Kelley Roy Gallery Abstract Photography

'Crystal' Printed on archival paper with museum-grade precision, this limited edition work balances mystery and simplicity. A photograph is carefully placed in a secure cardboard p...

A graffiti street scene in New York City becomes a semi-abstract picture. Signed and dated on lower right, numbered on verso Edition 3 of 15. Unframed. Other size available, Printe...

'Red boat' Printed on archival paper with museum-grade precision, this limited edition work balances mystery and simplicity. A photograph is carefully placed in a secure cardboard ...

Blue Bird is a quiet study in reflection, shadow, and stillness. A mountain ridge dissolves into deep black, its form mirrored in a soft, spectral blue. The image, flipped and near a...

Henry and the Jelly Fish'(Stay) with Ryan Gosling - 2006 48x46cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and certificate. Ar...

Signed and dated on lower right, numbered on verso, 4/15 Printed later, other size available, unframed, printed later, Printed on Hahnemühle Fine Art paper Photo-Abstract impressio...

Henry and the Jelly Fish (Stay) with Ryan Gosling - 2006 128x125cm, Edition of 5 plus 2 Artist Proofs. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the original Polaroid. Signature label and certificate. Artist Inventory Number 5501. Not mounted. ------------------------------------------------ A piece of art from the movie 'Stay' by Stefanie Schneider Stefanie created the art for both main actors Naomi Watts and Ryan Gosling in the movie 'Stay' directed by Marc Forster. She also created the art for several dream sequences and the end credit sequence for the movie. “I never remember the details of a Stefanie Schneider image, just the whole. She treads a third path between reality and dream that connects the two and truly sparks my artistic, visual freedom.” (Marc Forster) 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, only that exists which can be photographed. He ultimately enters the world of fantasy and thereby the field of art only unwillingly, when he becomes entangled in the world of his images. The last of his detail-enlargements shows only the photographic grain and has lost all connection to reality. The photograph looks as if it had been painted by Bill, the painter who is both friend and antagonist to the protagonist.

 Photography as Art It was first around the end of the last century that numerous filmmakers discovered photography as a genuine art form. In The Bridges of Madison County (USA, 1995) a sensitive Clint Eastwood stands, camera in hand, on the threshold of artistic status, and in Smoke (USA, 1994) a tobacco merchant ripens into a philosopher through his involvement in photography. Finally, in John Water’s parody of the art market, Pecker (USA, 1998), a provincial tom-fool is hyped into celebrated stardom amid the New York art scene because of his blurred snapshots. This film about a postmodern Kaspar Hauser in photographic art (with clear parallels to Richard Billingham...

When the Eiffel Tower was conceived in 1886, it was to be a symbol of aesthetic avant-garde thinking. In 1994, Photographer Mitchell Funk pays homage to Gustave Eiffel's spirit of ...

'Lily in Charcoal no.2' 2023 From raw energy to sublime. 'Lily in Charcoal No.2' is an expression piece combining an abstract charcoal drawing with a...

Photographer Mitchell Funk demonstrates the link between minimalism and street photography, which is usually associated with a loose snapshot style. The present image fuses differen...

A flock of birds at sunset in East Hampton is captured by color photographer Mitchell Funk. The overall composition without a central point of focus is not unlike the work of East H...

Blue Bird is a quiet study in reflection, shadow, and stillness. A mountain ridge dissolves into deep black, its form mirrored in a soft, spectral blue. The image, flipped and near a...