Jane Calvin Composite Photograph, 1990
By Jane Calvin
Located in New York, NY
Jane Calvin (American, b. 1938) Untitled, 1990 Photograph Sight: 19 1/2 x 15 1/2 in. Framed: 26 7/8 x 22 1/2 x 1 1/4 in. Edition 2/10 Provenance: Collection of Robert Burge, New Y...
Color
Relics 2 Elaborately Constructed Vintage Color Photograph Surrealist Image
By Jane Calvin
Located in Surfside, FL
Chromogenic photo print. hand signed, titled and dated. This is a vintage print, printed in 1987 and editioned 2/10. Jane L. Calvin (born April 27, 1938) is an artist based in Chicago, Illinois. Jane Calvin was born in Chicago, Illinois. Her father was an avid art collector and Calvin was brought up in the art world from the time she was born. She attended classes at the Art Institute of Chicago as a young child and went on to pursue a degree in Art History from Bryn Mawr College in Pennsylvania in 1959. Calvin worked as a private art dealer for some time before deciding to continue her education and become a fine art photographer. She graduated from the Art Institute of Chicago with her MFA in 1982.[1] Calvin later went on to be a Professor of Photography at The School of the Art Institute, Illinois Institute of Technology, and Beloit College. She was Adjunct Professor of Photography at Columbia College in Chicago until 2005. Since she started making photographs, Calvin has had exhibits across the nation as well as in Germany and China. Calvin constructs her photographs by montaging multiple slide projections and found objects into room-sized assemblages in her studio. She then photographs it, making a tableaux into which layers of meaning are woven. She does not use computer editing, just straight photography. Calvin stated, "The images can be seen as my commentary on the political and social roles projected onto society whose desires, manipulated by language and image, conflict with concerns of gender, sexuality, race and female identity." She says,“I make photographs, I don’t take them,” and in so stating she follows in the path of many Dada and Surrealist precursors, for example, German Kurt Schwitters’ famous Merzbau or Junk House (1923 and following), or Joseph Cornell’s metaphorically vast but physically modestly scaled, even private sculptural interiors of boxes (1930s and following). In her use of projected imagery within and upon the setup of her photographs, Calvin gestures toward earlier 20th century American surrealist photographer Man Ray photographic work, one example of which is Space Writing (Self-Portrait) acquired last year by the Bowdoin College Museum of Art. Calvin’s more recent kindred spirit – although comparatively minimalist in nature and junior chronologically – is Sandy Skoglund. The latter’s photographed installations are a hybrid of unnatural, spectral, coloration and suspended narrative. "I am a maker of meaning, not an observer of it. My medium is photography, although it is includes the processes of sculpture and installation . I build room-sized sets onto which I project images and text, recording the final result with the camera. There are no darkroom or digital tricks. The process is straight photography." For over 25 years, Calvin has been exploring contemporary society’s approach to issues of gender, female identity, sexuality, vulnerability, and love & desire. Eschewing linearity, the work stands in opposition to the simplicity and minimalism prevalent in earlier 20th century image-making. Her images are elliptical, fragmented, layered, reflecting the contemporary world as one of discontinuity and ambiguity with myriad connections, a world less temporally and spatially fixed than ever before. Through the content carried in found materials and appropriated texts, –she addresses— the social and political conditions that are just out of sight, but remain like some kind of background radiation exerting a subtle but undeniable influence on our society. Pop and pulp references throw a humorous light on cultural identity and gender roles projected onto society. The subject matter, appearing disconnected from its place and time, mysteriously overlaps our own collective awareness. –She asks the viewer to see what has been there all along.–—/> Exhibition publication, Gallery 210, University of Missouri, St Louis, 2005, 'Jane Calvin Sentences' Introduction by Terry Suhre, Director, and Essay "Jane Calvin's Phantasmagoric Spaces" by Dr. Mark White. This is a Set-Up: fab photo/fictions This exhibition looked at photographers who utilize fabricated imagery and constructed subjects to create their work. These deliberate fictions, and their position in the realms of photography and art, were explored through the work of several highly acclaimed artists: Jane Calvin, James Casebere, Gregory Crewdson, Barbara Kasten, Abelardo Morell, Patrick Nagatani...
C Print
$349
H 9.45 in W 7.88 in D 0.04 in
Winged II - 21st Century, Polaroid, Cars, Photography, Color
By Kirsten Thys van den Audenaerde
Located in Morongo Valley, CA
Winged II, 2019, Edition 1/7, plus 2 Artist Proofs. Digital C-Print, based on a Polaroid, not mounted. Signed on the back and with certificate. Artist inventory PL2019-471. Kirsten...
Archival Paper, Photographic Paper, C Print, Color, Polaroid
The Farmer's Wife (American Depression)
By Stefanie Schneider
Located in Morongo Valley, CA
The Farmer's Wife (American Depression) - 2004 50 x 49 cm Edition of 10 plus two artist Proofs. Archival C-Print based on the Polaroid. Signature label and Certificate. Artist In...
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Manhattan
By Marc Yankus
Located in New York, NY
Archival pigment print Signed and numbered on label, verso 17 x 22 inches, sheet size (Edition of 15) 27 x 38 inches, sheet size (Edition of 9) From the series, "New York Unseen" This artwork is offered by ClampArt, located in New York City. Marc Yankus’ fine art and publishing experience span a period of more than thirty years. His work has been included in exhibitions at The Brooklyn Museum, Brooklyn, New York; Exit Art, New York City; The Library of Congress, Washington, DC; and ClampArt, New York City. Yankus’ artwork has graced the covers of books by Salman Rushdie, Philip Roth...
Archival Pigment
Becoming water. Color photography
By Michaela Haider
Located in Miami Beach, FL
Starting with photographic base elements, such as the figure or the landscape, Haider transforms the scenery into a surreal world through heavy post-production. She uses photographs,...
Archival Pigment
$1,700
H 25 in W 21 in
"Shamrock Conoco, TX, Route 66 Series, " Color Photograph by Thomas Ferderbar
By Thomas Ferderbar
Located in Milwaukee, WI
"Shamrock Conoco, TX" is an original color photograph by Thomas Ferderbar. The artist signed the piece lower right. It depicts the entrance to a building in Texas off of Route 66. This photograph is part of the artist's "Route 66" series. Artwork Size: 18 3/4" x 15" Frame Size: 25" x 21" Artist Bio: I wanted to become a photographer at the age of 12, when my sister Grace gave me a Kodak Box Brownie camera for Christmas. (I still have that camera.) Since our family was quite poor, I built my first enlarger with an oatmeal box, while that same box camera was used as its lens. In 1947, just after graduation from high school, I had the opportunity to travel to California by car and house trailer with my uncle, aunt and mother, and in the process to shoot my first pictures along Route 66. Then, after graduation from college, a stint in the army followed by photography school, I opened an advertising photography studio in 1954. For over four decades my staff and I earned numerous local, regional and national awards for our achievements in photography, including several "best of show" honors. In 1958 I studied with renowned landscape photographer Ansel Adams at his Yosemite National Park workshop. In 1980, while still operating my advertising photography studio, I began a serious photographic study of the decaying artifacts along our country's former Mother Road, Route 66. The former national highway route from Chicago, Illinois to Santa Monica, California was not a popular subject at the time, and so I filed away my transparencies, not knowing what I might ever do with them. However, as time passed Route 66 did become a topic of national interest, and upon my retirement in 1997, I once again returned to record the Mother Road's artifacts. A number of my Yosemite series photographs are included in the Ansel and Virginia Adams collection at the Center for Creative Photography at the University of Arizona at Tucson, and several of my Route 66 photographs and other subjects have been acquired by the Milwaukee Art Museum. At this time I am preparing a book of my photographic experiences along Route 66, from 1947 to the present. --Tom Ferderbar
Color
$1,700
H 29 in W 24 in
"Plane Into Cloud, AZ, " Color Photograph signed by Thomas Ferderbar
By Thomas Ferderbar
Located in Milwaukee, WI
"Plane Into Cloud, AZ" is an original color photograph by Thomas Ferderbar. The artist signed the piece lower right. It depicts an airplane flying towards a large, fluffy cloud. 20 1/4" x 15" image 26" x 21" paper 29" x 24" frame I wanted to become a photographer at the age of 12, when my sister Grace gave me a Kodak Box Brownie camera for Christmas. (I still have that camera.) Since our family was quite poor, I built my first enlarger with an oatmeal box, while that same box camera was used as its lens. In 1947, just after graduation from high school, I had the opportunity to travel to California by car and house trailer with my uncle, aunt and mother, and in the process to shoot my first pictures along Route 66. Then, after graduation from college, a stint in the army followed by photography school, I opened an advertising photography studio in 1954. For over four decades my staff and I earned numerous local, regional and national awards for our achievements in photography, including several "best of show" honors. In 1958 I studied with renowned landscape photographer Ansel Adams at his Yosemite National Park workshop. In 1980, while still operating my advertising photography studio, I began a serious photographic study of the decaying artifacts along our country's former Mother Road, Route 66. The former national highway route from Chicago, Illinois to Santa Monica, California was not a popular subject at the time, and so I filed away my transparencies, not knowing what I might ever do with them. However, as time passed Route 66 did become a topic of national interest, and upon my retirement in 1997, I once again returned to record the Mother Road's artifacts. A number of my Yosemite series photographs are included in the Ansel and Virginia Adams collection at the Center for Creative Photography at the University of Arizona at Tucson, and several of my Route 66 photographs and other subjects have been acquired by the Milwaukee Art Museum. At this time I am preparing a book of my photographic experiences along Route 66, from 1947 to the present. --Tom Ferderbar
Color
Untitled (Automatic Pitcher)
By Rebecca Horne
Located in New York, NY
Chromogenic print Signed and numbered on label, verso This photograph is offered by ClampArt, located in New York City. Price includes matting and framing.
C Print
Circle of Reading #3
By Vadim Gushchin
Located in New York, NY
Digital C-print Signed and numbered, verso 17.5 x 21.25 inches, sheet (Edition 5/10) This photograph is offered by ClampArt, located in New York City. About the artist: Vadim Gushch...
C Print
Untitled (Icelandic Glacial)
By Frank Yamrus
Located in New York, NY
Digital C-print (Edition of 11) Signed, dated, and numbered, verso From the series, "Rune Lagu" This photograph is offered by ClampArt, located in New York City. Please note that pr...
C Print
Untitled ( 365 )
By Frank Yamrus
Located in New York, NY
Digital C-print (Edition of 11) Signed, dated, and numbered, verso From the series, "Rune Lagu" This photograph is offered by ClampArt, located in New York City. Please note that pr...
C Print
Circle of Reading #1
By Vadim Gushchin
Located in New York, NY
Digital C-print Signed and numbered, verso 17.5 x 21.25 inches, sheet (Edition 2/10) This photograph is offered by ClampArt, located in New York City. About the artist: Vadim Gushch...
C Print
Colored Envelopes #4
By Vadim Gushchin
Located in New York, NY
Digital C-print Signed and numbered, verso 17.5 x 21.25 inches, sheet (Edition 4/10) This photograph is offered by ClampArt, located in New York City. About the artist: Vadim Gushch...
C Print
Sold
H 24 in W 20 in
Relics 2 Elaborately Constructed Vintage Color Photograph Surrealist Image
By Jane Calvin
Located in Surfside, FL
Chromogenic photo print. hand signed, titled and dated. This is a vintage print, printed in 1987 and editioned 2/10. Jane L. Calvin (born April 27, 1938) is an artist based in Chicago, Illinois. Jane Calvin was born in Chicago, Illinois. Her father was an avid art collector and Calvin was brought up in the art world from the time she was born. She attended classes at the Art Institute of Chicago as a young child and went on to pursue a degree in Art History from Bryn Mawr College in Pennsylvania in 1959. Calvin worked as a private art dealer for some time before deciding to continue her education and become a fine art photographer. She graduated from the Art Institute of Chicago with her MFA in 1982.[1] Calvin later went on to be a Professor of Photography at The School of the Art Institute, Illinois Institute of Technology, and Beloit College. She was Adjunct Professor of Photography at Columbia College in Chicago until 2005. Since she started making photographs, Calvin has had exhibits across the nation as well as in Germany and China. Calvin constructs her photographs by montaging multiple slide projections and found objects into room-sized assemblages in her studio. She then photographs it, making a tableaux into which layers of meaning are woven. She does not use computer editing, just straight photography. Calvin stated, "The images can be seen as my commentary on the political and social roles projected onto society whose desires, manipulated by language and image, conflict with concerns of gender, sexuality, race and female identity." She says,“I make photographs, I don’t take them,” and in so stating she follows in the path of many Dada and Surrealist precursors, for example, German Kurt Schwitters’ famous Merzbau or Junk House (1923 and following), or Joseph Cornell’s metaphorically vast but physically modestly scaled, even private sculptural interiors of boxes (1930s and following). In her use of projected imagery within and upon the setup of her photographs, Calvin gestures toward earlier 20th century American surrealist photographer Man Ray photographic work, one example of which is Space Writing (Self-Portrait) acquired last year by the Bowdoin College Museum of Art. Calvin’s more recent kindred spirit – although comparatively minimalist in nature and junior chronologically – is Sandy Skoglund. The latter’s photographed installations are a hybrid of unnatural, spectral, coloration and suspended narrative. "I am a maker of meaning, not an observer of it. My medium is photography, although it is includes the processes of sculpture and installation . I build room-sized sets onto which I project images and text, recording the final result with the camera. There are no darkroom or digital tricks. The process is straight photography." For over 25 years, Calvin has been exploring contemporary society’s approach to issues of gender, female identity, sexuality, vulnerability, and love & desire. Eschewing linearity, the work stands in opposition to the simplicity and minimalism prevalent in earlier 20th century image-making. Her images are elliptical, fragmented, layered, reflecting the contemporary world as one of discontinuity and ambiguity with myriad connections, a world less temporally and spatially fixed than ever before. Through the content carried in found materials and appropriated texts, –she addresses— the social and political conditions that are just out of sight, but remain like some kind of background radiation exerting a subtle but undeniable influence on our society. Pop and pulp references throw a humorous light on cultural identity and gender roles projected onto society. The subject matter, appearing disconnected from its place and time, mysteriously overlaps our own collective awareness. –She asks the viewer to see what has been there all along.–—/> Exhibition publication, Gallery 210, University of Missouri, St Louis, 2005, 'Jane Calvin Sentences' Introduction by Terry Suhre, Director, and Essay "Jane Calvin's Phantasmagoric Spaces" by Dr. Mark White. This is a Set-Up: fab photo/fictions This exhibition looked at photographers who utilize fabricated imagery and constructed subjects to create their work. These deliberate fictions, and their position in the realms of photography and art, were explored through the work of several highly acclaimed artists: Jane Calvin, James Casebere...
C Print