Continental US - Nude Photography

'Golden Brown' part of the series 'A girl called N.' 2019, 20x20cm, Edition 2/7 plus 2 Artist Proofs, digital C-Print based on a Polaroid, not mounted. Signed on the back and with ce...

Artwork by photographer David Jay exclusive to The Art Design Project. David Jay's work gives a unique and intimate perspective on how we define beauty. A confrontation between the ...

Happy Days (Till Death do Us part) - 2005 20x20cm, sold out Edition of 10, this is Artist Proof 2/2. Archival C-Print based on the Polaroid. Certificate and signature label. Arti...

An underwater black and white photograph of beautiful naked young woman in a pool filled with sun light. The bottom of the pool is covered with a mysterious web of ripple shadows and...

image size: 10 x 8 inches Standing Nude Male Flexing in Socks and Shoes Smoking a Cigarette Polaroid Transfer on 22 x 15 inch Rives BFK paper, unframed signed SM Beard in pencil on...

'Prom Nights' (Till Death Do Us part) - 2005 20x20cm, sold out Edition of 10, this is Artist Proof 2/2. Archival C-Print based on the Polaroid. Certificate and signature label. a...

Body Paint tribute to the Afro and pre-Columbian cultures, taking erotic and suggestive poses such as reading among others. Jose Sierra work is deeply influenced by themes of self-r...

'Home' by Kirsten Thys van den Audenaerde 50x50cm Edition of 7 + 2 Artist Proofs Archival C-print, Not mounted. Artist inventory PL2017-103 Signature label and certificate based...

Truth or Dare - 2017 20x20cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid, not mounted. Signature label with certificate. Artist inventory PL2017-27...

An underwater nude photograph of a model in floating petals Original gallery quality print signed by the artist. Digital archival pigment print on archival paper with metallic fin...

Narween (Saigon) - 2003 58x56cm, Edition 2/5. Analog C-Print, hand-printed by the artist, based on the original Polaroid. Mounted on Aluminum with matte UV-Protection. Artist in...

The world is mine - 2021 20x20cm, Edition of 7 plus 2 Artist Proofs, Archival C-Print based on the Polaroid. Signed on the back and with certificate. Artist inventory PL2020-101...

Touching the skin of the past is an extraordinary collection of Roman Statues captured with the ICM technique in order to make the marble skin like a truly human body. 'Touching the ...

I Remember (Bombay Beach) - 2024 - 20x25cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. inventory PL2...

"Belly Of the Dragon" Nude Photography 36" x 24" in Ed. 1/7 by Aaron Mcpolin Archival Giclee Print & Museum Framed Not framed. Ships in tube. OTHER SIZES AVAILABLE: Edition of 15:...

"Brooke (Crashing Waves)" Photography 30" x 22" in Ed. 2/7 by Larsen Sotelo Not framed. Ships in a tube Giclee (Archival Ink) print on 310G Platine Fibre Cotton Rag w/satin finish...

"E1" Photography 48" x 48" inch Edition 1/10 by Giuliano Bekor Archival exhibition Giclee Baryta print Not framed. Ships in tube. ELEPHANT series “I just fell in love with them,”...

Cornerstone I - 2023, 20x20cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. Artist inventory PL2024-001...

Color Origami Sipiral II Measures: 43 x 29 inches Archival pigment print One of a kind mounted on aluminum, frame This of one of a kind intervened artworks produced in 2009 and 2010...

Musing (Till Death do us Part) - 2005 24x20cm, Edition of 10, plus 2 artist proofs. Archival C-Print print, based on the Polaroid. Certificate and Signature label, artist Invento...

Asleep - 2017 50x50cm, Edition of 7 plus 2 Artist Proofs. Archival Print, based on the Polaroid. Signed on the back and with certificate. Artist inventory PL2017-149. Not mount...

Wheel Chair Corridor (Burned) - 1999 Edition of 10, 40x40cm Analog hand print, on Velvet Watercolor, 310gsm, No OBAs, Bright White, Acid Free based on the Polaroid. Signature labe...

An underwater nude photograph of a young woman dancing in a pool with American flag. Original gallery quality archival pigment print signed by the author. Limited edition of 24 ...

Are we human (or are we dancers)? - 2020 20x20cm, Edition of 7 plus 2 Artist Proofs, Archival C-Print based on the Polaroid. Signed on the back and with certificate. Artist inven...

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...

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, "Another November" This artwork is offer...

"Not from Hollywood" Photography 45" x 30" in Edition 1/7 by Larsen Sotelo Not framed. Ships in a tube Giclee (Archival Ink) print on 310G Platine Fibre Cotton Rag w/satin finish C...

'Being' 2019 20x20cm, Edition 2/7 plus 2 Artist Proofs. Based on a Polaroid, digital C-Print, not mounted. Signed on the back and with certificate. Artist inventory PL2019-628. Kirs...

Touching the skin of the past is an extraordinary collection of Roman Statues captured with the ICM technique in order to make the marble skin like a truly human body. 'Touching the ...

"In a few photographers like Mauricio Velez does aesthetic become ethic. Every portrait scene is seamless. Every composition is an impeccable piece: the light, gesture, even the pref...

The Discovery of two Color Archival Pigment print SIze 40"x 60" Ed of 6 + 2AP Unframed The artist uses a vivid contrast of color to add an extra dimension in the movement and shadow...

Untitled (Paradise) - 1999, 20x20cm. Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature label and Certificate. Artist Inventory No. 20452. Not mounted. LIFE’S A DREAM (The Personal World of Stefanie Schneider) by Mark Gisbourne Projection is a form of apparition that is characteristic of our human nature, for what we imagine almost invariably transcends the reality of what we live. And, an apparition, as the word suggests, is quite literally ‘an appearing’, for what we appear to imagine is largely shaped by the imagination of its appearance. If this sounds tautological then so be it. But the work of Stefanie Schneider is almost invariably about chance and apparition. And, it is through the means of photography, the most apparitional of image-based media, that her pictorial narratives or photo-novels are generated. Indeed, traditional photography (as distinct from new digital technology) is literally an ‘awaiting’ for an appearance to take place, in line with the imagined image as executed in the camera and later developed in the dark room. The fact that Schneider uses out-of-date Polaroid film stock to take her pictures only intensifies the sense of their apparitional contents when they are realised. The stability comes only at such time when the images are re-shot and developed in the studio, and thereby fixed or arrested temporarily in space and time. The unpredictable and at times unstable film she adopts for her works also creates a sense of chance within the outcome that can be imagined or potentially envisaged by the artist Schneider. But this chance manifestation is a loosely controlled, or, better called existential sense of chance, that which becomes pre-disposed by the immediate circumstances of her life and the project she is undertaking at the time. Hence the choices she makes are largely open-ended choices, driven by a personal nature and disposition allowing for a second appearing of things whose eventual outcome remains undefined. And, it is the alliance of the chance-directed material apparition of Polaroid film, in turn explicitly allied to the experiences of her personal life circumstances, that provokes the potential to create Stefanie Schneider’s open-ended narratives. Therefore they are stories based on a degenerate set of conditions that are both material and human, with an inherent pessimism and a feeling for the sense of sublime ridicule being seemingly exposed. This in turn echoes and doubles the meaning of the verb ‘to expose’. To expose being embedded in the technical photographic process, just as much as it is in the narrative contents of Schneider’s photo-novel exposés. The former being the unstable point of departure, and the latter being the uncertain ends or meanings that are generated through the photographs doubled exposure. The large number of speculative theories of apparition, literally read as that which appears, and/or creative visions in filmmaking and photography are self-evident, and need not detain us here. But from the earliest inception of photography artists have been concerned with manipulated and/or chance effects, be they directed towards deceiving the viewer, or the alchemical investigations pursued by someone like Sigmar Polke. None of these are the real concern of the artist-photographer Stefanie Schneider, however, but rather she is more interested with what the chance-directed appearances in her photographs portend. For Schneider’s works are concerned with the opaque and porous contents of human relations and events, the material means are largely the mechanism to achieving and exposing the ‘ridiculous sublime’ that has come increasingly to dominate the contemporary affect(s) of our world. The uncertain conditions of today’s struggles as people attempt to relate to each other - and to themselves - are made manifest throughout her work. And, that she does this against the backdrop of the so-called ‘American Dream’, of a purportedly advanced culture that is Modern America, makes them all the more incisive and critical as acts of photographic exposure. From her earliest works of the late nineties one might be inclined to see her photographs as if they were a concerted attempt at an investigative or analytic serialisation, or, better still, a psychoanalytic dissection of the different and particular genres of American subculture. But this is to miss the point for the series though they have dates and subsequent publications remain in a certain sense unfinished. Schneider’s work has little or nothing to do with reportage as such, but with recording human culture in a state of fragmentation and slippage. And, if a photographer like Diane Arbus dealt specifically with the anomalous and peculiar that made up American suburban life, the work of Schneider touches upon the alienation of the commonplace. That is to say how the banal stereotypes of Western Americana have been emptied out, and claims as to any inherent meaning they formerly possessed have become strangely displaced. Her photographs constantly fathom the familiar, often closely connected to traditional American film genre, and make it completely unfamiliar. Of course Freud would have called this simply the unheimlich or uncanny. But here again Schneider almost never plays the role of the psychologist, or, for that matter, seeks to impart any specific meanings to the photographic contents of her images. The works possess an edited behavioural narrative (she has made choices), but there is never a sense of there being a clearly defined story. Indeed, the uncertainty of my reading here presented, acts as a caveat to the very condition that Schneider’s photographs provoke. Invariably the settings of her pictorial narratives are the South West of the United States, most often the desert and its periphery in Southern California. The desert is a not easily identifiable space, with the suburban boundaries where habitation meets the desert even more so. There are certain sub-themes common to Schneider’s work, not least that of journeying, on the road, a feeling of wandering and itinerancy, or simply aimlessness. Alongside this subsidiary structural characters continually appear, the gas station, the automobile, the motel, the highway, the revolver, logos and signage, the wasteland, the isolated train track and the trailer. If these form a loosely defined structure into which human characters and events are cast, then Schneider always remains the fulcrum and mechanism of their exposure. Sometimes using actresses, friends, her sister, colleagues or lovers, Schneider stands by to watch the chance events as they unfold. And, this is even the case when she is a participant in front of camera of her photo-novels. It is the ability to wait and throw things open to chance and to unpredictable circumstances, that marks the development of her work over the last eight years. It is the means by which random occurrences take on such a telling sense of pregnancy in her work. However, in terms of analogy the closest proximity to Schneider’s photographic work is that of film. For many of her titles derive directly from film, in photographic series like OK Corral (1999), Vegas (1999), Westworld (1999), Memorial Day (2001), Primary Colours (2001), Suburbia (2004), The Last Picture Show (2005), and in other examples. Her works also include particular images that are titled Zabriskie Point, a photograph of her sister in an orange wig. Indeed the tentative title for the present publication Stranger Than Paradise is taken from Jim Jarmusch’s film of the same title in 1984. Yet it would be dangerous to take this comparison too far, since her series 29 Palms (1999) presages the later title of a film that appeared only in 2002. What I am trying to say here is that film forms the nexus of American culture, and it is not so much that Schneider’s photographs make specific references to these films (though in some instances they do), but that in referencing them she accesses the same American culture that is being emptied out and scrutinised by her photo-novels. In short her pictorial narratives might be said to strip films of the stereotypical Hollywood tropes that many of them possess. Indeed, the films that have most inspired her are those that similarly deconstruct the same sentimental and increasingly tawdry ‘American Dream’ peddled by Hollywood. These include films like David Lynch’s Blue Velvet (1986), Wild at Heart (1990) The Lost Highway (1997), John Dahl’s The Last Seduction (1994) or films like Ridley Scott’s Thelma and Louise with all its girl-power Bonny and Clyde-type clichés. But they serve no more than as a backdrop, a type of generic tableau from which Schneider might take human and abstracted elements, for as commercial films they are not the product of mere chance and random occurrence. Notwithstanding this observation, it is also clear that the gender deconstructions that the characters in these films so often portray, namely the active role of women possessed of a free and autonomous sexuality (even victim turned vamp), frequently find resonances within the behavioural events taking place in Schneider’s photographs and DVD sequences; the same sense of sexual autonomy that Stefanie Schneider possesses and is personally committed to. In the series 29 Palms (first begun in 1999) the two women characters Radha and Max act out a scenario that is both infantile and adolescent. Wearing brightly coloured fake wigs of yellow and orange, a parody of the blonde and the redhead, they are seemingly trailer park white trash possessing a sentimental and kitsch taste in clothes totally inappropriate to the locality. The fact that Schneider makes no judgment about this is an interesting adjunct. Indeed, the photographic projection of the images is such that the girls incline themselves to believe that they are both beautiful and desirous. However, unlike the predatory role of women in say Richard Prince’s photographs, which are simply a projection of a male fantasy onto women, Radha and Max are self-contained in their vacuous if empty trailer and motel world of the swimming pool, nail polish, and childish water pistols. Within the photographic sequence Schneider includes herself, and acts as a punctum of disruption. Why is she standing in front of an Officers’ Wives Club...

Hungry heart - 2021 - 20x20cm, Edition of 7 plus 2 Artist Proofs, digital C-Print based on a Polaroid, Signed on the back and with certificate. Artist inventory PL2021-1037. Not ...

"Black Cloud 3" Nude Photography 27.5" x 24" in Edition 1/15 by Olha Stepanian Printed on Epson Professional Paper Signed and numbered by the artist Not framed. Ships in a tube. ...

Amorphisms explore the distorted and negative self-image, which is constructed and mutated from emotions, lived experiences, and interactions with others. Assuming that these mental ...

Espina by Ricky Cohete From the Viva series Small size: 30 in H x 20 in W. Edition of 13 + 1AP Unframed Exploring color in the darkness, inspired by the Italian and Dutch renaissan...

The Games we played (Till Death do us Part) - 2005 50x50cm, Edition of 10, plus 2 artist proofs. Archival C-Print print, based on a Polaroid. Certificate and Signature label, art...

Francisco Castilla, Lotero by Celso José Castro Daza From the Series Guerreros. One-of-a-kind Photo collage Sheet Size: 27.5 in. H x 19.5 in. W 1996 Unframed Signed, titled and date...

Silver Bra (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...

Bedtime Story II - 2017, Edition of 7 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid, not mounted. Signature label and certificate. Artist inventory PL2017-484 Ki...

Palmera Color Archival Pigment print Size 60" x 40" Ed of 6 + 2AP Unframed Exploring color in the darkness, inspired by the Italian and Dutch renaissance. He brings hints of the fau...

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...

Bodegon Mauricio Feb 1 Diptych, 2000 by Celso José Castro Daza From the Series Guerreros One-of-a-kind Photo collage Overall size: Sheet Size: 27.5 in. H x 39 in. W Individual size: ...

An underwater nude photograph of a young woman with white tulle scarf taking off her red skirt on bright red background. Original digital print on aluminum plate signed by the art...

'Rebellion' part of the series 'The crazy Adventures of David C.' 2019, 20x20cm, Edition 1/7 plus 2 Artist Proofs, digital C-Print based on a Polaroid. Signed on the back and with...

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...

Folding man One by Ricky Cohete From Motion series Black and White Photograph Archival pigment print Size 36" x 24" Ed of 10 + 1AP Unframed Throughout his exploration of the movem...

An underwater monochrome nude photograph of a young women wrapped in fishing net. Original gallery quality archival pigment print on archival paper signed by the artist, furnished w...

11 x 14" vintage silver gelatin exhibition photograph of Warhol Superstar and Vogue model Jane Forth & Joe Dallesandro, stars of Warhol's 'Trash' for 'Afte...

Where We Go - 2024 - 20x20cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. inventory PL2024-016. Not m...

An underwater photograph of a topless young woman with white tulle scarf taking off her red skirt on bright red background. Original digital print on archival paper signed by the a...

Girl Nude II (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 Numb...

Signed and dated on lower right, numbered on verso, Edition 2 of 15 Unframed. Other size available

"A part" is a black & white framed archival pigment print (photograph) from a hand-etched photogram from artist Jenny Lynn's "Personal Myths" series. Includes images of nudes, glove...

An insipid notion (The astonished world) is a collection of unreal experiences caused by the feeling of late and inexperienced love, and the inability to fully know the experience of...

Archival pigment print, painted frame (Edition of 4 + 1 AP) Signed and numbered, verso This photograph is offered by ClampArt, located in New York City. Price includes mounting and ...

Coming from an earlier interest in portraits and street photography, my Nudes in Water are less about eroticism and more about body as the human vessel ...

Stone and Press Gallery is excited to offer several works in celebration of the LGBTQ community. THIS VINTAGE SILVER GELATIN PRINT IS FROM AN EDITION OF 3, Bryce was taken in Osaka, Japan at Abeno Harukas, Japan’s tallest building. The photograph was shot on 35mm film on a Contax T3 Sebastian...