USA - Figurative Photography

Bryan Atkinson Marolf’s Archival Pigment Print Year: 2024 Visible Size: 7.5 x 9.5 inches Framed: 13 x 17 inches Signed: On Label COA provided *White frame with standard plex Bryan ...

Listing is for UNFRAMED print. Inquire within for framing. Edition of 1 of 25 If the exhibition piece is sold or the customer orders a different print size, the photograph is prod...

Falling Stars - 2021 Archival C-Print based on an original Polaroid on Hahnemuhle photo rag paper. Edition of 10 plus 2 Artist Proofs. Signature label and certificate. Not mount...

Beach Comber by Erik Pawassar 48 x 71 inches (122 x 180cm) edition of 7 signed 27 x 40 inches (69 x 102cm) edition of 25 signed archival fine art pigment print signed & numbered ...

Gstaad, Switzerland, Estate Edition, Landscape Photograph This early 1960s landscape photograph, captured by society photographer Slim Aarons, features a helicopter arriving at a mo...

Through his exploration of bodily movement, with modern and ballet dancers, and with particular attention to the male physique, the artist has focused on the curves and lines of thei...

ABOUT THIS ARTIST: Carla Sutera Sardo was born in Agrigento in 1983. She studied law and graduated in 2011. During her university career, she became interested in photography, thus s...

This mid-1950s landscape photograph, captured by society photographer Slim Aarons, features skiers at the Cranmore Mountain Resort, North Conway, New Hampshire, USA This is an estat...

'Ryan Gossling' (Stay) - 2006, 20x20cm, Edition of 2/10, digital C-Print, based on a Polaroid Certificate and Signature label artist Inventory No. 2447.02 Not mounted. Stefanie Schneider: Torsten Scheid, “Fotografie, Kunst, Kino. Revisited.”, FilmDienst 3/2006, page 11-13

 Photography Art Cinema. Revisited Stay expands a traditional connection through new facets Interwoven between the media of photography and film is a veritable mesh-work of technical, motific, metaphorical and personal interrelationships. Extending from photo-film which, as in La Jetée by Chris Marker (France, 1962) is a montage of single, unmoving photographs all the way to the portrayal of photographic motifs in Hollywood cinema―most recently in Memento (USA, 2000) and One hour photo (USA, 2002)―is the range of filmic-photographic interactions on the one hand, and from the adaption of modes of cinematic production to the imitation of film stills on the other. For instance, with the legendary Untitled Film Stills (1978) of the American artist Cindy Sherman, who later made her debut as a film director with Office Killer (USA, 1997) and thereby, like many others, changed sides: Wim Wenders, Robert Frank and Larry Clark are doubtlessly the most successful of these photographic-filmic border crossers. This brief survey provides only a vague indication of the dimensions of this intermedial field, which in fact extends much further and is constantly being cultivated. Also as a motif in film, photography has experienced a historical transformation: Photographers were once considered to be technicians who mastered a craft but never achieved the status of artists. Photographer-figures were caught in the allure of beautiful appearance, incapable of penetrating to the actual essence of things. Such depth was reserved for literature or painting. When photography in film touched upon the sphere of art, then most often as its contrasting model, as the metaphor for a superficial access to the world. Coming to mind are Fred Astaire as a singing fashion photographer in Stanley Donen’s musical film Funny Face (USA, 1957), or the restless lifestyle-photographer in Michelangelo Antonioni’s genre-classic Blow up (GB, 1966). For the doubting Thomas, only that exists which can be photographed. He ultimately enters the world of fantasy and thereby the field of art only unwillingly, when he becomes entangled in the world of his images. The last of his detail-enlargements shows only the photographic grain and has lost all connection to reality. The photograph looks as if it had been painted by Bill, the painter who is both friend and antagonist to the protagonist.

 Photography as Art It was first around the end of the last century that numerous filmmakers discovered photography as a genuine art form. In The Bridges of Madison County (USA, 1995) a sensitive Clint Eastwood stands, camera in hand, on the threshold of artistic status, and in Smoke (USA, 1994) a tobacco merchant ripens into a philosopher through his involvement in photography. Finally, in John Water’s parody of the art market, Pecker (USA, 1998), a provincial tom-fool is hyped into celebrated stardom amid the New York art scene because of his blurred snapshots. This film about a postmodern Kaspar Hauser in photographic art (with clear parallels to Richard Billingham, the British shooting star of the nineteen-nineties), not only takes into account the exponentially expanded significance of photography in the art market, but also attributes to photography an extreme degree of conformity to the “operating system” of the visual arts. This admittedly ironic equation of photography and the visual arts is new. It is repeated with much more earnestness in Lisa Chollondencko’s High Art (USA) from the same year. Artistic photography has finally become established in a cinematic context.

 
Stay Stay (USA, 2005) could have fitted in seamlessly here. Considering that the films High Art and Pecker establish photography as an ideal art form at the end of the millennium, director Marc Forster (Monster’s Ball, Finding Neverland) takes a step backward; he revives an anti-technical, intuitive concept of art, including the customary clichés about madness and genius. This choice documents less an anachronistic notion of art (especially considering that painting is currently experiencing a Renaissance) than instead the appraisal that paintings are more suitable for representing the free objectification of the mind. Stay is not an artist-film but rather a psycho-thriller in which the borders between dream and reality become blurred.
 The psychiatrist Sam Foster (Ewan McGregor) has saved his girlfriend, the artist Lila (played by Naomi Watts) from committing suicide. Now he is attempting to keep another patient, the art student Henry Letham (Ryan Gosling...

THIS PIECE IS AVAILABLE FRAMED. Please reach out to the gallery for additional information. ABOUT THIS ARTIST: Photographer Anne Menke occupies the unique realm where high fashion meets bohemian travel and a free spirit. Her editorial work exudes a sense of glamour often amidst a backdrop of far flung, exotic locales. Menke has photographed couture on the mountains of Peru and beauty contests on the plains of Mongolia. Her eye for the authentic-- somehow she's an insider wherever she goes-- has informed her campaigns for clients including Tommy Hilfiger, Nine West...

An underwater photograph of a young woman playing with a wine glass in the pool. Original gallery quality archival pigment print signed by the artist. Limited edition of 24. The art...

'Us', 2018, Edition 1/10 plus 2 Artist Proof, 20x24cm. Digital Print based on Polaroid on Hahnemühle photo rag paper, not mounted, Signed and certificate. Published in Elston Gunn. ...

This late 1940s portrait photograph, captured by society photographer Slim Aarons, features a young woman modelling for a Saks Fifth Avenue catalog shoot. This is an estate stamped ...

Falling Stars - 2021 Archival C-Print based on an original Polaroid on Hahnemuhle photo rag paper, not mounted. 20x25cm, Edition of 10 plus 2 Artist Proofs. Signature label and c...

Beth Moon is an American-born photographer. She has gained international recognition for her large-scale, richly toned platinum prints. This portfolio focuses on totem-like beliefs ...

This mid-1950s portrait photograph, captured by society photographer Slim Aarons, features a group of friends squeeze onto an inflatable raft at the Venice Lido, Venice, Italy. This...

"GUCCI L8" Fashion Photography 24" D Edition 1/12 by Giuliano Bekor Lips Series Title of artwork: Gucci L8 Year: 2018 Medium: Photography Print Size: 24 Inches diameter trim bleed R...

An underwater photograph of a young woman wrapped in bright green tulle. Her head is above the water, hidden from the camera. Original gallery quality print signed by the artist. ...

This late 1940s portrait photograph, captured by society photographer Slim Aarons, features a young woman modelling for a Saks Fifth Avenue catalog shoot. This is an estate stamped ...

ABOUT THIS ARTIST: Cameron Burns is a freelance 3D artist who primarily works in the music industry. He loves to create photo realistic and surreal art t...

'Cold Song III' exemplifies the avant-garde evolution of underwater fine art photography, merging contemporary conceptual art with technical mastery. This ethereal composition captur...

Hearts Are Broken - 2020 Edition 1/10 plus 2 Artist Proof, 25x20cm Digital Print based on an original Polaroid on Hahnemühle photo rag paper. Signature label and certificate. Not mo...

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...

'Palimpsest', 2017, Edition 1/10 plus 2 Artist Proof, 24x20cm. Art Print based on an original Polaroid on Hahnemuhle photo rag paper, not mounted. Signed on back with certificate. L...

"Speed 2" Black & White Photography 39" x 49" in Edition 1/3 by Olha Stepanian Printed on Epson Professional Paper Signed and numbered by the artist Not framed. Ships in a tube. ...

A sunny Moring II (The Girl behind the White Picket Fence) 2013, 20x24cm, Edition 9/10,digital C-Print, based on an expired Polaroid. Certificate and Signature label. Artist Inventor...

ABOUT THIS ARTIST: Tropico Photo is the collaborative work of Forrest Aguar and Michelle Norris. Forrest loves pairing shapes and lines to create captiva...

Kairosclerosis 2019, 20x24cm, Edition of 1/10. Digital C-Print based on a Polaroid Collage. Hand-signed and numbered by the artist on the back with Certificate. Not mounted. Josey...

In Bloom - 2020 Edition 1/10 plus 2 Artist Proof, 20x25cm Digital Print based on an original Polaroid on Hahnemühle photo rag paper. Signature label and certificate. Not mounted. a...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition M (Edition of 6) 35.4 x 23.6 inches (90 x 60 cm) - Edition L (Edition of 6) 47.2 x 31.5 inches (120 x 80 cm) - Edition XL (Edition of 3) 88.8 x 58.8 inches (225 x 150 cm) PUR - Price Upon Request -------------- Since 1979 Christian Rothmann had more than 40 solo and 80 group exhibitions worldwide. Christian Rothmann had guest lectures, residencies, art fairs and biennials in Europe, Japan, USA, Australia and Korea. Christian Rothmann (born 1954 in Kędzierzyn, Poland ) is a painter, photographer, and graphic artist.⁠ ⁠ In 1976 he first studied at the “Hochschule für Gestaltung” in Offenbach, Germany and moved to Berlin in 1977, where he graduated in 1983 at the “Hochschule der Künste”. From 1983 to 1995 he taught at the university as a lecturer and as an artist with a focus on screenprinting and American art history. To date, a versatile body of work has been created, which includes not only paintings but also long-standing photo projects, videos, and public art.⁠ ⁠ Guest lectures, teaching assignments, scholarships and exhibitions regularly lead Rothmann to travel home and abroad.⁠ ------------------------ Rothmann's Robots These creatures date back to another era, and they connect the past and the future. They were found by Christian Rothmann, a Berlin artist, collector and traveler through time and the world: In shops in Germany and Japan, Israel and America, his keen eye picks out objects cast aside by previous generations, but which lend themselves to his own work. In a similar way, he came across a stash of historic toy robots of varied provenance collected by a Berlin gallery owner many years ago. Most of them were screwed and riveted together in the 1960s and 70s by Metal House, a Japanese company that still exists today. In systematically photographing these humanoids made of tin - and later plastic - Rothmann is paraphrasing the idea of appropriation art. Unknown names designed and made the toys, which some five decades on, Rothmann depicts and emblematizes in his extensive photo sequence. In their photographs of Selim Varol's vast toy collection, his German colleagues Daniel and Geo Fuchs captured both the stereotypical and individual in plastic figures that imitate superheroes which were and still are generally manufactured somewhere in Asia. Christian Rothmann looks his robots deep in their artificially stylized, painted or corrugated eyes - or more aptly, their eye slits - and although each has a certain degree of individuality, the little figures remain unknown to us; they project nothing and are not alter egos. Rothmann trains his lens on their faces and expressions, and thus, his portraits are born. Up extremely close, dust, dents, and rust become visible. In other words, what we see is time-traces of time that has passed since the figures were made, or during their period in a Berlin attic, and - considering that he robots date back to Rothmann's childhood - time lived by the photographer and recipients of his pictures. But unlike dolls, these mechanical robots bear no reference to the ideal of beauty at the time of their manufacture, and their features are in no way modeled on a concrete child's face. In this art project the robots appear as figures without a context, photographed face-on, cropped in front of a neutral background and reduced to their qualities of form. But beyond the reproduction and documentation a game with surfaces is going on; our view lingers on the outer skin of the object, or on the layer over it. The inside - which can be found beneath - is to an extent metaphysical, occurring inside the observer's mind. Only rarely is there anything to see behind the robot's helmet. When an occasional human face does peer out, it turns the figure into a robot-like protective casing for an astronaut of the future. If we really stop and think about modern toys, let's say those produced from the mid 20th century, when Disney and Marvel films were already stimulating a massive appetite for merchandising, the question must be: do such fantasy and hybrid creatures belong, does something like artificial intelligence already belong to the broader community of humans and animals? It is already a decade or two since the wave of Tamagotchis washed in from Japan, moved children to feed and entertain their newly born electronic chicks in the way they would a real pet, or to run the risk of seeing them die. It was a new form of artificial life, but the relationship between people and machines becomes problematic when the machines or humanoid robots have excellent fine motor skills and artificial intelligence and sensitivity on a par with, or even greater than that of humans. Luckily we have not reached that point yet, even if Hollywood adaptations would have us believe we are not far away. Rothmann's robots are initially sweet toys, and each toy is known to have a different effect on children and adults. They are conceived by (adult) designers as a means of translating or retelling history or reality through miniature animals, knights, and soldiers. In the case of monsters, mythical creatures, and robots, it is more about creating visions of the future and parallel worlds. Certainly, since the success of fantasy books and films such as Lord of the Rings or The Hobbit, we see the potential for vast enthusiasm for such parallel worlds. Successful computer and online games such as World of Warcraft...

'Sunfall', 2016, Edition of 10 plus 2 Artist Proof, 20x48cm, Digital Print based on an original Polaroid on Hahnemühle photo rag paper, not mounted . Signature label and certificate...

In Bloom - 2021 Archival C-Print based on a mixed-media collage of an original Polaroid on Hahnemuhle photo rag paper, not mounted. Edition of 10 plus 2 Artist Proofs. Signature ...

Portal - 2020 Edition of 10 plus 2 Artist Proof Digital C-Print based on an original Polaroid on Hahnemuhle photo rag paper,. Signature label and certificate. Not mounted. Lisa Tob...

An underwater black and white nude photograph of a female dancer performing in a swimming pool. Original gallery quality print signed by the artist. Digital archival pigment print ...

Vintage silver print Western Photography Guild studio stamp in purple ink, verso Stamped "Wrestling Poses" and numbered "Series 37 No. 5" in purpl...

David Douglas Duncan: 1916-2018. Well listed photographer who had rare access to Picasso. He took numerous photos of the master at work, and at pl...

Titel: Without Title (New York) Medium: Photograph Year: 1974/2014 Publisher: Griffelkunst Hamburg size: 7.4 × 10.7 on 11.5 × 15.4 inches After a photographer training at the photo ...

ABOUT THIS ARTIST: Tropico Photo is the collaborative work of Forrest Aguar and Michelle Norris. Forrest loves pairing shapes and lines to create captiva...

Juan Carlos Alom (Cuba, 1964) 'Estudio anatotécnico para abandonar una isla', 2004 photoengraving on paper 30 x 22.1 in. (76 x 56 cm.) Edition of 106 ...

ABOUT THIS ARTIST: Nikol Bartzoka was born in Kastoria, Greece. She studied Mathematics at the University of Crete and during her studies there, she experimented with her true passio...

ABOUT THIS ARTIST: Photographer Anne Menke occupies the unique realm where high fashion meets bohemian travel and a free spirit. Her editorial work exudes a sense of glamour often amidst a backdrop of far flung, exotic locales. Menke has photographed couture on the mountains of Peru and beauty contests on the plains of Mongolia. Her eye for the authentic-- somehow she's an insider wherever she goes-- has informed her campaigns for clients including Tommy Hilfiger, Nine West...

Unknown Artist Rust & Dust - Ford F3 Truck, 1948 Photographic Print (already matted) Year: Unknown 9.44 x 14.96 on 17.71 x 22.83 inches (24 x 38 cm on 45 x 58 cm) Unsigned as issued ...

This striking underwater fine art photograph captures a naked figure partially draped in vivid red fabric, surrounded by a constellation of air bubbles. The predominantly monochromat...

'Susanna' (Bombay Beach) - 2018 - Edition 1/10, 20x20cm, C-Print, Signature label and Certificate. Not mounted. About Tao Ruspoli (born 7 November 1975) is an Italian-American ...

The Robin Rice Gallery announces the new exhibition VISITOR by photographer Bill Phelps. Through light and shadow, a gaze, a mindset, Bill Phelps fourth solo show at the Robin Rice ...

Untitled - from the Dwell series 2018, Edition 1/10 plus 2 Artist Proof, 20x48cm, Digital Print based on an original Polaroid on Hahnemühle photo rag paper. Signature label and cert...

Mirror Image - 2020 Edition of 10 plus 2 Artist Proof Digital C-Print based on a mixed-media collage of an original Polaroid on Hahnemuhle photo rag paper. Signature label and certi...

Digital C-print (Edition of 10) Signed, dated, and numbered, recto This artwork is offered by ClampArt, located in New York City. Susan Barnett’s photographs are not about the t-sh...

This mid-1950s portrait photograph, captured by society photographer Slim Aarons, features the race driver Gordon C. MacKenzie in Franconia, New Hampshire. This is an estate stampe...

Couple In The Street, limited edition photograph, signed, archival pigment ink “Once Upon A Time In Kazimierz is a novella told in staged photographs. It portrays an episode in the...

Boys Play with Hoops by Steve McCurry depicts two children running along a dirt path in Madagascar, with Baobab trees towering in the distance. 24 x 20 in. Edition of 30 Printed on ...

In 1971, three hundred hippies set off from California in a convoy of 90 trucks and schoolbuses to find a new life. The pregnant women amongst them, out a desire to treat birth as a normal part of proceedings, passed around birth manuals and learnt to deliver each others' babies on the road. It was the memory of the very first woman, calmly and tenderly birthing in the arms of her husband in the back of a bus on a pitstop, that was to change the lives of two watching women...

Fanari, 2018, Edition of 10 - 40 x 40 cm -Digital C-Print based on a Polaroid, Not mounted. Signed on back and certificate. About: Fanari (Shot 2018 on SX-70 Film)
 This was shot on...

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...

ABOUT THIS ARTIST: Thanassis Krikis was born in Kastoria, Greece. He studied fashion design and illustration at Parsons School of Design in New York.
 He is also a St. Martins College of Art and Design graduate in Fashion and Textiles. Krikis started his career as a fashion designer in New York and he has worked as a fashion editor in several magazines. Since 2005, he has been working as a photographer based in London and Athens, contributing to major International and Greek publications. Thanassis Krikis is part of the Trunk Archive...

ABOUT THIS ARTIST: Thanassis Krikis was born in Kastoria, Greece. He studied fashion design and illustration at Parsons School of Design in New York.
 He is also a St. Martins College of Art and Design graduate in Fashion and Textiles. Krikis started his career as a fashion designer in New York and he has worked as a fashion editor in several magazines. Since 2005, he has been working as a photographer based in London and Athens, contributing to major International and Greek publications. Thanassis Krikis is part of the Trunk Archive...

Lord Fauntleroy Oldsmobile (Americana, Rusty, Classic Car, Timeless Ride) 2024 Archival Pigment Print on Hahnemuehle Baryta Rag 315gsm Size: 24 x 24 in...

'Portal' 2019, Edition 1/10 plus 2 Artist Proof, 20x20cm. Art Print based on an original Polaroid on Hahnemuhle photo rag paper, not mounted. Signature label and certificate. Lisa T...

ABOUT THIS ARTIST: Nikol Bartzoka was born in Kastoria, Greece. She studied Mathematics at the University of Crete and during her studies there, she experimented with her true passio...

Blackmon's images offer a fantastic and surreal commentary on contemporary American family life while referencing a 19th Century Flemish painting – they are intricate tableaux, combi...