Alfred Eisenstaedt Art

Eclipse, 2021 by Miguel Winograd From the Enjambre Series Selenium- Toned Gelatin Silver Prints Image Size: 14 in H x 11 in W Edition of 7 + 2AP Black and white Edition Unframed ...

ABOUT THIS PIECE: Danish photographer Kim Høltermand photographed the Herning Art Museum in Jutland, Denmark. He is known for his moody, quiet photos that show public spaces before t...

Richard Sadler's "Young Boy" is a haunting portrait of a very serious young British lad amidst a crowd of other people. He is dressed very formally in hat, coat and tie. He clutche...

In his latest show, Benjamin Heller invites us to enter a poetic space of echo and convergence. As a photographer, sculptor, and performer, movement is key in this body of work, that is punctuated by self portraits selected from the series "The Long Walk: Analog Narratives". This series features pieces collected over an extended period of time spent traveling. It is a window to the interior landscapes he seeks to find reflected in the world, to contain a sense of this intimate vastness. All of the images can be viewed as variations on a self-portrait. The places of intimacy and sense of vastness contained in the photographs can convey a sense of transport that enhances the viewer's visual experience. The "echoes" we find in the show reside in multiplicities of human and physical forms, rolling natural curves, and animals in flight; all intended to provide a resonance with the contours of earth, water, and wind. The result is an array of images captivating in themselves, but also given new meaning in the context of Robin Rice's skillful curatorial arrangement. Her intuitive placement creates a graphic narrative for the viewer to follow and decipher, encouraged by the convergence of the poetic titles of the works. Traces of poetry, sculpture, the lines of the body, lived experience are also evoked in Heller's photographs, in movement and action. He also finds inspiration in photographer Duane Michals' framing of expressive narratives, and in Sally Mann's felt sense of powerful physical presence. Photographer Miranda Penn Turin, in reviewing the exhibition, said "I can almost hear a soundtrack, and it's the sound of wind". The invitational image is entitled "Fall," a graceful figure, suspended in a glowing arc, light streaming upwards, eyes closed in rapture. This light sits in contrast to the infinite shadow of the black background, conjuring a certain atmosphere. Heller believes that it is shadows that allow the viewer to reside in the experience – this image does just that. These imagined environments speak to our converging lives and the echoed moments we experience, embodying for each viewer, just what Benjamin Heller connects with while photographing. Another view of self portraiture at the front sign in desk, is an image reading, "and the soul wanted to move," between the keys of a typewriter. This show is a mirror of a desire to move. The black & white images capture simultaneously this movement and stillness, asking us to pause between the natural forces that rise and fall. Heller employs multiple-exposure and a fixed 4x5...

Untitled, from Women are Beautiful Portfolio, by Garry Winogrand is a black and white gelatin silver print of two women in matching outfits, walking through a park with people staring as they pass by. Edition of 80 Signed, numbered and misc. notations by Garry Winogrand Gelatin silver print Paper size: 11 x 14 in., Image size: 8 3/4 x 13 in. Printed 1981 From the Women are Beautiful Portfolio Garry Winogrand was an American photographer from New York. He is known for his extensive documentation of American life.. Winogrand was the recipient of the various Guggenheim Fellowships and a National Endowment for the Arts Fellowship. His work is included in the George Eastman Museum, Museum of Modern Art, the Whitney Museum of American Art and the Center for Creative Photography...

Jewish Refugees, Lydda Airport, Tel Aviv, Israel by Ruth Orkin depicts a window with three faces peering out into the world. A reflection of a large ship is cast onto these young fac...

Imogen Cunningham was an American photographer known for her botanical photography, nudes, and industrial landscapes. Cunningham was a member of the California-based Group f/64, know...

This photograph is printed on Japanese Paper. The price is for an unframed photograph. 11" X 14" Edition of 25. The Robin Rice Gallery is pleased to announce, 25 Years of Polaroi...

A series of five photographs by Betty Hahn titled, "Arrival or Departure (After Hitchcock), 1987, a series of five gelatin silver photographs" 17" by 24 each". A copy of the book included "Betty Hahn by Steve Yates. Gelatin silver photographic prints on paper mounted on foam board. Each has a sticker "BHC" with the letter indicating the print sequence "A-E". Following excerpt from the book "Betty Hahn "Photography Or Maybe Not" by Steve Yates, from the essay by Dana Asbury: "Instead of crime fiction and forensic photograph, the first filmic sequences have a moody raking light of film noir in the forties, and she titles Arrival or Departure (After Hitchcock) (plate 117). This series of 5 photographs (1987) shows the back of a man, unidentified, at a deserted train station, in late afternoon light. The rest is ambiguous. Is he coming or going? Is he moving away from him? Is there significance to the first close-up shot of a black duffel bag stuffed under his arm? It was of course Hitchcock's particular genius to explore the ominousness of everyday situations, and to show us that looking to long at anything makes it look suspicious. This series pays homage to Hitchcock's use of the tracking shot that conveys his terrifying message behind "Teddy Bear", that there is serious threat in ordinary objects. This series also fits in with the mood of "Appearance, Ehrlichman Surveillance", and many of the crime series-solitary male figure in an urban setting. There is a tough edge to these works." Unsigned, gallery receipt of purchase copy included with notation on verso . 5 framed images. Each image, 16.5"H x 23.5"L. The following biography is by Fumiko Koizumi at: The Visual Studies Workshop in association with the State University of New York at Brockport Betty Hahn was born Elizabeth Jean Okon on October 11, 1940 in Chicago, Illinois. In 1967, Betty Hahn moved to Rochester to pursue a job at Kodak or Xerox. While in Rochester, she participated in Nathan Lyons's Visual Studies Workshop from 1967 to 1968. Lyons lectured on "vernacular" and "snap shot" photography to workshop students, reinforcing Betty's interest in this "folk" tradition. During her time at the VSW she met Tom Barrow, Roger Mertin, and Alice Wells, and reconnected with Robert Fichter. She was encouraged by how their work was challenging the rules of what was common in fine-print photography. At age 10, her aunt Marcella Brown gave Betty her first camera, a Brownie #2. At this same time the Okon family moved to Indianapolis, Indiana. After graduating from Scecina Memorial Catholic High School in Indianapolis, she entered Indiana University in Bloomington, Indiana. She earned a four-year scholarship and studied fine arts. While she was experimenting with photographic image making her initial artistic experiences involved painting and drawing. She did not take photography seriously as a medium for her artistic expression during her undergraduate work. At age 23, Hahn graduated with a Bachelor of Arts degree and continued at Indiana University for graduate studies in the department of photography. At the suggestion of Henry Holmes Smith...

The Young Callas is a beautiful black-white photographic portrait of the nascent opera star realized by an unknown artist around the 1950-51. On the verso the black ink stamp on the...

This listing is for the unframed photograph. The Robin Rice Gallery proudly announces SUMMERTIME Salon 2019, an annual photography exhibit featuring gallery artists as well as a fe...

7000 Querce (7000 Oaks) is an original b/w photograph representing the indoor of the Marino Gallery (in Mignanelli Square, Rome) where Joseph Beuys' exhibition was held in the Eighty...