Jonathan Hollingsworth Photography

image size: 8 x 10 inches Standing Young Nude Man Polaroid Transfer on 22 x 15 inch Rives BFK paper, unframed signed SM Beard in pencil on bottom left corner. ed. 1/6 This is one i...

image size: 8 x 10 inches Young Nude Man in Bed Unique Polaroid Transfer on 22 x 15 inch Rives BFK paper, unframed signed SM Beard in pencil on bottom left...

Kissing Priests image size: 8 x 10 inches Polaroid Transfer on 22 x 15 inch Rives BFK paper, unframed signed SM Beard in pencil on bottom right corn...

image size: 15 x 11 inches Artist Proof Photograph of Nude Woman Sitting Unique Polaroid Transfer on Rives BFK paper, unframed signed SM Beard in pencil on bottom right corner, unique print. This is one in a series of Polaroid transfers...

image size: 8 x 10 inches Portrait of Tennessee Williams Unique Polaroid Transfer on 22 x 15 inch Rives BFK paper, unframed signed SM Beard in penci...

image size: 10 x 8 inches Standing Nude Male Flexing in Socks and Shoes Smoking a Cigarette Polaroid Transfer on 22 x 15 inch Rives BFK paper, unframed signed SM Beard in pencil on...

'Sometimes' - 2019, 20x20cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. Artist inventory PL219-661. ...

Ancient Bridge Views III (Stay) - 2006 20x20cm, Edition of 5 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 2490. Not mounted. Torsten Scheid, “Fotografie, Kunst, Kino. Revisited.”, FilmDienst 3/2006, page 11-13

 Photography Art Cinema. Revisited Stay expands a traditional connection through new facets Interwoven between the media of photography and film is a veritable mesh-work of technical, motific, metaphorical and personal interrelationships. Extending from photo-film which, as in La Jetée by Chris Marker (France, 1962) is a montage of single, unmoving photographs all the way to the portrayal of photographic motifs in Hollywood cinema―most recently in Memento (USA, 2000) and One hour photo (USA, 2002)―is the range of filmic-photographic interactions on the one hand, and from the adaption of modes of cinematic production to the imitation of film stills on the other. For instance, with the legendary Untitled Film Stills (1978) of the American artist Cindy Sherman, who later made her debut as a film director with Office Killer (USA, 1997) and thereby, like many others, changed sides: Wim Wenders, Robert Frank and Larry Clark are doubtlessly the most successful of these photographic-filmic border crossers. This brief survey provides only a vague indication of the dimensions of this intermedial field, which in fact extends much further and is constantly being cultivated. Also as a motif in film, photography has experienced a historical transformation: Photographers were once considered to be technicians who mastered a craft but never achieved the status of artists. Photographer-figures were caught in the allure of beautiful appearance, incapable of penetrating to the actual essence of things. Such depth was reserved for literature or painting. When photography in film touched upon the sphere of art, then most often as its contrasting model, as the metaphor for a superficial access to the world. Coming to mind are Fred Astaire as a singing fashion photographer in Stanley Donen’s musical film Funny Face (USA, 1957), or the restless lifestyle-photographer in Michelangelo Antonioni’s genre-classic Blow up (GB, 1966). For the doubting Thomas, only that exists which can be photographed. He ultimately enters the world of fantasy and thereby the field of art only unwillingly, when he becomes entangled in the world of his images. The last of his detail-enlargements shows only the photographic grain and has lost all connection to reality. The photograph looks as if it had been painted by Bill, the painter who is both friend and antagonist to the protagonist.

 Photography as Art It was first around the end of the last century that numerous filmmakers discovered photography as a genuine art form. In The Bridges of Madison County (USA, 1995) a sensitive Clint Eastwood stands, camera in hand, on the threshold of artistic status, and in Smoke (USA, 1994) a tobacco merchant ripens into a philosopher through his involvement in photography. Finally, in John Water’s parody of the art market, Pecker (USA, 1998), a provincial tom-fool is hyped into celebrated stardom amid the New York art scene because of his blurred snapshots. This film about a postmodern Kaspar Hauser in photographic art (with clear parallels to Richard Billingham, the British shooting...

Stefanie Schneider's work was used for Marc Forster's movie 'Stay', featuring Ewan McGregor, Naomi Watts and Ryan Gosling. Naomi and Ryan were both portraying artists and Stefanie Sc...

Dreamlife of Angels (Till Death Do Us Part) - 2007 20x24cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid, Certificate and Signature label Artist I...

Something Imaginary (Heavenly Falls) 2016 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Certificate and signature label. Artist invento...

Barbara Crane Private Views, 1980-4 Polaroid type 59 Framed Dimensions: 14 1/4 x 12 1/4 inches (36.2 x 31.1 cm) Image Dimensions: 4 1/2 x 5 1/5 inches (11.4 x 13.2 cm) Edition 1/1

Hand signed, dated and inscribed Polaroid photograph of Nancy Graves, dated September 24, 1980, depicting the artist with her iconic sculpture Shaman. Provenance: Collection of Jim W...

'Santa Monica', 2017, Edition 2/7 plus 2 Artist Proof Based on a Polaroid, digital C-print, not mounted. Signed on the back and with certificate. Artist inventory PL2017-197 Kirsten...

Penny Lane and Dreamgirl (Chicks and Chicks and sometimes Cocks) - 2019 20x24cm, Edition of 10. Digital C-Print, based on a Polaroid. Artist inventory 19139. Signature label and Cer...