Continental US - Photography

St. Louis and the Arch Vintage Photograph St. Louis: title, signature, dated 1977, copyright 1982, and edition 1/10 to verso. View down Walnut St. of St. Louis' city hall building. Images: 15 x 19 in. (16 X 20), frames: 22 1/2 x 28 1/2 in Meyerowitz first drew acclaim for his remarkable ability to capture subtle qualities of light with the 1978 publication of Cape Light, which went on to become a color photography classic. Joel Meyerowitz (born March 6, 1938) is a street photographer, and portrait and landscape photographer. He began photographing in color in 1962 and was an early advocate of the use of color during a time when there was significant resistance to the idea of color photography as serious art. In the early 1970s he taught the first color course at the Cooper Union in New York City where many of tod...

hand colored photograph. Edition 4/11

This ethereal underwater photograph showcases minimalist composition in rich teal and turquoise tones, capturing a performer suspended in crystalline waters. The topless young woman ...

Black and white candid image of Rita Hayworth in Burbank, walking along a beautiful street scene. Rita Hayworth was an American actress, dancer, and producer. She achieved fame duri...

Malick Sidibé (1935-2016) was renowned for his celebrated black-and-white photographs of the youth culture in his hometown of Bamako, Mali.

Verbier Vacation, 1964 C print Estate stamped and hand numbered edition of 150 with certificate of authenticity from the estate. Holiday-makers take the sun on a mountain top in Ver...

The angel is a being that religion has bequeathed us as a sign of purity, innocence, and goodness, from the same source, we have been sold to the devil as the form that represents ev...

This image is from the last photoshoot of Marilyn Monroe taken by George Harris, 2 1/2 weeks before her death in August, 1962 in Santa Monica, California. Photolithograph taken from ...

Actress Bette Davis posed in front of the Queen Mary, circa 1967. Bette Davis was an American actress of film, television, and theater. Regarded as one of the greatest actresses in ...

"Newman" is an acrylic photomosaic artwork by Destro. The first release in a series mosaic works called "Icons". Destro has created large prints which are made up of many hundreds o...

One of Steve McCurry's most iconic images, this portrait features a young Afghan girl with piercing green eyes wearing a red head scarf. Afghan Girl by Steve McCurry is a 24 x 20 i...

Museum quality fine art print of Dita Von Teese by photographer Markus Klinko in 2013 in Los Angeles. This print is available in the following sizes, signed and numbered by Markus K...

'Radha Pink' (29 Palms, CA) - 1999 130x128cm, sold out Edition of 5, Artist Proof 2/2 (last), analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on a...

ABOUT THIS PIECE: "As a self-portrait artist, I use the observation of my surroundings, personal experiences, and my own personal growth to create conceptual images. I am a highly positive person and this positivity often reflects in my work delivering images with a strong message on personal growth, self-love, and empowerment. I want my images to give hope and teach people to appreciate themselves, to love, dream, and believe that everything is possible if we believe it is. My images often feature simple backgrounds, saturated colors, and characteristic props like flowers, plants, origami, or balloons. creating dreamlike images both rich aesthetically and in meaning." - Fares Micue...

Two nude males lie on a bare wood floor. The angle of the photograph suggests that their bodies have melded into one. The artist uses traditional photography methods shooting the i...

Untitled 08 (Saigon) - 2003 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Certificate and signature label. Artist Inventory #19813. Not ...

Untitled (Cathy and Shannon) - 2004 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Certificate and Signature label. Artist Inventory No. 490...

71 x 88.5 inches - edition of 5 Chromogenic Print – Unframed Signed by the artist - Certificate of Authenticity Free Shipping – Ask us foar custom framing options. As a world-renown...

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...

Magic Mountain 12 (Memories of Green), Edition 1/5 , 58x56cm, 2003 analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on a Polaroid, Artist inventory Nu...

Turpentine - 2021 50x40cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on a Polaroid. Signature label and certificate. Artist inventory PL2021-1081. Not mounted. ...

11 x 14" vintage silver gelatin photograph, signed by Jack Mitchell. Mitchell dry mounted this photograph on archival board for exhibition. Comes directly from the Jack Mitchell Arc...

Exhibition Poster from the Shane Russeck Pop up gallery in Los Angeles. Original offset lithograph poster printed on acid-free archival paper from the 2019 exhibition/opening of S...

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...

This is a contemporary photograph of a Tiger by Shane Russeck. Printed on archival paper using archival inks Shane Russeck is a modern day photographer, adventurer, and explorer. ...

Fly (Bombay Beach) - 2019 80x80cm, Edition of 5 plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Signed on the back and with certificate. Artist inventory PL201...

Star me Kitten - 2017, 50x50cm. Edition of 7 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid, not mounted. Signature label with certificate. Artist inventory PL201...

Tao Ruspoli (born November 7, 1975) is an Italian-American filmmaker, photographer, and musician. Background Tao is the second son of Prince Alessandro Ruspoli, 9th Prince of Cervet...

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...

Signed limited edition fine art print of The Cure taken in the snow, London 1979. Signed and numbered by Jill Furmanovsky in pencil and featuring Jill’s official embossed studio sta...

Photograph of Jerry Garcia with guide in 1978 at the Pyramids in Egypt. The Grateful Dead played 2 shows in Giza, Egypt on September 15 & 16th. Signed and numbered by photographer

"Drift 05" Landscape Photography 40" x 30" Edition of 5 by Rowan Daly Digital print on Ultra Smooth Fine Art Paper Unframed - ships rolled in a tube DRIFT Behind the scenes of ...

Jill Peters finds her inspiration in the quickly changing architectural landmarks of her youth, like the demolished Miami Herald building, an abandoned roller coaster or a neglected ...

Kate #4, 2002 by American photographer Leonard Freed is in the photographer's series "Kate." This is an 11" x 14" gelatin silver photograph signed verso (back of photo) by the Freed ...

This is a contemporary black and white photograph of a American Wild Mustang. "They represent the ultimate expression of American freedom" 36 x 48 Edition of 12. Signed by artist. ...

When Lawrence Schiller got the assignment from the French magazine Paris Match to photograph Marilyn Monroe on the 20th century Fox set of Something’s Got To Give, he thought nothing of it. It wasn’t to be a private, studio shoot. He wasn’t going to set up lights, create backgrounds, use a tripod. Just another assignment, he figured. Monroe by then was firmly established as a figment in the imagination of most young men. The orphan Norma Jean had recreated herself as the blonde bombshell Marilyn Monroe. She’d appeared in twenty-nine films by the time Schiller photographed her in black and white and color in May 1962. The world was unprepared for the moment when Marilyn jumped in the swimming pool in a flesh-colored bikini and came up out of the water au natural. She was all smiles and in her element: the sex goddess...

Listing includes free shipping to the continental US and a 14-day return policy. Joan Didion by Julian Wasser 16 x 20 inch gelatin silver print Edition 1...

My Girl (Till Death do us Part) - 2005 48x46cm, Edition of 10, plus 2 Artist Proofs, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #92...

"New moon" Photography 16" x 16" inch Edition of 24 by Olha Stepanian Printed on Epson Professional Paper Signed and numbered by the artist Not framed. Ships in a tube. Avail...

Ephemeral Palace Antarctic Peninsula, Antarctica, 2012. 24 x 36 in / 61 x 91.4 cm / Edition of 20 31 x 46.5 in / 78.7 x 118.1 cm / Edition of 15 40 × 60 in / 101.6 x 152.4 cm / Edit...

1949: American Jazz trumpeter and singer Louis Armstrong (1898 - 1971) enjoys a plate of spaghetti in Rome. Slim Aarons Dinner Jazz Louis Armstrong in 1940s Rome Black and White Pho...

This black and white capture features Ava Gardner sitting besides Van Johnson driving car. Van Johnson was an American film, television, theatre and radio actor, singer, and dancer....

“Foreign Bodies” Photography 24" x 24" inch Edition of 24 by Brian Ziff Giclee (Archival Ink) Print on Canson Platine Fibre Rag From "Rite of Spring" series In this melancholy se...

"The incredible moment in this photograph features the yacht Ranger at high speed The J-Class racing yacht Ranger races ahead in this incredible shot of a truly magnificent feat of ...

Iconic portrait photograph by midcentury society photographer Slim Aarons, capturing young Jackie Kennedy (Jacqueline Onassis) (1929 - 1994) wife of Senator Jack Kennedy, at a 'April...

The ungovernable nature of water provides a balance between order and chaos. The photographer can compose the general nature of a photograph of a nude swimmer, but the exact results ...

The first encounter I had with the abyss, was arriving to a place that does not exist, a point suspended in time where I am without being. An unreal world expands in front of me, eve...

Warrior El Paisa, 2001 by Celso José Castro Daza From The series Buscando Mamá One of a kind photo collage Sheet Size: 39.5 in. H x 27.5 in. W Signed, titled and dated by the artist...

Artist: Jeffrey Mayer Limited Edition: Signed and hand numbered in the margin, archival pigment print on 100% cotton paper with a Baryta finish. Authorized worldwide release of 100 ...

This awesome capture features Thelonious Monk at the piano, Minton's Playhouse, New York, N.Y., circa Sept. 1947. Thelonious Monk was an American jazz pianist and composer. He had a...

Tequila - 2024 - 20x25cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. inventory PL2024-18. Not mounte...

The angel is a being that religion has bequeathed us as a sign of purity, innocence, and goodness, from the same source, we have been sold to the devil as the form that represents ev...

Explore the exclusive limited editions of Tal Paz-Fridman's collection, with each captivating piece available in four select sizes. Limited to just 10 editions each, you can choose f...

Time to Save From: 12 Photographs: 1973-1983, Plate 8 of 12 Dye transfer photograph, 1979 Signed in ink Edition: 50, this example an Artist's Proof (7/10) Printer: Guy Stricherz Pu...

The Pacific Northwest is home to an endless array of idyllic scenes A waterfall cascading into a calm pool of water in Columbia River Gorge, Oregon Explore the National Parks and t...

Archival pigment print Signed and numbered on label, verso 12 x 18 inches (Edition of 10) 24 x 35.5 inches (Edition of 8) From the series, "Him" This artwork is offered by ClampAr...

Christo and Jeanne-Claude Wrapped Reichstag (I) (German Parliament, Blue Sky) Color Photograph on Archival Paper Year: 1995 Size: 11.81 x 15.74 inches (30 x 40 cm) Photographer: Wolf...

Espiral Dos & Espiral Diptych, by Ricky Cohete From the series "Espiral" Overall size: 30 in H x 40 in W. Individual size: 30 in H x 20 in W. Edition of 13 + 1AP Unframed 2021 All p...