Surrealist Photography

In the present image, we see people engaged in more than just a moment of fleeting pleasure. This tightly packed group of mostly tourists exhibits a profound level of joy and well-be...

Perched upon a New York City street sign, a orange-eyed pigeon is captured in a moment of deep bird contemplation. Behind him rises the permanent Art Deco facade of the Chrysler Bui...

Early twentieth-century train technology in the form of a wooden switch station in Long Island City is juxtaposed against the minimalistic International Style glass facade of the Uni...

Before Long Island City blossomed into a landscape of high-rise residential development, it was a gritty industrial area. One of the iconic images of the LIC was four monumental smo...

Follow the light and cast away rational assumptions. It will lead you to the sublime. Street Photographer Mitchell Funk captures three statuesque Black Women in formation as they hea...

Mitchell Funk takes skyscraper photography to new heights in his current exhibition: Mitchell Funk Photographs the Chrysler Building for 50 Years. The present work reimagines the m...

In 1980, conventional thinking suggested that one highly dramatic photograph of the New York skyline would be a sufficient artistic statement. Photographer Mitchell Funk felt there w...

In 1974, wherever you looked, you could see the Chrysler Building. In this image, from Williamsburg, the distinctive Art Deco spire of the Chrysler Building peeks its head out above ...

Silver light reflects off an Upper East Side skyscraper as two industrial boats pass in aligned formation. But this is not a picture of a building and boat. The extreme lighting and...

New York City Skyscraper Super Tall in Angelic Light Signed and dated on lower right, numbered 3 of 15. Unframed. Other size available, Printed later - Printed on Hahnemühle Fine...

After a 55-year career creating originally powerful images, Photographer Mitchell Funk outdoes himself. Flock of Birds on Wire was shot in the Windwood section of Miami. End-of-the-d...

A recurring motif in Mitchell Funk's work is the inclusion of an oversized moon. It signifies a celestial presence. This work, "Yellow Moon Over Manhattan," is an early example, but ...

Why is this view of the Brooklyn Bridge, a blue sky, and golden windows no longer visible? The image is a creation from Mitchell Funk's mind. It comprises three photographs with colo...

A spectacular vast orange sunset dominates the sky as tiny onlookers gaze up and out with amazement. The image has a surreal quality to it and the relationship to the sky and people...

It's a picture of the unknown. We do not know who the artist is. We do not know what the subject is. We do not know where the location is. It is all left to conjecture, yet the image...

Occupying the lower third of the picture plane, a herd of humans stride down Fifth Avenue. They form an overall pattern. The top of the picture is also comprised of a simple pat...

With a nod to the surrealist painter Paul Delvaux, Street Photographer Mithcell Funk captures two differently dressed women in a dreamlike state. The lighting and architectural sett...

The weather phenomenon that defines San Francisco, fog, separates a party of Kayakers from the iconic skyline. It puts them into an enigmatic limbo-like state. Photographer Mitchell ...

In 1984 Life Magazine was in full stride. Their photo editors sent photographers on location to document stories visually. At the US Army Munitions Depot, Edgemont, South Dakota, Mit...

Surreal City Scene with Man and his Shadows - Signed and dated on lower right, numbered on verso Edition 3 of 15. Unframed. Other size available, Printed later - Printed on Hahnemühl...

An unexpected marquee at the base of upscale 30 Rockefeller Center beams neon into the night. The 1930's art deco monolith is lit up like a silver spaceship as it thrusts into an ink...

Street Photographer Mitchell Funk captures a Manhattan moment of contrast. The top three-quarters of the composition is a wrap-around billboard seen behind street lights. It dep...

While on assignment in 1980 for a Life Magazine story on drought in Texas, Mitchell Funk encountered this vast landscape near Wichita Falls. A windmill with a wood fence and barn...

This image from the imagination of Mitchell Funk was the cover photograph for Popular Photography Magazine, May 1978, It is signed and numbered on lower right, as well as titled ...

Red Sun. Green Skyline, Nikon Advertising Campaign Inkjet Archival Print Signature: Signed dated ,numbered lower right recto. Printed Later, Unframed 2/15, other sizes available Nati...

Shipping should be around $100 - Signed, dated, numbered 3/15, lower right, unframed, other sizes available, printed later Mitchell Funk is a pioneer of Sci-fi and did a lot of wor...

Historically , newsstand magazines have used a standard set of practices when it came to choosing their cover image. Their goal was to use a image that people could instantly relate to. The idea being, if an image pops off the page it will attract more attention and then generate more newsstand sales. For editors, choosing a cover was first a marketing decision and then an aesthetic one. That is why most magazine covers and (that includes art magazines) pretty much looked the same. They used familiar images, mostly of celebrities, beauty people or news items of that would beckon and aggressively reach out to the prospect. In this Modern Photography Cover of August 1983, they chose a radical departure. Their cover image that was the opposite of the norm. Mitchell Funk’s Graphic Surreal Landscape...

Shipping should be around $100. Red Sun. Green Skyline, Nikon Advertising Campaign Inkjet Archival Print Signature: Signed dated ,numbered lower right recto. Printed Later, Unframed...

Shipping should be around $100 - Signed, dated, numbered 3/15, lower right, unframed, other sizes available, printed later Mitchell Funk is a pioneer of Sci-fi and did a lot of wor...

Signed, dated, numbered lower right, recto 3/15, Unframed, other sizes available, printed later, Printed on Hahnemühle Fine Art paper Mitchell Funk is a "Color Photographer Pioneer...

Signed, dated, numbered 3/15 recto unframed, other sizes availab

Mitchell Funk is a pioneer of Sci-Fi photography. In the 1980's He did work for the groundbreaking Bob Guccioni magazine Omni. Signed, dated and number LL recto, 3/15 other size ava...

Shipping should be around $100 Signed, dated and numbered lower right recto, 3/15 Unframed, printed later, other sizes available. Mithcell Funk is a pioneer of Sci-Fi Photography a...

Mitchell Funk is the creator of thi work and a pioneer of Sci-Fi Photography. He did an ad campaign for Omni Magazine in the early 1980's. Archival Inkj...

Historically , newsstand magazines have used a standard set of practices when it came to choosing their cover image. Their goal was to use an image that people could instantly relate to. The idea being, if an image pops off the page it will attract more attention and then generate more newsstand sales. For editors, choosing a cover was first a marketing decision and then an aesthetic one. That is why most magazine covers and (that includes art magazines) pretty much looked the same. They used familiar images, mostly of celebrities, beauty people or news items of that would beckon and aggressively reach out to the prospect. In this Modern Photography Cover of August 1983, they chose a radical departure. They used an image that was the opposite of the norm. Mitchell Funk’s Graphic Surreal Landscape breaks the rules of formula magazine cover art...

Surreal LandScape with Four Pyramids Cover Popular Photography Magazine, November, 1977 Mitchell Funk is a pioneer of Sci-Fi photography. He did wo...

Mitchell Funk's hand held pre-dawn New York street scene evokes a simultaneous state of beauty of unexpectedness. This is a straight shot. He used a Nikon D5 and 400mm while he was w...

Cover Popular Photography, May 1978, Signed and dated on lower right, numbered on verso, 2/15 Printed later, other size available, unframed

Double Exposure of Red sun into a the black shape of a silhouetted street signed evokes a surreal image of New York. Signed and dated on lower rig...

Dreamy and surreal midtown Manhattan with dramatic clouds bathed in grey blue light, signed and dated on lower right, numbered on verso 3/15, unframed, other size available

Herbert Bayer, Austrian (1900 - 1985) - Monument, Year: 1932 (Printed 1969), Medium: Gelatin Silver Print, signed, dated and numbered in pencil, Edition: 6/40, Image Size: 13.75 ...

With his works included in the permanent collection at the Norton and the New Britain Museum, Drew Tal’s successful career has been nothing but a soaring ascension into the global ar...

With his works included in the permanent collection at the Norton and the New Britain Museum, Drew Tal’s successful career has been nothing but a soaring ascension into the global ar...

With his works included in the permanent collection at the Norton and the New Britain Museum, Drew Tal’s successful career has been nothing but a soaring ascension into the global ar...

With his works included in the permanent collection at the Norton and the New Britain Museum, Drew Tal’s successful career has been nothing but a soaring ascension into the global ar...

With his works included in the permanent collection at the Norton and the New Britain Museum, Drew Tal’s successful career has been nothing but a soaring ascension into the global ar...

With his works included in the permanent collection at the Norton and the New Britain Museum, Drew Tal’s successful career has been nothing but a soaring ascension into the global ar...

With his works included in the permanent collection at the Norton and the New Britain Museum, Drew Tal’s successful career has been nothing but a soaring ascension into the global ar...

With his works included in the permanent collection at the Norton and the New Britain Museum, Drew Tal’s successful career has been nothing but a soaring ascension into the global ar...

“Ink Stories”, which was introduced at Nyari’s very first solo gallery exhibit, consists of large-scale nude photographs that explore the concept of self-identity and female empowerment. The series joins six women together, each who have faced adversity, to demonstrate the creation of a strengthened self-image through tattoos. By highlighting the intricate woven threads of ink on each woman’s skin, Nyari proposes the idea that self-empowerment and reconciliation with one’s traumas can be linked to the act of greeting one’s “own skin” or inventing their own story. Nyari has now elevated these intimate photographs in her new Punctured Ink series through the process of puncturing botanical-like references into the surface of each image (thus making each one of a kind). Her inspiration to physically puncture the previously pristine photographic prints stemmed from a childhood memory that occurred while she was living in Finland: “I remembered my parents had this big pad of paper next to the home phone...

Stamped, verso Vintage silver print 9 x 7 inches 18 x 15.5 inches, framed Roger Parry learned photography from Maurice Tabard by working as his studio assistant in 1928. In 1929 the...

Varnished photo montage on paper

Digital photographic collage.

Signed, dated, titled and numbered on print recto. Signed, titled with artist's copyright stamp on mount verso. Available in 15 x 15 inches or 22 x 22 inches. Other sizes may be avai...

Signed on the front. Contact gallery for prices and available sizes as they are subject to change - available as a 11 x 14 or 16 x 20 inch gelatin silver prints. All works are open e...

Print is available in sizes from small to mural. Edition of 25. If the exhibition piece is sold or the customer orders a different print size, the photograph is produced upon purchase. Please allow two weeks for production. Shipping time depends on method of shipping. Price is subject to availability. The Robin Rice Gallery reserves the right to adjust this price depending on the current edition of the photograph. ABOUT: Inside the gallery, the viewer is surrounded by an arresting display of glamour in the wild. Drawing inspiration from classical paintings and geometric forms, Greg Lotus' work has been compared to Herb Ritts, Man Ray and Richard Avedon, and his exhibition fuses his high fashion background with the rural environment of his youth. Yet Lotus admits to no formal training throughout his career, "I'm completely self-taught, lots of trial and error over the years." His foray into fashion photography was a twist of fate. In the 90s he was sharing living quarters with young models, and began photographing them to help them build their portfolios—work that eventually brought his work to the attention of agencies. When it comes to his own models, Lotus prefers the "unspoiled" types, holding castings to find those with quirk as well as beauty. "Over time, most artists develop their own palette and look using color and light in a very personal way. I express my own aesthetic sense which is what makes my work recognizable, regardless of subject or setting." "Swimmer Cap," is an example of Lotus' signature pop of color. Here, a cast of sinewy models convene in a locker room; their candy-colored swim caps give the piece its surreal, dreamlike quality. In the invitation piece, "Nurses" beauties in black bathing suits pop against a light background while being hosed down by a nurse. "You can almost feel the spray and hear the whoosh under the miniskirt," says Lotus. Besides the visual play on light and dark, he says water is the linking element that turns the piece theatrical and makes it breathe. Greg Lotus was born in 1967 in rural West Virginia. He shot in Paris and New York City before settling in Miami to pursue his craft. After landing his first major job in Europe, Lotus interviewed with the editor of Italian Vogue, Franca Sozzani...