Arthur Tress Art

Silver gelatin print, 19cm x 19cm (print size), (50cm x 40cm in mount), unframed, but contained within archive quality mount. Tress is one of the most renowned and innovative photographers of his generation. Citing his influences as Hokusai, Frank Lloyd Wright, Picasso, El Lissitzky, Duane Michaels...

Silver gelatin print, studio stamp (verso), 19cm x 19cm (print size), (50cm x 40cm in mount), unframed, but contained within archive quality mount. Tress is one of the most renowned and innovative photographers of his generation. Citing his influences as Hokusai, Frank Lloyd Wright, Picasso, El Lissitzky, Duane Michaels...

Silver gelatin print, studio stamp (verso), 19cm x 19cm (print size), (50cm x 40cm in mount), unframed, but contained within archive quality mount. Tress is one of the most renowned and innovative photographers of his generation. Citing his influences as Hokusai, Frank Lloyd Wright, Picasso, El Lissitzky, Duane Michaels...

Arthur Tress (American b. 1940) 'Claire de Lune' Signed and titled in margin under image. Gelatin silver print. Later print. Image: 9.25 x 10 in / 23 x 24.5 cm. Full margins. Sheet: 11 x 14 in / 28 x 35.5 cm. No matting. This work is included full page in the book 'Fantastic Voyage, Photographs 1956 - 2000' by Arthur Tress. In the book it is dated to 1975. Arthur Tress: Born in Brooklyn, New York, on November 24, 1940, Arthur Tress began his first camera work as a teenager in the surreal neighborhood of Coney Island where he spent hours exploring the decaying amusement parks. Later, during five years of world travel, mostly in Asia and Africa, he developed an interest in ethnographical photography that eventually led him to his first professional assignment as a U.S. Government photographer recording the endangered folk cultures of Appalachia. Seeing the destructive results of corporate resource extraction, Tress began to use his camera to raise environmental awareness about the economic and human costs of pollution. Focusing on New York City, he began to photograph the neglected fringes of the urban waterfront with a straight documentary approach. This gradually evolved into a more personal mode of “magic realism” combining improvised elements of actual life with stage fantasy that became his hallmark style of directorial fabrication. In the late 1960s Tress was inspired to do a series Based Upon children’s dreams that combined his interests in ritual ceremony, Jungian archetypes, and social allegory. Later bodies of work dealing with the hidden dramas of adult relationships and the reenactments of male homosexual desire evolved from this primarily theatrical approach. Beginning in the early 1980s, Tress began shooting in color, creating room-sized painted sculptural installations out of found medical equipment in an abandoned hospital on New York’s Welfare Island. This led to a smaller scale exploration of narrative still life within a children’s toy theater...

Arthur Tress (American b. 1940) 'Hockey Boy on Road 1996' Signed, numbered and titled recto in margin under image. Gelatin silver print. Image: 10 x 10 in / 25.5 x 25.5 cm. Full margins. Mat: 16 x 20 in / 41 x 51 cm. This work is included full page in the book 'Fantastic Voyage, Photographs 1956 - 2000 by Arthur Tress. In the book it is titled 'Road Kill' and dated 1`997. Arthur Tress: Born in Brooklyn, New York, on November 24, 1940, Arthur Tress began his first camera work as a teenager in the surreal neighborhood of Coney Island where he spent hours exploring the decaying amusement parks. Later, during five years of world travel, mostly in Asia and Africa, he developed an interest in ethnographical photography that eventually led him to his first professional assignment as a U.S. Government photographer recording the endangered folk cultures of Appalachia. Seeing the destructive results of corporate resource extraction, Tress began to use his camera to raise environmental awareness about the economic and human costs of pollution. Focusing on New York City, he began to photograph the neglected fringes of the urban waterfront with a straight documentary approach. This gradually evolved into a more personal mode of “magic realism” combining improvised elements of actual life with stage fantasy that became his hallmark style of directorial fabrication. In the late 1960s Tress was inspired to do a series Based Upon children’s dreams that combined his interests in ritual ceremony, Jungian archetypes, and social allegory. Later bodies of work dealing with the hidden dramas of adult relationships and the reenactments of male homosexual desire evolved from this primarily theatrical approach. Beginning in the early 1980s, Tress began shooting in color, creating room-sized painted sculptural installations out of found medical equipment in an abandoned hospital on New York’s Welfare Island. This led to a smaller scale exploration of narrative still life within a children’s toy theater...

Arthur Tress (American b. 1940) 'Hockey Player 1972' Gelatin silver print. Photo taken 1970. Image: 10 x 10 in / 25.5 x 25.5 cm. Full margins. Mat: 16 x...

Arthur Tress (American b. 1940) 'The Voyage' Gelatin silver print. Image: 15.75 x 15.75 in / 40 x 40 cm. Mat: 23 x 24.5 in / 50 x 62.5 cm. Full Margins. Signed, titled and numbered by the artist recto under image. This is a work by Arthur Tress not often seen. It is one of a large group of his images which features male nudes in various surrealist situations. Arthur Tress: Born in Brooklyn, New York, on November 24, 1940, Arthur Tress began his first camera work as a teenager in the surreal neighborhood of Coney Island where he spent hours exploring the decaying amusement parks. Later, during five years of world travel, mostly in Asia and Africa, he developed an interest in ethnographical photography that eventually led him to his first professional assignment as a U.S. Government photographer recording the endangered folk cultures of Appalachia. Seeing the destructive results of corporate resource extraction, Tress began to use his camera to raise environmental awareness about the economic and human costs of pollution. Focusing on New York City, he began to photograph the neglected fringes of the urban waterfront with a straight documentary approach. This gradually evolved into a more personal mode of “magic realism” combining improvised elements of actual life with stage fantasy that became his hallmark style of directorial fabrication. In the late 1960s Tress was inspired to do a series Based Upon children’s dreams that combined his interests in ritual ceremony, Jungian archetypes, and social allegory. Later bodies of work dealing with the hidden dramas of adult relationships and the reenactments of male homosexual desire evolved from this primarily theatrical approach. Beginning in the early 1980s, Tress began shooting in color, creating room-sized painted sculptural installations out of found medical equipment in an abandoned hospital on New York’s Welfare Island. This led to a smaller scale exploration of narrative still life within a children’s toy theater...

Gelatin silver print Signed, titled, dated, and numbered 20 x 16 inches (Edition of 50) This artwork is offered by ClampArt, located in New York City. Arthur Tress is one of the m...

A large black and white photograph by American surrealist photographer Arthur Tress (born 1940-). The photo was entitled: Girl Collecting Goldfish, Chateau Breteuil, France. It was c...

"Death Fantasy" is a vintage silver gelatin photograph by Arthur Tress which captures a haunting image of a young boy enveloped in the grasp of a tall black-hooded figure. It is tit...

This vintage silver gelatin photograph acquired directly from the artist, Arthur Tress is #1 from an edition of 50. It is signed, numbered and titled "Road Kill" , San Luis Obispo, ...

Gelatin silver print (Edition of 50) Signed, titled, dated, and numbered in black ink, recto 14 x 11 inches, sheet This artwork is offered by ClampArt, located in New York City. A...