Joshua Lutz Figurative Photography

Series: Provocateur Chromogenic Print on Kodak Endura Luster Paper All available sizes and editions: 15" x 20" 23" x 30" 45" x 60" 54" x 72" 63" x 84" Editions of 3 + 2 Artist Proofs...

OK Corral (Stranger than Paradise), triptych, each 20 x 20 cm, together with gaps 20x65cm, 1999, Edition 8/10, digital C-Prints based on 3 Polaroids, Artis...

Please bear in mind that all prints are produced to order. Lead times are expected between 15-20 days. Due to currency fluctuations prices may change. Bondi Interpretation is a dynamic C-Type Print in an Edition of 10 in this size by contemporary photographer Ben Thomas...

'Untitled' by Stefanie Schneider (Oilfields) 2004, 60x60cm, Edition of 10, Analog C-Print, based on the Polaroid Certificate and Signature label artist Inventory Nr. 1215.05 Not mo...

Please bear in mind that all prints are produced to order and lead times are expected between 15-20 days. Basketball, Clapham I is a stunning C-Type Print by contemporary photograph...

Series: Provocateur Chromogenic Print on Kodak Endura Luster Paper All available sizes and editions: 18" x 18" 30" x 30" 45" x 45" 60" x 60" 70" x 70" Editions of 3 + 2 AP Tyler Shi...

Hereafter (The Last Picture Show) - 2005, 50x49cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artis...

Winter (The Last Picture Show) - 2005, 50x49cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artist I...

Series: Mouths Chromogenic Print on Kodak Endura Luster Paper All available sizes and editions: 30" x 40" 48" x 72" 63" x 84" Editions of 3 + 2 Artist Proofs Tyler Shields is a phot...

Series: Provocateur Chromogenic Print on Kodak Endura Luster Paper All available sizes and editions: 20" x 30" 30" x 40" 40" x 60" 63" x 84" Editions of 3 + 2 AP Tyler Shields’ work...

Please bear in mind that all prints are produced to order. Lead times are expected between 15-20 days. Due to currency fluctuations prices may change. Young and... is a vibrant C-Type Print by contemporary photographer Ben Thomas...

'Ewan McGregor' (Stay) - 2006 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid Certificate and Signature label artist Inventory No. 5007.01 Not mounted Stefanie Schneider: 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...