Mariana Yampolsky Art

Listing is for UNFRAMED print. Inquire within for framing. Edition of 20. If the exhibition piece is sold or the customer orders a different print size, the photograph is produced upon purchase. Please allow two weeks for production. Shipping time depends on method of shipping. Price is subject to availability. The Robin Rice Gallery reserves the right to adjust this price depending on the current edition of the photograph. Ted Adams’ first solo show at the Robin Rice Gallery juxtaposes surrealism with the documentary art form. What differentiates Mr. Adams’ work from traditional photojournalism is his keen eye for capturing the irony in the events that unfold before our eyes. It is the found objects in everyday life to which Adams is most attuned. He creates a subtle mood and visual mystery that conveys meaning not only from the image itself but also through imagining what exists just beyond the frame. "I see photography as a way of cropping the world—selectively taking things out of context—which often results in stripping the meaning out of the original subject matter, or at least making the image open to interpretation. It’s the opposite of traditional photojournalism whose intention is to create ‘narrative’ and context rather than discard them." While he has exhibited artistic photography in a variety of genres, in the past five years he turned his artistic eye inward to reflect a more autobiographical tone. While some people compare his work to that of Robert Frank, Adams finds himself more and more influenced by Larry Clark whose career was built on pictures drawn from his own life and drug-addled friends rather than a specific documentary mission. The unique presentation of this collection of twenty-three silver gelatin prints enhances the voyeuristic sensibility of Mr. Adams’ work. Each photograph is jewel box in size, measuring 4" x 6" to invite the viewer in to make an intimate appraisal. The craftsmanship of the wide, dark wood frames hearkens back to late 19th-century Shaker design—yet the aesthetic is boldly contemporary, providing a strong backdrop to draw the viewer’s gaze directly to the subject matter. This artisanship extends to the printing where Adams exhibits his skills in traditional darkroom processes. He shoots mostly with Leica and Nikon 35mm film cameras...

Titel: Without Title (New York) Medium: Photograph Year: 1974/2014 Publisher: Griffelkunst Hamburg Size: 7.4 × 10.7 on 11.5 × 15.4 inches After a photographer training at the photo ...

This is a 2002 contact sheet (a positive print of all the negative images from a roll of 35mm film or medium format film) of youthful-looking Daniel Craig...

Leonard Cohen, Canadian songwriter, folk singer, poet, novelist, and philosopher, came from a middle-class Jewish home in Westmount, Montreal, his father a successful clothing-store ...

Beams of sunlight streaming through the windows at Grand Central Station, New York City, circa 1930. (Photo by Hal Morey/Getty Images) As an authorized Get...

By the time she was photographed by Jack Robinson on October 30, 1969, few singers had fused gospel and pop with classical music as successfully as Nina Simone. Born as Eunice Kathl...

Robert Mapplethorpe's (1946-1989) place in the canon was earned from his incredible output of images that ranged from beautiful to brutal. Mapplethorpe boldly showcased the beauty ...

Nan Goldin (b. 1953) is one of the most influential photographers of the 20th century. Beginning in the 1970s, Goldin took candid shots of her friends and lovers, characters often li...

Helmut Berger was photographed by Jack Robinson for Vogue magazine on December 10, 1969 and a “People Are Talking About …” feature of the magazine speaks of the twenty-five-year-old actor’s “poison-green film debut” in Visconti’s The Damned - Götterdämmerung (1969), an epic depiction of the downfall of a Nazi industrial dynasty where Berger starred opposite Dirk Bogarde. He would go on to appear in over fifty roles in film and television including Vittorio de Sica’s The Garden of the Finzi-Continis (1970) where he appeared as the brother of Dominique Sanda...

Anthony Perkins was the son of the distinguished Broadway actor Osgood Perkins. He won an Academy Award nomination in just his second film, Friendly Persuasion (1956). In 1960, he appeared as Norman Bates in Alfred Hitchcock’s thriller Psycho, and from then on, Perkins was strongly identified with that one role. When photographed by Jack Robinson on May 21, 1968, Perkins had just made Pretty Poison playing a mentally disturbed man opposite Tuesday Weld. He was married to the photographer Berry Berenson...

Elsa Peretti was born in Florence, studied interior design and was a language teacher and ski instructor before becoming a model. Peretti settled in New York in 1968 and began a care...

This 2009 photograph by legend photographer, John Stoddart depicts “The Swan with Leda.” It was inspired from the mythology of the Greek story of Leda and the Swan, when the God Zeus...