Pipo Nguyen-Duy Color Photography
American
Pipo Nguyen-duy was born in Hue, Vietnam. Growing up within 18 miles of the demilitarized zone of the 18th Parallel, he describes hearing gunfire every day of his early life. He later immigrated to the United States as a political refugee. Nguyen-duy has taken on many things in life in pursuit of his diverse interests. As a teenager in Vietnam, he competed as a national athlete in table tennis. He also spent some time living as a Buddhist monk in Northern India. Eventually Nguyen-duy earned a bachelor of arts degree in economics at Carleton College. He then moved to New York City, where he worked as a bartender and later as a nightclub manager. Finally, Nguyen-duy earned a master of arts in photography, followed by a master of fine arts in photography, both from the University of New Mexico at Albuquerque. Nguyen-duy has received many awards and grants including a prestigious Guggenheim Fellowship in Photography; a National Endowment for the the Arts; an En Foco Grant; a Professional Development Grant from the College Arts Association; a National Graduate Fellowship from the American Photography Institute; a Fellowship from the Oregon Arts Commission; a B. Wade and Jane B. White Fellowship in the Humanities at Oberlin College and Conservatory and three Individual Artist Fellowships from the Ohio Arts Council. He participated as an artist-in-residence at Monet’s garden through The Lila Wallace-Reader’s Digest Artists at Giverny Fellowship; as an artist-in-residence at the Headlands Center for the Arts in Sausalito, California and participated in Light Work’s Artist-in-Residence program. Nguyen-duy has lectured widely and his work is part of many public collections in the United States, Europe and Asia. He is currently a professor teaching photography at Oberlin College and Conservatory in Oberlin, Ohio.
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Artist: Pipo Nguyen-Duy
Girl in Wood
By Pipo Nguyen-Duy
Located in New York, NY
Archival pigment print
Signed and numbered, verso
16 x 24 inches
(Edition of 10)
20 x 30 inches
(Edition of 7)
30 x 45 inches
(Edition of 3)
This photograph is offered by ClampArt...
Category
2010s Contemporary Pipo Nguyen-Duy Color Photography
Materials
Archival Pigment
Untitled (Car, 02.2004)
By Pipo Nguyen-Duy
Located in New York, NY
Archival pigment print
Signed and numbered, verso
18 x 24 inches
(Edition of 10)
30 x 40 inches
(Edition of 7)
45 x 60 inches
(Edition of 3)
This photograph is offered by ClampArt...
Category
Early 2000s Contemporary Pipo Nguyen-Duy Color Photography
Materials
Archival Pigment
Big Boy
By Pipo Nguyen-Duy
Located in New York, NY
Archival pigment print
Signed and numbered, verso
16 x 24 inches
(Edition of 10)
20 x 30 inches
(Edition of 7)
30 x 45 inches
(Edition of 3)
This photograph is offered by ClampArt, located in New York City.
While working as a Guggenheim fellow to document Vietnamese war amputees in 2012, Pipo Nguyen...
Category
2010s Contemporary Pipo Nguyen-Duy Color Photography
Materials
Archival Pigment
Untitled (Car Snow, 01.2005)
By Pipo Nguyen-Duy
Located in New York, NY
Archival pigment print
Signed and numbered, verso
18 x 24 inches
(Edition of 10)
30 x 40 inches
(Edition of 7)
45 x 60 inches
(Edition of 3)
This photograph is offered by ClampArt...
Category
Early 2000s Contemporary Pipo Nguyen-Duy Color Photography
Materials
Archival Pigment
Untitled (Hay, 02.2006)
By Pipo Nguyen-Duy
Located in New York, NY
Archival pigment print
Signed and numbered, verso
18 x 24 inches
(Edition of 10)
30 x 40 inches
(Edition of 7)
45 x 60 inches
(Edition of 3)
This photograph is offered by ClampArt...
Category
Early 2000s Contemporary Pipo Nguyen-Duy Color Photography
Materials
Archival Pigment
Untitled (Greenery, 03.2004)
By Pipo Nguyen-Duy
Located in New York, NY
Archival pigment print
Signed and numbered, verso
18 x 24 inches
(Edition of 10)
30 x 40 inches
(Edition of 7)
45 x 60 inches
(Edition of 3)
This photograph is offered by ClampArt...
Category
Early 2000s Contemporary Pipo Nguyen-Duy Color Photography
Materials
Archival Pigment
Boy in Water
By Pipo Nguyen-Duy
Located in New York, NY
Archival pigment print
Signed and numbered, verso
16 x 24 inches
(Edition of 10)
20 x 30 inches
(Edition of 7)
30 x 45 inches
(Edition of 3)
This photograph is offered by ClampArt...
Category
2010s Contemporary Pipo Nguyen-Duy Color Photography
Materials
Archival Pigment
Chicken
By Pipo Nguyen-Duy
Located in New York, NY
Archival pigment print
Signed and numbered, verso
16 x 24 inches
(Edition of 10)
20 x 30 inches
(Edition of 7)
30 x 45 inches
(Edition of 3)
This photograph is offered by ClampArt, located in New York City.
While working as a Guggenheim fellow to document Vietnamese war amputees in 2012, Pipo Nguyen...
Category
2010s Contemporary Pipo Nguyen-Duy Color Photography
Materials
Archival Pigment
Two Boys
By Pipo Nguyen-Duy
Located in New York, NY
Archival pigment print
Signed and numbered, verso
16 x 24 inches
(Edition of 10)
20 x 30 inches
(Edition of 7)
30 x 45 inches
(Edition of 3)
This photograph is offered by ClampArt, located in New York City.
While working as a Guggenheim fellow to document Vietnamese war amputees in 2012, Pipo Nguyen...
Category
2010s Contemporary Pipo Nguyen-Duy Color Photography
Materials
Archival Pigment
Pretty Boy
By Pipo Nguyen-Duy
Located in New York, NY
Archival pigment print
Signed and numbered, verso
16 x 24 inches
(Edition of 10)
20 x 30 inches
(Edition of 7)
30 x 45 inches
(Edition of 3)
This photograph is offered by ClampArt, located in New York City.
While working as a Guggenheim fellow to document Vietnamese war amputees in 2012, Pipo Nguyen...
Category
2010s Contemporary Pipo Nguyen-Duy Color Photography
Materials
Archival Pigment
Blue Models with Flash
By Pipo Nguyen-Duy
Located in New York, NY
Archival inkjet print mounted on aluminum
Signed and numbered, verso
12 x 18 inches
(Edition of 10)
20 x 30 inches
(Edition of 7)
30 x 35 inches
(Edition of 3)
This artwork is offered by ClampArt, located in New York City.
Pipo Nguyen-duy writes:
“I began living in the United States in 1975 as a Vietnamese refugee. Consequently, cultural identity and cultural authenticity are some of the underlying themes of my visual explorations. Additionally, site-specificity has been an integral part of my studio practice, as I always consider geographical, historical, and cultural significance of the locations in my research.
“From 2015 to 2017, I made photographs from my hotel window in Ho Chi Minh City, District 1. The second-floor window offered a commanding view of the alley where it widened before the sharp left turn located under my hotel where it became narrow again. The alley served as a short cut between the congested street where it began and ended at a crowded market. What separated my camera from the alleyway was the large glass window to dampen the noise and the thin white curtain for privacy. I spent close to six months in this sixty-four square-foot hotel room, photographing obsessively from six in the morning until late at night, only taking breaks to eat or to sleep. During my process, I remained as objective as a scientist gathering visual data. The camera tripod allowed me to keep the same perspective of the scenes outside my window throughout the day.
“With this work, I aim to document, as if from the perspective of a natural scientist or archeologist. Using the camera to record facts rather than regarding it as a subjective tool, I have become increasingly intrigued with the idea of mapping my ‘own’ culture in hopes of understanding it from an outsider’s point of view using the hotel room as a metaphor for an in-between place. The window curtain was the variable that changed, in addition to the light, which also varied throughout the day. The curtain was a literal veil to the world and the culture outside my window. It serves as a metaphor for the lack of clarity and insight that I may have of my culture. From the alley I am hidden or visible depending on how wide the curtain was kept and the time of the day. The neatly arranged architecture seen from my window illustrated the rich history and the complex transition of the Vietnamese culture from French colonial, to American modernist, to contemporary high-rise.
“The project began as a survey to categorize different types of people, record gestures and behavior, map traffic patterns, and capture ‘decisive’ moments of street scenes below. Conceptually, I intended this mapping project only to reveal my difficulties of defining home—however as the project grew, the complexities of the images also have become more layered. The first image of the series revealing a man masturbating at 6:00 a.m. while leaning against his scooter below the hotel window addresses the voyeuristic nature of the project. In one set of pictures...
Category
2010s Contemporary Pipo Nguyen-Duy Color Photography
Materials
Panel, Inkjet
Headphones
By Pipo Nguyen-Duy
Located in New York, NY
Archival inkjet print mounted on aluminum
Signed and numbered, verso
12 x 18 inches
(Edition of 10)
20 x 30 inches
(Edition of 7)
30 x 35 inches
(Edition of 3)
This artwork is offered by ClampArt, located in New York City.
Pipo Nguyen-duy writes:
“I began living in the United States in 1975 as a Vietnamese refugee. Consequently, cultural identity and cultural authenticity are some of the underlying themes of my visual explorations. Additionally, site-specificity has been an integral part of my studio practice, as I always consider geographical, historical, and cultural significance of the locations in my research.
“From 2015 to 2017, I made photographs from my hotel window in Ho Chi Minh City, District 1. The second-floor window offered a commanding view of the alley where it widened before the sharp left turn located under my hotel where it became narrow again. The alley served as a short cut between the congested street where it began and ended at a crowded market. What separated my camera from the alleyway was the large glass window to dampen the noise and the thin white curtain for privacy. I spent close to six months in this sixty-four square-foot hotel room, photographing obsessively from six in the morning until late at night, only taking breaks to eat or to sleep. During my process, I remained as objective as a scientist gathering visual data. The camera tripod allowed me to keep the same perspective of the scenes outside my window throughout the day.
“With this work, I aim to document, as if from the perspective of a natural scientist or archeologist. Using the camera to record facts rather than regarding it as a subjective tool, I have become increasingly intrigued with the idea of mapping my ‘own’ culture in hopes of understanding it from an outsider’s point of view using the hotel room as a metaphor for an in-between place. The window curtain was the variable that changed, in addition to the light, which also varied throughout the day. The curtain was a literal veil to the world and the culture outside my window. It serves as a metaphor for the lack of clarity and insight that I may have of my culture. From the alley I am hidden or visible depending on how wide the curtain was kept and the time of the day. The neatly arranged architecture seen from my window illustrated the rich history and the complex transition of the Vietnamese culture from French colonial, to American modernist, to contemporary high-rise.
“The project began as a survey to categorize different types of people, record gestures and behavior, map traffic patterns, and capture ‘decisive’ moments of street scenes below. Conceptually, I intended this mapping project only to reveal my difficulties of defining home—however as the project grew, the complexities of the images also have become more layered. The first image of the series revealing a man masturbating at 6:00 a.m. while leaning against his scooter below the hotel window addresses the voyeuristic nature of the project. In one set of pictures...
Category
2010s Contemporary Pipo Nguyen-Duy Color Photography
Materials
Panel, Inkjet
Baptism
By Pipo Nguyen-Duy
Located in New York, NY
Archival pigment print
Signed and numbered, verso
24 x 18 inches
(Edition of 10)
40 x 30 inches
(Edition of 7)
56 x 42 inches
(Edition of 3)
This photograph is offered by ClampArt...
Category
2010s Contemporary Pipo Nguyen-Duy Color Photography
Materials
Archival Pigment
Circle
By Pipo Nguyen-Duy
Located in New York, NY
Archival pigment print
Signed and numbered, verso
16 x 24 inches
(Edition of 10)
20 x 30 inches
(Edition of 7)
30 x 45 inches
(Edition of 3)
This photograph is offered by ClampArt, located in New York City.
While working as a Guggenheim fellow to document Vietnamese war amputees in 2012, Pipo Nguyen...
Category
2010s Contemporary Pipo Nguyen-Duy Color Photography
Materials
Archival Pigment
Boy with Plane
By Pipo Nguyen-Duy
Located in New York, NY
Archival pigment print
Signed and numbered, verso
18 x 24 inches
(Edition of 10)
30 x 40 inches
(Edition of 7)
42 x 56 inches
(Edition of 3)
This photograph is offered by ClampArt, located in New York City.
While working as a Guggenheim fellow to document Vietnamese war amputees in 2012, Pipo Nguyen...
Category
2010s Contemporary Pipo Nguyen-Duy Color Photography
Materials
Archival Pigment
Couple Behind Curtain
By Pipo Nguyen-Duy
Located in New York, NY
Archival inkjet print mounted on aluminum
Signed and numbered, verso
12 x 18 inches
(Edition of 10)
20 x 30 inches
(Edition of 7)
30 x 35 inches
(Edition of 3)
This artwork is offered by ClampArt, located in New York City.
Pipo Nguyen-duy writes:
“I began living in the United States in 1975 as a Vietnamese refugee. Consequently, cultural identity and cultural authenticity are some of the underlying themes of my visual explorations. Additionally, site-specificity has been an integral part of my studio practice, as I always consider geographical, historical, and cultural significance of the locations in my research.
“From 2015 to 2017, I made photographs from my hotel window in Ho Chi Minh City, District 1. The second-floor window offered a commanding view of the alley where it widened before the sharp left turn located under my hotel where it became narrow again. The alley served as a short cut between the congested street where it began and ended at a crowded market. What separated my camera from the alleyway was the large glass window to dampen the noise and the thin white curtain for privacy. I spent close to six months in this sixty-four square-foot hotel room, photographing obsessively from six in the morning until late at night, only taking breaks to eat or to sleep. During my process, I remained as objective as a scientist gathering visual data. The camera tripod allowed me to keep the same perspective of the scenes outside my window throughout the day.
“With this work, I aim to document, as if from the perspective of a natural scientist or archeologist. Using the camera to record facts rather than regarding it as a subjective tool, I have become increasingly intrigued with the idea of mapping my ‘own’ culture in hopes of understanding it from an outsider’s point of view using the hotel room as a metaphor for an in-between place. The window curtain was the variable that changed, in addition to the light, which also varied throughout the day. The curtain was a literal veil to the world and the culture outside my window. It serves as a metaphor for the lack of clarity and insight that I may have of my culture. From the alley I am hidden or visible depending on how wide the curtain was kept and the time of the day. The neatly arranged architecture seen from my window illustrated the rich history and the complex transition of the Vietnamese culture from French colonial, to American modernist, to contemporary high-rise.
“The project began as a survey to categorize different types of people, record gestures and behavior, map traffic patterns, and capture ‘decisive’ moments of street scenes below. Conceptually, I intended this mapping project only to reveal my difficulties of defining home—however as the project grew, the complexities of the images also have become more layered. The first image of the series revealing a man masturbating at 6:00 a.m. while leaning against his scooter below the hotel window addresses the voyeuristic nature of the project. In one set of pictures...
Category
2010s Contemporary Pipo Nguyen-Duy Color Photography
Materials
Panel, Inkjet
Untitled (Bed, 03.2004)
By Pipo Nguyen-Duy
Located in New York, NY
Archival pigment print
Signed and numbered, verso
18 x 24 inches
(Edition of 10)
30 x 40 inches
(Edition of 7)
45 x 60 inches
(Edition of 3)
This photograph is offered by ClampArt...
Category
Early 2000s Contemporary Pipo Nguyen-Duy Color Photography
Materials
Archival Pigment
Untitled (10-02-C-02.2009)
By Pipo Nguyen-Duy
Located in New York, NY
Archival pigment print
Signed and numbered, verso
18 x 24 inches
(Edition of 10)
30 x 40 inches
(Edition of 7)
45 x 60 inches
(Edition of 3)
This photograph is offered by ClampArt...
Category
Early 2000s Contemporary Pipo Nguyen-Duy Color Photography
Materials
Archival Pigment
Untitled (Snow, 03.2010)
By Pipo Nguyen-Duy
Located in New York, NY
Archival pigment print
Signed and numbered, verso
18 x 24 inches
(Edition of 10)
30 x 40 inches
(Edition of 7)
45 x 60 inches
(Edition of 3)
This photograph is offered by ClampArt...
Category
2010s Contemporary Pipo Nguyen-Duy Color Photography
Materials
Archival Pigment
Tiny Soldier
By Pipo Nguyen-Duy
Located in New York, NY
Archival pigment print
Signed and numbered, verso
16 x 24 inches
(Edition of 10)
20 x 30 inches
(Edition of 7)
30 x 45 inches
(Edition of 3)
This photograph is offered by ClampArt, located in New York City.
While working as a Guggenheim fellow to document Vietnamese war amputees in 2012, Pipo Nguyen...
Category
2010s Contemporary Pipo Nguyen-Duy Color Photography
Materials
Archival Pigment
Duck Pond (Couple)
By Pipo Nguyen-Duy
Located in New York, NY
Archival pigment print
Signed and numbered, verso
16 x 24 inches
(Edition of 10)
20 x 30 inches
(Edition of 7)
30 x 45 inches
(Edition of 3)
This photograph is offered by ClampArt, located in New York City.
While working as a Guggenheim fellow to document Vietnamese war amputees in 2012, Pipo Nguyen...
Category
2010s Contemporary Pipo Nguyen-Duy Color Photography
Materials
Archival Pigment
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Pipo Nguyen-duy color photography for sale on 1stDibs.
Find a wide variety of authentic Pipo Nguyen-Duy color photography available for sale on 1stDibs. If you’re browsing the collection of color photography to introduce a pop of color in a neutral corner of your living room or bedroom, you can find work that includes elements of green, red and other colors. You can also browse by medium to find art by Pipo Nguyen-Duy in archival pigment print, pigment print, digital print and more. Much of the original work by this artist or collective was created during the 21st century and contemporary and is mostly associated with the contemporary style. Not every interior allows for large Pipo Nguyen-Duy color photography, so small editions measuring 18 inches across are available. Customers who are interested in this artist might also find the work of Lee Wells, Amy Stein, and Joshua Lutz. Pipo Nguyen-Duy color photography prices can differ depending upon medium, time period and other attributes. On 1stDibs, the price for these items starts at $1,200 and tops out at $1,500, while the average work can sell for $1,250.