California - Photography

Male Nude VI (29 Palms, CA) - 1999 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Certificate and signature label. Artist inventory number...

11 x 14 inch image is an edition of 45. Four other sizes are available. Mina Afshari was born in Tehran, Iran. Her life and art are shaped by her journey from oppression to freedom....

The Games we played (Till Death do us Part) - 2005 20x20cm, Edition of 10, plus 2 artist proofs. Archival C-Print print, based on the Polaroid. Certificate and Signature label, a...

Beautiful black & white landscape photograph of forest trees and stream in the woods of Alaska, by Anchorage-based nature photographer George Provost (American, 20th Century). Hand signed and dated "George Provost 1989" lower right. Photograph is hand made from an 8x10 camera negative in a traditional "wet" darkroom, by the photographer. Mounted on white mat board. Unframed. Image size: 19"H x 15"W. Born in California, Provost grew up in the Bay Area. He has lived and worked in Alaska since 1987, specializing in large format, fine art, black and white photography. His work has been exhibited in over 60 exhibitions, received numerous awards, and is included in hundreds of collections, both public and private. George Provost was an Isle Royale...

A Princess' Life (High Desert) - 2019 Edition 1/10, 20x20cm. Digital C-Print, based on the Polaroid. Signature label and Certificate. Artist Inventory # 22182 Not mounted. Stef...

Still life photographer Russel Kiehn’s interests lie in images that are in plain sight yet are often overlooked. He seeks a dialogue between a subject and the photographic medium; be...

Burned II (Self Portrait), 1999 Edition of 1/10, 40x40cm Print on Velvet Watercolor, 310gsm, No OBAs, Bright White, Acid Free based on an original Polaroid. Signature label and Certificate. Not mounted. Artist Inventory No 311.01. A German view of the American West The works of Stefanie Schneider evoke Ed Ruscha's obsession with the American experience, the richness of Georgia O'Keefe's deserts and the loneliness of Edward Hopper's haunting paintings. So how exactly did this German photographer become one of the most important artists of the American narrative of the 20th and 21st century? Born in Germany in 1968, photographer Schneider divides her time between Berlin and Los Angeles. Her process begins in the American West, in locations such as the planes and deserts of Southern California, where she photographs her subjects. In Berlin, Schneider develops and enlarges her works by hand. What is initially most striking about Schneider's images is the color of her Polaroid film but her role in preserving the use of Polaroid film is one aspect of her work that has gained great respect from her contemporaries and the critics, as her work came about during a time when the Polaroid, a symbol of American photography, was on the road to extinction. This theme of preservation and deterioration is a core part of Schneider's oeuvre. In an interview in October 2014 with Artnet, the artist explained how her own experiences of pain and loss inspire her. ''My work resembles my life: Love, lost and unrequited, leaves its mark in our lives as a senseless pain that has no place in the present.'' ''The ex-lover experiences the residues of love as an amputee experiences the sensation of a ghost limb.'' - Stefanie Schneider Schneider's subjects are often featured in apocalyptic settings: desert planes, trailer parks, oilfields, run-down motels and empty beaches, alone, or if not, not connected with one another. ''It is the tangible experience of ''absence'' that has inspired my work'', explained Schneider. Barnebys, May 3rd, 2017 Stefanie Schneider is a contemporary German photographer and film artist. Her work is characterized by its uniform formal aesthetic and its faded imagery, which she produces through the chemical deterioration of expired film. Schneider’s focus is on the exclusive depiction of young women living in California, clothed in retro dress and evoking nostalgic home photography or vintage film stills...

Slim Aarons' Saint-Tropez Beach, an Estate Edition photograph, is a vintage scene of sunbathers on the French Riviera, August 1971. Colorful coral red an...

A large scale photograph of lush emerald green nature biotope, a highly detailed observation of the natural beauty of Northern California's coastal redwood...

Wave I by Christian Stoll a mesmerizing photographic rendering of blue acquatic surface 58 x 58 inches (147 x 147cm) edition of 7 signed 48 x 48 inches (122 x 122cm) edition of 7 s...

Wild West I by Frank Schott from a series of photographic observances around Monument Valley 48 x 71 inches / 122cm x 180cm signed edition of 7 27 x 40 inches / 68cm x 102cm signed...

Dusk (The Last Picture Show) - 2005 Edition 4/5, 38x36cm each, 131x127cm installed including gaps. 9 Analog C-Prints, hand-printed by the artist on Archive Fuji Crystal Paper, based...

Untitled (City of Industry) - 2004 38x36cm, Edition of 5 plus 2 Artist Proofs. Analog C-Print, hand-printed by the artist, based on the original Polaroid. Certificate and Signatur...

Outback Dreams - 29 Palms, CA - 2010 50x130cm. Archival C-Print, based on the 3 original Polaroids. Signature label and certificate. Artist Inventory # 1933. Not mounted. THE G...

Discover the quintessence of French Riviera charm in Slim Aarons' iconic photograph, 'Saint-Tropez Boucherie,' on Rue des Commercants, Saint-Tropez, 1971. This image is a beautiful intersection of fashion, culture, and everyday life in the sun-drenched streets of Saint-Tropez in August 1971. This photograph features a casual yet captivating scene: two women and a young girl, all dressed in vibrant, vintage early '70s attire in shades of mint green, lemon yellow, and pink, enjoying a leisurely conversation outside a classic red French boucherie or butcher shop. A chic gold and white bicycle, representative of the laid-back Mediterranean lifestyle, is parked unassumingly on the sidewalk. Adding depth to the scene, the shop's proprietor, clad in a purple shirt, can be spotted through the window, lending an authentic touch to the photograph. An enchanting Moroccan-style zellige tile...

Jen's love of photography began as a child, when her grandfather, a photographer, gave her a camera. However, it wasn't until she graduated from UC Berkeley that photography became a driving force in her life. She loves to photograph America's worn-out, offbeat, and forgotten corners. Working with color Jen takes ordinary scenes just a bit beyond our everyday view. Many of her photographs depict California highway establishments and signage, revealing an appreciation for their dated aesthetic and patina of rust and neglect. "Motel" Edition of 50 Type C...

Title: Prince #2 Photo   1985, Purple Rain Tour.  Artist: Richard E. Aaron Year: 1985 Estate Edition: Hand numbered with estate chop mark in the margin, signature stamp on verso, ...

Heartbreak Motel - 2016 20x20cm, Edition of 7 plus 2 Artist Proofs. Archival print, based on the original Polaroid. Signature label and certificate. Artist inventory PL2016-123....

1 Stefanie Schneider Mini 'Male Nude' - 1999 - signed in front, not mounted. 1 Digital Color Photographs based on a Polaroid. Polaroid sized open Editions 1999-2016 10.7 x 8.8cm...

Outtake (29 Palms, CA) - 1999 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Signature label and Certificate. Artist inventory Nu...

The most iconic of the Weston shells, throughout 1927 he took twenty-six still life images of shells, including Nautilus 1927 (Museum of Modern Art, New York). His interest in nautil...

Almost Paradise (Wastelands) - 2003 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist inventory Number 894. Signature label and Certificate. Not mounted. For sale is a piece from the Wastelands series. Reality with the Tequila: Stefanie Schneider’s Fertile Wasteland by James Scarborough “How much more than enough for you for I for both of us darling?” (E. E. Cummings) Until he met her, his destiny was his own. Petty and inconsequential but still his own. He was cocksure and free, young and unaccountable, with dark hair and aquiline features. His expression was always pensive, a little troubled, but not of a maniacal sort. He was more bored than anything else. With a heart capable of violence. Until she met him, she was pretty but unappreciated. Her soul had registered no seismic activity. Dustbowl weary, she’d yet to see better days. A languorous body, a sweet face with eyes that could be kind if so inclined. Until she met him, she had not been inclined. It began when he met her. She was struck in an instant by his ennui. The sum of their meeting was greater than the imbroglios and chicaneries of their respective existences. He was struck by the blank slate look in her eyes. They walked, detached and focused on the immediate, obscenely unaware of pending change across a terrain of mountainous desert, their eyes downcast and world-weary, unable to account for the buoyant feeling in her heart. His hard-guy shtick went from potentiality to ruse. The gun was not a weapon but a prop, a way to pass time. Neither saw the dark clouds massing on the horizon. They found themselves alone in the expanses of time, unaware of the calamity that percolated even as they posed like school kids for the pictures. Happiness brimmed in that wild terrain. Maybe things were beginning to look up. That’s when the shooting started… Stefanie Schneider assumes that our experience of lived reality (buying groceries, having a relationship with someone, driving a car) does not correspond to the actual nature of lived reality itself, that what we think of as reality is more like a margarita without the tequila. Stefanie Schneider’s reality is reality with the tequila. She does not abolish concepts that orient us, cause and effect, time, plot, and storyline, she just plays with them. She invites us to play with them, too. She offers us a hybrid reality, more amorphous than that with a conventional subject, verb, and predicate. Open-ended, this hybrid reality does not resolve itself. It frustrates anyone with pedestrian expectations but once we inebriate those expectations away, her work exhilarates us and even the hangover is good. An exploration of how she undermines our expectation of what we assume to be our lived reality, the reasons why she under- mines our expectations, and the end result, as posited in this book, will show how she bursts open our apparatus of perception and acknowledges life’s fluidity, its density, its complexity. Its beauty. She undermines expectations of our experience of reality with odd, other-worldly images and with startling and unexpected compressions and expansions of time and narrative sequence. The landscape seems familiar enough, scenes from the Old West: broad panoramic vistas with rolling hills dotted with trees and chaparral, dusty prairies with trees and shrubs and craggy rocks, close-up shots of trees. But they’re not familiar. These mis-en-scenes radiate an unsettling Picasso Blue Period glow or the intense celestial blue of the cafe skies that Van Gogh painted in the south of France. Yellow starbursts punctuate images as if seen through the viewfinder of a flying saucer. At the same time, objects appear both vintage and futuristic, the landscape of a post-apocalyptic world. Landscapes change seemingly at random as do the seasons. Stefanie Schneider offers no indication of how time flows here, except that it conceivably turns in on itself and then goes its merry way. Time is a river whose source is a deep murky spring which blusters about with an occasional swirling eddy. That Stefanie Schneider thwarts an easy reading is obvious but why does she do this? Since she will not countenance anything linear, logical, or sequential, and because she does not relish anything concrete and specific, she has to roil things up a bit. Nor does she seem comfortable with a book of images that is settled, discrete, and accountable. Instead she wants to create a panoply of anxious moments...

Underwater nude photograph of a model swimming in the pool. "There were five grand pianos at her house, a pool at the third floor, and a sad man on the bottom of that pool me. I jus...

Tell me what I am to do (Till Death do us Part) - 2005 20x20cm, Edition 2/10. Digital C-Print print, based on a Polaroid. Certificate and Signature label. Artist Inventory No. 932...

Oasis (Sidewinder), 2005, Edition 3/5, 16 pieces each 48x47cm analog C-Prints, hand-printed by the artist, printed on Fuji Crystal Archive Paper, based on Polaroids mounted on Aluminum with matte UV-Protection, based on an expired Polaroids, Artist inventory Number 3001.03 Installation shot at 'Mulholland Distilling' in LA with Danny Fox...

A contemporary photograph of 2Pacs iconic "All eyez on me" cassette tape. This is s the first release in the much anticipated series "The Music" by pop Artists Destro These iconic ta...

This is a contemporary photograph of a Brown Bear. This was shot on Kodiak Island in 2019. 45x60 Unsinged print Archival pigment paper Framing available. Inquire for rates. Sh...

Heresy - 2020, 20x20cm, Edition of 7 plus 2 Artist Proof. Archival Print, based on the Polaroid. Signature label and certificate. Artist inventory PL2020-906. Not mounted. K...

a mesmerizing sea of dark green and brown tones from an ongoing photography project since the late 1990s, capturing the details of the human eye and a pupil's unique abstractions Ir...

Ponder - 2019 20x20cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Signed on the back and with certificate. Artist inventory PL219-673. N...

Underwater photograph of a naked young woman standing on her hands on the bottom of a pool. Her perfect body on the red background and classic heavy breasts leave spectators speechle...

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...

Artist: Gregory Crewdson Title: Untitled, Unreleased #4, 2003 Year: 2003, printed 2023 Medium: Digital pigment print, hand signed in ink Sheet: 11 × 14 in 28 × 35.5 cm Condition: Mi...

Iconic futuristic architectural design of midcentury prefab "Futuro" in Great Tetons Yellowstone landscape, designed by Finnish architect Matti Suuronen...

Original large format still life photograph of purple anemone from Linda Rosewall's series "Flora Italiana", an intensely beautiful body of works explor...

Animal nitrate - 2021 40x50cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2022-2007. ...

Memory of a Dream (29 Palms, CA) - 2006 38x36cm, Edition 2/10. Archival C-Print, based on the original Polaroid. Certificate and Signature Label. Artist inventory Number 3602. Not...

'Hot Tub' (Heavenly Falls) - 2016 50x50cm, Edition of 10, Archival C-Print based on a Polaroid, Certificate and signature label, artist inventory number: 19715.08 Not mounted. ...

Slim Aarons' Saint-Tropez Beach, an Estate Edition photograph, is a vintage scene of sunbathers on the French Riviera, August 1971. Colorful coral red and mint green umbrellas shelte...

Springtime (Suburbia) - 2004 20x24cm, Edition of 10, Archival C-Print based on the Polaroid, Signed on verso with Certificate, Artist inventory number: 18251. Not mounted. Thi...

LA Parking by Frank Schott a burst of red in an urban landscape of striking minimalism from a series of photographs capturing the mid century modern architecture and architectural el...

Wild Things (Till Death do us Part) - 2005, 20x24cm, Edition of 10, plus 2 Artist Proofs, Digital C-Print, based on a Polaroid. Certificate and Signature label. Artist Inventory #...

Slim Aarons' Saint-Tropez Beach, an Estate Edition photograph, is a vintage scene of sunbathers on the French Riviera, August 1971. Colorful coral red and mint green umbrellas shelte...

An underwater photograph of a naked young woman wrapped in bubbles. This is a bright high resolution photograph with rich green and golden tones migrating onto blue and orange. Ori...

Girl Nude (29 Palms, CA) - 1999 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid, Signature label and Certificate. Artist inventory Number ...

A young woman at the Palm Bay Club, Miami, Florida, USA, circa 1965 Slim Aarons Palm Bay Club Black and White Photography Slim Aarons Estate Edition Num...

In the series 'She Disappeared into Complete Silence' (2014) Mona Kuhn takes a new direction into abstraction. She turns to a highly austere and restrained reductionist geometry and distilled formal purity, connecting the interior to the exterior, the visible to the hidden. These reflections cause one to linger, as they merge to create a dynamic equilibrium of tension, spaces and rythms. AD14558 (She Disappeared into Complete Silence) 60" x 45" / 152cm x 114cm edition of 8 + 2AP 40" x 30" / 102cm x 76cm edition of 8 + 2AP limited edition photograph is printed under artist supervision and accompanied by signed artist certificate: artist signature labels are 8x10 in size signed, editioned, dated and titled by the artist, and stamped for authenticity label __________________ About the artist Acclaimed for her contemporary depictions, Kuhn is considered a leading artist in the world of figurative discourse. Throughout a career spanning more than twenty years, the underlying theme of her work is her reflection on humanity’s longing for spiritual connection and solidarity. As she solidified her photographic style, Kuhn created a notable approach to the nude by developing friendships with her subjects, and employing a range of playful visual strategies that use natural light and minimalist settings to evoke a sublime sense of comfort between the human figure and its environment. Her work is natural, restful, and a reinterpretation of the nude in the canon of contemporary art. For the past two decades, the Los-Angeles based artist's works have been shown steadily, revealing an astonishing consistency in technique, of subject and of purpose. In 2001, Kuhn’s photographs were first seen by an influential audience during the exhibition at Charles Cowles Gallery in Chelsea, New York. Kuhn’s distinct aesthetic has propelled her as one of the most collectible contemporary art photographers—her work is in private and public collections worldwide and she is represented by galleries across the United States, Europe and Asia. Kuhn was born in São Paulo, Brazil, in 1969, of German descent. In 1989, Kuhn moved to the US and earned her BA from The Ohio State University, before furthering her studies at the San Francisco Art Institute. She is currently an independent scholar at The Getty Research Institute in Los Angeles. Occasionally, Mona teaches at UCLA and the Art Center College of Design in Pasadena. Mona Kuhn’s first monograph, Photographs, was debuted by Steidl in 2004; followed by Evidence (2007), Native (2010), Bordeaux Series (2011), Private (2014), and She Disappeared into Complete Silence (2018/19). In addition, Kuhn's monograph titled Bushes and Succulents has been published by Stanley/Barker Editions, with a debut at Jeu de Paume in Paris, In 2021, Thames & Hudson published a career retrospective titled Works. Kuhn's most recent publication Kings Road with Steidl accompanies a multi-dimensional museum traveling exhibition shown in Europe and the US. Mona Kuhn’s work is in private and public collections worldwide, including The J. Paul Getty Museum, Los Angeles County Museum of Art, The Hammer Museum, Perez Art Museum Miami, Museum of Fine Arts, Houston, and the Kiyosato Museum in Japan. Kuhn's work has been exhibited at The Louvre Museum and Le Bal in Paris; The Whitechapel Gallery and Royal Academy of Arts in London; Musée de l’Elysée in Switzerland; Leopold Museum in Vienna Austria, The Polygon Gallery in Vancouver Canada, Taipei Fine Arts Museum in Taiwan and Australian Centre for Photography. Mona Kuhn lives and works in Los Angeles. __________________ Solo Exhibitions 2025 Mona Kuhn: Works, Museum of Contemporary Art, Malaga, Spain 2024 Mona Kuhn: The Schindler House, A Love Affair, Galerie XII, Los Angeles Mona Kuhn: Between Modernism and Surrealism, Houk Gallery, New York, NY 2023 Mona Kuhn: Kings Road, Galerie XII, Paris, France Mona Kuhn: Kings Road, Kunsthaus-Göttingen, Germany Mona Kuhn: Kings Road, Jackson Fine Art, Atlanta 2022 Mona Kuhn: 835 Kings Road, Art, Design & Architecture Museum, Santa Barbara 2021 Mona Kuhn: Works, Galerie XII, Paris Mona Kuhn: Works, Edwynn Houk Gallery, New York Mona Kuhn: Works, Flowers Gallery, London Mona Kuhn: Works, Galerie XII, Los Angeles + Paris + Shanghai Mona Kuhn: 835 Kings Road, Art, Design and Architecture Museum, Santa Barbara 2020 Still Light, Jardin du Bra'haus, Montée du Château, Clervaux, Luxembourg Mona Kuhn: Early Depictions, Flowers Gallery, London Mona Kuhn: Intimate, UP Gallery, Taipei, Taiwan 2019 Bushes and Succulents, Euqinom Gallery, San Francisco Mona Kuhn: She Disappeared, Jackson Fine Art, Atlanta Mona Kuhn: Experimental, Fruit Factory, Durham Triangle, North Carolina 2018 Mona Kuhn: New Works, Part II, Galerie Catherine Hug, Paris, France 2017 Mona Kuhn: The First Chapter, Euqinom Projects, San Francisco, California 2016 Mona Kuhn: New Works, Galerie Catherine Hug, Paris, France Acido Dorado, Galeria Pilar Serra, Madrid, Spain Mona Kuhn: New Works, Euqinom Gallery, San Francisco, California 2015 Private, Ravestijn Gallery, Amsterdam, The Netherlands Private, Galerie Ernst Hilger, Vienna, Austria 2014 Acido Dorado, Edwynn Houk Gallery, New York Acido Dorado, Flowers Gallery, London, UK Private, Jackson Fine Art, Atlanta, Georgia 2012 Bordeaux Series, Galerie Particuliere, Paris, France Native, Galeria Pilar Serra, Madrid, Spain Bordeaux Series, Jackson Fine Art, Atlanta, Georgia Bordeaux, Flowers Gallery, New York Native, Brancolini Grimaldi, Florence, Italy 2011 Bordeaux, Flowers Gallery, London, UK 2010 Native, Flowers Gallery, London, UK Native, Flowers Gallery, New York 2009 Native, M+B Gallery, Los Angeles, California Native, Jackson Fine Art, Atlanta, Georgia 2008 Evidence, Jarach Gallery, Venice, Italy 2007 Evidence, Scott Nichols Gallery, San Francisco, California Evidence, Charles Cowles Gallery, New York Mona Kuhn, Estiarte Gallery, Madrid, Spain Evidence, Jackson Fine Art, Atlanta, Georgia Less Than Innocent, M+B Gallery, Los Angeles, California 2005 Mona Kuhn – Recent Color Work, Charles Cowles Gallery, New York Mona Kuhn-Close, Jackson Fine Art, Atlanta, Georgia Unbounded Youth, Fahey/Klein Gallery, Los Angeles, California 2004 Mona Kuhn-Color, Camerawork, Berlin, Germany New Work, G. Gibson Gallery, Seattle, Washington Corporeal Space, Galerie F5.6, Munique, Germany Mona Kuhn - Color Photographs, Scott Nichols Gallery, San Francisco, California Still Memory, PhotoEye...

Day and Night - 2017 Edition of 7 plus 2 Artist Proofs. 48x46cm Archival C-print, based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2017-111. Not m...

A black and white photograph of a perfect woman's buttocks and her handcuffed hands giving a finger. Original gallery quality print signed by the artist. Digital archival pigment p...

'Whisky and Water VI' (Sidewinder), diptych - 2005 Edition 1/5, 45x36cm each, installed 45x80cm including gaps. 2 analog C-Prints, hand-printed by the artist on Fuji Crystal Archi...

large scale abstraction of floral water clouds in a liquid landscape FLORA I by Christian Stoll 48 x 76 inches (122 x 193cm) signed edition of 7 25 x 40 inches (64 x 102cm) signe...

By photographer Reg Lancaster, English actress Jane Birkin and French singer-songwriter Serge Gainsbourg, at home in Paris, 1969. As an authorized Getty Images Gallery partner, we ...

Archival pigment print on Hahnemühle Ultra Smooth, signed, dated and editioned by artist verso; studio stamped verso, 14 x 17 in.. Hardcover in slipcase, 11 x 14 in., 3,69 kg (8.12 l...

Closer (Sidewinder) - 2005 100x58cm, Edition of 10, Archival C-Print, based on the 15 original Polaroids. Artist Inventory Number 3281. Signature label and certificate. Not moun...

3 Stefanie Schneider's Minis from the movie Stay: 'Forgive me', 'Lila', 'Jellyfish' with Naomi Watts Signed in front, not mounted Lambda digital C...

Rodney Pleasants, Alessandro Spicaglia, Pauline Cappa, Don C. Napolitano and Luigi Boscaln walking on the island of Capri, Italy, in August 1980. Slim Aarons Estate Edition, Certif...

Blue Glove (Michael Jackson) by Tom Schierlitz a highly detailed glamorous still life photograph of the performer's iconic blue and gold sequin and Swarovski rhinestone crystal glove...

The Receiving End - 2018, 20x24cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. Artist inventory PL2018...