Rick Chapman

Barbed Wire, Kansas

1999

Toned gelatin silver print Signed, titled, dated, and numbered, recto 14 x 11 inches, sheet (Edition of 25) 20 x 16 inches, sheet (Edition of 25) 24 x 20 inches, sheet (Edition of...

This silver gelatin print is signed in pencil on the front of the mount. Post-BMFA 11 studio stamp with title in ink on the front of the mount. An inscription by Adams' assistant "Pr...

Rebecca Skinner’s “Alkabo II” is a 20 x 30 inch black and white photograph captured in a North Dakota ghost town. Dramatic sky frames a weathered structure in this beautiful contempo...

Born in 1939 in Louisville Kentucky, David Gibson is primarily a self-taught photographer. Years of developing and refining his photographic technique have afforded him much recognition, especially for his panoramic landscapes of Texas and the Four Corners region. He has also photographed extensively in Ireland, a project for which he received a grant from the Ballinglen Arts Foundation in 1995. He has exhibited widely in both group and solo exhibitions, and his work is a part of several permanent public and corporate collections such as the Amon Carter Museum and the Museum of Fine Arts, Houston. Gibson's luminous black-and-white landscapes demonstrate a remarkable sensitivity to light and mood. Dramatic clouds, imminent storms and an occasional lighting strike...

24 x 50" 8-ply mat for an additional $185.00 - Born in 1939 in Louisville Kentucky, David Gibson is primarily a self-taught photographer. Years of developing and refining his photo...

Wabaunsee County, KS (2014) Giclee Print on Coated Fiber Paper Edition of 25 + AP Image Size: 18 1/4" x h 8 1/4

Ian Gittler’s Motor Art series-photographs of century-old engine parts, gears, sparkplugs, and brand tags-offers respite from the digital fetishism, overexposure and one-hundred-forty-character bursts of communication that seem to define our era. Gittler is no luddite, he loves his iPhone. But these images, often obscuring the objects beyond identification, take unsentimental pleasure in elements of weight, ground, volume and permanence that are more closely associated with a bygone heyday of industrialization. These photographs are about a tangible physical experience, about moving parts. Gittler’s expert printing-his ability to see the potential in a frame and employ the techniques necessary to articulate that vision on paper-brings the work to life. There’s wit in the brand iconography and a documentary component, but Gittler resists prescribing interpretations, saying subtext isn’t the point. His use of extremely shallow depth of field, intense contrast and exploded grain is muscular and poetic. But subtext is relevant. Although Robin Rice first approached Ian Gittler about his vector-based art on photo paper, the gallerist challenged him to create a series of photographs with that kind of machismo. As a native New Yorker who was marched through the halls of MOMA as a toddler, Gittler’s inspiration-his idea of macho-has less to do with cowboys and racecar drivers than with Franz Kline brushstrokes and modernist design. For Gittler, macho means the maximum amount of black ink that can lie across a sheet of photo paper. That kind of force. He narrowed his field of view for this series-often to a centimeter or two-in order to achieve a purely visual, visceral response. Gittler titled the work Motor Art in tribute to the 1934 Museum of Modern Art exhibit, Machine Art. Upon its sixtieth anniversary, Phillip Johnson wrote of the show (and of his own essay for its original opening), “The thrust was clear: anti-handicraft, industrial methods alone satisfied our age; Platonic dreams of perfection were the ideal.” Ian Gittler photographs, draws, writes, and makes music. He has created album covers for Willie Nelson, Roy Hargrove...

Rebecca Skinner’s “Thread” was photographed at an abandoned silk mill and is part of a series documenting the loss of industry in America. The 18 x 12 inch black and white photo with...

Rebecca Skinner’s “Sorrow” is a 24 x 16 inch contemporary black and white photograph of a weathered cowboy boot resting on a fence in the beautiful North Dakota landscape. The framel...

Artist Statement For me, an artistic process is an act of investigation – a passionate attempt to establish an understanding of the natural world – a version that incorporates both i...