Robin Rice Gallery Fine Photography Art
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"Gustavo", Miami Beach, Florida, 1997
By Lynda Churilla
Located in Hudson, NY
Gustavo, depicts a male figure seated poolside with head bowed. The pose and the wet sheen to his hair and skin give the subject a classic, sculptural look.
Churilla draws from her ...
Category
1990s Contemporary Black and White Photography
Materials
Archival Pigment
"Freddy, Chateau Marmont", Los Angeles, California, 1997
By Lynda Churilla
Located in Hudson, NY
A vulnerable portrait of a man as he emerges and leans against the side of a pool. His relaxed positioning is contrasted by the stern, focused look in his eyes.
Churilla draws from ...
Category
1990s Contemporary Black and White Photography
Materials
Archival Pigment
Derek #1
By Jose Picayo
Located in Hudson, NY
Listing is for UNFRAMED print. Inquire within for framing.
Edition 1 of 25.
If the exhibition piece is sold or the customer orders a different print size, the photograph is p...
Category
1990s Figurative Photography
Materials
Silver Gelatin
"Cutting Dies", 2010
By Ian Gittler
Located in Hudson, NY
Ian Gittler’s Motor Art series-photographs of century-old engine parts, gears, sparkplugs, and brand tags-offers respite from the digital fetishism, overexposure and one-hundred-forty-character bursts of communication that seem to define our era. Gittler is no luddite, he loves his iPhone. But these images, often obscuring the objects beyond identification, take unsentimental pleasure in elements of weight, ground, volume and permanence that are more closely associated with a bygone heyday of industrialization.
These photographs are about a tangible physical experience, about moving parts. Gittler’s expert printing-his ability to see the potential in a frame and employ the techniques necessary to articulate that vision on paper-brings the work to life. There’s wit in the brand iconography and a documentary component, but Gittler resists prescribing interpretations, saying subtext isn’t the point. His use of extremely shallow depth of field, intense contrast and exploded grain is muscular and poetic. But subtext is relevant.
Although Robin Rice first approached Ian Gittler about his vector-based art on photo paper, the gallerist challenged him to create a series of photographs with that kind of machismo. As a native New Yorker who was marched through the halls of MOMA as a toddler, Gittler’s inspiration-his idea of macho-has less to do with cowboys and racecar drivers than with Franz Kline brushstrokes and modernist design. For Gittler, macho means the maximum amount of black ink that can lie across a sheet of photo paper. That kind of force. He narrowed his field of view for this series-often to a centimeter or two-in order to achieve a purely visual, visceral response.
Gittler titled the work Motor Art in tribute to the 1934 Museum of Modern Art exhibit, Machine Art. Upon its sixtieth anniversary, Phillip Johnson wrote of the show (and of his own essay for its original opening), “The thrust was clear: anti-handicraft, industrial methods alone satisfied our age; Platonic dreams of perfection were the ideal.”
Ian Gittler photographs, draws, writes, and makes music. He has created album covers for Willie Nelson, Roy Hargrove...
Category
21st Century and Contemporary Contemporary Black and White Photography
Materials
Archival Paper, Pigment
"Philipe #2", 1994
By Jose Picayo
Located in Hudson, NY
Men, portrait, sepia tone, handsome, fashion, man, male, stoic, vintage, Black & White, sepia, fashion, black and white, b&w, portrait, film, intimate, close up, soft blur, focus
In...
Category
1990s Contemporary Photography
Materials
Silver Gelatin
"Mark in Plaid", 1995
By Jose Picayo
Located in Hudson, NY
Fashion, men, sepia tone, portrait, male, man, playful, pattern, abstract, man, portrait photography, suit, tie, man, black and white, b&w, black & white, fashion photography, figure, sepia
Born in Havana, Cuba in 1959, José Picayo left his homeland in 1966 and moved to Puerto Rico, where he lived for 10 years. By 1975 José was in Kent, Ohio completing his high school studies. In 1981, he settled in New York City, where he received a BFA from Parsons School of Design in 1983. José began his professional career in 1987, working for such magazines as Vanity (Italian), Sassy, Taxi, and Connoisseur. His work has appeared in Harper's Bazaar, L.A. Style, New York Times Magazine, Esquire, Rolling Stone, Pottery Barn, William Sonoma, Lucky Brand...
Category
1990s Contemporary Photography
Materials
Silver Gelatin
"Susie", 1989
By Jose Picayo
Located in Hudson, NY
Fashion, portrait, women, woman, black & white, female, style, soft, sepia tone, black and white, b&w, black & white, female, soft light, soft blur, intimate, photography, portrait photography, blur
Born in Havana, Cuba in 1959, José Picayo left his homeland in 1966 and moved to Puerto Rico, where he lived for 10 years. By 1975 José was in Kent, Ohio completing his high school studies. In 1981, he settled in New York City, where he received a BFA from Parsons School of Design in 1983. José began his professional career in 1987, working for such magazines as Vanity (Italian), Sassy, Taxi, and Connoisseur. His work has appeared in Harper's Bazaar, L.A. Style, New York Times Magazine, Esquire, Rolling Stone, Pottery Barn, William Sonoma, Lucky Brand...
Category
1980s Contemporary Portrait Photography
Materials
Silver Gelatin
"Andrea #3", 1992
By Jose Picayo
Located in Hudson, NY
Fashion, portrait, women, sepia tone, black and white, woman, female, style, classic, vintage, emotion, fashion, film photography, film, portrait, black and white, classic, vintage p...
Category
1990s Contemporary Photography
Materials
Silver Gelatin
"Michael", 1993
By Jose Picayo
Located in Hudson, NY
woman, women, female, portrait, fashion, beauty, vintage, classic, sepia tone, vintage, black and white, b&w, black & white, portrait, intimate, close up, hat, mesh, soft blur, blur...
Category
1990s Contemporary Photography
Materials
Silver Gelatin
"Andrea #1", 1993
By Jose Picayo
Located in Hudson, NY
woman, scarf, intimate, portrait, fashion, classic, vintage, New York, West Village, Downtown, sepia tone, new york city, manhattan, photography, portrait, soft blur, film, film photography, portrait photography, woman, scarf, sheer, fashion, new york city, west village
Born in Havana, Cuba in 1959, José Picayo left his homeland in 1966 and moved to Puerto Rico, where he lived for 10 years. By 1975 José was in Kent, Ohio completing his high school studies. In 1981, he settled in New York City, where he received a BFA from Parsons School of Design in 1983. José began his professional career in 1987, working for such magazines as Vanity (Italian), Sassy, Taxi, and Connoisseur. His work has appeared in Harper's Bazaar, L.A. Style, New York Times Magazine, Esquire, Rolling Stone, Pottery Barn, William Sonoma, Lucky Brand...
Category
1990s Minimalist Photography
Materials
Silver Gelatin
"Keith #3", 1993
By Jose Picayo
Located in Hudson, NY
man, handsome, face, intimate, sepia, portrait, vintage, classic, film, fashion, sepia tone, man, black and white, black & white, b&w, portrait, soft blur, blurry
Born in Havana, Cuba in 1959, José Picayo left his homeland in 1966 and moved to Puerto Rico, where he lived for 10 years. By 1975 José was in Kent, Ohio completing his high school studies. In 1981, he settled in New York City, where he received a BFA from Parsons School of Design in 1983. José began his professional career in 1987, working for such magazines as Vanity (Italian), Sassy, Taxi, and Connoisseur. His work has appeared in Harper's Bazaar, L.A. Style, New York Times Magazine, Esquire, Rolling Stone, Pottery Barn, William Sonoma, Lucky Brand...
Category
1990s Contemporary Photography
Materials
Silver Gelatin
"Ballerina", 1995
By Jose Picayo
Located in Hudson, NY
ballerina, dance, invert, black and white, ephemeral, spectral, eerie, fashion, portrait, aura, women, sepia tone, black & white, photograph, ballerina, ballet, dance, ballet, baller...
Category
1990s Contemporary Photography
Materials
Silver Gelatin
"Philipe #4", 1994
By Jose Picayo
Located in Hudson, NY
Male, men, man, swimming, beach, waves, ocean, bathing suit, semi-nude, diving, black and white, muscle, athletic, sports, summer, water, fashion, water, b&w, black & white, diving, swimming, ocean, waves, athletic, muscle
Born in Havana, Cuba in 1959, José Picayo left his homeland in 1966 and moved to Puerto Rico, where he lived for 10 years. By 1975 José was in Kent, Ohio completing his high school studies. In 1981, he settled in New York City, where he received a BFA from Parsons School of Design in 1983. José began his professional career in 1987, working for such magazines as Vanity (Italian), Sassy, Taxi, and Connoisseur. His work has appeared in Harper's Bazaar, L.A. Style, New York Times Magazine, Esquire, Rolling Stone, Pottery Barn, William Sonoma, Lucky Brand...
Category
1990s Contemporary Photography
Materials
Silver Gelatin
"Gerri (sailor)" , 1992
By Jose Picayo
Located in Hudson, NY
portrait, b&w, sailor, mustache, woman, androgynous, intimate, nostalgia, vintage, classic, sexuality, fashion, sepia tone, women, black & white, sailor, b&w, black and white, vintage, soft blur, film
Born in Havana, Cuba in 1959, José Picayo left his homeland in 1966 and moved to Puerto Rico, where he lived for 10 years. By 1975 José was in Kent, Ohio completing his high school studies. In 1981, he settled in New York City, where he received a BFA from Parsons School of Design in 1983. José began his professional career in 1987, working for such magazines as Vanity (Italian), Sassy, Taxi, and Connoisseur. His work has appeared in Harper's Bazaar, L.A. Style, New York Times Magazine, Esquire, Rolling Stone, Pottery Barn, William Sonoma, Lucky Brand...
Category
1990s Contemporary Photography
Materials
Silver Gelatin
"Jim", 1994
By Jose Picayo
Located in Hudson, NY
handsome, man, side, portrait, patterns, slick, sexy, sepia, fashion, style, men, sepia tone, man, portrait, black and white, black & white, pattern
Born in Havana, Cuba in 1959, José Picayo left his homeland in 1966 and moved to Puerto Rico, where he lived for 10 years. By 1975 José was in Kent, Ohio completing his high school studies. In 1981, he settled in New York City, where he received a BFA from Parsons School of Design in 1983. José began his professional career in 1987, working for such magazines as Vanity (Italian), Sassy, Taxi, and Connoisseur. His work has appeared in Harper's Bazaar, L.A. Style, New York Times Magazine, Esquire, Rolling Stone, Pottery Barn, William Sonoma, Lucky Brand...
Category
1990s Contemporary Photography
Materials
Silver Gelatin
"Albert", 1994
By Jose Picayo
Located in Hudson, NY
portrait, sad man, melancholy, pensive, dark, men, male, man, fashion, portrait, Sepia Tone, black and white, portrait, melancholy, male, black & white, face
Born in Havana, Cuba in 1959, José Picayo left his homeland in 1966 and moved to Puerto Rico, where he lived for 10 years. By 1975 José was in Kent, Ohio completing his high school studies. In 1981, he settled in New York City, where he received a BFA from Parsons School of Design in 1983. José began his professional career in 1987, working for such magazines as Vanity (Italian), Sassy, Taxi, and Connoisseur. His work has appeared in Harper's Bazaar, L.A. Style, New York Times Magazine, Esquire, Rolling Stone, Pottery Barn, William Sonoma, Lucky Brand...
Category
1990s Contemporary Photography
Materials
Silver Gelatin
Dive Tulum, Mexico
By Lloyd Ziff
Located in Hudson, NY
Listing is for UNFRAMED print. Inquire within for framing.
Edition 1 of 10.
If the exhibition piece is sold or the customer orders a different print size, the photograph is p...
Category
1990s Contemporary Black and White Photography
Materials
Giclée
"Philipe #5", 1994
By Jose Picayo
Located in Hudson, NY
man, male, men, portrait, ocean, water, summer, beach, bathing suit, black and white, muscle, athletic, swimming, swim, beach, black & white, figure, running, beach, swimming, male, water, athletic, black and white
Born in Havana, Cuba in 1959, José Picayo left his homeland in 1966 and moved to Puerto Rico, where he lived for 10 years. By 1975 José was in Kent, Ohio completing his high school studies. In 1981, he settled in New York City, where he received a BFA from Parsons School of Design in 1983. José began his professional career in 1987, working for such magazines as Vanity (Italian), Sassy, Taxi, and Connoisseur. His work has appeared in Harper's Bazaar, L.A. Style, New York Times Magazine, Esquire, Rolling Stone, Pottery Barn, William Sonoma, Lucky Brand...
Category
1990s Contemporary Photography
Materials
Silver Gelatin
"Derek #3", 1995
By Jose Picayo
Located in Hudson, NY
A man relaxing on the beach is captured by the photographer from an areal perspective, giving the impression the subject is unaware of the photo being taken. The loud pattern on his ...
Category
1990s Photography
Materials
Silver Gelatin
"Teresa #1", 1994
By Jose Picayo
Located in Hudson, NY
A woman with a daring glance stares away from the camera. Her fashionable outfit and sharp features pull us in to this intimate portrait.
Born in Havana, Cuba in 1959, José Picayo ...
Category
1990s Contemporary Photography
Materials
Silver Gelatin
"Warren", 1994
By Jose Picayo
Located in Hudson, NY
Picayo's portraits are incredible at highlighting human expressions that are hard to capture in words. The expression of this man, Warren, is one of confusion yet detachment. He grab...
Category
1990s Contemporary Photography
Materials
Silver Gelatin
"Derek #2", 1995
By Jose Picayo
Located in Hudson, NY
In this photo, a man lounging at the beach seems to rise from his recliner in an alert, attentive stance. His direct stare and leaning posture shows that he may have been caught off ...
Category
1990s Contemporary Photography
Materials
Silver Gelatin
"Simone", 1994
By Jose Picayo
Located in Hudson, NY
An image of idealized feminine beauty, Simone's soft features and luscious hair are contrasted by her stone cold stare.
Listing is for UNFRAMED print. Inquire within for framing. ...
Category
1990s Contemporary Photography
Materials
Silver Gelatin
"Zulema", 1994
By Jose Picayo
Located in Hudson, NY
Women, Fashion, Portrait, Sepia tone, Hat, Dress, Female, Woman, fashion photography, hat, dress, photography, photograph, black and white, b&w, black & white, dress, portrait
A woman, face half covered by a suede hat...
Category
1990s Contemporary Photography
Materials
Silver Gelatin
"Keith #2", 1994
By Jose Picayo
Located in Hudson, NY
The sharp lines of this sand dune draws the viewer into the photo's subject, the nude man standing amidst the barren desert terrain. In this photo, Picayo captures the pressing yet f...
Category
1990s Contemporary Photography
Materials
Silver Gelatin
"Susan #1", 1994
By Jose Picayo
Located in Hudson, NY
woman, women, female, portrait, fashion, portraiture, sepia tone, vintage, classic, beauty, toned, New York, NY, photography, film photography, photograph, film, black and white, b&w...
Category
1990s Contemporary Photography
Materials
Silver Gelatin
"Speed Lever", 2010
By Ian Gittler
Located in Hudson, NY
Ian Gittler’s Motor Art series-photographs of century-old engine parts, gears, sparkplugs, and brand tags-offers respite from the digital fetishism, overexposure and one-hundred-forty-character bursts of communication that seem to define our era. Gittler is no luddite, he loves his iPhone. But these images, often obscuring the objects beyond identification, take unsentimental pleasure in elements of weight, ground, volume and permanence that are more closely associated with a bygone heyday of industrialization.
These photographs are about a tangible physical experience, about moving parts. Gittler’s expert printing-his ability to see the potential in a frame and employ the techniques necessary to articulate that vision on paper-brings the work to life. There’s wit in the brand iconography and a documentary component, but Gittler resists prescribing interpretations, saying subtext isn’t the point. His use of extremely shallow depth of field, intense contrast and exploded grain is muscular and poetic. But subtext is relevant.
Although Robin Rice first approached Ian Gittler about his vector-based art on photo paper, the gallerist challenged him to create a series of photographs with that kind of machismo. As a native New Yorker who was marched through the halls of MOMA as a toddler, Gittler’s inspiration-his idea of macho-has less to do with cowboys and racecar drivers than with Franz Kline brushstrokes and modernist design. For Gittler, macho means the maximum amount of black ink that can lie across a sheet of photo paper. That kind of force. He narrowed his field of view for this series-often to a centimeter or two-in order to achieve a purely visual, visceral response.
Gittler titled the work Motor Art in tribute to the 1934 Museum of Modern Art exhibit, Machine Art. Upon its sixtieth anniversary, Phillip Johnson wrote of the show (and of his own essay for its original opening), “The thrust was clear: anti-handicraft, industrial methods alone satisfied our age; Platonic dreams of perfection were the ideal.”
Ian Gittler photographs, draws, writes, and makes music. He has created album covers for Willie Nelson, Roy Hargrove...
Category
21st Century and Contemporary Contemporary Black and White Photography
Materials
Archival Paper, Pigment
"Mianus Motor Works", 2007
By Ian Gittler
Located in Hudson, NY
Ian Gittler’s Motor Art series-photographs of century-old engine parts, gears, sparkplugs, and brand tags-offers respite from the digital fetishism, overexp...
Category
21st Century and Contemporary Contemporary Still-life Photography
Materials
Archival Paper, Pigment
"Oil Distribution Manifold", 2007
By Ian Gittler
Located in Hudson, NY
Ian Gittler’s Motor Art series-photographs of century-old engine parts, gears, sparkplugs, and brand tags-offers respite from the digital fetishism, overexp...
Category
21st Century and Contemporary Contemporary Black and White Photography
Materials
Archival Paper, Pigment
"Knotted Wire Brush", 2010
By Ian Gittler
Located in Hudson, NY
Ian Gittler’s Motor Art series-photographs of century-old engine parts, gears, sparkplugs, and brand tags-offers respite from the digital fetishism, overexposure and one-hundred-forty-character bursts of communication that seem to define our era. Gittler is no luddite, he loves his iPhone. But these images, often obscuring the objects beyond identification, take unsentimental pleasure in elements of weight, ground, volume and permanence that are more closely associated with a bygone heyday of industrialization.
These photographs are about a tangible physical experience, about moving parts. Gittler’s expert printing-his ability to see the potential in a frame and employ the techniques necessary to articulate that vision on paper-brings the work to life. There’s wit in the brand iconography and a documentary component, but Gittler resists prescribing interpretations, saying subtext isn’t the point. His use of extremely shallow depth of field, intense contrast and exploded grain is muscular and poetic. But subtext is relevant.
Although Robin Rice first approached Ian Gittler about his vector-based art on photo paper, the gallerist challenged him to create a series of photographs with that kind of machismo. As a native New Yorker who was marched through the halls of MOMA as a toddler, Gittler’s inspiration-his idea of macho-has less to do with cowboys and racecar drivers than with Franz Kline brushstrokes and modernist design. For Gittler, macho means the maximum amount of black ink that can lie across a sheet of photo paper. That kind of force. He narrowed his field of view for this series-often to a centimeter or two-in order to achieve a purely visual, visceral response.
Gittler titled the work Motor Art in tribute to the 1934 Museum of Modern Art exhibit, Machine Art. Upon its sixtieth anniversary, Phillip Johnson wrote of the show (and of his own essay for its original opening), “The thrust was clear: anti-handicraft, industrial methods alone satisfied our age; Platonic dreams of perfection were the ideal.”
Ian Gittler photographs, draws, writes, and makes music. He has created album covers for Willie Nelson, Roy Hargrove...
Category
21st Century and Contemporary Contemporary Black and White Photography
Materials
Archival Paper, Pigment
"Ideal", 2007
By Ian Gittler
Located in Hudson, NY
“IDEAL" features a 1.5 horsepower lawnmower engine manufactured in 1924 that still works. And the brand name-Ideal-speaks to an attitude about fabrication and manufacture linking pri...
Category
21st Century and Contemporary Contemporary Black and White Photography
Materials
Archival Paper, Pigment
"Cummins Steam Pump", 2007
By Ian Gittler
Located in Hudson, NY
Ian Gittler’s Motor Art series-photographs of century-old engine parts, gears, sparkplugs, and brand tags-offers respite from the digital fetishism, overexposure and one-hundred-forty-character bursts of communication that seem to define our era. Gittler is no luddite, he loves his iPhone. But these images, often obscuring the objects beyond identification, take unsentimental pleasure in elements of weight, ground, volume and permanence that are more closely associated with a bygone heyday of industrialization.
These photographs are about a tangible physical experience, about moving parts. Gittler’s expert printing-his ability to see the potential in a frame and employ the techniques necessary to articulate that vision on paper-brings the work to life.
There’s wit in the brand iconography and a documentary component, but Gittler resists prescribing interpretations, saying subtext isn’t the point. His use of extremely shallow depth of field, intense contrast and exploded grain is muscular and poetic. But subtext is relevant.
Although Robin Rice first approached Ian Gittler about his vector-based art on photo paper, the gallerist challenged him to create a series of photographs with that kind of machismo. As a native New Yorker who was marched through the halls of MOMA as a toddler, Gittler’s inspiration-his idea of macho-has less to do with cowboys and racecar drivers than with Franz Kline brushstrokes and modernist design. For Gittler, macho means the maximum amount of black ink that can lie across a sheet of photo paper. That kind of force. He narrowed his field of view for this series-often to a centimeter or two-in order to achieve a purely visual, visceral response.
Gittler titled the work Motor Art in tribute to the 1934 Museum of Modern Art exhibit, Machine Art. Upon its sixtieth anniversary, Phillip Johnson wrote of the show (and of his own essay for its original opening), “The thrust was clear: anti-handicraft, industrial methods alone satisfied our age; Platonic dreams of perfection were the ideal.”
Ian Gittler photographs, draws, writes, and makes music. He has created album covers for Willie Nelson, Roy Hargrove...
Category
21st Century and Contemporary Contemporary Still-life Photography
Materials
Archival Paper, Pigment
"Pressure Gauge", 2007
By Ian Gittler
Located in Hudson, NY
Ian Gittler’s Motor Art series-photographs of century-old engine parts, gears, sparkplugs, and brand tags-offers respite from the digital fetishism, overexposure and one-hundred-forty-character bursts of communication that seem to define our era. Gittler is no luddite, he loves his iPhone. But these images, often obscuring the objects beyond identification, take unsentimental pleasure in elements of weight, ground, volume and permanence that are more closely associated with a bygone heyday of industrialization.
These photographs are about a tangible physical experience, about moving parts. Gittler’s expert printing-his ability to see the potential in a frame and employ the techniques necessary to articulate that vision on paper-brings the work to life.
There’s wit in the brand iconography and a documentary component, but Gittler resists prescribing interpretations, saying subtext isn’t the point. His use of extremely shallow depth of field, intense contrast and exploded grain is muscular and poetic. But subtext is relevant.
Although Robin Rice first approached Ian Gittler about his vector-based art on photo paper, the gallerist challenged him to create a series of photographs with that kind of machismo. As a native New Yorker who was marched through the halls of MOMA as a toddler, Gittler’s inspiration-his idea of macho-has less to do with cowboys and racecar drivers than with Franz Kline brushstrokes and modernist design. For Gittler, macho means the maximum amount of black ink that can lie across a sheet of photo paper. That kind of force. He narrowed his field of view for this series-often to a centimeter or two-in order to achieve a purely visual, visceral response.
Gittler titled the work Motor Art in tribute to the 1934 Museum of Modern Art exhibit, Machine Art. Upon its sixtieth anniversary, Phillip Johnson wrote of the show (and of his own essay for its original opening), “The thrust was clear: anti-handicraft, industrial methods alone satisfied our age; Platonic dreams of perfection were the ideal.”
Ian Gittler photographs, draws, writes, and makes music. He has created album covers for Willie Nelson, Roy Hargrove...
Category
21st Century and Contemporary Contemporary Black and White Photography
Materials
Archival Paper, Pigment
"Lead Screw", 2010
By Ian Gittler
Located in Hudson, NY
Ian Gittler’s Motor Art series-photographs of century-old engine parts, gears, sparkplugs, and brand tags-offers respite from the digital fetishism, overexposure and one-hundred-forty-character bursts of communication that seem to define our era. Gittler is no luddite, he loves his iPhone. But these images, often obscuring the objects beyond identification, take unsentimental pleasure in elements of weight, ground, volume and permanence that are more closely associated with a bygone heyday of industrialization.
These photographs are about a tangible physical experience, about moving parts. Gittler’s expert printing-his ability to see the potential in a frame and employ the techniques necessary to articulate that vision on paper-brings the work to life. There’s wit in the brand iconography and a documentary component, but Gittler resists prescribing interpretations, saying subtext isn’t the point. His use of extremely shallow depth of field, intense contrast and exploded grain is muscular and poetic. But subtext is relevant.
Although Robin Rice first approached Ian Gittler about his vector-based art on photo paper, the gallerist challenged him to create a series of photographs with that kind of machismo. As a native New Yorker who was marched through the halls of MOMA as a toddler, Gittler’s inspiration-his idea of macho-has less to do with cowboys and racecar drivers than with Franz Kline brushstrokes and modernist design. For Gittler, macho means the maximum amount of black ink that can lie across a sheet of photo paper. That kind of force. He narrowed his field of view for this series-often to a centimeter or two-in order to achieve a purely visual, visceral response.
Gittler titled the work Motor Art in tribute to the 1934 Museum of Modern Art exhibit, Machine Art. Upon its sixtieth anniversary, Phillip Johnson wrote of the show (and of his own essay for its original opening), “The thrust was clear: anti-handicraft, industrial methods alone satisfied our age; Platonic dreams of perfection were the ideal.”
Ian Gittler photographs, draws, writes, and makes music. He has created album covers for Willie Nelson, Roy Hargrove...
Category
21st Century and Contemporary Contemporary Black and White Photography
Materials
Archival Paper, Pigment
"Marston Excelsior", 2007
By Ian Gittler
Located in Hudson, NY
Ian Gittler’s Motor Art series-photographs of century-old engine parts, gears, sparkplugs, and brand tags-offers respite from the digital fetishism, overexpo...
Category
21st Century and Contemporary Contemporary Black and White Photography
Materials
Archival Paper, Pigment
"Rope Starter", 2007
By Ian Gittler
Located in Hudson, NY
Ian Gittler’s Motor Art series-photographs of century-old engine parts, gears, sparkplugs, and brand tags-offers respite from the digital fetishism, overexp...
Category
21st Century and Contemporary Contemporary Abstract Photography
Materials
Pigment, Archival Paper
"Champion Spark Plug", 2007
By Ian Gittler
Located in Hudson, NY
Ian Gittler’s Motor Art series-photographs of century-old engine parts, gears, sparkplugs, and brand tags-offers respite from the digital fetishism, overexp...
Category
21st Century and Contemporary Contemporary Black and White Photography
Materials
Archival Paper, Pigment
"Drive Chain", 2007
By Ian Gittler
Located in Hudson, NY
Ian Gittler’s Motor Art series-photographs of century-old engine parts, gears, sparkplugs, and brand tags-offers respite from the digital fetishism, overexposure and one-hundred-forty-character bursts of communication that seem to define our era. Gittler is no luddite, he loves his iPhone. But these images, often obscuring the objects beyond identification, take unsentimental pleasure in elements of weight, ground, volume and permanence that are more closely associated with a bygone heyday of industrialization.
These photographs are about a tangible physical experience, about moving parts. Gittler’s expert printing-his ability to see the potential in a frame and employ the techniques necessary to articulate that vision on paper-brings the work to life. There’s wit in the brand iconography and a documentary component, but Gittler resists prescribing interpretations, saying subtext isn’t the point. His use of extremely shallow depth of field, intense contrast and exploded grain is muscular and poetic. But subtext is relevant.
Although Robin Rice first approached Ian Gittler about his vector-based art on photo paper, the gallerist challenged him to create a series of photographs with that kind of machismo. As a native New Yorker who was marched through the halls of MOMA as a toddler, Gittler’s inspiration-his idea of macho-has less to do with cowboys and racecar drivers than with Franz Kline brushstrokes and modernist design. For Gittler, macho means the maximum amount of black ink that can lie across a sheet of photo paper. That kind of force. He narrowed his field of view for this series-often to a centimeter or two-in order to achieve a purely visual, visceral response.
Gittler titled the work Motor Art in tribute to the 1934 Museum of Modern Art exhibit, Machine Art. Upon its sixtieth anniversary, Phillip Johnson wrote of the show (and of his own essay for its original opening), “The thrust was clear: anti-handicraft, industrial methods alone satisfied our age; Platonic dreams of perfection were the ideal.”
Ian Gittler photographs, draws, writes, and makes music. He has created album covers for Willie Nelson, Roy Hargrove...
Category
21st Century and Contemporary Contemporary Black and White Photography
Materials
Archival Paper, Pigment
"Solex Carburetor 1928", 2007
By Ian Gittler
Located in Hudson, NY
Ian Gittler’s Motor Art series-photographs of century-old engine parts, gears, sparkplugs, and brand tags-offers respite from the digital fetishism, overexposure and one-hundred-forty-character bursts of communication that seem to define our era. Gittler is no luddite, he loves his iPhone. But these images, often obscuring the objects beyond identification, take unsentimental pleasure in elements of weight, ground, volume and permanence that are more closely associated with a bygone heyday of industrialization.
These photographs are about a tangible physical experience, about moving parts. Gittler’s expert printing-his ability to see the potential in a frame and employ the techniques necessary to articulate that vision on paper-brings the work to life. There’s wit in the brand iconography and a documentary component, but Gittler resists prescribing interpretations, saying subtext isn’t the point. His use of extremely shallow depth of field, intense contrast and exploded grain is muscular and poetic. But subtext is relevant.
Although Robin Rice first approached Ian Gittler about his vector-based art on photo paper, the gallerist challenged him to create a series of photographs with that kind of machismo. As a native New Yorker who was marched through the halls of MOMA as a toddler, Gittler’s inspiration-his idea of macho-has less to do with cowboys and racecar drivers than with Franz Kline brushstrokes and modernist design. For Gittler, macho means the maximum amount of black ink that can lie across a sheet of photo paper. That kind of force. He narrowed his field of view for this series-often to a centimeter or two-in order to achieve a purely visual, visceral response.
Gittler titled the work Motor Art in tribute to the 1934 Museum of Modern Art exhibit, Machine Art. Upon its sixtieth anniversary, Phillip Johnson wrote of the show (and of his own essay for its original opening), “The thrust was clear: anti-handicraft, industrial methods alone satisfied our age; Platonic dreams of perfection were the ideal.”
Ian Gittler photographs, draws, writes, and makes music. He has created album covers for Willie Nelson, Roy Hargrove...
Category
21st Century and Contemporary Contemporary Black and White Photography
Materials
Archival Paper, Pigment
"Trip Hammer", 2010
By Ian Gittler
Located in Hudson, NY
Ian Gittler’s Motor Art series-photographs of century-old engine parts, gears, sparkplugs, and brand tags-offers respite from the digital fetishism, overexposure and one-hundred-forty-character bursts of communication that seem to define our era. Gittler is no luddite, he loves his iPhone. But these images, often obscuring the objects beyond identification, take unsentimental pleasure in elements of weight, ground, volume and permanence that are more closely associated with a bygone heyday of industrialization.
These photographs are about a tangible physical experience, about moving parts. Gittler’s expert printing-his ability to see the potential in a frame and employ the techniques necessary to articulate that vision on paper-brings the work to life. There’s wit in the brand iconography and a documentary component, but Gittler resists prescribing interpretations, saying subtext isn’t the point. His use of extremely shallow depth of field, intense contrast and exploded grain is muscular and poetic. But subtext is relevant.
Although Robin Rice first approached Ian Gittler about his vector-based art on photo paper, the gallerist challenged him to create a series of photographs with that kind of machismo. As a native New Yorker who was marched through the halls of MOMA as a toddler, Gittler’s inspiration-his idea of macho-has less to do with cowboys and racecar drivers than with Franz Kline brushstrokes and modernist design. For Gittler, macho means the maximum amount of black ink that can lie across a sheet of photo paper. That kind of force. He narrowed his field of view for this series-often to a centimeter or two-in order to achieve a purely visual, visceral response.
Gittler titled the work Motor Art in tribute to the 1934 Museum of Modern Art exhibit, Machine Art. Upon its sixtieth anniversary, Phillip Johnson wrote of the show (and of his own essay for its original opening), “The thrust was clear: anti-handicraft, industrial methods alone satisfied our age; Platonic dreams of perfection were the ideal.”
Ian Gittler photographs, draws, writes, and makes music. He has created album covers for Willie Nelson, Roy Hargrove...
Category
21st Century and Contemporary Contemporary Black and White Photography
Materials
Archival Paper, Pigment
"Gas & Gasoline", 2007
By Ian Gittler
Located in Hudson, NY
Ian Gittler’s Motor Art series-photographs of century-old engine parts, gears, sparkplugs, and brand tags-offers respite from the digital fetishism, overexpo...
Category
21st Century and Contemporary Contemporary Still-life Photography
Materials
Archival Paper, Pigment
Lower Manhattan, New York City
By Thomas Michael Alleman
Located in Hudson, NY
Listing is for UNFRAMED print. Inquire within for framing.
Edition of 25.
If the exhibition piece is sold or the customer orders a different print size, the photograph is prod...
Category
21st Century and Contemporary Photography
Materials
Archival Pigment
