USA - Photography

Hand-tinted albumen print, 7 3/4 x 10 inches (195 x 252 mm), pasted onto a gold-edged board with caption hand-written in black ink.

Formalist style color still life photograph of five sardine fish on a white marble tabletop with a mint green background "Five Fish", 2007 Archival pigment print, edition of 25 Image size: 11 x 14 inches 17 x 21 inches with light wood frame with non-glare glass and 8-ply white mat Excellent condition, ready to hang as is Halliday captures the beauty of a traditional still life with a contemporary spin. Here 5 fish lay on a table against a light green background. The print is part of an edition of 25, is currently framed in a light wood frame with non-glare glass and an 8-ply white mat. The artist's signature is located on the back and front. About the Artist: David Halliday's photographs are about beauty, pure and simple. His primary subjects are carefully composed still lifes, portraits and landscapes which he shoots in black and white film with only natural light. He is a purist behind the lens, rarely manipulating his negatives in any way, and a master in the darkroom. His work has an ethereal quality that's translated not only through the subject, but also by the warm colors and sepia tones he uses in his printing. More about the work: A master of light, David Halliday produces lush and elegant images that are both classical and modern. Celebrated for his ‘purist’ eye, he poetically captures the nude male body in a selection of sepia-toned prints from 1996. Rarely revealing the model's face, Halliday prefers to focus on the natural drape of limbs, soft folds of flawless skin, and curvature of the spine. Overall, a stunningly intimate portrayal of the male form done with elegance and charm. Resume: Born 1958, Glen Cove, New York Lives in Schodack Landing, NY EDUCATION 1998 Penland School of Crafts, Penland, North Carolina 1988 The Maine Photographic Workshops, Rockport, Maine 1976-79 Syracuse University, New York 1974-76 Wooster School Community Art Center, Danbury, Connecticut SELECTED SOLO EXHIBITIONS 2013 Threadbare/New Photographs, Arthur Roger Galley, New Orleans, LA McMurtrey Gallery, Houston, TX 2012 The Past Still Present, Ogden Museum of Southern Art, New Orleans, LA 2010 Arthur Roger Gallery, New Orleans, LA Wessel+O’Connor Fine Art, Lambertville, NJ Julie Heller Gallery, Provincetown, MA Graficas Gallery, Nantucket, MA 2009 Culinary Delights, San Antonio Museum of Art, San Antonio, TX Two Decades: David Halliday, Carrie Haddad Photographs, Hudson, NY 2008 Arthur Roger Gallery, New Orleans, LA Still-Life, Stephen Cohen Gallery, Los Angeles, CA Carrie Haddad Gallery, Hudson, NY Watermark Gallery, Houston TX Strange Fruit: David Halliday and Greg Kuharic...

This piece titled "Flight Risk" is a limited edition photographic print by Andrew Pinkham and is made from archival pigment on cotton rag. This piece measures 20"h x 20"w unframed an...

Museum quality fine art print by photographer Markus Klinko. "Titans, Paris, 2003" This print is available in the following sizes, signed and numbered by Markus Klinko 24" high - Ed...

14" x 18" sight size. 24.5 x 28 mat size. Ryan Weideman NYC taxi cab driver street photography (the good old fashioned days of yellow cabs pre Uber and Lyft). Ryan Weideman graduated with an MFA from the California College of Arts & Crafts, In 1980 he moved to New York to pursue street photography. Influenced by the other photographers of the period including Lee Friedlander and Mark Cohen...

"Encased in a cloud of dust, a cowboy rounds up a band of semi-wild horses A black and white photograph of a cowboy in the act of rounding up a herd of semi-wild horses encased in a...

This black and white capture features James Dean and Elizabeth Taylor driving car from the movie scene "Giant", circa 1956. Giant is a 1956 American epic Western drama film, directe...

Damage control - 2020 50x50cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on a Polaroid. Signature label with certificate. Artist inventory PL2020-946. Not mount...

Michael Williams, Untitled Landscape 4, Color Photograph on Paper, 22 x 32, 2010 - Colors: Blue, Gold, Brown, Green

This is a unique photographic work by Andy Warhol of Grace Jones with Arnold Schwarzenegger at his wedding to Maria Shriver in Hyannis Port, Maine in Apr...

Great Grey Owl, limited edition photograph, signed, Platinum/Palladium Print My fascination with birds of prey began eight years ago. There have been nesting owls on my family’s lan...

Exploring color in the darkness, inspired by the Italian and Dutch renaissance. He brings hints of the fauna of his native South American vibrant and passionate colors. Bringing them...

Carmen Alvarez enjoying a game of backgammon with Frank 'Brandy' Brandstetter in a swimming pool at Acapulco, 1978. Slim Aarons Keep Your Cool (Backgammon in Acapulco) Chromogenic Lambda print Printed Later Slim Aarons Estate Edition Complimentary dealer shipping to your framer, worldwide. Stamped and hand numbered by the Slim Aarons Estate. Certificate of Authenticity included. Collector will get the next number in the edition 72 x 48 inches $4900 60 x 40 inches $3950 40 x 30 inches $3350 30 x 20 inches $3000 Complimentary dealer shipping to your framer, worldwide. Over the course of a career lasting half a century, Slim Aarons (1916-2006) portrayed high society, aristocracy, authors, artists, business icons, the celebrated and their milieu. In doing so, he captured a golden age of wealth, privilege, beauty and leisure that occurred alongside—but quite separate from—the cultural and political backdrop of the second half of the Twentieth Century. Photograph is unframed Slide show includes a close-up of the Slim Aarons estate's stamp. Collector will get the next number in the edition * We are pleased to offer the entire archive of the Slim Aarons Estate, offering the official Slim Aarons Estate Edition (only offered in this edition of 150). * Undercurrent Projects, New York, is proud to represent Aarons' full collection of negatives and transparencies. Housed at Getty Images Hulton Archive in London, The Slim Aarons Estate has released the limited Estate edition as a Lambda print, which is a modern c-type prints. They have chosen Lambda prints for their sharpness, clarity, colour saturation and quality, compared to archival inkjet prints. Lambda printing gives true continuous tone. Internal: Slim Aarons Poolside Glamour Photography, Vintage Backgammon, Vintage Sport, Acapulco, Vintage Pools, Vintage Games...

"On the Move" From the story of their survival to their hulking, unmistakable physiques, the American bison is one of the rarified animals that has become larger than life in cultu...

Printed later. Signed on the back of the print with date in pencil. Camera Obscura label on back of mat. Overmatted to 20 x 16 inches so frame-ready. Provenance: Camera Obscura Galle...

This stunning recolored portrait features actress Grace Kellythe "Princess of Grace"attending Alfred Hitchcock's Rear Window premier in 1954. She is captured here looking at the came...

large scale original photograph of dramatic cloud formations and reflecting sea SEASCAPE VII by Frank Schott 48 x 48 inches ( 122 x 122cm ) signed edition of 7 58 x 58 inches ( 14...

60 x 40 inches ed. of 10 $6,000 75 x 50 inches ed. of 7 $9,000 90 x 60 inches ed. of 5 $11,000 signed and numbered on label, verso Reinhard Görner, with his large format photogra...

Palazzo Ducale, Galleria dei Marmi, Mantova, 1996 C-print Edition of 5 The photographer is based in Florence, and is fascinated how his architectural subject matter allows him to c...

Village Motel Sunset (Stranger than Paradise) - 2005 20x20cm, sold out Edition of 5, Artist Proof 2/2 (the very last from this edition), Archival C-Print, based on the Polaroid, ...

Lovefight (The Princess and her Lover) from 29 Palms, CA - 2009 120x180cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on 15 original Polaroids. Certificate and S...

Cups (Suburbia) - 2004 20x24cm, Edition of 10, Archival C-Print based on the Polaroid, Signed on verso with Certificate, Artist inventory number: 1686. Not mounted. This proje...

Debbie Harry East Village, 1976 by celebrated New York photographer Fernando Natalici. Cooler than cool, this classic "Blondie" photo was captured on the set of "Unmade Beds" (direct...

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...

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...

Flat - 2020 48x60cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. Artist inventory PL2020-964. Not mount...

Signed and numbered on mount recto. Titled and dated with artist's stamp on mount verso. Printed in 2000. Edition of 35 in this size. Contact gallery as we may have the work availabl...

Stoya by Markus Klinko, from a stunning collection of contemporary nudes from the celebrated photographer featuring amongst others, Dita Von Teese and Aubrey O’Day This print is ava...

This work is unique. Stamped on the verso by the Estate of the Artist and The Andy Warhol Foundation for the Visual Arts. Foundation number also on verso. Work comes with a Certifi...

"Circus 5" Black & White Photography 39" x 39" in Edition of 7 by Olha Stepanian Printed on Epson Professional Paper Signed and numbered by the artist Not framed. Ships in a tub...

Pete Kasprzak’s passion for city life is expressed in his dynamic urban artworks. Kasprzak’s artworks express energy and life with animated brush strokes. He adds dynamic movement an...

This artwork was created by the artistic duo Hunter & Gatti (2010–2023). These works are part of the archive managed and exhibited by Cristian Hunter. The artist's technique consists...

A couple relaxing by a pool near Lake Tahoe, California, 1959. Relaxing at Lake Tahoe Slim Aarons Estate Edition Numbered and stamped by the Slim Aarons Estate. Certificate of Authenticity included. Complimentary dealer shipping to your framer, worldwide. Additional sizes offered: 40 x 40 inches $3950 30 x 30 inches $3350 20 x 20 inches $2500 Over the course of a career lasting half a century, Slim Aarons (1916-2006) portrayed high society, aristocracy, authors, artists, business icons, the celebrated and their milieu. In doing so, he captured a golden age of wealth, privilege, beauty and leisure that occurred alongside—but quite separate from—the cultural and political backdrop of the second half of the Twentieth Century. The Slim Aarons Estate has released the limited Estate edition as a Lambda print, which is a modern c-type prints. They have chosen Lambda prints for their sharpness, clarity, colour saturation and quality, compared to archival inkjet prints. Lambda printing gives true continuous tone. Photograph is unframed Slide show includes a close-up of the Slim Aarons estate's stamp. Collector will get the next number in the edition * We are pleased to offer the entire archive of the Slim Aarons Estate, offering the official Slim Aarons Estate Edition (only offered in this edition of 150). * Internal tags: Lake Tahoe; Slim Aarons; architecture poolside, mountain, pool and sky; mid-century modern; vintage glamour, vintage tahoe...

mesmerizing light reflections of glistening sunlight on turquoise aquamarine water surface, an homage to the iconic pool reflections paintings by artist David Hockney H2O l by Erik ...

An underwater photograph of a naked young women with long blonde hair diving in a pool. The realistic photograph is taken with red background. Original gallery quality archival pigm...

Underwater black and white nude photograph of a young female dancer in the pool. The dancer is putting on her tut skirt. The photograph depicts her beautiful naked butt about to hid...

"Womb" Shibari Nude Photography 24" x 24" inch Edition 1/15 by Aaron Mcpolin Medium: Archival Giclee Print Available sizes: Edition of 15 24" x 24" inch Edition of 7 30" x 30" inch...

"Noble Light" A white Icelandic horse framed against geometric black volcanic rock The landscape of Iceland was as much an inspiration as the native hors...

pigment print, plexiglas face mount

Pentti Sammallahti Cilento, Italy 1999 Gelatin Silver print

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...

Last Frame (29 palms, CA) - 2008 48x47cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certificate. Artist Inventory #4655. ...

Signed limited edition fine art print of The Cure on the road in Holland and Belgium during their 1980 'Seventeen Seconds' tour. Signed and numbered by Jill Furmanovsky in pencil an...

Greta Garbo - Somber Head Shot by Clarence Sinclair Bull, 1931 1931 Black and white somber headshot photograph of Swedish/American actress Greta Garbo (Swedish, 1905-1990) by Clarence Sinclair Bull (American, 1896-1979). Greta Garbo gazes at the camera, her curled hair sits in front of her face. The background is black. A black and white photograph, matte finish, double-weight paper, depicting a 1931 shot of the star titled 'Mata Hari,' printed decades later from the original negative, penciled in the lower left corner "A.P.," Estate stamped and blind embossed in the lower right corner "Clarence Sinclair Bull," further blind embossed in same corner "The Kobal / Collection," verso with the photographer's black ink credit stamp, verso further with two "Edward Weston" black ink credit stamps dated "1981" and "1992," originally from the John Kobal Collection. Greta Garbo was a Swedish-American actress. Regarded as one of the greatest screen actresses of all time, she was known for her melancholic, somber persona, her film portrayals of tragic characters, and her subtle and understated performances. In 1999, the American Film Institute ranked Garbo fifth on its list of the greatest female stars of classic Hollywood cinema. Clarence Sinclair Bull was born in Sun River, Montana, in 1896. His career began when Samuel Goldwyn hired him in 1920 to photograph publicity stills of the Metro-Goldwyn-Mayer film studio's stars. He is most famous for his photographs of Greta Garbo, taken between 1926 and 1941. Bull's first portrait of Garbo was a costume study for the silent romantic drama film Flesh and the Devil in September 1926. Bull was able to study with the great Western painter...

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...

Haruna Fuji, Gunma, Honshu, Japan by Michael Kenna is a black and white photograph depicting Mount Fuji through barren tree branches. Gelatin Silver Print Image size: 8 x 8 in. Mat...

"Galumlee Beach Tree Taean Chungcheongnamdo South Korea" is a silver gelatin print that was printed in the darkroom by master photographer and printer Michael Kenna. The print is ma...

Available Sizes: 24" x 24" $6,500.00 Edition of 15 30" x 30" $7,500.00 Edition of 20 45" x 45" $10,000.00 Edition of 7 Printing is done on Exhibition Photo Baryta 310gsm paper. ...

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

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...

large scale photograph capturing the color palette of nature's blue hour with soothing tones of ocean and cloudscape at dusk Seascape I by Frank Schott 48 x 64 inches / 122cm x 162...

large format Panorama photograph of sun reflections on pool water surface, mesmerizing light reflections of glistening sunlight on turquoise aquamarine water surface, an homage to th...

Anthony in the Tub 2004 Signed, titled, numbered, and dated, verso Archival pigment print 17 x 22 inches, sheet (Edition of 15) $1,400.00 11 x 17 inches...

Stone and Press Gallery is excited to offer several works in celebration of the LGBTQ community. This is number 1 from a limited edition of 12. London-based Photographer and Graphic designer Omer Ga'ash, graduated from Bezalel Academy...

Minimalist landscape photograph of black and white lilies on water "Dusk Lilies", photographed by Betsy Weis in 2006 archival inkjet print on watercolor paper 20 x 30 inches, 27 x 37 inches in white frame with white mat & anti-reflective non-glare glass Wire backing for easy installation, ready to hang as is Photographed at the Brooklyn Botanic Garden, this black and white archival pigment print by Betsy Weis captures a cluster of water lilies afloat on a glassy, onyx-like body of water. Looming clouds and nearby trees are reflected in the pond's serene surface. Crisp, moody, and rich in texture, the photograph can stand on its own as a quiet glimpse at nature, or can be juxtaposed with others in the series to form a more complete vision. This photograph is available unframed, $1800. The image measures 20 x 30 inches, and the paper measures 24 x 26 inches. Artist statement: Nature provides the perfect model of beauty, according to Plato and Socrates. In the classical period, something was considered beautiful because it existed in nature; art was secondary. In the 18th Century, the German philosopher Johann Joachim Winckelmann argued against the idea that art imitates life, believing that qualities superior to nature are found in art, specifically, ideal beauty, and “brain-born images”. Neoclassical thought represented that art need not serve any end other than its own existence. For me, beauty is an ideal, nature is real, and art comes from the brain. I take pictures in nature, finding shifting, disparate, and beautiful landscapes. I develop my pictures of trees...

Multidisciplinary visual artist Kim Frohsin created the arcane series, Reliquaries, from a variety of media—acrylic paint, glazes, ink, collage, pencils, and dry pigment—built upon pinhole photographs...

"Into the Blue" A surfer excitedly runs into the whitewater lapping the shores on Oahu in search of the perfect wave. The print series Swell: Endless Blue takes you on a sweeping y...

"The Turn" represents a pivotal moment in contemporary underwater fine art photography, where sculptural form meets fluid dynamics. In this arresting composition, a figure in vibrant...

Victor Arimondi (1942-2001). Portrait, ca. 1975. Period print measures 11 x 14 inches. Artist studio stamp on verso. Victor Arimondi (November 8, 1942 – July 24, 2001) was an Italian American photographer and model who lived and worked in Europe before moving to the United States in the late 1970s. His early fashion photography, his portraits of Grace Jones and other artists, and his male nudes photographed in New York and San Francisco captured the pre-AIDS culture of the 1970s and early 1980s. Arimondi's nudes were collected in several books, including David Leddick's award-winning[1] The Male Nude, (New York: Taschen 1998, 2005 and 2015). The photographer's later work documented homeless individuals in San Francisco's Tenderloin neighborhood and the toll of the AIDS epidemic on the city. His photographs, featured in several posthumous exhibitions, also are in the collections of Sweden's museum of modern art, Moderna Museet, and San Francisco's GLBT Historical Society. Biography Arimondi was born Vittorio Maria Tevitti to his unwed mother, Alessandra Calligaris, in Bologna, Italy on November 8, 1942. His mother struggled financially, which left an impression on her only child. In 1948, she temporarily left him at a children's boarding school and orphanage in Italy to move to Sweden for a job. There she met and married Bruno Arimondi, who adopted her son. The family returned to Naples, Italy in 1952 where Victor graduated from high school.[1] In 1960, Arimondi returned to Sweden to study at the University College of Arts, Crafts and Design in Stockholm, although he did not graduate. Meanwhile, he worked at several blue collar jobs, including as a mailman, before he gave up on traditional full-time work to pursue what he considered more essential— a life of creative expression. He created costume-like clothing for himself and friends and at age 19 became a fashion model. Even as a teenager, the Italian born photographer who spent his 20s and 30s primarily based in Sweden, noted that he preferred fantasy to the trials of real life.[1] That conflict, and his passion for beauty as well as his sexual energy, were major factors in his life and his work.[2] From 1965 through 1972 Arimondi worked as model in London, Milan, Germany, New York and Stockholm, appearing in catalogs and fashion magazines including Vogue , Harper's Bazaar and Esquire and on the runway in several Valentino fashion shows. In 1972 he decided to try working on the other side of the lens as a photographer to better express his creativity.[2] Arimondi moved to New York in 1979 and continued to build his photography portfolio. Portrait of Bearded Man, New York City, 1979 Two years later, in 1981, he moved to San Francisco where he lived and worked for twenty years until his death of AIDS at age 58 on July 24, 2001. The year he moved to San Francisco, Arimondi opened a photo gallery in the Haight-Ashbury neighborhood for a short time. When he struggled financially, he gave up on trying to earn a living through commercial fashion photography and closed the gallery.[3] Arimondi returned to modeling for the financial benefits, though he did so on less of an international scale than in his early years. He continued to create photographic portraits of the denizens of the San Francisco gay and arts cultures, to shoot male nudes and publish his work in magazines, and he began to compose and photograph evocative still lifes using his own photographic images. Many of them touched on the death of dozens of his former photography models from AIDS. Arimondi was in the midst of a new photography project that brought together his background as a fashion photographer and his more recent social documentary work when he died several months after he learned he was HIV-positive.[4] The project featured his former colleague, haute couture cover model Ivy Nicholson,[5] who he found living homeless in San Francisco. Several of the haunting portraits he took of her were later included in a noted group exhibit at SF Camerawork. Art Arimondi's early photography in the 1970s in Stockholm included portraits of the stars of Sweden's fashion, theater and dance worlds. His first two photography exhibits were in Stockholm and met with mixed reviews. But as he matured as a photographer and tapped into his fashion world contacts, Arimondi landed a number of commercial fashion jobs, including shooting for the Italian designer Salvatore Ferragamo S.p.A.'s I.Magnin department store ad that ran in Vogue. Marlboro Man Nude, New York City,1980. He also shot other artists and models for his own portfolio, including Grace Jones, the Norwegian actress, Liv Ullmann, and the American writer, Norman Mailer. Arimondi's aesthetic vision was focused on fantasy and drama, and he prided himself on pushing limits.[6] Although less well-known than his San Francisco contemporary...

This artwork was created by the artistic duo Hunter & Gatti (2010–2023). These works are part of the archive managed and exhibited by Cristian Hunter. The artist's technique consists...