Weston Gallery Art

Gordon Parks. Farm, road, and telephone lines. c. 1950. Vintage gelatin silver print. Parks' LIFE credit stamp verso, and the same numeric notation twice...

The Robin Rice Gallery proudly announces SUMMERTIME Salon 2018, an annual photography exhibit featuring gallery artists as well as a few newcomers. This year’s opening reception will...

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

Robin Rice Gallery from New York and Bridgehampton comes to Beacon, NY. This year, as part of the Beacon Open Studios 10th Anniversary event, Robin Rice Gallery is proud to present a...

Listing is for UNFRAMED print. Inquire within for framing. Edition 1 of 20. If the exhibition piece is sold or the customer orders a different print size, the photograph is p...

© Gerald Berghammer - Limited Edition 2/20. Silver Gelatin Prints, Selenium Toned, Printed 2017 Signed, numbered, dated by Artis. Handmade wood frame, dark-brown, natural white archi...

Ansel Adams, Autumn Storm, Las Trampas, Near Penasco, New Mexico, 1958. Printed 1981. Gelatin silver print. Southwest landscape photography. Signed on mount recto by the artist.

CURRENT EXHIBITION - runs through September 10th, 2017. Any framed photographs purchased during the show will be available then. If the exhibition piece is sold or the customer order...

Mark Citret, American, b. 1949. "Third Story Arches", Fort Point, 1998 Silver gelatin print hand signed and editioned 1/45 in pencil along lower edge. Published: "Along the Way" Mark...

Jerry Uelsmann. Psycho House, 1978. Image Size; 18.75 x 14.5" (paper size: 20 x 16"). Framed 30 x 27". Signed, dated and titled on print verso including studio stamp. A pioneer in ...

Paul Caponigro. Reflecting Stream, 1968. Gelatin silver print. Edition 41 of 100 (special edition created in the 1970's). Mounted and matted 23.5 x 29". Signed and editioned on print...

Elliott Erwitt. Brasilia, 1961. 8 x 11.75" (11 x 14" paper). Signed on print recto. [Broken Down Truck with People and Horse]