more autobiographical tone. While some people compare his work to that of Robert Frank, Adams finds himself more and more influenced by Larry Clark whose career was built on pictures drawn from his own life and drug-addled friends rather than a specific documentary mission.
The unique presentation of this collection of twenty-three silver gelatin prints enhances the voyeuristic sensibility of Mr. Adams’ work. Each photograph is jewel box in size, measuring 4" x 6" to invite the viewer in to make an intimate appraisal. The craftsmanship of the wide, dark wood frames hearkens back to late 19th-century Shaker design—yet the aesthetic is boldly contemporary, providing a strong backdrop to draw the viewer’s gaze directly to the subject matter.
This artisanship extends to the printing where Adams exhibits his skills in traditional darkroom processes. He shoots mostly with Leica and Nikon 35mm film cameras...
Category
21st Century and Contemporary Contemporary Feminist Art
Materials
Silver Gelatin
Pinus wallichiana Oculus 'Draconis' - Dragons Eye Pine
By Jose Picayo
Located in Hudson, NY
Black and White, Trees, Botanical, Ecology, Nature, Still Life, nature, Jose Picayo, B&W, Black and White Photography, outdoor, archival pigment print
Listing is for UNFRAMED print....
Category
21st Century and Contemporary Contemporary Feminist Art
Materials
Archival Pigment
