Florida - Color Photography

Everts Township Homestead, Summer, 1993 Fabulous American landscape photography of a rural landscape scene. from small hand signed edition of 20 Large Format Chromogenic print on Kodak Professional Paper The sheets are approximately 30 X 56 inches the images are around 16 X 48.25 inches Some of them are cut a bit irregularly, they should all mat out fine for framing. These are vintage large-format architectural chromogenic print photographs hand signed and dated and hand numbered from the edition of 20 in the lower margin. The collection depicts attractive examples of Mackenzie's wide-lens studies of architecture, such as barn structures , farm buildings, schoolhouse buildings and abandoned houses, set into richly colored landscapes. Maxwell MacKenzie is an award-winning professional and fine-art photographer based in Washington, DC and Minnesota. Over the past thirty-five years, his photographic assignments have taken him to 20 states and a dozen foreign countries, including Austria, the Bahamas, Bermuda, Brazil, Brussels, England, France, Greece, Morocco, Norway, Sweden, and Wales. Three books of Mackenzie's fine-art photographs have been published: Abandonings, (1995), color panoramic photographs of his native Otter Tail County, MN, which was awarded the Silver Medal Award for Excellence from Photo District News; American Ruins, Ghosts on the Landscape, (2001) black & white panoramics made in Montana, Idaho, Minnesota, Wisconsin and the Dakotas; and Markings, (2007), color abstract aerials made from his self-piloted, powered-parachute, a 300 pound, ultra-light aircraft. MacKenzie’s work is included in the permanent collection of The Phillips Collection as well as hundreds of private and corporate collections, including Exxon, Citibank, Deloitte & Touche, Dow Jones, Fannie Mae, The New York Hospital, Goldman Sachs, JP Morgan, the Union Bank of Switzerland, Phillip Morris, and the Washington Post. His fine-art photographs of the American West are also included in numerous American Embassy collections including Bogota, Lima, Lagos, and Moscow. His work has been exhibited in dozens of museums and galleries all over the country, including solo shows at The Contemporary Art Center of Virginia, Virginia Beach; The American Institute of Architects, DC; The Nordic Heritage Museum, in Seattle, WA; The Piedmont Arts Association, Martinsville, VA; the Julie Saul Gallery in NYC, the DNJ Gallery in LA; The Gallatin River Gallery...

Hand signed and titled in ink by the artist from edition of 50 (plus proofs). Color Photo printed at CVI Lab by master printer Guy Stricherz. Published by Prestige Art Ltd. From the color saturated 1980's. "In My Life" featuring flowers, a lit candle, dice, an Oriental rug, music notes. a pocket watch and a small porcelain box...

Hand signed and titled in ink by the artist from edition of 50 (plus proofs). Color Photo printed at CVI Lab by master printer Guy Stricherz. Published by Prestige Art Ltd. From the ...

This is from a show at Sidney Janis Gallery and is from the estate of Joan Sonnabend. Eve Sonneman (born in Chicago on 1946) is an American photographer and artist. She did a series ...

Large scale print, 24 X 36 inches. Framed to 29.5 X 41.5. This was described as Polaroid transfer print. It has the feel of a Frisson print. It is hand signed in pencil and dated. It...

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 ...

Genre: Photographic Subject: Cityscape Medium: Silkscreen of Photograph Surface: Paper Country: United States Dimensions: 20.5" x 28" Street Art, Urban Jon Naar is a British-American author and photographer celebrated for his pioneering images of New York City graffiti in the 1970s. Still active in his nineties, Naar has had a multifaceted career as an intelligence officer in World War II; a globe-trotting executive during the postwar years; and an environmentalist, with nine published books to date. Born in London in 1920, Naar graduated at 15 from the private Mill Hill School. Too young to attend an English university, he crossed the Channel to study French and German at the Sorbonne. At this point, Naar had yet to develop a special interest in photography, but his artistic and design sensibilities were being shaped by his Parisian influences, particularly the street photographs of Brassaï. Four years later, his matriculation at the University of London cut short by the outbreak of World War II, Naar was conscripted. Thanks to prior experience in the Officers' Training Corps at Mill Hill, he would spend the next six years on intelligence work, including service with the British Special Operations Executive, on clandestine assignments that took him through the Middle East and Italy. At war's end, by-then Major Naar emigrated to New York City and secured American citizenship. Through the 1950s, armed with a Super Ikonta rangefinder camera and later a Praktica single-lens reflex, Naar was developing his eye as a "weekend" photographer, roving his Greenwich Village neighborhood and seeking out subject matter while on foreign corporate assignments. It was not until Naar's early forties, after influential photographers Nickolas Muray and André Kertész—both impressed by his hobbyist portfolio—offered encouragement, that he resolved to seek wider exposure as a photographer. A series of street scenes Naar shot in Mexico City in 1962 was featured in a 1963 solo exhibition in Coyoacan titled "El Ojo de un Estranjero." His 23-page photo essay on Germany, 20 years after the death of Adolph Hitler, appeared in the Italian design magazine Domus. New York Times critic Joseph Deschin, reviewing Naar's 1965 one-man show at New York University's Loeb Student Center, extolled his "flair for design and an eye for the unexpected, his pictures generate the kind of excitement that one associates with discovery of newness in the familiar." The striking image "Shadows of Children on Swings" was selected by Ivan Dmitri for the Metropolitan Museum's "Photography in the Fine Arts" exhibition, and for its permanent collection. Within the span of a few years, Naar had not only transformed himself into a professional photographer, but was in demand as a contributor to major publications like The New York Times, The Saturday Evening Post, Vogue, Fortune, Elle, and Schöner Wohnen. If Naar had a specialty at that time, it was photographing artists and architects amidst their creative (and created) surroundings. One of his earliest and most enduring images featured a young Andy Warhol sprawled on a red plush...

A unique view of The Brooklyn Heights Promenade is shot with magical golden late afternoon light shot in 1972 . The work has not only optic...

The Deflated World, 1981 Cibachrome, this is the rare AP (Artists Proof) outside the edition of 10 Hand signed by artist and dated 20 × 24 in 50.8 × 61 cm Eve Sonneman (born in Chic...

The bodegones are a pictorial interpretation based on a research project of the famous chef Juan Carlos Franco, on old food recipes of different periods in history. The photographer ...

Large scale print, 24 X 34 inches. Framed to 31 X 40. This was described as Polaroid transfer print. It has the feel of a Frisson print. It is hand signed in pencil and dated. It is ...

The bodegones are a pictorial interpretation based on a research project of the famous chef Juan Carlos Franco, on old food recipes of different periods in history. The photographer ...

The bodegones are a pictorial interpretation based on a research project of the famous chef Juan Carlos Franco, on old food recipes of different periods in history. The photographer ...

Untitled, Unique photograph. Center panel from larger scale installation. Shot in the 20X24 format. (this measures about 20X20 inches) Ellen Carey, American artist and photographer. Ellen Carey resides in Hartford, Connecticut, and teaches at the Hartford Art School. She holds a B.F.A. from the Kansas City Art Institute, Missouri, and an M.F.A. from State University of New York at Buffalo. Her photographs have been exhibited at numerous galleries and museums, including the International Center for Photography, New York and the Fogg Art Museum at Harvard University, Cambridge, Massachusetts. She has received many grants from her home state of Connecticut as well as the Massachusetts Council of the Arts, New Works Grant, New York State Federation for Artists Grant; and a National Endowment for the Arts Award. Her photographs are in the permanent collections of The Art Institute of Chicago; the Baltimore Museum of Art; Brooklyn Museum of Arts; Chase Manhattan Bank; Coca Cola Corporation; Fogg Art Museum; George Eastman House; International Center for Photography; and the Los Angeles County Museum of Art, among others. Abstract photography, sometimes called non-objective, experimental, conceptual or concrete photography, is a means of depicting a visual image that does not have an immediate association with the object world and that has been created through the use of photographic equipment, processes or materials. Some photographers pushed the boundaries of conventional imagery by incorporating the visions of surrealism or futurism into their work. Man Ray, Maurice Tabard, André Kertész, Curtis Moffat and Filippo Masoero were some of the best known artists who produced startling imagery that questioned both reality and perspective. Both during and after World War II photographers such as Minor White, Aaron Siskind, Henry Holmes Smith and Lotte Jacobi explored compositions of found objects in ways that demonstrated even our natural world has elements of abstraction embedded in it. Beginning in the late 1970s photographers stretched the limits of both scale and surface in what was then traditional photographic media that had to be developed in a darkroom. Inspired by the work of Moholy-Nagy, Susan Rankaitis first began embedding found images from scientific textbooks into large-scale photograms. By the 1990s a new wave of photographers were exploring the possibilities of using computers to create new ways of creating photographs. Photographers such as Thomas Ruff, Barbara Kasten, Tom Friedman, and Carel Balth were creating works that combined photography, sculpture, printmaking and computer-generated images. Any boundaries that remained between pure artists and pure photographers were eliminated by individuals who worked exclusively in photography but produced only computer-generated images. Among the most well-known of the early 21st century generation were Gaston Bertin...

The artists computer-generated paintings merge craftsmanship and technology, creating an eclectic and unique style. Through her art, she aims to illuminate the world. Tcherassi's wo...

Dart machine oil can in garage. The Tappen House, Little Compton, RI (Rhode Island). Hand signed and numbered. small edition of 15 (these are on Kodak pro...

The artists computer-generated paintings merge craftsmanship and technology, creating an eclectic and unique style. Through her art, she aims to illuminate the world. Tcherassi's wo...

A combination of analogue and digital compositions based on ideas from Ovid’s Metamorphosis, deconstructed and subverted to my own narrative. MJO, 2021 Michael James O’Brien draws i...

Large scale print, 24 X 34 inches. Framed to 29.5 X 39.5. This was described as Polaroid transfer print. It has the feel of a Frisson print. It is hand signed in pencil and dated. It is done in a sepia color tone. David Aschkenas is a self-taught photographer making fine art and freelance photography for the past 25 years. He has been the recipient of grants from the NEA and the Polaroid Corporation. He makes photographs for corporations and editorial clients around the world. Aschkenas has been a photographer in Pittsburgh for 30 years, specializing in editorial and fine art photography (he shot Richard Serra's Tilted Arc in the early 1980's) Inspired by Weegee, James Van Der Zee...

The artist's photographs capture the transformation of everyday life into another reality. Images that explore what the future will be like. Industrial, eccentric and progressive, Ca...

This is from a series done about the Habad Hasidic Jewish community in Chicago. This is from the holiday Lag Baomer. Jay Wolke lives and works in Chicago, Illinois. He has had solo exhibitions at the Art Institute of Chicago, the St. Louis Art Museum, Harvard University and the California Museum of Photography. His photographs are in the permanent collections of the Museum of Modern Art, New York, the Whitney Museum of American Art, New York, the Art Institute of Chicago and the San Francisco Museum of Modern Art. Three monographs of his work have been published: All Around the House: Photographs of American-Jewish Communal Life (Art Institute of Chicago, 1998), Along the Divide: Photographs of the Dan Ryan Expressway (Center for American Places, 2004) and Architecture of Resignation: Photographs from the Mezzogiorno (Center for American Places, 2011). Kehrer Verlag will publish his fourth monograph, Same Dream Another Time, in 2017. Wolke received his B.F.A. in Printmaking / Illustration at Washington University, St. Louis, and an M.S. in Photography at the Institute of Design, Illinois Institute of Technology, Chicago. Since 1981 he has taught photography and art at various universities. From 1992-1999 he was Coordinator of Graduate Documentary Photography at the Institute of Design (IIT). In 1999-2000 he was Head of Art and Graduate Studies at Studio Art Centers International, Florence, Italy. He is currently a Professor of Photography at Columbia College Chicago, where he also served as Chair of the Art and Design Department from 2000-05 and again from 2008-14. Wolke has received grants and awards from the National Endowment for the Arts, the Illinois Arts Council, Focus Infinity Fund and the Ruttenberg Arts Foundation. His photographs have appeared in numerous publications including Geo France, New York Times Magazine, Financial Times Magazine, Village Voice, Exposure and Architectural Record. SELECT SOLO EXHIBITIONS 2015 Mostre Marte, Salerno, Italy, “Architecture of Resignation” 2014 PrimoPiano Gallery, Naples, Italy, “Architecture of Resignation” 2014 Foundation Studio Marangoni, Florence, Italy, “re-Located” 2014 Ralph Arnold Gallery, Loyola University, Chicago, “re-Located” 2013 Spertus Institute, Chicago, “All Around the House” 2012 University of Indiana Northwest Savanna Center, “Architecture of Resignation” 2010 Sheldon Arts Galleries, St. Louis, MO, “Architecture of Resignation” 2007 California Museum of Photography, Riverside, “Architecture of Resignation” 2006 St. Xavier University SXU Gallery, Chicago, “Architecture of Resignation” 2005 Schneider Gallery, Chicago, “Architecture of Resignation” 2005 City Gallery, Chicago Department of Cultural Affairs, “Along the Divide” 2002 Foundation Studio Marangoni, Florence, Italy, “Architecture of Resignation” 2002 St. Louis Art Museum, "All Around the House" 2000 Comunita Ebraica Salle Servi, Florence , Italy, “All Around the House” 1998 Art Institute of Chicago, "All Around the House" 1995 Harvard University, Carpenter Center, Cambridge, MA, "A Jewish View" 1994 Quad City Arts Center, Rock Island, IL "Temporary Usage" 1993 Northlight Gallery, Arizona State University, Tempe, "Temporary Usage" 1992 OK Harris Gallery, New York, NY, " Photographing American Dream Cities" 1991 Mid-Town Y Photography Gallery, New York, NY, "American Dream Cities” 1988 Portland School of Art, Portland, ME, "Las Vegas Portraits" 1987 Museum of Contemporary Photography, Chicago, IL, " Vegas Portraits" 1985 Chicago Historical Society, “Dan Ryan Project” SELECT GROUP EXHIBITIONS 2016 Le Murate, Florence, Italy, “Arno Collective Imaginary” w. Massimo Vitali, Arno Minkkinen 2015 Palazzo Reale, Milan, Italy, “Henri Cartier-Bresson e gli altri. I grandi fotografi e l’Italia”, 2014 Pitzer College Art Galleries, Claremont, CA, “Racial Imaginary” 2014 Black Box Gallery, Portland, OR, “Architecture, Landscape” 2014-15 Millennium Park Foundation, Chicago, “An Anatomy in Photographs” 2012 Chicago Cultural Center, “Industry of the Ordinary: 2003–2013” 2009 David Weinberg Gallery, Chicago, “Social Landscapes” 2009 Packer Schopf Gallery, Chicago, “39 Verbs” 2009 University of St. Francis, “The Night Hope Won” 2008-09 Chicago Cultural Center, “Made In Chicago: Photographs from Bank of America Collection” 2006 David Winton Bell Gallery, Brown University, Providence, "7 Documentarians: Berenic Abbott, Walker Evans, Larry Clark, Jim Dow, Danny Lyon, Garry Winogrand, Jay Wolke" 2006 Art Institute of Chicago. “Darkroom to Digital” 2005 Fort Worth Community Arts Center, “Cattle Drive” 2001 Illinois Art Gallery, “The Land Around Us” 1998 Carol Ehlers Gallery, Chicago, "Chicago Streets" 1996 Museum of Contemporary Photography, Chicago, "In Focus" 1995 Madison Arts Center, "Photography from Wisconsin, Minnesota, Illinois" 1994 Chicago Cultural Center, "Broad Spectrum" 1991 ARC Gallery, Chicago, "National Exposure" 1989 Art Institute of Chicago, "The City Inside and Out" 1989 Chicago Historical Society, "Changing Chicago, Public Diversions" 1988 Illinois State Museum, Springfield, "Lenscapes" 1987 Everson Museum, Syracuse, NY; Nabisco Corp., NJ; Fay Gold Gallery, Atlanta, GA "American Interiors", traveling exhibit curated Lieberman/Saul Gallery, NY 1986 National Endowment for the Arts/ Midwest Arts Alliance, national traveling 1985 University of Wisconsin, Milwaukee, "New Color Photography" 1985 Society for Cont Photography, Morgan Gallery, Kansas City, MO, "Photo '85" 1984 Art...

Channeling the energy of “water-signs” in astrology, he captures these mysterious men thru a romantic lens. The embrace of the shadows and the light mixed with the gaze of their bodi...

Peters has gone on to capture and document man’s wider imprint on nature. Whether it’s the graphic symmetry of urban architecture or the abstract choreography of the forms and hues o...

The artist was enchanted by some images he had a relationship with since childhood, working them into iconographies, such as the image of the fisherman carrying on his back a cod alm...

Natasha Zupan's body of work, 'Homage to Horst P. Horst', explores the manipulation of surface texture, light, and the interweaving of time. She has incorporated found images in book...

Edition of 10 + 2AP “These works present my abiding interest in the thresholds that divide and connect the sea to land. I am fascinated with the quality of light and the spatial ...

Mid summer memory, Photo The Tappen House, Little Compton, RI (Rhode Island). Hand signed and numbered. small edition of 15, This one is marked proof. (these are on Kodak professional paper not Polaroid 20X24) Moody photos of a summer vacation house at the beach. Peter C. Jones is a fine art photographer, documentary film director, publication consultant, producer, and author. He has organized more than one hundred exhibitions throughout the United States and Europe and produced more than sixty books. Born and raised in New York City, he graduated from the Rhode Island School of Design (RISD) where he studied privately with Harry Callahan. Jones is President of the Josef and Yaye Breitenbach Foundation originating twenty-eight one-person exhibitions and ten books. He has served as a member of the Board of Fellows at The Center For Creative Photography. Jones is also a former consultant to The Philadelphia Museum of Art, Aperture and the Estate of Paul Strand. In 2004, Nazraeli Press published Sweep Out Cottage, a compilation of photographs made in and around a house known as the Four Winds in Little Compton, Rhode Island. He has showed at KMR Arts Gallery and at Bonni Benrubi Gallery. His photos are in many private and public collections. A Rising Tide of Silence was Jones’s first documentary production. The film explores the life and international influence of Father Thomas Keating who introduced Centering Prayer to a wide western audience. A Rising Tide of Silence premiered at the 2013 Aspen Film Festival and won the Audience Choice Award. Peter Jones has spoken at numerous screenings most recently at Harvard and at the Dalai Lama's Center For Ethics at MIT.Jones is the author of The Changing Face of America (Prentice Hall Press) and the co-author of three other books including Social Gardens (Stewart, Tabori & Chang). His photographs, articles, and op-ed pieces have been published by The New York Times Magazine, Connoisseur, Smart Money, Aperture, and The Providence Journal. Peter C. Jones lives in Los Angeles with his wife, Charlotte M. Frieze, who is a Fellow of the American Society of Landscape Architects and the Garden Editor of House & Garden magazine. Group Exhibitions: Hot Fun in the Summertime (Benrubi Gallery) Damion Berger, Heidi Bassett Blair, LeRoy Grannis, Peter C. Jones, David Leventi...

FLORA & FAUNA SERIES, c.1998, Fuji crystal archive paper. Hand-signed on verso. Photographer Jeffrey Rothstein focuses on different elements within Nature for his subject matter, ra...

Daniel Mansur In Paradisum #8, 2018 47 x 71 inches 120 x 180cm Also available in: 40 x 60 inches 100 x 150cm 60 x 88.5 inches 150 x 225 cm Edition of 6 copies overall Archiva...

FLORA & FAUNA SERIES, c.1998, Fuji crystal archive paper. Unsigned, Photographer Jeffrey Rothstein focuses on different elements within Nature for his subject matter, ranging from f...

Michael James O’Brien draws inspiration from his diverse roles as a photographer, poet, and activist. His work often intersects with themes of identity, social justice, and cultural ...

In 1969, Bethesda Fountain on weekends was a gathering places for the radicals of the time. Abbie Hoffman and Jerry Rubin were regulars speakers the...

This one depicts a sports wristwatch over an aerial landscape and is titled Fields Pattern. SIMONS, Vera (1920 - 2012) Vera Habrecht Simons, was a German/American aviation pioneer, ...

Can a photograph reduce stress and anxiety? Photographer Mitchell Funk says yes with his high-angle shot that harmoniously unifies sea and land. A pleasing relationship is created ...

SEASONS (1981) This is for the single print listed here. (not the outside folder or title sheet) Star. This one is hand signed and dated verso. Seasons explores the seasons of Man, W...

H-Allen Benowitz is a self-taught photographer, born and raised in Brooklyn, NY, and a graduate from the Interboro Institute of Business in Manhattan, migrated to Miami, FL in the 19...

Jose Sierra work is deeply influenced by themes of self-representation and a homoerotic gaze. Through his unique aesthetic, he creates abject staged environments that challenge tradi...

Javier Rey photographs explores the physical structure and the possibilities of sculpture through photography. From Union Series Edition of 5 + 1AP

The artist's photographs capture the transformation of everyday life into another reality. Images that explore what the future will be like. Industrial, eccentric and progressive, Ca...

FLORA & FAUNA SERIES, c.1998, Fuji crystal archive paper. Unsigned. Photographer Jeffrey Rothstein focuses on different elements within Nature for his subject matter, ranging from f...

"The artist was enchanted by some images he had a relationship with since childhood, working them into iconographies, such as the image of the fisherman carrying on his back a cod al...

What Brooklyn was like 51 years ago. Mitchell Funk brings new solutions to color photography in his use of golden light to transform a scene from a dull document into a beautiful a...

Why do we dream of a simple and unique image of Eden; What happens when pain represents our sanctuary... Léa Bon work is a profound exploration of dreams and fantasies, transcending...

Robert Fichter Title: Jonah Date: 1980 Original Polaroid Large Format Print (Photo-Internal dye diffusion transfer) Location: Cambridge Massachusetts United States Dimensions: Image...

Hatay is a visual artist, photographer, healer and a former Rock and Roll photojournalist. the yellow photocopied poster/info sheet is not included. Born in Scotland of a Hungarian...

Fine art inkjet print on special paper rag Ask us for framing options Hans Withoos career spans more than twenty years worldwide. After graduating from the Art Academy. He specializ...

Color photograph, 2007, signed, dated and numbered 3 of 25 on the reverse. 14 x 11 in. (sheet), 20 1/7 x 16 1/2 in. (frame). It appears to be signed Laura Cohen or Laura Cohn Taped t...

This one depicts a sports wristwatch over an aerial landscape and is titled Fields Pattern. SIMONS, Vera (1920 - 2012) Vera Habrecht Simons, was a German/American aviation pioneer, ...

Ellen Carey Unique pair of photo art Polaroid panels Untitled, Red Moire Positive (Polaroid Pulls) Dimensions: H 75" x W 25.5" x D 2" From a series...

St. Louis and the Arch Vintage Photograph St. Louis and the Arch: titled, initialed, dated 1981, copyright 1982, and editioned 4/20 to verso. Provenance: US Bank Visual Arts Department 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...

Fine art inkjet print on special paper rag Ask us for framing options Hans Withoos career spans more than twenty years worldwide. After graduating from the Art Academy. He specializ...

Fauna #3, by Zoltan Gerliczki From the series "Fauna" Archival Pigment Print Image size: 48 in H x 39 in W. Edition of 8 + 2AP Unframed 2014 All Prices are quoted as "initial price". Please observe that prices and availability may change due to currency “I am presenting women as powerful as any man. Each woman decorated with the most common and beautiful flowers. Each picture is powerful in color, energetic, and pure in nature, their expression is innocent.” Your images point toward qualities of women that go largely unseen, yet you seek to reveal through beauty and wonder. The colors and shapes perfectly illustrate the idea of “beauty and wonder” in a way that only nature could produce. Your painterly...

1981, Chromogenic Print. It is supposed to be signed lower right recto but has not been examined out of frame. Provenance: Bernice Steinbaum Gallery, New York; ARCO Chemical Company, Newtown Square, PA. Sonja Bullaty (October 17, 1923 - October 5, 2000) was a Jewish American photographer. Bullaty is known for her "lyrical composition" and strong use of color during her fifty-year collaboration with her husband, Angelo Lomeo. Bullaty and Lomeo's photographs appeared in LIFE, Time and Audubon magazines and journal.They have both exhibited at the Metropolitan Museum of Art, the International Center of Photography, the George Eastman House, UMPRUM Museum in Prague, in the Nikon House galleries and other venues. Bullaty was born in Prague to a Jewish banking family. Her family gave her a camera when she turned fourteen. Since Bullaty had been forced to leave school at the time, the camera was a "consolation gift." When Bullaty was eighteen, she was deported by the Nazis to Poland, where she was kept in the Lodz ghetto, and then later taken to Auschwitz and Gross-Rosen concentration camps. During a death march near Dresden, she and a friend successfully hid in a barn and were able to escape and return to Prague. When she got back to her home city, she discovered that no one else in her family had survived the Holocaust. Bullaty, "her head shaved," saw and answered an advertisement to be the helper to Czech photographer, Josef Sudek. As his assistant, she mixed chemicals for the darkroom, organized his negatives and learned from his sense of composition.[1] Sudek called her his "apprentice-martyr." Sudek's work often focused on the Czech landscape and windows, such as in the series The Windows of My Studio (1940-1954). Bullaty also photographed windows, but unlike Sudek, who photographed his own windows looking out, Bullaty photographed windows looking into buildings. Bullaty published a book, Sudek (1978), about her mentor, and it was the first publication of his work in the West. Bullaty found work with a photographer on her third day in New York. Also in 1947, she met Angelo Lomeo. They were brought together when she was inquiring about a darkroom in a building he managed. Lomeo was intrigued by Bullaty's accent and went to see her. They started photographing together a year later, traveling and sharing resources; during their time together, they became close. Bullaty and Lomeo were married in 1951. Later, when she was married, she and her husband would visit Sudek and bring him photography supplies. They visited him in Czechoslovakia "almost yearly." In 1971, she helped mount an exhibition of Sudek's work in New York. As photographers, Bullaty and Lomeo started using studio cameras...

Dimensions: 8" x 10" Dimensions w/Frame: 12.5" x 15.5" Shimon Attie (born Los Angeles in 1957) is an American visual artist. He was awarded a Guggenheim Fellowship in 2008, The Ro...

Pioneering Color Photographer Mitchell Funk experiments with multiple in-camera exposures of the Chrysler Building, producing a triumph of color and design in motion. No less than t...

Giacomo da Prato Faraglioni, Capri, Italy, 2022 40 x 40 inches edition of 10 Archival Pigment Print Mounted and Framed Certificate of Authenticity

David Levinthal Title: Untitled Edition: 2/5 Hand signed, numbered and dated in ink on recto Date: 1997 Original Polaroid Large Format Print (Photo-Internal dye diffusion transfer) Location: Cambridge Massachusetts United States Dimensions: Image: 28 X 22 in. Framed: 36 X 30 inches This depicts a still life of African American Blackface iron toys from his provocative, controversial photo series. This body of work is drawn from David Levinthal’s project Blackface, dating from 1995-1998, it featured blackface Polaroids of his original memorabilia, drawn from the artist’s African American Americana personal collection, that are the Polaroid’s subject matter. Levinthal’s collection of black memorabilia evolved into Blackface, a stimulating and controversial body of work. The title, according to Levinthal, “makes reference to the many facades, poise and physicality of these figures.” The title is also taken from the name of a journal of a black film-making company and is a term referring to both blacks and whites. Traditionally associated with minstrel, these images were used to perpetuate negative stereotypes. Levinthal’s work was originally intended to be exhibited at Philadelphia’s ICA in 1997. However, the show was cancelled when it became a cause célèbre as a result of its controversial subject-matter. Subsequently, images from the series were exhibited at the International Center of Photography and at Janet Borden, Inc. in New York. Levinthal’s initial inspiration for Blackface was D.W.Griffith’s 1915 film “Birth of a Nation,” a groundbreaking film of its time and a watershed moment in the cultural wars. It’s extreme and racist depictions of African Americans fueled a debate over the efficacy and motivation of using racially charged images that continues to reverberate in our culture today. Levinthal’s Blackface was originally intended to be a series based on “Birth of a Nation,” but the focus of the work shifted to the inscription of racially charged identities – what these collectibles convey, how they function within society, and how they continue to polarize social attitudes – within material objects produced and packaged as consumer goods. Levinthal works using a 20 x 24 inch Polaroid Polacolor ER Land Film which results in a large format Polaroid...

Peters has gone on to capture and document man’s wider imprint on nature. Whether it’s the graphic symmetry of urban architecture or the abstract choreography of the forms and hues o...

The artist's photographs capture the transformation of everyday life into another reality. Images that explore what the future will be like. Industrial, eccentric and progressive, Ca...

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...