Feminist Art

24" x30" edition 2 of 5 available unframed Phillip Buehler has been photographing abandoned places around the world since he rowed to the (then abandoned) Ellis Island in 1974. Many, like Greystone Park Hospital, have since been demolished; some, like Ellis Island and the High Line, have been restored, and some, like the S.S. United States and the New York State Pavilion, are now in jeopardy. Photographs from the (now demolished) Greystone Park Hospital are featured in this exhibition and in the book "Wardy Forty" which he wrote in 2013 about the last days of Woody Guthrie.

C Print Photograph, signed and editioned on reverse, edition of 5 available unframed 40"x60" please inquire about additional print sizes The photographer has captured the detail...

30"x40" available unframed edition 1 of 5 From the series: "The Hundred Acre Wood" Ragsdale’s process begins with rough sketches of places and things from his past that are ...

Michael Falco created this series of Coney Island images using film and building the images with double and triple exposures. This dream like landscape of an iconic amusement park- Coney Island feels universally American and Summer fun. Most States have amusement parks with ferris wheels. Wonder Wheel opened in 1920. It is an official NYC landmark. This photograph is printed on aluminum and is frameless. You can order it as a photograph printed on paper. I can offer framing options. Michael Falco is a freelance photographer who has worked for a number of publications including, the National Geographic, The New York Times, Harper's Bazaar, and W Magazines. His first book, “Along Martin Luther King Travels on Black America’s Main Street”, published by Random House in 2003, is a collection of photographs spanning two years documenting life along streets named after Dr. Martin Luther King in America. The Museum of Modern Art purchased one of his panoramic images of the Fresh Kills Landfill for its exhibit, “Groundswell: Constructing the Contemporary Landscape” 2005. Selected by the New York City Art Commission, he installed a 10 x28 foot glass mural...

&PEG Managò/Zecubi Still life 01, 2021 Photography Baryta paper Framed Unique Medium: Manipulated, Staged, Colour Photography Style: Pop and Contemporary Pop series “Mistica” This ...

This is a pop art photo print of the original Stormtrooper toy from Kenner. "The Toys" by LA based Pop Artists DESTRO. This is the first release in the much anticipated series "The ...

My “Tech Vanitas” photography series embraces our love for beautifully designed, vintage machines and anxiety over new technology. My still lifes clearly reference 17th Century Dutch vanitas paintings and their air of craft guilds, international trade, and luxury goods. At the same time, my carefully disheveled compositions of radios, movie cameras, clocks, and rotary dial phones...

“Still Life with Answering Machine” appeared in Audubon Magazine, Winter 2021 issue. This bird watching still life continues the exploration of vintage tech...

“Still Life with Spy Camera” continues my exploration of vintage tech begun in my "Tech Vanitas" series. Surrounded by rich silks and patterned wallpapers, playful still lifes of familiar gadgets suggest 17th Century Dutch paintings. My photographs display a fascination with dated merchandise, industrial design, and scientific ingenuity. The tech in this photograph include a Kodak Brownie camera, touchtone phone, oil lamp with electric candle, 8-track tape, hard drive, pliers, battery, and a vintage clock radio. What becomes of the beloved tech that stops working or becomes obsolete? My still lifes examine the present and the past of technology without easy answers but rather with a sense of wonder and trepidation. This photograph is an Archival Pigment Print on Cotton Fiber Paper, printed in a limited-edition of 10 +1AP. The framed photograph shown in situ has an image size of 18 x 12”. Also available are 24 x 16” and 36 x...

"Red Phone," from my “Tech Vanitas” photography series, embraces our love for beautifully designed, vintage design and anxiety about new technology. My still lifes clearly reference 17th Century Dutch vanitas paintings and their air of craft guilds, international trade, and luxury goods. At the same time, my carefully disheveled compositions of lamps, cameras, clocks, and rotary dial phones...

“Still Life with Robot” continues my exploration of vintage tech begun in my "Tech Vanitas" series. Surrounded by rich silks and patterned wallpapers, playful still lifes of familiar...

My “Tech Vanitas” photography series embraces our love for beautifully designed, vintage machines and anxiety over new technology. My still lifes clearly reference 17th Century Dutch vanitas paintings...

"Polaroid SX70," from my “Tech Vanitas” photography series, embraces our love for beautifully designed, vintage machines and anxiety over new technology. My still lifes clearly reference 17th Century Dutch vanitas paintings and their air of craft guilds, international trade, and luxury goods. At the same time, my carefully disheveled compositions of lamps, cameras, and computers allude to slick advertising imagery. Finally, these contemporary still lifes reflect our nostalgia for obsolete tech and yearning for the latest enchanted gadgets. These colorful photographs appeal to a broad audience and look fabulous in living rooms, offices, and public spaces. The vintage TV antenna, "brick" phone, and portable...

“Green Instamatic,” from my “Tech Vanitas” photography series, embraces our love for beautifully designed, vintage items and anxiety over new technology. My still lifes clearly reference 17th Century Dutch vanitas paintings and their air of craft guilds, international trade, and luxury goods. At the same time, my carefully disheveled compositions of record players, cameras, and clocks allude to slick advertising imagery. Finally, these contemporary still lifes reflect our nostalgia for obsolete tech and yearning for the latest enchanted objects. My colorful photographs appeal to a broad audience and look fabulous in living rooms, offices, and public spaces. The PalmPilot, rotary dial phone...

“Reel to Reel,” from my “Tech Vanitas” photography series, embraces our love for beautifully designed, vintage items and anxiety over new technology. My still lifes clearly reference 17th Century Dutch vanitas paintings and their air of craft guilds, international trade, and luxury goods. At the same time, my carefully disheveled compositions of audio equipment, lamps, and clocks allude to slick advertising imagery. Finally, these contemporary still lifes reflect our nostalgia for obsolete tech and yearning for the latest must-have gadgets. My colorful photographs appeal to a broad audience and look fabulous in living rooms, offices, and public spaces. The opera glasses and reel to reel tape deck...

“Still Life with Spy Camera” continues my exploration of vintage tech begun in my "Tech Vanitas" series. Surrounded by rich silks and patterned wallpapers, playful still lifes of familiar gadgets suggest 17th Century Dutch paintings. My photographs display a fascination with dated merchandise, industrial design, and scientific ingenuity. The devices in this photograph include a rotary dial phone...

My newest photograph, “Still Life with Robot,” continues the exploration of vintage tech begun in my earlier “Tech Vanitas” series. Surrounded by rich silks and patterned wallpapers, playful still lifes of familiar devices suggest 17th Century Dutch paintings. My photographs display a fascination with vintage gadgets...

Untitled VII, 2022 by Salvatore Arnone From the Balance series Photographic print on paper Image size: 50 in. H x 35 in. W Edition of 3 + 1AP Unframed With Balance the artist starts...

The space age inspired “Fiber Optics,” from my “Tech Vanitas” photography series, embraces our love for beautifully designed, vintage machines and anxiety over new technology. My sti...

“Cuckoo Clock” from my “Tech Vanitas” photography series, embraces our love for beautiful vintage design and anxiety over new technology. My still lifes clearly reference 17th Century Dutch vanitas paintings and their air of craft guilds, international trade, and luxury goods. At the same time, my carefully disheveled compositions of computer monitors, clocks, and phones allude to slick advertising imagery. Finally, these contemporary still lifes reflect our nostalgia for obsolete tech and yearning for the latest enchanted gadgets. My colorful photographs appeal to a broad audience and look fabulous in living rooms, offices, and public spaces. The cuckoo clock, record player, and vintage phone...

"Pink Sewing Machine," from my “Tech Vanitas” photography series, embraces our love for beautifully designed, vintage machines and anxiety over new technology. My still lifes clearly reference 17th Century Dutch vanitas paintings...

“Still Life with Binoculars” appeared in Audubon Magazine, Winter 2021 issue. This bird watching still life continues the exploration of vintage tech begun in my “Tech Vanitas” series. Surrounded by rich silks and patterned wallpapers, playful still lifes of familiar devices suggest 17th Century Dutch paintings. My photographs display a fascination with dated merchandise, industrial design, and scientific ingenuity. The gadgets in this photograph reflect the technology used by 20th Century and contemporary bird watchers, including an answering machine for rare bird alert systems, binoculars, camera, flashlights, bird app on an iPhone, compass, Bird Photo...

"Dot Matrix," from my “Tech Vanitas” still life photography series, embraces our love for beautifully designed, vintage machines and anxiety over new technology. My still lifes clear...

“Satellite Radio,” from my “Tech Vanitas” photography series, embraces our love for beautifully designed, vintage machines and anxiety over new technology. My still lifes subtly reference 17th Century Dutch vanitas paintings and their air of craft guilds, international trade, and luxury goods. At the same time, my whimsical compositions of electronics, radios, and clocks allude to slick advertising imagery. Finally, these contemporary still lifes reflect our nostalgia for obsolete tech and yearning for the latest enchanted gadgets. My colorful photographs appeal to a broad audience and look fabulous in living rooms, offices, and public spaces. The slide viewer...

“Graffiti Speakers,” from my “Tech Vanitas” photography series, embraces our love for beautifully designed, vintage machines and anxiety over new technology. My still lifes subtly re...

“Gray Typewriter,” from my “Tech Vanitas” photography series, embraces our love for beautifully designed, vintage machines and anxiety over new tech...

My “Tech Vanitas” still life photography series embraces our love for beautifully designed, vintage machines and anxiety over new technology. My still...

“Tech Vanitas: Player Piano,” from my “Tech Vanitas” photography series, embraces our love for beautifully designed, vintage machines and anxiety over new technology. My still lifes clearly reference 17th Century Dutch vanitas paintings and their air of craft guilds, international trade, and luxury goods. At the same time, my carefully disheveled compositions of lamps, cameras, and smart watches allude to slick advertising imagery. Finally, these contemporary still lifes reflect our nostalgia for obsolete tech and yearning for the latest enchanted gadgets. These colorful photographs appeal to a broad audience and look fabulous in living rooms, offices, and public spaces. The vintage intercom...

"Train Set," from my “Tech Vanitas” photography series, embraces our love for beautifully designed, vintage machines and anxiety over new technology. My sti...

“Blue iMac,” from my “Tech Vanitas” photography series, embraces our love for beautifully designed, vintage machines and anxiety over new technology....

"Musical Decanter," from my “Tech Vanitas” photography series, embraces our love for beautifully designed, vintage machines and anxiety over new technology. My still lifes clearly reference 17th Century Dutch vanitas paintings, which often featured platters of food, domestic wares, and finely crafted merchandise. At the same time, my carefully disheveled compositions of electronics and appliances allude to slick advertising imagery. Finally, these contemporary still lifes reflect our nostalgia for obsolete tech and yearning for the latest enchanted gadgets. My colorful photographs appeal to a broad audience and look fabulous in the dining room, office, or public space. The coffee percolator, antique toaster...

My “Tech Vanitas” photography series embraces our love for beautifully designed, vintage machines and anxiety over new technology. My still lifes clearly reference 17th Century Dutch...

The Robin Rice Gallery announces the new exhibition VISITOR by photographer Bill Phelps. Through light and shadow, a gaze, a mindset, Bill Phelps fourth solo show at the Robin Rice ...

This listing is for the unframed photograph. Please inquire about the framing from the exhibition, The Robin Rice Gallery is pleased to present a photographic exhibition by Tina West, featuring a special new collaboration between Robin Rice and furniture designer, activist Tucker Robbins. Jessica Kravitz of Exalted Alchemy created an aromatic experience exclusively for the exhibition. The installation was designed by sculpture Amy Pilkington. The opening reception will be held on Wednesday, January 29, 2019 from 6pm to 8pm. This is Tina West’s seventh solo exhibition at the Robin Rice Gallery and Tucker Robbins’ first collaboration with Robin Rice. Inspired of a serendipitous meeting between Robin Rice and Tucker Robbins on a rainy day in New York City, this latest collaboration welcomes an exciting new era at The Robin Rice Gallery. Breaking from the gallery’s traditional style of display, West’s photography will be creatively integrated with Robbins’ artisan furniture. Designed and built on the edge of the forest by indigenous people using centuries-old techniques, these products are born out of Tucker Robbins’ travels to remote locations. Whether woven textile, clay pottery or wood sculpture, these sustainably made products are materials that have been salvaged and refashioned into works of exquisite craftsmanship that are truly one of a kind. Found objects are essential in the installation. Boosting from an impressive visual flow, the installation discovers intersections between the works that can be seen to echo throughout the space. As West’s “Passion Lies at the Edge of Uncertainty” presents an image composed of dark negative space leading down to a snake skin on the surface below, Robbins’ “Snaka Waka...

This listing is for the unframed photograph. Please inquire within. A NEW COLLABORATION Tina West + Tucker Robbins 2020 The Robin Rice Gallery is pleased to present a photographic exhibition by Tina West, featuring a special new collaboration between Robin Rice and furniture designer, activist Tucker Robbins. Jessica Kravitz of Exalted Alchemy created an aromatic experience exclusively for the exhibition. The installation was designed by sculpture Amy Pilkington. The opening reception will be held on Wednesday, January 29, 2019 from 6pm to 8pm. This is Tina West’s seventh solo exhibition at the Robin Rice Gallery and Tucker Robbins’ first collaboration with Robin Rice. Inspired of a serendipitous meeting between Robin Rice and Tucker Robbins on a rainy day in New York City, this latest collaboration welcomes an exciting new era at The Robin Rice Gallery. Breaking from the gallery’s traditional style of display, West’s photography will be creatively integrated with Robbins’ artisan furniture. Designed and built on the edge of the forest by indigenous people using centuries-old techniques, these products are born out of Tucker Robbins’ travels to remote locations. Whether woven textile, clay pottery or wood sculpture, these sustainably made products are materials that have been salvaged and refashioned into works of exquisite craftsmanship that are truly one of a kind. Found objects are essential in the installation. Boosting from an impressive visual flow, the installation discovers intersections between the works that can be seen to echo throughout the space. As West’s “Passion Lies at the Edge of Uncertainty” presents an image composed of dark negative space leading down to a snake skin on the surface below, Robbins’ “Snaka Waka Table” is an Acadian side-table found nearby that was named by the Bamun carvers of Cameroon who likened its circular design to snake walking. Together, West and Robbins make for an installation that invites audiences to sit down and connect to the fine art objects in a manner different from what they are regularly accustomed to at the Robin Rice Gallery. In speaking of her influences, West cites Josef Sudek as an early inspiration on her work for how he made evocative black and white photographs out of everyday happenings. Sudek himself once remarked, “I like to tell stories about the life of inanimate objects, to relate something mysterious.” This statement resonates well within West’s own work as she demonstrates a similar gift for finding the beauty in the banality of things overlooked. Her work also shares a kindred spirit with the eccentric assemblages of disparate images made by Joseph Cornell and the experimental platinum prints of Jan Groover...

This listing is for the unframed photograph. Inquire within for framing from the exhibition. A NEW COLLABORATION Tina West + Tucker Robbins 2020 The Robin Rice Gallery is pleased to present a photographic exhibition by Tina West, featuring a special new collaboration between Robin Rice and furniture designer, activist Tucker Robbins. Jessica Kravitz of Exalted Alchemy created an aromatic experience exclusively for the exhibition. The installation was designed by sculpture Amy Pilkington. The opening reception will be held on Wednesday, January 29, 2019 from 6pm to 8pm. This is Tina West’s seventh solo exhibition at the Robin Rice Gallery and Tucker Robbins’ first collaboration with Robin Rice. Inspired of a serendipitous meeting between Robin Rice and Tucker Robbins on a rainy day in New York City, this latest collaboration welcomes an exciting new era at The Robin Rice Gallery. Breaking from the gallery’s traditional style of display, West’s photography will be creatively integrated with Robbins’ artisan furniture. Designed and built on the edge of the forest by indigenous people using centuries-old techniques, these products are born out of Tucker Robbins’ travels to remote locations. Whether woven textile, clay pottery or wood sculpture, these sustainably made products are materials that have been salvaged and refashioned into works of exquisite craftsmanship that are truly one of a kind. Found objects are essential in the installation. Boosting from an impressive visual flow, the installation discovers intersections between the works that can be seen to echo throughout the space. As West’s “Passion Lies at the Edge of Uncertainty” presents an image composed of dark negative space leading down to a snake skin on the surface below, Robbins’ “Snaka Waka...

Listing is for framing. UNFRAMED print. Inquire within for Any framed photographs purchased during the show will be available after March 1st, 2020. If the exhibition piece is sold ...

This listing is for the unframed photograph. Please inquire within. A NEW COLLABORATION Tina West + Tucker Robbins 2020 The Robin Rice Gallery is pleased to present a photographic ...

This listing is for the unframed photograph. The Robin Rice Gallery is pleased to present a photographic exhibition by Tina West, featuring a special new collaboration between Robin ...

This listing is for the unframed photograph. Please inquire about framing. A NEW COLLABORATION Tina West + Tucker Robbins - Is That You That You See - 2020 The Robin Rice Gallery i...

This listing is for the unframed photograph. Inquire about framing. The Robin Rice Gallery is pleased to present a photographic exhibition by Tina West, featuring a special new col...

Listing is for UNFRAMED print. Inquire within for framing. Edition of 20. If the exhibition piece is sold or the customer orders a different print size, the photograph is pro...

CURRENT EXHIBITION - runs through June 25th, 2017. Any framed photographs purchased during the show will be available then. 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 exhibition of the photograph. The Robin Rice Gallery announces a solo photography exhibition by Pete Kelly. The opening reception will be held May 3, 2017 with the show running through June 25, 2017. Pete Kelly’s latest show admirably showcases the lush greenness, diverse landscape, and ever-fleeting light of the British terrain. We are invited to join his excursions throughout the country as he brings light to the captivating, idiosyncratic characteristics of the land. He captures the oddities of the landscape; solitary figures bathing in sunlight, silhouette of a frolicking Great Dane in the mist, and subtle remnants of a bygone era. Kelly’s incredibly unique, picturesque editing style further mythologizes his subjects, he meddles with an air of mystery that defines the viewers experience. Kelly employs a mixture of a single image with layers of photographs of textures. The feel and look of the end result pay homage to English romanticist landscape painters such as J.M.W Turner and Constable. Kelly applies varnish and then uses Photographic Encaustic wax over the print. He encases the archival pigment print in beeswax and damar resin; tree sap in its purest form. These organic components have been found to have preserving qualities by ancient Egyptians, which replace the need for glass over the photograph. The impersonality of a raw digital file is alleviated through this process and makes the image a ‘one off. Combining modern photographic and printing technology with ancient crafting techniques, Kelly 
is the originator of art that is tactile, archival and organic. In one image entitled ‘Brabyns Autumn” examines man’s contemporaneously interruptive and complimentary relationship with the surrounding land, and zeros in on a serenity only manifested when man and nature successfully coexist. Small figures, animals, and dwellings found in the landscape are essential points of interest for Kelly. Using nature as a tool for fortifying scale and perspective, Kelly magnificently reinforces the grandiose essence of nature as opposed to the insignificant disposition of man. Kelly’s tiny subjects painted against a vast landscape offer a point of reference for our own trifling experiences and memories. Kelly's fascination with photography began at an early age. Born in England in 1966, grew up in West Germany. After leaving school he enrolled in a photography course with the Royal Air Force Photographic Unit, based in Wildenrath, Germany. Although this initial training lasted only six months, it established a life long passion and dedication to photography. Already an avid traveler, Kelly initially decided to return to the UK, to study Graphic Design and Advertising at Stockport College, before moving to America in 1987. After completing an Internship at an innovative commercial photography studio in the United States, worked as a Photographers Assistant; working closely with a range of photographers allowed him to intrinsically develop his own refined sense of aesthetic as well as develop and master photographic theory and technique. Pete has taught Photo Encaustic...

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 u...

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 u...

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 u...

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...

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...

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...

Ian Gittler’s Motor Art series-photographs of century-old engine parts, gears, sparkplugs, and brand tags-offers respite from the digital fetishism, overexpo...

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...

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...

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...

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...

“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...

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...

Ian Gittler’s Motor Art series-photographs of century-old engine parts, gears, sparkplugs, and brand tags-offers respite from the digital fetishism, overexp...

From the series Fragile Land