California - Art

Stuart Dunkel has spent decades refining his hyper-realistic style. He paints realistic imagery based on real-world inspirations. His paintings show that everyday objects can be fasc...

Edition of 3 1/3 The photograph comes with a certificate of authenticity and a letter of appraisal. Karim - 'Desert Sunset' Photography on paper. frame...

Artist: Eduard Matevosyan Work: Original Oil Painting, Handmade Artwork, One of a Kind Medium: Oil on Panel Year: 2025 Style: Contemporary art, Title: Amelia Size: 16" x 12" x 0.2'...

Comical illustration by Gaston Hoffmann (French, 1883-1977). A doctor is giving a shot to a female patient, while a nurse tries to prevent a man from barging in. Pencil signed "G Ho...

Northern Carmine Bee-Eater and Grevy's Zebra by Cheryl Medow is a 21 x 24 inch archival pigment print, available in an edition of 10. This photograph features a colorful bird perched on a branch, with three zebras in a grassy field in the background. The image size 16 x 20 inches, the paper size is 21 x 24 inches. This photograph is signed and numbered in pencil, and blind stamp on print margin by Cheryl Medow. This photograph is signed, titled, dated, and print type in pencil on print verso by Cheryl Medow. This photograph is available in multiple sizes: Paper size: 14 1/2 x 18 in., Image size: 10.4 x 13 in., Edition of 25, $1700 Paper size: 21 x 24 in., Image size: 16 x 20 in., Edition of 10, $2300 Paper size: 31 x 36 in., Image size: 24 x 30 in., Edition of 6, $2900 Santa Barbara art photographer Cheryl Medow creates images that entice the viewer to enter her world, both real and imagined. Cheryl Medow's background in the arts is diverse, but interconnected. Medow studied ceramics at the famed Chouinard Institute and received a BA in Art from UCLA, concentrating on life drawing with charcoal and pastels. Continuing her art education, she studied printmaking at Hand Graphics in Santa Fe, New Mexico. With a wealth of materials and techniques, Medow layers her photographs and weaves them together to create visual narratives. There have been numerous articles written about her work. Avian Alchemy by Becca Cudmore was published by Audubon News/Culture on June 5, 2015, Proof. National Geographic - An Altered Reality by Becky Harlan along with National Geographics Sunday Stills, Sunday, July 12, 2015 and an article in Inspire Adobe Photoshop For The Birds by Alyssa Coppelman in August. In 2016, Medow was included in the SLIDESHOW Night at the Annenberg Space for Photography in Century City, California. She received the Juror's Award at PhotoPlace Gallery in Middlebury Vermont for Great Blue Heron With Chicks Revisited and her print will be exhibited from March 23 through April 22 and White Ibis With Fish will be part of the Online Gallery Annex at PhotoPlace. Medow was a finalist in the 89th Annual International Competition at The Print Center in Philadelphia given the Olcott Family Award. She is also a finalist at the LensCulture Earth Awards 2015. In 2015, Medow's images were exhibited at The G2 Gallery in Venice, CA and at Flock: Birds On The Brink / Ganna Walksa Lotusland, curated by Nancy Gifford...

large scale original photograph of vintage TV set with iconic western movie in American wild west landscape Cowboy TV by Frank Schott 30 x 40...

Archival ink jet

Fedora Fur is an expertly crafted, embossed serigraph on paper with foil stamping and an image size of 34 x 26 inches. From the edition of 650, the art is numbered 98/300 and estate-stamped 'Erté' lower right (there were also 300 Roman, and 50 AP). Framed in an elegant, gold-tone moulding. This image was inspired by a design that Erté created for Ganna Walska...

Born in Long Island, Budnik studied painting at the Art Students’ League of New York. After being drafted, he started photographing the New York school of Abstracts Expressionist and Pop Artists in the mid-fifties, making it a primary focus for several decades. He completed major photo-essays on Willem de Kooning and David Smith, among many other artists. It was his teacher Charles Alston...

Los Angeles street artist Gary John exploded onto the international art scene first during Art Basel Miami in 2013. John’s playfully bold work quickly gained attention and he was nam...

"Various Himochi" Wagashi Festival Japanese Woodblock Print by Utagawa Toyokuni Rare oversized early 19th century 5-tiered woodblock by Utagawa Ichiyosai Toyokuni, (Japan, 1769-1825), a Japanese lord and wife oversee a sekku festival of food, music, and dolls or toys. '"oshi" is the first day of “Mi (Snake)” in the third month of the lunar calendar. This day, known in modern Japan as the Girls' Festival, originated in China as a form of purification ceremony in which water and drinking peach blossom wine were used to drive away evil. Many kinds of hishi-mochi appear in this picture of hina ningyo (dolls associated with Hinamatsuri, or the Girl’s Day) from Omochae. The custom of eating special dishes at events throughout the year and at milestones in people's lives has existed since ancient times. This paragraph specifically focuses on the annual event called sekku, and life events that involve eating sweets. Joshi is the first day of “Mi (Snake)” in the third month of the lunar calendar. This day, known in modern Japan as the Girls' Festival, originated in China as a form of purification ceremony in which water and drinking peach blossom wine were used to drive away evil. According to the Keiso saijiki, in ancient China, on the third day of the third lunar month, people ate “ryuzetsuhan,” which is the juice of gogyo (Jersey cudweed) mixed with rice flour and nectar. In Japan, there is a record in the Heian period history book Nihon Montoku tenno jitsuroku [839-5] that it was an annual event to make kusamochi using gogyo on the third day of the third month of the lunar calendar, which may have been influenced by Chinese customs. The tradition of eating kusamochi on the third day of the third month of the lunar calendar continued after that. By the Edo period, however, hishimochi had come to be used as a sweet to serve on the third day of the third month. A picture of a hishimochi is included in the Morisada manko , which we mentioned in Part 1. According to it, hishimochi in the Edo period were often three layers of green-white-green instead of the now common red-white-green. However, it is possible to see from our collection that not all hishimochi were made in this way. Omochae published in 1857, is a good example. Omochae is a type of ukiyoe print...

"Amas Luna Storm II" Nude Photography 24" x 16" in Ed. 1/15 by Aaron Mcpolin Archival Giclee Print Not framed Ships in tube OTHER SIZES AVAILABLE: Edition of 15: 24 x 16 in Editio...

An American School watercolor showing an old Ford Model T flatbed truck backed up to a barn in a rural landscape. A well-composed work paint...

Acquired by the gallery directly from the artist UNRAMED: 16.5" x 11.5" FRAMED: 11.5" x 16.5" x 1" Exhibited Spring into Art 2024, presented by the San Marino League at The Huntin...

The Signal - 2024 - 20x24cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. inventory PL2024-041. Not mo...

Artist: Maurice de Vlaminck (French, 1876-1958) Title: Paysage Year: 1952 Medium: Original color lithograph Edition: Numbered 66/75 in pencil Paper: Arches Image size: 14.5 x ...

This is the silhouette of a Japanese aralia (paperplant, false castor oil plant, fatsia japonica). The big leaves have nine lobes and spread out wide. The sky is painted a pale peac...

Artist: Vahe Yeremyan Work: Original Oil Painting, Handmade Artwork, One of a Kind Medium: Oil on Canvas Year: 2024 Style: Impressionism, Subject: Summer Field, Size: 28" x 56" x...

Roman Girl At Fountain After Leon Bonnat by L. Luige c.1876 Original oil on canvas This is a period copy of the painting by Leon Bonnat (the original wa...

'Waiting II' (Sidewinder) - 2004 80x80cm, Edition of 5, analog C-Print, hand-printed by the artist, based on the Polaroid, Certificate and Signature label. artist Inventory # 303...

Celebrating the financial freedom by Mauro Oliveira. Limited edition of 30 museum quality Giclee prints on CANVAS, signed and numbered by the artist. A "Certificate of Authenticit...

Mid-Century Floral Still Life with Yellow and White Irises Gorgeous mid-century floral still life of a bouquet of Irises painted in 1959, by Pacific Grove and Santa Cruz, Californi...

Certainly! Here’s the revised description with "jd" in lowercase: --- **jd Hansen** is an accomplished sculptor known for her innovative and evocative three-dimensional works. Her ...

Glass Painting in gold and Pearls Artist: Vahe Yeremyan Work: Original Painting, Handmade Artwork, One of a Kind Medium: Acrylic on Plexiglass Year: 2025 Style: Contemporary Art, ...

This is a unique work. Stamped on verso by The Estate of Andy Warhol and The Andy Warhol Foundation for the Visual Arts. Annotated with Foundation inventory number and initialed Tim...

Carl Smith explores the area between Pop Art and Surrealism and expresses it in one-of-a-kind original works on canvas, paper or wood. With the use of found images he tells slightly ...

This is a one of a kind original functional vessel by local San Diego artist, Ron Carlson. This lidded container depicts American pop culture icon Marilyn ...

Gail Chase Bien paints thinly layered oil on linen over extended periods (from months to years) to complete a single work of art. Taking cues from nature’s extraordinary visual offer...

This is a framed original 19th century hand-colored folio-sized lithograph entitled “Pernis Apivorus (The Honey Buzzard) by John Gould, plate 6 in volume 1 of his "Birds of Great Britain", published in London between 1862 and 1873. The print depicts an adult Honey Buzzard perched on a branch of a leafy tree in the foreground and three others in the background. The bird in the foreground has an insect in its beak and others are in flight on the right This striking framed Gould...

Think - 2021 48x40cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. Artist inventory PL2021-1015. Not mou...

Title and negative number together with Artist's studio stamp and signature on mount verso. Artist Reference Number NC-TB-1G. Printed later by Cole Weston from the original negative....

Salvador Dali Le Nu à la Jarretière, from The Hippies Etching with hand coloring on Japon Signed in pencil and embossed signature to lower right Edition V/C to lower left Published ...

Los Angeles artist Amber Goldhammer paints dramatic abstract compositions in acrylic on canvas featuring energetic brushstrokes. Goldhammer uses her contemporary paintings to express...

Roy Ahlgren (American, 1927 - 2011) Embryo, 1982 Serigraph on wove paper Signed, title and edition in pencil in lower margin Edition 8/130 Sheet: 22 1/4in H x 29 3/4in L (unframed) ...

Artist: Ara H. Hakobyan Work: Original Oil Painting, Handmade Artwork, One of a Kind Medium: Oil on Canvas Year: 2017 Style: Impressionism Title: Red Boat Size: 9" x 12" x 0.8'' inch...

The beauty of nature's rhythm is captured in this black and white landscape photograph of a forest of Aspen trees by American photographer and film maker, John Henry Johnson (America...

Delicate mid century still-life of white and pink roses in crystal vase with a soft, lime green background by listed California artist Helen Mae Enoch Gleiforst (American, 1903-1997)...

18th century style, “Young aristocrat with pet dog”. The work is a modern copy of a portrait of Pierre Van Cortlandt, first lord of Van Cortlandt manor in NY. ...

Sultan’s artworks are rich in color and texture. He is known for his iconic, abstract poppy flowers. The poppies are large in scale and overlay a minimal background, often made from ...

Los Angeles artist Harrison Gilman graduated from NYU’s Tisch School of the Arts. In 2018 his artworks were exhibited at the We Rise Art Fair in Los Angeles alongside Shepard Fairey ...

Provenance Acquired by the gallery directly from the artist. FRAMED: 28.125" x 32.125" x 1.25" UNFRAMED:20" x 24" Artist Statement "I am always looking for different ways to capture the beauty of the San Gabriel Mountains as they loom above Pasadena. I found this view while scouting and exploring the Arroyo Seco...

Artist: Eduard Matevosyan Work: Original Oil Painting, Handmade Artwork, One of a Kind Medium: Oil on Panel Year: 2025 Style: Impressionism, Title: Flowers Size: 14" x 11" x 0.2'' ...

Los Angeles artist Amber Goldhammer paints dramatic abstract compositions in acrylic on canvas featuring energetic brushstrokes. Goldhammer uses her contemporary paintings to express...

This is a pair of Vanity Fair color chromolithograph caricatures of the famous and beloved English musical composers and playwrights Gilbert and Sullivan by Sir Leslie Ward (Spy) (1851-1922) and Carlo Pellegini (Ape) (1839-1889). The portrait of Arthur Sullivan entitled "English Music" was published in Vanity Fair on March 14, 1874 and W. S. Gilbert entitled "Patience" was published in the Men of the Day portion of Vanity Fair on May 21, 1881. Sir Arthur Seymour Sullivan (1842-1900) is regarded as the finest British composer of the 19th century. He is best known for his series of 14 operatic collaborations with the dramatist W. S. Gilbert, including such enduring works as H.M.S. Pinafore, The Pirates of Penzance and The Mikado. Sullivan composed 23 operas, 13 major orchestral works, eight choral works and oratorios, two ballets, incidental music to several plays, and numerous hymns and other church pieces, songs, and piano and chamber pieces. The best known of his hymns and songs include "Onward Christian Soldiers" and "The Lost Chord". Sir William Schwenck (WS) Gilbert (1836-1911) was an English dramatist, librettist, poet and illustrator best known for his collaboration with composer Arthur Sullivan. Gilbert's creative output included over 75 plays and libretti, and numerous short stories, poems and lyrics, both comic and serious. These Vanity Fair portraits of Gilbert and Sullivan are presented in identical ornate black wood frames and cream-colored French mats with grey inner mats. The frames each measure 21.75" x 16" x .88". The frames and prints are in excellent condition. From 1868 until February 5, 1914, Vanity Fair, a weekly magazine of social, literary and political content, was very popular in Victorian and later, Edwardian England. The most popular of its features were the full page caricatures of famous men and women of the day which included their biographies, which remains the magazines lasting legacy. Vanity Fair's most famous artists were Carlo Pellegrini who signed his works “Ape” and Leslie Ward, known as “Spy”, but many other artists and writers contributed caricatures and prose to the publication, including Lewis Carroll, Willie Wilde, P. G. Wodehouse, Jessie Pope and Bertram Fletcher Robinson. Thomas Gibson...

This vintage silver gelatin print is signed and dated in pencil mount recto, and again mount verso. Printed in 1961 for inclusion in "Fifteen Photographs" (edition of 50). Mounted to...

Artist: Vahe Yeremyan Work: Original Oil Painting, Handmade Artwork, One of a Kind Medium: Oil on Canvas Year: 2023 Style: Impressionism, Subject: Vibrant Summer, Size: 24.5" x 3...

Glass Painting in gold and Pearls Artist: Vahe Yeremyan Work: Original Painting, Handmade Artwork, One of a Kind Medium: Acrylic on Plexiglass Year: 2025 Style: Contemporary Art, ...

Reigning Cats and Dogs is a lithograph on paper, 9 x 9" image size. From the edition of 395, numbered 156/275 (there were also 100 Roman and 20 AP). Robert Deyber’s lithographs were...

This limited edition color photograph "The End of the Tunnel" by Dasha Pears is framed in whitewash maple and Optium anti-reflective acrylic. Number 1 of 18 is currently available. ...

Sonoma Kitchen Table - after Henri Matisse - Still Life with Geranium An exceptional painting of Still Life with Geranium styled after and Henri Matisse by Bay area and Sonoma artist William Lionel Sheets (American, 1937-2022). In exceptional condition and a real value in the artists modern take on Impressionism in California art. Signed lower right "Wm Sheets 70" Image 30"H x 28"W Framed, 33"H x31"W x 2"D William Lionel Sheets lived in St. Louis, where Bill was a commercial artist. (He also painted a mural in an East St. Louis jazz club.) He read about both the art and the jazz scenes in San Francisco took a "drive-away" to arrive in SF in time for him to enroll at the San Francisco Art Institute in January 1960. He attended the University of Arkansas on a basketball scholarship. He left after a year and then attended Oklahoma State...

The Trumpeter represents the very embodiment of joy. With a thousand nuances of form, from her outstretched fingers to the carefree tilt of her head, she conveys a sense of youth and...

This sculpture titled "Arabesque (Ballet Dancer)" 2001 is a cast bronze sculpture with silver patina by noted contemporary American artist Rebecca Clark. Signature, date and numbering /500 are impressed in the bronze on the deck. The sculpture size without the marble base is 28.25 x 17.75 x 13 inches, with the marble base is 29.5 x 17.75 x 13 inches. It is in mint condition. About the artist: Rebecca A. Clark is a Fine Artist and Creative Director with over 20 years of professional experience working in the fine art field in New York City. Her masterful artworks are collected by prominent art collectors worldwide. Rebecca specializes in figurative bronze sculptures, oil paintings, drawings and monumental works of art that embody dynamic strength and classic iconic beauty. Her artworks range from sensuous figurative sculptures to magnificent heroic size monuments. Commissioned works include “Battling Stallions”, her 18 ft. tall monumental bronze sculpture at the luxury gated development “Le Chevalier” in Barrington Heights, West Linn, Oregon, as well as her elegant 9 ft. tall ballerina bronze sculpture titled “Arabesque” on public display at the Oregon Ballet Theatre. Exclusive custom created works of art portray diverse concepts and themes for private and corporate collectors. Signature series include: Heroic series (Honoring American military Heroes), Inspirational, Classic Nudes and Romantic among other series and sculpture projects in development. Rebecca was born an artist and has always had the desire to achieve excellence in all of her endeavors. From a very early age she was immersed in imaginative creative works such as building models of futuristic cities, paintings, sculptures and a multitude of drawings. In 1981, at the age of 17, Rebecca moved from Lake Oswego, Oregon to New York City to pursue a career in fine art and design at the Parsons School of Design. Shortly after she arrived, Rebecca began her professional artistic career assisting the renowned illustrator Antonio Lopez. At age 18, Rebecca was hired by the famed designer Halston, and began working directly with him as a fashion designer and illustrator. Subsequently, she was discovered by the Ford Models agency and traveled around the world as a top international fashion model. Rebecca worked with renowned fashion photographers such as Richard Avedon, Bruce Weber, Steven Meisel, Patrick Demarchelier and others. Rebecca is experienced in working with the major media, including international publications such as Vogue, Harpers Bazaar, Elle, The New York Times and Glamour, among others, as well as in television. She was featured in a national Diet Slice-Style television commercial that was shown during halftime at the 1987 Super Bowl. Rebecca also appeared in top fashion shows in New York City and Paris, France and in international advertising campaigns such as Revlon’s “The Most Unforgettable Women In The World” ads photographed by Richard Avedon. In 1991, Rebecca left a prestigious modeling career to return to her true creative passion. She began creating a series of beautiful and universally appealing fine bronze sculptures and many commissioned works. In 1998, she began oil painting and studied at the New York Academy of Art, while creating oil paintings depicting the classic nude, equine, inspirational themes and portrait commissions for select art collectors. In 2001, Rebecca developed several digital film projects through her studies in the Film Directors Program at New York University. From 2001 to the present, she continues to create bronze sculptures, drawings, and oil paintings for private art collectors. In 2011, Rebecca was officially endorsed and directed by the National Special Forces Association to create The National Special Forces Green Beret...

Artist: Eduard Matevosyan Work: Original Oil Painting, Handmade Artwork, One of a Kind Medium: Oil on Paper Year: 2025 Style: Figurative art Title: Milena in Black Size: 16" x 12" x...

Joan Miro Escalade de la butte 1976 Original etching and aquatint in colors on BFK Rives paper Hand signed in pencil and numbered 35/50 from the edition of 50 Published by Atelier La...

Caution: Falling Rocks is an acrylic painting on 24 x 24" canvas, signed 'RENÉ LALONDE' lower left and framed in a contemporary black wood frame. It is difficult to categorize the v...

A view of St. George living at peace with the animals around him. While Washburn's techniques bear favorable comparison with the old masters, there is a definite modern sense of wit ...

Living in a Dream (Till Death do us Part) - 2005 20x20cm, Edition of 10, Archival C-Print print, based on the Polaroid. Certificate and Signature label, artist Inventory No. 9781. Not mounted. on offer is a piece from the movie "Till Death do us Part" Stefanie Schneider’s Till Death Do Us Part or “There is Only the Desert for You.” BY DREW HAMMOND Stefanie Schneider’s Til Death to Us Part is a love narrative that comprises three elements: 1. A montage of still images shot and elaborated by means of her signature technique of using Polaroid formats with outdated and degraded film stock in natural light, with the resulting im ages rephotographed (by other means) enlarged and printed in such a way as to generate further distortions of the image. 2. Dated Super 8 film footage without a sound track and developed by the artist. 3. Recorded off-screen narration of texts written by the actors or photographic subjects, and selected by the artist. At the outset, this method presupposes a tension between still and moving image; between the conventions about the juxtaposition of such images in a moving image presentation; and, and a further tension between the work’s juxtaposition of sound and image, and the conventional relationship between sound and image that occurs in the majority of films. But Till Death Do Us Part also conduces to an implied synthesis of still and moving image by the manner in which the artist edits or cuts the work. First, she imposes a rigorous criterion of selection, whether to render a section as a still or moving image. The predominance of still images is neither an arbitrary residue of her background as a still photographer—in fact she has years of background in film projects; nor is it a capricious reaction against moving picture convention that demands more moving images than stills. Instead, the number of still images has a direct thematic relation to the fabric of the love story in the following sense. Stills, by definition, have a very different relationship to time than do moving images. The unedited moving shot occurs in real time, and the edited moving shot, despite its artificial rendering of time, all too 2009often affords the viewer an even greater illusion of experiencing reality as it unfolds. It is self-evident that moving images overtly mimic the temporal dynamic of reality. Frozen in time—at least overtly—still photographic images pose a radical tension with real time. This tension is all the more heightened by their “real” content, by the recording aspect of their constitution. But precisely because they seem to suspend time, they more naturally evoke a sense of the past and of its inherent nostalgia. In this way, they are often more readily evocative of other states of experience of the real, if we properly include in the real our own experience of the past through memory, and its inherent emotions. This attribute of stills is the real criterion of their selection in Til Death Do Us Part where consistently, the artist associates them with desire, dream, memory, passion, and the ensemble of mental states that accompany a love relationship in its nascent, mature, and declining aspects. A SYNTHESIS OF MOVING AND STILL IMAGES BOTH FORMAL AND CONCEPTUAL It is noteworthy that, after a transition from a still image to a moving image, as soon as the viewer expects the movement to continue, there is a “logical” cut that we expect to result in another moving image, not only because of its mise en scène, but also because of its implicit respect of traditional rules of film editing, its planarity, its sight line, its treatment of 3D space—all these lead us to expect that the successive shot, as it is revealed, is bound to be another moving image. But contrary to our expectation, and in delayed reaction, we are startled to find that it is another still image. One effect of this technique is to reinforce the tension between still and moving image by means of surprise. But in another sense, the technique reminds us that, in film, the moving image is also a succession of stills that only generate an illusion of movement. Although it is a fact that here the artist employs Super 8 footage, in principle, even were the moving images shot with video, the fact would remain since video images are all reducible to a series of discrete still images no matter how “seamless” the transitions between them. Yet a third effect of the technique has to do with its temporal implication. Often art aspires to conflate or otherwise distort time. Here, instead, the juxtaposition poses a tension between two times: the “real time” of the moving image that is by definition associated with reality in its temporal aspect; and the “frozen time” of the still image associated with an altered sense of time in memory and fantasy of the object of desire—not to mention the unreal time of the sense of the monopolization of the gaze conventionally attributed to the photographic medium, but which here is associated as much with the yearning narrator as it is with the viewer. In this way, the work establishes and juxtaposes two times for two levels of consciousness, both for the narrator of the story and, implicitly, for the viewer: A) the immediate experience of reality, and B) the background of reflective effects of reality, such as dream, memory, fantasy, and their inherent compounding of past and present emotions. In addition, the piece advances in the direction of a Gesammtkunstwerk, but in a way that reconsiders this synaesthesia as a unified complex of genres—not only because it uses new media that did not exist when the idea was first enunciated in Wagner’s time, but also because it comprises elements that are not entirely of one artist’s making, but which are subsumed by the work overall. The totality remains the vision of one artist. In this sense, Till Death Do Us Part reveals a further tension between the central intelligence of the artist and the products of other individual participants. This tension is compounded to the degree that the characters’ attributes and narrated statements are part fiction and part reality, part themselves, and part their characters. But Stefanie Schneider is the one who assembles, organizes, and selects them all. THE RELATIONSHIP BETWEEN THIS IDEA (above) AND PHOTOGRAPHY This selective aspect of the work is an expansion of idea of the act of photography in which the artistic photographer selects that which is already there, and then, by distortion, definition or delimitation, compositional and lighting emphasis, and by a host of other techniques, subsumes that which is already there to transform it into an image of the artist’s contrivance, one that is no less of the artist’s making than a work in any other medium, but which is distinct from many traditional media (such as painting) in that it retains an evocation of the tension between what is already there and what is of the artist’s making. Should it fail to achieve this, it remains, to that degree, mere illustration to which aesthetic technique has been applied with greater or lesser skill. The way Til Death Do Us Part expands this basic principle of the photographic act, is to apply it to further existing elements, and, similarly, to transform them. These additional existing elements include written or improvised pieces narrated by their authors in a way that shifts between their own identities and the identities of fictional characters. Such characters derive partially from their own identities by making use of real or imagined memories, dreams, fears of the future, genuine impressions, and emotional responses to unexpected or even banal events. There is also music, with voice and instrumental accompaniment. The music slips between integration with the narrative voices and disjunction, between consistency and tension. At times it would direct the mood, and at other times it would disrupt. Despite that much of this material is made by others, it becomes, like the reality that is the raw material of an art photo, subsumed and transformed by the overall aesthetic act of the manner of its selection, distortion, organization, duration, and emotional effect. * * * David Lean was fond of saying that a love story is most effective in a squalid visual environment. In Til Death Do Us Part, the squalor of the American desert...

We are surrounded by graphic images, songs, greeting cards, and even paintings all created toward the effort of expressing romantic love. While so potent, and even sometimes transfor...

Drawing inspiration from an immersive and impressionistic interpretation of nature, Canadian artist Vé Boisvert paints textural original artworks that capture the fleeting effects of...