Early 2000s Abstract Photography

Grid No.6, 2009 (Contemporary Framed Abstract Grid in Neutral Shades Black & Coffee) by Birgit Blyth 40" X 25" paper vertical chromoskedesic monoprint 44 x 29 inches framed, custom frame with black wood molding and anti-reflective glass This contemporary, abstract style chromoskedasic monoprint was created by experimental photographer, Birgit Blyth. Without the use of a camera, the artist produced this chromoskedasic image by applying the photographic chemicals to black and white photo pager and exposing it to light. The variety of caramel, toffee, brown and black tones is determined by the different chemicals used and the amount of time they are exposed to light. Here, the artist paints with the photographic materials in a gestural, linear motion. Beautiful hues of coffee, caramel, brown, grey, and black intersect to create unique abstract, intersecting grid patterns that resembles a basket weave motif. The photograph is complimented with a black metal frame with non-glare glass. It is equipped with sturdy wire on the back for instant and professional quality hanging. About the artist and work: Birgit Blyth is one of our most innovative and prolific photographers who works in a darkroom yet uses no camera! Blyth has been experimenting with a technique known as Chromoskedasic painting since the early ‘90s and variations on this concept have been shown at the gallery for the last 20 years. The unusual process involves the use of silver particles in black and white photographic paper to scatter light at different wavelengths when exposed. A chemist of sorts, Blyth demonstrates a thorough knowledge of how the various photographic chemicals will react when applied to paper and exposed. Each work is unique with palettes that resonate brilliant tonalities of brown, green, black, and purple. Using this technique, Blyth creates abstract crosshatching grids and most recently has developed a more gestural series of 20 x 16 inch chromoskedasic paintings that explores the ethereal qualities made possible by the unconventional material. Birgit Blyth succeeds at keeping her work fresh and cutting-edge using analog methods that are being quickly replaced elsewhere with digital technology. Though Birgit Blyth began her photographic career using conventional photographic methods, she quickly became more interested in alternative processes. In the mid 1990’s a colleague showed her an article in Scientific American and it was here that she first discovered the technique called “chromoskedasic” painting, which would eventually lead her to fully finding her voice as a photographer. Blyth had always aligned herself with and been moved by abstract expressionist painting. The series of veil paintings by post-abstract expressionist, Morris Louis, was especially inspiring to her and caused her to ask herself how she could do similar interpretations photographically. In “chromoskedasic” painting, she found the answers and would begin on a new path in her artwork. The term “chromoskedasic” is derived from Greek roots meaning color by light scattering. Developed by a photographer named Dr. Dominic Man-Kit Lam, this process exploits the capability of silver particles in black and white photographic paper to “scatter” light at different wavelengths when exposed to light and chemicals. In her mastery of this photochemical drawing process, Blyth has painted lush washes of color into her own “Veil Series;” she has envisioned landscapes, both rural and urban, with melting swirls and marbled colors into rich palettes of toffee and lead. She has used this essentially experimental process to help her “see” the world around her. Blyth says she continues to be fascinated by the process because it requires “a combination of discipline, experimentation, and imagination, making possible a wonderful balance between control and surprise.” Because the chromoskedasic work is all analog, Blyth spends much of her studio time in the darkroom, which has become a rarity in the current world of digital photography. She does however, continue her preference for experimentation in numerous directions, even employing aspects of the digital age – this exhibit will also feature a new series of pieces created with the now defunct but much loved SX-70 polaroid camera, scanned and archivally printed on 24” x 24” fine cotton rag paper. Whatever the process, Blyth’s work is, as the painter and poet, Peter Sacks noted, a blend of “precision and mystery, of articulation and atmosphere.” Her images leave us with the feeling of ongoing action despite the apparent stillness; of qualities both dreamy and stark as light hits a stand of birch trees in a valley or a group of buildings in New York City. As Morris Louis evolved a style of painting that produced a complete integration of paint and canvas, so too has Blyth, with photo paper and chemicals, created a perfect integration of method and content. Artist CV: Born: Kousted, Denmark Resident in U.S.A. since 1963 Education: Denmark and U.S.A. Project, Inc., Cambridge MA (Photography) DeCordova Museum School, Lincoln MA (Printmaking) Maine Photography...

Dreamscape (Wastelands), 2003 20x20cm 
Edition of 10, plus 2 Artist Proofs. 
 Archival C-Print, based on the original Polaroid. 
Certificate and Signature label. 
 Artist inventor...

Eternity (Deconstructivism) - 2020 - about the narrative potential of images. 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid, Artist Inven...

Blue (Deconstructivism) - 2015 - about the narrative potential of images. 40x50cm, Edition of 10, digital C-Print, based on the Polaroid, Artist Inventory 3962. Signature label ...

Stefanie Schneider's work was used for Marc Forster's movie 'Stay'. Featuring Ewan McGregor, Naomi Watts, and Ryan Gosling. Naomi and Ryan were both portraying artists and Stefanie's...

This exquisite chromogenic print by Marilyn Minter (b. 1948), titled Prism, exemplifies the artist’s radical expansion of photo-real imagery into a realm of heightened sensuality, su...

Planes VII - 2008 50x50cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certificate. Artist Inventory #4650. Not mounted. ...

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...

Colorful, Maximalist style floral still life photograph of green plants and flowers with gold lights and fireworks Archival digital print, made to order 48 x 40 inches, edition of 15...

Untitled (Paradise) - 1999, 98x97cm. Edition 3/10. Archival C-Print, based on the original Polaroid. Signature label and Certificate. Artist Inventory No. 20451. Not mounted. ...

Blue abstract photograph from Richard Heeps' series Trading Paint. Richard Heeps has a history of photographing Drag Racing in the UK, America and Europe. Trading Paint is a term tha...

Small bleached found abstract photographic artwork by Jim Dingilian. Offered framed in plexiglass. Frame size: 5 x 6.25 inches Paper size: 3 3/8 x 4.75 inches Jim Dingilian makes ...

Edition # 2/10 This is the framed price. The photograph is available unframed in the two additional paper sizes listed. “Naturae”, inspired by systema naturae; a classification o...

Artist Unknown. From Muse X Editions. An (now defunct) LA based innovative publisher of limited-edition prints, Muse X has launched its first group of prints and is just beginning to make itself known to artists, curators, dealers and collectors. Among works just off the press are otherworldly landscapes by Barbara Kasten and Oliver Wasow, a sizzling sunset by Peter Alexander, abstract compositions by Pauline Stella Sanchez and Jennifer Steinkamp...

SOME PEOPLE OF KUWAIT, 2000, Color iris print, on heavy rag photo paper signed on verso and inscribed "OK to print', from small edition of just 10. images 40 x 26 ¾", full margins; printed by Muse X. This was a series about Kuwaiti, Arab women or men dressed in Burka's from up close it appears completely abstract from a bit of a distance an image emerges. Jack Butler was a Professor of Art at California State University Los Angeles from 1988 to 2010. He received his Master of Arts degree from California State University Los Angeles in 1972 and earned his Master of Fine Arts degree from UCLA in 1979. He was a dedicated teacher from 1971 to 2010 and taught at numerous educational institutions including California State University Los Angeles, the University of California, Riverside, UCLA Extension, Pasadena City College, East Los Angeles College, Los Angeles Southwest College and was a visiting instructor at the School of the Art Institute in Chicago. He has participated in approximately one hundred exhibitions during that time including sixteen solo exhibitions. His work has been shown at such institutions as the Los Angeles County Museum of Art, Fahey / Klein Gallery, Los Angeles, San Francisco Museum of Art, Gallery Min in Tokyo, Japan, the Museum of Contemporary Art in Osaka, Japan, Photo-Tableau in Paris, France, the Photographers Gallery in London England, the Kansas City Art Institute, The Friends of Photography Ansel Adams Center, the Laguna Beach Art Museum, the Long Beach Museum of Art, Sala Arcs Gallery, Barcelona, Spain, the California Museum of Photography, the Center of Contemporary Art, Santa Fe, New Mexico, the George Eastman House, Rochester, New York, the Corcoran Gallery, Boston Mass., and the Santa Barbara Museum of Art and was represented by the former Sherry Frumkin Gallery. He has been published in numerous books and catalogs. These include publications from such seminal exhibitions as “ Proof: Los Angeles Art and the Photograph 1960-1980”, “Photography and Art: Interactions Since 1946”, “Photography and Language” and “Attitudes: Photography in the Seventies” as well as having a catalog of his work published by Min Gallery in Tokyo, Japan. Recent publications include catalogs from the exhibition "Transfictions" at the Fisher Gallery USC and the exhibition "COLA 2004" at Barnsdall Municipal Art Gallery as well as “The Polaroid Years, Instant Photography and Experimentation”, The Francis Lehman Loeb Art Center, Vassar College 2013. During his career he has been involved in numerous workshops and lectures and has curated numerous exhibitions. He has participated in a Distinguished Artists Forum, 20x24 Polaroid Project in 1989 and was supported the by Polaroid Corporation to work on the 20x24 Polaroid camera in New York Studio in 1990 and again in 1998. Polaroid Corporation was also instrumental in assisting with the production of his project Hot Rod "Kulture / Culture.” He was also a recipient of a SECA Award from the San Francisco Museum of Art in 1980, National Endowment for the Arts Fellowship (major individual grant) in 1981 and received a City of Los Angeles Individual Artists Fellowship (COLA Grant) in 2004. His work is included in such collections as the Los Angeles County Art Museum, San Francisco Museum of Art, California Museum of Photography, Grunwald Center for the Graphic Arts UCLA, La Jolla Museum of Contemporary Art, Georges Pompidou National Center for Art and Culture, Seattle Art Museum, the Kiyosato Museum of Photographic Art, Japan, the Graham and Susan Nash Collection, the Aaron Spelling Collection as well as numerous other private collections. Going back to the 1840s, the earliest days of photography, people like Fox Talbot, Hippolyte Bayard and Oscar Gustave Rejlander were manipulating images and producing work that they referred to as Art or “Light Drawings”. Moving on to the 1920s and 30s we discover people such as Kurt Schwitters, Christian Schad, Hana Hoch, Raoul Haussmann, Man Ray, John Heartfield, Max Ernst, Laszlo Moholy-Nagy, Lucia Moholy, Hans Bellmer, Andre Breton, Herbert Bayer and William...

SOME PEOPLE OF KUWAIT, 2000, Color iris print, on heavy rag photo paper signed on verso and inscribed "OK to print', from small edition of just 10. images 40 x 26 ¾", full margins; printed by Muse X. This was a series about Kuwaiti, Arab woman or men dressed in Burka's from up close it appears completely abstract from a bit of a distance an image emerges. Jack Butler was a Professor of Art at California State University Los Angeles from 1988 to 2010. He received his Master of Arts degree from California State University Los Angeles in 1972 and earned his Master of Fine Arts degree from UCLA in 1979. He was a dedicated teacher from 1971 to 2010 and taught at numerous educational institutions including California State University Los Angeles, the University of California, Riverside, UCLA Extension, Pasadena City College, East Los Angeles College, Los Angeles Southwest College and was a visiting instructor at the School of the Art Institute in Chicago. He has participated in approximately one hundred exhibitions during that time including sixteen solo exhibitions. His work has been shown at such institutions as the Los Angeles County Museum of Art, Fahey / Klein Gallery, Los Angeles, San Francisco Museum of Art, Gallery Min in Tokyo, Japan, the Museum of Contemporary Art in Osaka, Japan, Photo-Tableau in Paris, France, the Photographers Gallery in London England, the Kansas City Art Institute, The Friends of Photography Ansel Adams Center, the Laguna Beach Art Museum, the Long Beach Museum of Art, Sala Arcs Gallery, Barcelona, Spain, the California Museum of Photography, the Center of Contemporary Art, Santa Fe, New Mexico, the George Eastman House, Rochester, New York, the Corcoran Gallery, Boston Mass., and the Santa Barbara Museum of Art and was represented by the former Sherry Frumkin Gallery. He has been published in numerous books and catalogs. These include publications from such seminal exhibitions as “ Proof: Los Angeles Art and the Photograph 1960-1980”, “Photography and Art: Interactions Since 1946”, “Photography and Language” and “Attitudes: Photography in the Seventies” as well as having a catalog of his work published by Min Gallery in Tokyo, Japan. Recent publications include catalogs from the exhibition "Transfictions" at the Fisher Gallery USC and the exhibition "COLA 2004" at Barnsdall Municipal Art Gallery as well as “The Polaroid Years, Instant Photography and Experimentation”, The Francis Lehman Loeb Art Center, Vassar College 2013. During his career he has been involved in numerous workshops and lectures and has curated numerous exhibitions. He has participated in a Distinguished Artists Forum, 20x24 Polaroid Project in 1989 and was supported the by Polaroid Corporation to work on the 20x24 Polaroid camera in New York Studio in 1990 and again in 1998. Polaroid Corporation was also instrumental in assisting with the production of his project Hot Rod "Kulture / Culture.” He was also a recipient of a SECA Award from the San Francisco Museum of Art in 1980, National Endowment for the Arts Fellowship (major individual grant) in 1981 and received a City of Los Angeles Individual Artists Fellowship (COLA Grant) in 2004. His work is included in such collections as the Los Angeles County Art Museum, San Francisco Museum of Art, California Museum of Photography, Grunwald Center for the Graphic Arts UCLA, La Jolla Museum of Contemporary Art, Georges Pompidou National Center for Art and Culture, Seattle Art Museum, the Kiyosato Museum of Photographic Art, Japan, the Graham and Susan Nash Collection, the Aaron Spelling Collection as well as numerous other private collections. Going back to the 1840s, the earliest days of photography, people like Fox Talbot, Hippolyte Bayard and Oscar Gustave Rejlander were manipulating images and producing work that they referred to as Art or “Light Drawings”. Moving on to the 1920s and 30s we discover people such as Kurt Schwitters, Christian Schad, Hana Hoch, Raoul Haussmann, Man Ray, John Heartfield, Max Ernst, Laszlo Moholy-Nagy, Lucia Moholy, Hans Bellmer, Andre Breton, Herbert Bayer and William...

Igor Vishnyakov is a Russian Postwar & Contemporary artist who was born in 1968 in Moscow. Igor spent his childhood in Africa and Southeast Asia. After returning to Moscow in the mi...

Listing includes framing with UV plexi, free shipping in the US, and 14-day return policy. Corinne Vionnet Jerusalem from the series "Photo Opportunities" 15 x 20 inch archival pig...

Untitled (Paradise) - 1999 20x20cm. Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certificate. Artist Inventory No. 19888. N...

Blue Sky (Zuma Beach) - 2004 50x49cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #20432. No...

Ola KOLEHMAINEN (*1964, Finland) Composition with Collected Reflections, 2007 Analogue C-type print face-mounted to acrylic (Diasec) Sheet 202 x 263 cm (79 1/2 x 103 1/2 in.) Edition of 6, plus 2AP; Ed. no. 6/6 Framed print About Earlier works: In his earlier works Kolehmainen reduces buildings to their ornamental character. What appeals to him are the geometric grids of façade surfaces, ceiling designs or reflecting window openings on the selected landmarks of architectural history. Where nature meets architecture as a reflection, his minimalist, aesthetic work begins, which was strongly influenced by James Turell...

Stefanie Schneider's work was used for Marc Forster's movie 'Stay', featuring Ewan McGregor, Naomi Watts and Ryan Gosling. Naomi and Ryan were both portraying artists and Stefanie Sc...

'The Bubble (Park Ave 2)' 2000 by Susan Wides. Chromogenic print, 50 x 40 in. C-print of Park Avenue from the Bubble Series by photographer Susan Wides. Colors in black, white, gray ...

silver gelatin print Petah Coyne (born 1953) is a contemporary American sculptor and photographer best known for her large and small scale hanging sculptu...

Untitled #58 (Abstract Photography) C print - Unframed. "Edition of 5 + 2AP, next 1/5 Richard Caldicott is most well known for this earlier work series which used Tupperware contain...

Alberto Arcos (Cuba, 1956) 'Untitled', 2004 Photography, inkjet on paper P/A (Artist Proof) 27.7 x 19.7 in. (70.2 x 50 cm.) ID: ARC-302 Unframed

Hand printed photograph by artist. Dry mounted on acid free board - size 18x22" Print Date 2005 Mint Condition

C-print of an abstracted Rockefeller Center at night in New York City by contemporary photographer Susan Wides, in yellow, black and green. NY photographer, Susan Wides, is best kno...

Lambda digital c print on Ilford Ilfoflex Archival Super Gloss, 2003. Signed, dated, titled, and numbered 1/1 on verso. This is a unique print. Artist Andrew George is based in Los ...

A vast and wide view of one of the world's most densely populated cities shows only one person. A lone runner surrounded by white snow is framed by New York's Central Park South sky...

From the series "Light Leaks" (2008) Type-c print on Ilford Ilfoflex Archival Super Gloss, 2008. Signed, dated, titled, and numbered 2/2 on verso. Artist Andrew George is based in L...

Stefanie Schneider's work was used for Marc Forster's movie 'Stay'. Featuring Ewan McGregor, Naomi Watts, and Ryan Gosling. Naomi and Ryan were both portraying artists and Stefanie's...

Stefanie Schneider's work was used for Marc Forster's movie 'Stay'. Featuring Ewan McGregor, Naomi Watts and Ryan Gosling. Naomi and Ryan were both portraying artists and Stefanie's ...

Signed and dated on lower right, numbered on verso, 3/15 Printed later, other size available, unframed Printed on Hahnemühle Fine Art paper

The Empire State Building serves as a backdrop as snow flakes create wonderland of soft reds and blues. Signed and dated on lower right, numbere...

Sometimes the simplest images are the most complex. Peacock Displaying Blue and Green Plumage is more than a bird portrait. It's a portrait of a bird as a living work of abstract ar...

From his show Hashish at Michael Steinberg Gallery (bearing their label verso) Reviewed by Roberta Smith in the New York Times. Abstract Expressionism meets graffiti photography. Cy ...

From his show Hashish at Michael Steinberg Gallery (bearing their label verso) Reviewed by Roberta Smith in the New York Times. Abstract Expressionism meets graffiti photography. Cy ...

Blue abstract photograph from Richard Heeps' series Trading Paint. Richard Heeps has a history of photographing Drag Racing in the UK, America and Europe. Trading Paint is a term tha...

From his show Hashish at Michael Steinberg Gallery (bearing their label verso) Reviewed by Roberta Smith in the New York Times. Abstract Expressionism meets graffiti photography. Cy ...

Joy of Color, 2002 by Yasuhiro Ishimoto is a contemporary color photograph from an extensive documentary photography series of Japan that Nagano shot on assignment. The image is hand-signed on recto (front left margin) by the photographer. This is an archival pigment print on Hahnemule Fine Art paper printed 2005 under the direction of the photographer. The 19" x 13" work is from the portfolio "Masters of Modern Photography. Japan," Tokyo. Edition available: 87/100. Provenance: Private Collector *** Artist’s Bio: Yasuhiro Ishimoto a Japanese photographer was born in 1921. His work was chosen by Edward Steichen to appear in the Family of Man exhibition and catalogue at the Museum of Modern Art in 1955, and Steichen also selected his work for a three-person exhibition in 1961. From 1973-1993 Ishimoto produced a number of in-camera color abstractions that appeared as covers for a Japanese magazine. Ishimoto's exhibitions, include New Japanese Photography at the Museum of Modern Art in 1974, solo shows in 1960 and 1999 at the Art Institute of Chicago, a retrospective in 1989–1990 at Seibu Museum of Art in Tokyo, and an exhibition at the National Museum of Modern Art, Tokyo, in 1996. His later photography addressed the transitory nature of life as shown in photographs of clouds...

Edition of 50. All items are shipped as a print only and come unframed. Jo Crowther was born in York in 1963, and a childhood of much travelling resulted in her attending 14 differ...

Yellow Flower (The Last Picture Show) - 2005 128x125cm, Edition of 5, analog C-Print, based on the Polaroid, hand-printed by the artist on Fuji Crystal Archive Paper. (matte) Ar...

Through the looking Glass (Deconstructivism) - 2015 20x20cm, Edition of 10, digital C-Print, based on the Polaroid, Artist Inventory 20270. Signature label and Certificate. Not ...

Fleeting (Haley and the Birds) - 2013 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory # ...

Into the dark (Deconstructivism) - 2020 - about the narrative potential of images. 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid, Artist Inventory 4600. Signat...

Mirage (Zuma Beach) - 2004 29x28cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #20428. Not ...

Dusk (Deconstructivism) - 2015 - about the narrative potential of images. 40x48cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Signatur...

Blue 2- Limited Editions of 5 , signed + numbered by artist, with certificate of authenticity Large scale photograph by Michael Banks - Archival Pigm...

Abstract - 2020 Polaroid - Unique Piece 1/1, 7.8 x 7,7cm (image area) 10.7 x 8.7 cm ( including white Polaroid frame). Artist Inv. #23481. Signed on verso. Stefanie Schneider's ...

Brooklyn Bridge (Stay) - 2006 Edition of 5, 100x135cm installed, each piece is 30x29cm, 12 analog C-Prints, printed by the artist on Fuji Archive Crystal Paper, matte surface, b...

Sunset Behind Layers (Deconstructivism) - 2020 20x24cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid, Artist Inventory 6199. Signature label and ...

Bavarian-born and raised Eva Mueller, made New York her home in 1990. Her previous studies and experience in graphic design and visual fine art, evolved into her career in photogr...

Bavarian-born and raised Eva Mueller, made New York her home in 1990. Her previous studies and experience in graphic design and visual fine art, evolved into her career in photograp...

Abstracted still life photograph of white leaves with accents of cream, blush, and white gold Archival digital print, made to order 30 x 30 inches, edition of 30 Additional sizes av...

Photogram on Polaroid Type 809 (Unique) Signed, titled, and dated in black ink, verso This artwork is offered by ClampArt, located in New York City. Brian Buckley’s work has alway...

Untitled (Traintracks) - The last Picture Show - 2004 50x50cm. Edition of 5, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature label and Certificate. Artist...

Untitled (Traintracks) - The last Picture Show - 2004 38x37cm. Edition of 5, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature label and Certificate. Artist...

Untitled (Traintracks) - The last Picture Show - 2004, 38x37cm. Edition of 5, plus 2 Artist Proofs. Digital C-Print, based on a Polaroid. Signature label and Certificate. Artist...

Locker Room (Suburbia) 2004, 40x40cm, Edition of 1/5, analog C-Print based, hand-printed by the artist on Fuji Crystal Archive papter, matte surface in her own Color lab in Berlin ba...