Heun Jung Kim Photography

Lips, 1960 by Ormond Gigli is a c-print. It is titled and dated in ink lower left margin recto (front of photo), signed lower right margin recto by the photographer. A contemporary color photograph, a close up of beautiful red lips, by a master of 20th Century photography, the work remains an iconic 20th Century fashion photograph, in an edition of 30. The print provenance is the artist's studio/archive and is available: 24" x 36" Lips is another of Gigli’s iconic and popular works, created for TIME magazine, in 1960. It’s pop-inspired close-up of a woman’s brightly painted lips...

'Fisherman's Friend' (Odd Stories) - 1/25, 2012 mounted on black mdf, dimensions 15x11,3cm (the second image shows a sample piece mounted) hand signed by the artist on the back. -- ...

3 Stefanie Schneider's Minis from the movie Stay: 'Forgive me', 'Lila', 'Jellyfish' with Naomi Watts Signed in front, not mounted Lambda digital C...

Edition: 25 Signed, dated and numbered in ink on label affixed verso Other sizes available upon request COA provided In Sherman's photographs she is experimenting with groupings of ...

Breathing In the Spirit of Shohaku Soga, 2003 by Eikoh Hosoe is a contemporary color photograph of Kazuo Ohno, a Butoh dancer. Hosoe's theatrical image is hand-signed on recto (front...

The frequencies that make me is a project that aims to find points of contact between dance and performance to generate a space in between, where the body plays with time, explores t...

Katie Hallam Turbine Limited Edition Digital Photograph On delivery the aluminium prints will take 7-10 days Sheet Size: H 63cm x W 112cm x D 3cm Sold Unframed Ready to Hang Please note that insitu images are purely an indication of how a piece may look. Turbine is a limited edition architectural print by Katie Hallam. The Turbine Hall inside Tate Modern...

'Amaluna's Day Off #35', [From the series Cirque du Soleil] 50x50cm, Edition 1/7, 2015 / 2018 Art print based on an expired Polaroid mounted on DILITE 0,2mm - gloss coating Hand si...

'Amaluna's Day Off' #08 50x50cm, Edition 1/7, 2015 [From the series Cirque du Soleil] Art print based on an expired Polaroid mounted on Dibond 0,2mm - 50x50cm - gloss coating Hand...

'Amaluna's Day Off #50', 50x50cm, Edition 1/7, Amaluna's Day Off, 2015 [From the series Cirque du Soleil] Art print based on an expired Polaroid mounted on DILITE 0,2mm - 50x50cm...

'Amaluna's Day Off #41', 2015 50x50cm, Edition 1/7, [From the series Cirque du Soleil] Art print based on an expired Polaroid mounted on DILITE 0,2mm - 50x50cm - gloss coating Hand...

Archival inkjet print mounted on aluminum Signed and numbered, verso 12 x 18 inches (Edition of 10) 20 x 30 inches (Edition of 7) 30 x 35 inches (Edition of 3) This artwork is offered by ClampArt, located in New York City. Pipo Nguyen-duy writes: “I began living in the United States in 1975 as a Vietnamese refugee. Consequently, cultural identity and cultural authenticity are some of the underlying themes of my visual explorations. Additionally, site-specificity has been an integral part of my studio practice, as I always consider geographical, historical, and cultural significance of the locations in my research. “From 2015 to 2017, I made photographs from my hotel window in Ho Chi Minh City, District 1. The second-floor window offered a commanding view of the alley where it widened before the sharp left turn located under my hotel where it became narrow again. The alley served as a short cut between the congested street where it began and ended at a crowded market. What separated my camera from the alleyway was the large glass window to dampen the noise and the thin white curtain for privacy. I spent close to six months in this sixty-four square-foot hotel room, photographing obsessively from six in the morning until late at night, only taking breaks to eat or to sleep. During my process, I remained as objective as a scientist gathering visual data. The camera tripod allowed me to keep the same perspective of the scenes outside my window throughout the day. “With this work, I aim to document, as if from the perspective of a natural scientist or archeologist. Using the camera to record facts rather than regarding it as a subjective tool, I have become increasingly intrigued with the idea of mapping my ‘own’ culture in hopes of understanding it from an outsider’s point of view using the hotel room as a metaphor for an in-between place. The window curtain was the variable that changed, in addition to the light, which also varied throughout the day. The curtain was a literal veil to the world and the culture outside my window. It serves as a metaphor for the lack of clarity and insight that I may have of my culture. From the alley I am hidden or visible depending on how wide the curtain was kept and the time of the day. The neatly arranged architecture seen from my window illustrated the rich history and the complex transition of the Vietnamese culture from French colonial, to American modernist, to contemporary high-rise. “The project began as a survey to categorize different types of people, record gestures and behavior, map traffic patterns, and capture ‘decisive’ moments of street scenes below. Conceptually, I intended this mapping project only to reveal my difficulties of defining home—however as the project grew, the complexities of the images also have become more layered. The first image of the series revealing a man masturbating at 6:00 a.m. while leaning against his scooter below the hotel window addresses the voyeuristic nature of the project. In one set of pictures...