Front Room Gallery Figurative Photography

35" 42"" fine art photograph, hand signed by the artist. This color photograph depicts a basketball court in Van...

10"x30" c-print photograph, limited edition of 10 signed upon reverse, depicting a freight train car from the Union Pacific railroad, coated in colorful graffiti. The tagger team collaborated in a writing session on the train car using the same colors, in gradient colors of yellow, orange and pink letters, outlined in blue. The cream white metal sides of the train car are the perfect 'canvas' for the tags some recognized as "Trigz" "Betor" "Croox" "ICR". The photographer, Stephen Mallon, captures this moving train car and its tagged graffiti sides as it travels through the landscape of America, with a bucolic blue clouded sky just behind the railroad freight train car. This is a limited edition, color photograph by the New York artist, Stephen Mallon, capturing moving freight trains in the United States. This series tracks the still active railroad lines and their rail cars in America, featured in "Passing West". Front Room Gallery is pleased to present, “Passing West” a solo exhibition of photographs by Stephen Mallon. “Passing West” is a continuation of Mallon’s “Passing Freight” series, a visual celebration of the unique beauty and function of freight train cars in United States. This series of photographs captures the still active rail lines that carry freight to destinations across the country. Mallon’s industrial landscape photographs isolate freight cars within this iconic transportation system, which has played a critical role in supply infrastructure across the continent for hundreds of years. The photos in “Passing West” are framed against the open plains, mountain ranges, and the salt flats— mostly taken during a residency at the Montello Foundation in 2020, in which Mallon travelled the countryside of Utah and Nevada. Poised against the rugged western landscape Mallon’s photographs of train cars often appear to carry the weight of the mountains themselves. Whether they are covered in graffitti or smartly displaying the rail lines iconic logos, each of these cars are brimming with it’s own individual personality. In one “Hopper” car, the tan car stands in front of the dusty desert mountains, and on it graffitti states “confront my toxic masculinty”. Another car, a yellow caboose with the crimson “Union Pacific” logo on it, would be as comfortable in an episode of “Thomas the Tank Engine” as on the set of “East of Eden”. Some of the open Box cars actually frame the mountains and flats themselves with their rectilinear shapes. These trains are all moving, quite literally. And while they might appear to be stopped in the photograph, it is only for that split second as they pass Stephen Mallon, his camera, and his tripod. Mallon’s procedure involves many elements including the perfect location, light, the individual personality of each car, the trickiness of getting exactly the right moment, and patience. The intersection of mechanical and natural worlds, singular encounters where the trains activate the landscape are hard to predict. About Stephen Mallon Stephen Mallon is a photographer and filmmaker who specializes in the industrial-scale creations of mankind at unusual moments of their life cycles. Mallon’s work blurs the line between documentary and fine art, revealing the industrial landscape to be unnatural, desolate and functional yet simultaneously also human, surprising and inspiring. It has been featured in publications and by broadcasters including The New York Times, National Geographic, NBC, The Wall Street Journal, The Daily Mail, MSNBC, The Atlantic, GQ, CBS, the London Times...

15"x45" c-print photograph, limited edition of 10 signed upon reverse, depicting a freight train car from the Union Pacific railroad, coated in colorful graffiti. The tagger team collaborated in a writing session on the train car using the same colors, in gradient colors of yellow, orange and pink letters, outlined in blue. The cream white metal sides of the train car are the perfect 'canvas' for the tags some recognized as "Trigz" "Betor" "Croox" "ICR". The photographer, Stephen Mallon, captures this moving train car and its tagged graffiti sides as it travels through the landscape of America, with a bucolic blue clouded sky just behind the railroad freight train car. This is a limited edition, color photograph by the New York artist, Stephen Mallon, capturing moving freight trains in the United States. This series tracks the still active railroad lines and their rail cars in America, featured in "Passing West". Front Room Gallery is pleased to present, “Passing West” a solo exhibition of photographs by Stephen Mallon. “Passing West” is a continuation of Mallon’s “Passing Freight” series, a visual celebration of the unique beauty and function of freight train cars in United States. This series of photographs captures the still active rail lines that carry freight to destinations across the country. Mallon’s industrial landscape photographs isolate freight cars within this iconic transportation system, which has played a critical role in supply infrastructure across the continent for hundreds of years. The photos in “Passing West” are framed against the open plains, mountain ranges, and the salt flats— mostly taken during a residency at the Montello Foundation in 2020, in which Mallon travelled the countryside of Utah and Nevada. Poised against the rugged western landscape Mallon’s photographs of train cars often appear to carry the weight of the mountains themselves. Whether they are covered in graffitti or smartly displaying the rail lines iconic logos, each of these cars are brimming with it’s own individual personality. In one “Hopper” car, the tan car stands in front of the dusty desert mountains, and on it graffitti states “confront my toxic masculinty”. Another car, a yellow caboose with the crimson “Union Pacific” logo on it, would be as comfortable in an episode of “Thomas the Tank Engine” as on the set of “East of Eden”. Some of the open Box cars actually frame the mountains and flats themselves with their rectilinear shapes. These trains are all moving, quite literally. And while they might appear to be stopped in the photograph, it is only for that split second as they pass Stephen Mallon, his camera, and his tripod. Mallon’s procedure involves many elements including the perfect location, light, the individual personality of each car, the trickiness of getting exactly the right moment, and patience. The intersection of mechanical and natural worlds, singular encounters where the trains activate the landscape are hard to predict. About Stephen Mallon Stephen Mallon is a photographer and filmmaker who specializes in the industrial-scale creations of mankind at unusual moments of their life cycles. Mallon’s work blurs the line between documentary and fine art, revealing the industrial landscape to be unnatural, desolate and functional yet simultaneously also human, surprising and inspiring. It has been featured in publications and by broadcasters including The New York Times, National Geographic, NBC, The Wall Street Journal, The Daily Mail, MSNBC, The Atlantic, GQ, CBS, the London Times...

17"x24" color photograph signed on the reverse by the artist. This fine art photograph depicts the interior warehouse of the historic Brooklyn Domino Sugar...

C Print Photograph 40"x60" edition of 5, available unframed. This color photograph depicts an abstract compositi...

20"x60" c-print photograph, limited edition of 10 signed upon reverse, depicting a freight train car from the Un...

Ashok Sinha's luminous color photograph "Be My Valentine" features the shadows of a mother and an infant. The pairs silohuette is bathed in an amber glow against the wall, with a crib...

From the series "We are the Kings and Queens of Narnia." This is a series of photographs about Bezzubov's famil...

Boxcar CSXT 994 371 is a photograph by the photographer Stephen Mallon. In this photo a grey boxcar with the wor...

Sasha Bezzubov’s photographic approach has developed through diverse series that address the contemporary condition and explore the nature of the document. Sasha Bezzubov uses a large format camera to photograph the people and the land in diverse series including, The Gringo Project, Expats and Natives, Things Fall Apart...

27"x40" unframed photograph, edition of 10, signed on reverse. This photograph was taken at the site of Brookl...

27"x40" limited edition of 10 signed on reverse. This photograph was taken at the site of Brooklyn's Domino Su...

C Print Photograph 30" x45", edition 5 of 5, C Print Photograph, signed on reverse, unframed- this is the final ...

limited edition of 5, signed on reverse by the artist, Phillip Buehler. This photograph has a kaleidoscope feel in the geometric pattern of blue clouded sky tiles and salmon coral diamond paneling. It captures the view of the open panel ceiling of the atrium in the abandoned Wayne Hills Mall...

limited edition of 5, signed on reverse by the artist, Phillip Buehler. A view of the crumbling panel ceiling of the courtyard in the abandoned Wayne Hills Mall...

limited edition of 5, signed on reverse by the artist, Phillip Buehler. Flooded hallways and abandoned kiosks are all that remains of the shops at Wayne Hill's Mall. This photograph depicts the once active Blimpie's sandwich shop. It's famous logo and neon sign still intact in the dilapidated mall. This photograph is a featured in a solo exhibition of Phillip Buehler's photographs, entitled: “Mallrat to Snapchat: The End of the Third Place.” Front Room Gallery is proud to present “Mallrat to Snapchat: The End of the Third Place,” on view November 29th - January 12th. January recent work by photographer Phillip Buehler documenting the death of the Wayne Hills Mall in Wayne, New Jersey. This is Buehler’s second solo show at Front Room Gallery. Buehler’s exhibition is part photography, part installation, part cultural critique, mixed in with nostalgia and genuine affection for this very American economical and sociological experiment— The Mall. Buehler takes a very intimate look at the beginning, and possibly ending, of mall culture in the United States featuring not only photographs, but also artifacts from the mall and its opening year, 1973. Under a photograph of a desolate Sam Goody will be a bin filled with almost 100 albums from that year, that visitors can flip through and play in the gallery on a vintage record player. Buehler’s photos of iconic hangouts and lowbrow teenage meeting places ring out from the 1970’s, 80’s, and 90’s but are torn away from their movie soundtracks and sent into an apocalyptic icy future. Featuring Sam Goody, Waldenbooks, Toys R Us...

limited edition of 5, signed on reverse by the artist, Phillip Buehler. This photograph depicts what remains of the of the Sam Goody entrance at the deserted Wayne Hills Mall, in Wayne, New Jersey. The prominent sign to the entrance of the mall, has been removed yet, there is still the vaguely visible lettering on the grand entrance to the closed retailer. Phillip Buehler captures the last stages of the life of the once bustling mall, with the empty corridors and dilapidated storefronts and kiosks. This photograph is a featured in a solo exhibition of Phillip Buehler's photographs, entitled: “Mallrat to Snapchat: The End of the Third Place.” Front Room Gallery is proud to present “Mallrat to Snapchat: The End of the Third Place,” on view November 29th - January 12th. January recent work by photographer Phillip Buehler documenting the death of the Wayne Hills Mall in Wayne, New Jersey. This is Buehler’s second solo show at Front Room Gallery. Buehler’s exhibition is part photography, part installation, part cultural critique, mixed in with nostalgia and genuine affection for this very American economical and sociological experiment— The Mall. Buehler takes a very intimate look at the beginning, and possibly ending, of mall culture in the United States featuring not only photographs, but also artifacts from the mall and its opening year, 1973. Under a photograph of a desolate Sam Goody will be a bin filled with almost 100 albums from that year, that visitors can flip through and play in the gallery on a vintage record player...

24"x30 contemporary color photograph, limited edition of 5, signed on reverse by the artist, Phillip Buehler. The shuttered gate of Waldenbooks appears as an ineffectual effort in the dilapidated scene captured by Phillip Buehler. The once brilliant sign has been removed, yet you can see the aura of the letters, appearing as black signage against a grey-black surface. Debris and trash litter the flooded corridor, creating a errie feeling. This photograph is a featured in a solo exhibition of Phillip Buehler's photographs, entitled: “Mallrat to Snapchat: The End of the Third Place.” Front Room Gallery is proud to present “Mallrat to Snapchat: The End of the Third Place,” on view November 29th - January 12th. January recent work by photographer Phillip Buehler documenting the death of the Wayne Hills Mall in Wayne, New Jersey. This is Buehler’s second solo show at Front Room Gallery. Buehler’s exhibition is part photography, part installation, part cultural critique, mixed in with nostalgia and genuine affection for this very American economical and sociological experiment— The Mall. Buehler takes a very intimate look at the beginning, and possibly ending, of mall culture in the United States featuring not only photographs, but also artifacts from the mall and its opening year, 1973. Under a photograph of a desolate Sam Goody will be a bin filled with almost 100 albums from that year, that visitors can flip through and play in the gallery on a vintage record player...

24"x30" contemporary color photograph, limited edition of 5, signed on reverse by the artist, Phillip Buehler. This photograph depicts the time ravaged corridor of the abandoned Wayne Hills Mall, in Wayne, New Jersey. A waterlogged hallway leads from the crumbling atrium to the empty storefront shell of Art World, with its sign still intact on the upper wall of the shop. Phillip Buehler captures the last stages of the life of the once bustling mall, with the empty corridors and dilapidated storefronts and kiosks. This photograph is a featured in a solo exhibition of Phillip Buehler's photographs, entitled: “Mallrat to Snapchat: The End of the Third Place.” Front Room Gallery is proud to present “Mallrat to Snapchat: The End of the Third Place,” on view November 29th - January 12th. January recent work by photographer Phillip Buehler documenting the death of the Wayne Hills Mall in Wayne, New Jersey. This is Buehler’s second solo show at Front Room Gallery. Buehler’s exhibition is part photography, part installation, part cultural critique, mixed in with nostalgia and genuine affection for this very American economical and sociological experiment— The Mall. Buehler takes a very intimate look at the beginning, and possibly ending, of mall culture in the United States featuring not only photographs, but also artifacts from the mall and its opening year, 1973. Under a photograph of a desolate Sam Goody will be a bin filled with almost 100 albums from that year, that visitors can flip through and play in the gallery on a vintage record player. Buehler’s photos of iconic hangouts and lowbrow teenage meeting places ring out from the 1970’s, 80’s, and 90’s but are torn away from their movie soundtracks and sent into an apocalyptic icy future. Featuring Sam Goody, Waldenbooks, Toys R Us...

24"x30" contemporary color photograph, limited edition of 5, signed on reverse by the artist, Phillip Buehler. This photograph depicts the remnants of a Sam Goody shopfront in the now closed and demolished, Wayne Hills Mall, in Wayne, New Jersey. Phillip Buehler captures the last stages of the life of the once bustling mall, with the empty corridors and dilapidated storefronts and kiosks. This photograph is a featured in a solo exhibition of Phillip Buehler's photographs, entitled: “Mallrat to Snapchat: The End of the Third Place.” Front Room Gallery is proud to present “Mallrat to Snapchat: The End of the Third Place,” on view November 29th - January 12th. January recent work by photographer Phillip Buehler documenting the death of the Wayne Hills Mall in Wayne, New Jersey. This is Buehler’s second solo show at Front Room Gallery. Buehler’s exhibition is part photography, part installation, part cultural critique, mixed in with nostalgia and genuine affection for this very American economical and sociological experiment— The Mall. Buehler takes a very intimate look at the beginning, and possibly ending, of mall culture in the United States featuring not only photographs, but also artifacts from the mall and its opening year, 1973. Under a photograph of a desolate Sam Goody will be a bin filled with almost 100 albums from that year, that visitors can flip through and play in the gallery on a vintage record player. Buehler’s photos of iconic hangouts and lowbrow teenage meeting places ring out from the 1970’s, 80’s, and 90’s but are torn away from their movie soundtracks and sent into an apocalyptic icy future. Featuring Sam Goody, Waldenbooks, Toys R Us...

24"x30" photograph, limited edition of 5, signed on reverse by the artist, Phillip Buehler. Barricaded with a wall of gnarled metal, the abandoned mall's entrance is blocked by a wall of debris. Phillip Buehler's photograph captures the unsettling scene of the closed mall, seemingly taken from a post-apocolyptic, science-fiction scene. This photograph is a featured in a solo exhibition of Phillip Buehler's photographs, entitled: “Mallrat to Snapchat: The End of the Third Place.” Front Room Gallery is proud to present “Mallrat to Snapchat: The End of the Third Place,” on view November 29th - January 12th. January recent work by photographer Phillip Buehler documenting the death of the Wayne Hills Mall in Wayne, New Jersey. This is Buehler’s second solo show at Front Room Gallery. Buehler’s exhibition is part photography, part installation, part cultural critique, mixed in with nostalgia and genuine affection for this very American economical and sociological experiment— The Mall. Buehler takes a very intimate look at the beginning, and possibly ending, of mall culture in the United States featuring not only photographs, but also artifacts from the mall and its opening year, 1973. Under a photograph of a desolate Sam Goody will be a bin filled with almost 100 albums from that year, that visitors can flip through and play in the gallery on a vintage record player...

limited edition of 5, signed on reverse by the artist, Phillip Buehler. A view of the open panel ceiling of the atrium in the abandoned Wayne Hills Mall...

limited edition of 5, signed on reverse by the artist, Phillip Buehler. Barricaded with a wall of gnarled metal, the abandoned mall's entrance is blocked by a wall of debris. Phillip Buehler's photograph captures the unsettling scene of the closed mall, seemingly taken from a post-apocolyptic, science-fiction scene. This photograph is a featured in a solo exhibition of Phillip Buehler's photographs, entitled: “Mallrat to Snapchat: The End of the Third Place.” Front Room Gallery is proud to present “Mallrat to Snapchat: The End of the Third Place,” on view November 29th - January 12th. January recent work by photographer Phillip Buehler documenting the death of the Wayne Hills Mall in Wayne, New Jersey. This is Buehler’s second solo show at Front Room Gallery. Buehler’s exhibition is part photography, part installation, part cultural critique, mixed in with nostalgia and genuine affection for this very American economical and sociological experiment— The Mall. Buehler takes a very intimate look at the beginning, and possibly ending, of mall culture in the United States featuring not only photographs, but also artifacts from the mall and its opening year, 1973. Under a photograph of a desolate Sam Goody will be a bin filled with almost 100 albums from that year, that visitors can flip through and play in the gallery on a vintage record player. Buehler’s photos of iconic hangouts and lowbrow teenage meeting places ring out from the 1970’s, 80’s, and 90’s but are torn away from their movie soundtracks and sent into an apocalyptic icy future. Featuring Sam Goody, Waldenbooks, Toys R Us...

limited edition of 5, signed on reverse by the artist, Phillip Buehler. As the Holiday season approaches we can...

limited edition of 5, signed on reverse by the artist, Phillip Buehler. The shuttered gate of Waldenbooks appears as an ineffectual effort in the dilapidated scene captured by Phillip Buehler. The once brilliant sign has been removed, yet you can see the aura of the letters, appearing as black signage against a grey-black surface. Debris and trash litter the flooded corridor, creating a errie feeling. This photograph is a featured in a solo exhibition of Phillip Buehler's photographs, entitled: “Mallrat to Snapchat: The End of the Third Place.” Front Room Gallery is proud to present “Mallrat to Snapchat: The End of the Third Place,” on view November 29th - January 12th. January recent work by photographer Phillip Buehler documenting the death of the Wayne Hills Mall...

limited edition of 5, signed on reverse by the artist, Phillip Buehler. A flood of water creates a reflected surface of debris along the floor of the abandoned store in this photograph. Buehler has captured the time capsule effect of the remnants of the store with its geometric patterns in pink, teal and grey denoting the former 'glory days' of the Wayne Hills Mall...

limited edition of 5, signed on reverse by the artist, Phillip Buehler. The quaint facade of the beloved "Town ...

limited edition of 5, signed on reverse by the artist, Phillip Buehler. This photograph depicts the time ravaged former "Sound-a-Rama" storefront in the abandoned Wayne Hills Mall, in Wayne, New Jersey. A sign still hangs in the dilapidated and vacant store awning. The shop's waterlogged ceiling has collapsed, and pools of water have formed along the once busy hallway of the mall. This photograph is a featured in a solo exhibition of Phillip Buehler's photographs, entitled: “Mallrat to Snapchat: The End of the Third Place.” Front Room Gallery is proud to present “Mallrat to Snapchat: The End of the Third Place,” on view November 29th - January 12th. January recent work by photographer Phillip Buehler documenting the death of the Wayne Hills Mall in Wayne, New Jersey. This is Buehler’s second solo show at Front Room Gallery. Buehler’s exhibition is part photography, part installation, part cultural critique, mixed in with nostalgia and genuine affection for this very American economical and sociological experiment— The Mall. Buehler takes a very intimate look at the beginning, and possibly ending, of mall culture in the United States featuring not only photographs, but also artifacts from the mall and its opening year, 1973. Under a photograph of a desolate Sam Goody will be a bin filled with almost 100 albums from that year, that visitors can flip through and play in the gallery on a vintage record player. Buehler’s photos of iconic hangouts and lowbrow teenage meeting places ring out from the 1970’s, 80’s, and 90’s but are torn away from their movie soundtracks and sent into an apocalyptic icy future. Featuring Sam Goody, Waldenbooks, Toys R Us...

limited edition of 5, signed on reverse by the artist, Phillip Buehler. This photograph depicts the time ravaged former "Footlocker" storefront in the abandoned Wayne Hills Mall...

limited edition of 5, signed on reverse by the artist, Phillip Buehler. This photograph depicts the faint residual outlines of the sign to the Avenue store at the deserted Wayne Hills Mall...

limited edition of 5, signed on reverse by the artist, Phillip Buehler. This photograph depicts an interior vie...

limited edition of 5, signed on reverse by the artist, Phillip Buehler. This photograph depicts the time ravage...

limited edition of 5, signed on reverse by the artist, Phillip Buehler. This photograph depicts the remnants of...

limited edition of 5 signed by the artists on reverse (available unframed - please inquire about framing options). This photograph is taken with a large format camera, capturing immense detail and a sense of scale and color in this atmospheric image of the OSHO No Dimensions form of meditation. The OSHO Meditation Ashram in Pune, India is 120 kms south-east of Mumbai and is one of the world's largest centers for personal growth and meditation. This photograph, seems infused with a meditative spirit and tranquility. The Searchers is a series of large-scale photographs examining Western...

20"x30" This is a limited edition photograph, newly released by the New York artist, Stephen Mallon. It is 20"x3...

"Diver in Icy Water" 30"x45" photograph - edition of 5 (unframed) This photograph is featured in our current e...

This is a limited edition photograph, newly released by the New York artist, Stephen Mallon. It is 30"x45" editi...

24"x30" archival pigment print, signed and editioned by the artist, 1/5 Phillip Buehler has been photographing ...

Untitled, from Sub/Culture archival pigment inkjet 17x25" 2012 1/10 In the early 1990s, after moving to Provid...

40"x60" C-Print photograph edition of 5, signed on reverse This photograph is featured in a current exh...

40"x60" C-Print photograph edition of 5, signed on reverse This photograph is featured in a current exhibi...

C Print Photograph, signed on reverse available as 30"x45" edition of 5, framed and mounted in high q...

24"x 30" photograph, edition of 5, signed on reverse This photograph was taken at Greystone Park Hospital, an...

30"x45" C-Print photograph, edition of 5, signed on reverse This photograph by Stephen Mallon is taken aboard t...

This is a large scale photograph, limited edition of 5, signed by the artist on the reverse. Available unframed,...

17"x25" signed on reverse, available unframed, This photograph was taken at the site of Brooklyn's Domino Sugar...

17"x25" signed on reverse, presented mounted and framed in a hardwood, shadowbox frame, with spacers a...

60"x40" limited edition of 10 photograph, #2/10 signed and editioned on reverse by the artist. This photograph...

24"x30" photograph, signed and editioned on reverse. (edition of 5) This photograph is from a series entitled, “(UN)THINKABLE,” the culmination of 25 years of Phillip Buehler’s work photographing remnants of the Cold War throughout the United States and Europe. Buehler has visited NATO airbases, Cape Canaveral, the Airplane Graveyard, missile bunkers and silos (even within New York City’s borders) among many other sites that are historic, and yet hidden, forbidden, and forgotten. Photographs from this series will be featured in a solo exhibition this September at the Front Room Gallery. For anyone growing up during the Cold War the sense of dread of the world’s annihilation was all to concrete. It was evidenced in films like “Dr. Strangelove” and “The Day After.” Everyone knew the U.S. had enough nuclear weapons to destroy the world 5 times over, and assumed something similar about the Russians. For those not old enough to remember this built in fear, don’t worry (worry) it is reawakening. We don’t need another Cuban Missile Crisis to push us to the brink, the renewed tension with the Russians, and now North Korea’s recent entry in the nuclear weapons club is more than enough to unnerve anyone who is watching these conflicts unfold. Phillip Buehler is watching closely. Through this comprehensive series Buehler’s photos show many aspects of this non-war war. In Buehler’s aerial photographs from a military airplane storage yard in Arizona the repetition of the same model of bomber aircraft are so abstractly pattern-based that the overall effect beginnings to feel like a Middle Eastern tapestry...

24"x30" will photograph, signed and editioned on reverse. (edition of 5) This photograph is from a series entitled, “(UN)THINKABLE,” the culmination of 25 years of Phillip Buehler’s work photographing remnants of the Cold War throughout the United States and Europe. Buehler has visited NATO airbases, Cape Canaveral, the Airplane Graveyard, missile bunkers and silos (even within New York City’s borders) among many other sites that are historic, and yet hidden, forbidden, and forgotten. Photographs from this series will be featured in a solo exhibition this September at the Front Room Gallery. For anyone growing up during the Cold War the sense of dread of the world’s annihilation was all to concrete. It was evidenced in films like “Dr. Strangelove” and “The Day After.” Everyone knew the U.S. had enough nuclear weapons to destroy the world 5 times over, and assumed something similar about the Russians. For those not old enough to remember this built in fear, don’t worry (worry) it is reawakening. We don’t need another Cuban Missile Crisis to push us to the brink, the renewed tension with the Russians, and now North Korea’s recent entry in the nuclear weapons club is more than enough to unnerve anyone who is watching these conflicts unfold. Phillip Buehler is watching closely. Through this comprehensive series Buehler’s photos show many aspects of this non-war war. In Buehler’s aerial photographs from a military airplane storage yard in Arizona the repetition of the same model of bomber aircraft are so abstractly pattern-based that the overall effect beginnings to feel like a Middle Eastern...

archival dye-sub print on aluminum. 14"x20" edition of 25 signed on reverse This photograph depicts the iconic...

The graphic red orange and white pattern of the tent canopy, composed with the metal trestle arches creates a visual symmetry in this color photograph. The soft geometry of the central salt pile mimic the arch and undulating forms in orange ceiling pattern of the shed. 24"x48" will photograph, signed and editioned on reverse. (edition of 5). Unframed, please inquire about framing options. Buehler has visited NATO airbases, Cape Canaveral, the Airplane Graveyard, missile bunkers and silos (even within New York City’s borders) among many other sites that are historic, and yet hidden, forbidden, and forgotten. Photographs from this series will be featured in a solo exhibition this September at the Front Room Gallery. For anyone growing up during the Cold War the sense of dread of the world’s annihilation was all to concrete. It was evidenced in films like “Dr. Strangelove” and “The Day After.” Everyone knew the U.S. had enough nuclear weapons to destroy the world 5 times over, and assumed something similar about the Russians. For those not old enough to remember this built in fear, don’t worry (worry) it is reawakening. We don’t need another Cuban Missile Crisis to push us to the brink, the renewed tension with the Russians, and now North Korea’s recent entry in the nuclear weapons club is more than enough to unnerve anyone who is watching these conflicts unfold. Phillip Buehler is watching closely. Through this comprehensive series Buehler’s photos show many aspects of this non-war war. In Buehler’s aerial photographs from a military airplane storage yard in Arizona the repetition of the same model of bomber aircraft are so abstractly pattern-based that the overall effect beginnings to feel like a Middle Eastern...

20"x 24" available unframed This photograph depicts a look down a stairwell at Greystone Park Hospital, from...

20"x30" photograph, edition of 5 signed on reverse. In this photograph by Zoe Wetherall, “Horses” two horses s...

This limited edition of 10, (#1/10) photograph is signed and editioned on the reverse by the artist and is unframed. It depicts the interior warehouse of the historic Brooklyn Domino Sugar...

30"x40" photograph, signed on reverse by the artist, edition of 5 Sasha Bezzubov’s photographic approach has developed through diverse series that address the contemporary condition and explore the nature of the document. Working both solo and with his sometime collaborator Jessica Sucher, Sasha Bezzubov uses a large format camera to photograph the people and the land in diverse series including, The Gringo Project, Expats and Natives, Things Fall Apart, The Searchers, Albedo Zone, Facts on the Ground and most recently, Republic of Dust. Bezzubov is a two-time recipient of the Fulbright Scholarship Award. His work has been included in numerous solo and group exhibitions including International Biennial of Photography and Visual Arts (Liege, Belgium); Tucson Museum of Art; Museum Belvedere (The Netherlands); Herter Art Gallery (University of Massachusetts); Wavehill (New York); New Orleans Museum of Art; and Noorderlicht Photography Festival (The Netherlands). In 2009 Nazraelli Press published Bezzubov’s monograph Wildfire (introduction by Bill McKibben). In 2011 Daniel Cooney...

28"x40" photograph, edition of 5 signed on reverse. In this photograph by Zoe Wetherall, “Horses” two horses s...

edition of 5, signed by the artist, Zoe Wetherall This image represents the combination of the artist's love of...

edition of 5, signed by the artist, Zoe Wetherall This image represents the combination of the artist's love of...

edition of 5, signed by the artist, Zoe Wetherall This image represents the combination of the artist's love of...