Joseph Desler Costa More Prints

Mascot, photograph from Richard Heeps' series, Man's Ruin. Captured at the Hot Rod Hayride this Jesus on a Cross, was meant to protect the Hot Rodders in their cars. There is somethi...

Slide by Julie Blackmon is from an ongoing series titled Home Grown According to the Los Angeles Times, Blackmon's images are “absorbing, meticulously orchestrated slices of ethnogr...

'Call Booth', photograph from Richard Heeps Salton Sea series. This cinematic neo-noir style picture shows the classic American roadside Phone Booth, something which we look at very ...

Amusements, seaside typography photography from Richard Heeps' On-Sea series. This artwork is a limited edition of 25, gloss photographic print, dry-mounted to aluminium, it is pres...

Boss (Bruce Springsteen) 3/5 BookScape by Max Steven Grossman Individually photographed books and bookshelves. Featuring Bruce Springsteen books and albums. In his photographic s...

'Utopian Foyer III', Italian Brutalist architecture photography by Richard Heeps' from his series 'A Short History of Milan'. There is a reoccurring linear, structural theme through...

Babysitter, 2006 by Julie Blackmon is from her ongoing series Domestic Vacations. The Dutch proverb “a Jan Steen household” originated in the 17th century and is used today to refe...

Reviewing the photographs of Julie Blackmon, critic Leah Ollman of the Los Angeles Times wrote: “Each frame is an absorbing, meticulously orchestrated slice of ethnographic theater … that abounds with tender humor but also shrewdly subtle satire.” Blackmon is a native of Springfield, MO, and her photographs are inspired by her experience of growing up the oldest of nine children—including five sisters—in what she calls “a generic American town in the middle of the U.S.” In college, Blackmon was introduced to the work of artists Sally Mann, Diane Arbus, and Helen Levitt, and she describes herself as “obsessed” with their images. “When my three children were small,” she recalls, “we moved into an old house with a darkroom in the basement. Like any mother, I wanted to take pictures of my kids. But I didn’t want to be just the ‘mother photographer.’ I wanted my work to be more: more penetrating, more artful, more striking, more thoughtful, more a reflection of the times. “Over the next few years, I progressed from making documentary black and white photographs of my life and the lives of my sisters to creating colorful, fictitious images that offered a more fantastical look at everyday life. My work became more conceptual, as I began to realize that I was not obligated to capture “reality” exactly, but that I could work more like a painter or a filmmaker, actively shaping the images I was creating. This realization—that fiction can often capture the truth more memorably than reality—was a major shift in how I saw the world around me, and it transformed my work.” “It’s thrilling to see the most common aspects of everyday life as potential stories or themes for a photograph. It changes how you see things: suddenly, a Starbucks employee on a smoke break, or an outmoded beauty shop catering to an elderly clientele, can spark a memorable image. As Nora Ephron...

Lights of Mong Kok, Kowloon, Asian architecture photograph by Richard Heeps. The artwork captures the spirit of walking the streets in Hong Kong, the overwhelming buzz of the compet...

Architectural shot that shows the work of Luis Barragan and Mathías Goeritz.

Beatles Ed. 1/5 - 37 x 75 in. BookScape by Max Steven Grossman Individually photographed books and bookshelves. LED lights and standard plug in; no hardware needed. Illuminated boo...

Stolen Kiss is a color photograph by Julie Blackmon and is part of her ongoing series Domestic Vacations. Domestic Vacations: The Dutch proverb "a Jan Steen household" originated i...