Art by Medium: C Print

Terry O’Neill is one of the twentieth century's most accomplished and collected photographers, whose work hangs in national galleries and private collections around the globe. Since ...

Part of Richard Heeps 'Dream in Colour' Series, 'Nicely's Café' has a vibe of an American road trip, the classic diner interior has a cool cinematic feel. This artwork is a limited ...

New England Skiing, New Hampshire, 1955 - Winter Fashion in Snowy Landscape by Slim Aarons 16" x 16" image on 16" x 20" paper. Limited Edition Estate Stamped Print. Edition of 150. ...

With immigration comes culture and culinary delights to light up the American skyline – Cawston’s eye for colour, structure and the beauty of the mundane finds a world-in-waiting as ...

Poupée, 2020 50x50cm, Edition 1/7 plus 2 Artist Proofs, digital C-Print based on a Polaroid, not mounted. Signed on the back and with certificate. Artist inventory - PL2020-869. ...

Richard Heeps' eye for capturing "Sign Porn" has meant he is extremely popular in this genre. He has a big collection of "Signs" from around the world and he is always adding to them...

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 A montage of still images shot and elaborated by means of her signature technique of using Polaroid formats with outdated and degraded film stock in natural light, with the resulting im ages rephotographed (by other means) enlarged and printed in such a way as to generate further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...

X-ray lenticular artwork Lenticular is a ribbed lens that refracts light from different angles. When sequential images are split behind the lenticular lens the image looks like it m...

No Parking, urban architecture photograph from Richard Heeps' series, A Short History of London. The stark Brutalist architecture has sense of beauty as the hypnotic symmetry draws y...

Julius Shulman Case Study House #22. Playboy 1960 C print Paper size: 20.5″ x 41.5″ (52.07 cm. x 104.14 cm.) Print size: 19″ x 40″ (48.26 cm. x 101.6 cm.) Shulman's studio stamp and...

Cyd Fontaine (Lausanne, 1992) is a contemporary artist renowned for her captivating use of dreamy atmospheric gradients, which has helped her carve a distinctive niche in the world o...

Pousada dos Buzios, 1975 - Nude Sunbathing Swimming Pool Brazilian Resort by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. 'Pousada dos Buzios' is a Limited Edition Estate Stamped Digital C-Type print by 20th Century American photographer Slim Aarons. Friends and acquaintances lying by the swimming pool at Pousada dos Buzios in Brazil are photographed by Slim Aarons. The man pictured is Italian restaurateur Stefano Monti. Just east of Rio de Janiero city is Buzios, formerly a quiet little fishing village and since the 1960s a bustling, animated, and absolutely upscale seaside resort, littered with fine restaurants, boutiques, and posh pousadas. Pictured here is one such pousada. Also found in Portugal, pousadas offer a blend between luxury hotel and intimate family-run inn. Slim Aarons also photographed "Buzios" which is available in the gallery. Both "Pousada dos Buzios" and "Buzios" were taken in the same place, but spaced years apart. Both 'Buzios' and 'Pousada dos Buzios' were taken in this location. The similarities between 'Buzios' and 'Pousada dos Buzios' are most evident in the subjects: the female sunbather wearing a black and white swimsuit with the straw sunhat appears to be in both scenes, and the female sunbather with short hair wearing the leopard print bikini appears similarly in both scenes. This image from August 1975...

A set of nine black and white photographs by Richard Heeps. They can be hung in a grid, or spaced out throughout your interior. Richard Heeps, primarily known as a colour photographe...

90 Minutes A Side, artwork from the Heidler & Heeps Tape Collection The Heidler & Heeps collaborations are creative representations of Natasha Heidler and Richard Heeps’, personal p...

Ordinary Places Sixteen Piece Installation, British vintage interior photography by Richard Heeps. Richard Heeps 'Ordinary Places' Series...

AILA Blue, from the Heidler & Heeps Tape Collection - The B Sides. The Heidler & Heeps collaborations are creative representations of Natasha Heidler and Richard Heeps’, personal pas...

Girl Nude II (29 Palms, CA) - 1999 40x39cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid, Signature label and Certificate. Artist inventory Numb...

Cyd Fontaine (Lausanne, 1992) is a contemporary artist renowned for her captivating use of dreamy atmospheric gradients, which has helped her carve a distinctive niche in the world o...

Play among the Stars (Till Death Do Us Part) - 2005 50x49cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature labe...

This is an exclusive handprinted limited edition cyanotype. This cyanotype shows a desert palm tree located in the majestic mediterranean city of Cairo, Egypt. Details: + Title: C...

Musing (Till Death do us Part) - 2005 24x20cm, Edition of 10, plus 2 artist proofs. Archival C-Print print, based on the Polaroid. Certificate and Signature label, artist Invento...

Flora 15 is a vibrant Digital C-Type print in an Edition of 15 in this size by contemporary photographer duo Tortora & Travezan. Her flaming auburn hair spreads out luxuriously agai...

This listing is for three blue artworks from the Heidler & Heeps Vinyl Collection. Acclaimed contemporary photographers, Richard Heeps and Nata...

Renée's Dream (29 Palms, CA) - 2005 32 pieces, Edition 3/5, 31 x 38 cm each, installed 276 x 164 cm including gaps. 32 analog C-Prints, hand printed by the artist, based on 27 or...

Moments in Time (Sidewinder) - 2005 25x30cm, Edition 3/5. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the original Polaroid. Signature lab...

You, the desert, and me II (The Girl behind the White Picket Fence) - 2013 20x24cm, Edition of 10 plus 2 Artist Proofs. digital C-Print, based on the Polaroid. Certificate and Sig...

Christmas Swim - Christmas Tree in Swimming Pool with Tinsel and Star by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. 'Christma...

Taking Turns (Till Death Do Us Part) - 2006 40x48cm,. Edition of 10, plus 2 Artist Proofs. Archival C-Print print, based on the Polaroid. Certificate and Signature label. Artist ...

Runaway Ride - The Getaway (The Last Picture Show) - 1999 40x40cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist Inventory #345. ...

90 Minutes Tinted Blue, artwork from the Heidler & Heeps Tape Collection The Heidler & Heeps collaborations are creative representations of Natasha Heidler and Richard Heeps’, perso...

Chrome Blue, from the Heidler & Heeps Tape Collection - The B Sides. The Heidler & Heeps collaborations are creative representations of Natasha Heidler and Richard Heeps’, personal p...

Bowling Alley is a dynamic C-Type Matte Print by Contemporary photographer Chris Frazer Smith. It is available in this size in an Edition of 25, and is s...

Mojave Airfields (The Last Picture Show) - 2005 - 128x126cm, Edition 1/5 Analog C-Print, hand-printed by the artist, based on the Polaroid. Mounted on Aluminum with matte UV-Pro...

Flora 01 is a vibrant Digital C-Type print in an Edition of 15 in this size by contemporary photographer duo Tortora & Travezan. The trompe l'oeil effect of the printed floral backd...

Heidler & Heeps B Side Blue Vinyl Collection Twelve Piece Installation. Acclaimed contemporary photographers, Richard Heeps and Natasha Heidler have collaborated to make this beautif...

Primo Tempo 7 is a 30cm x 30cm digital print on 50cm x 50cm cotton paper in a limited edition of 9 + 2 Artist Proofs. A Baroque style landscape appears between a break in the canop...

Telephone VII, vintage interior photograph from Richard Heeps' series, Dream in Colour. Captured in the cool Ballantines Movie Colony, Palm Springs this artwork combines gorgeous col...

Pink Moon An abandoned swimming pool in Havana, Cuba.  Shot on colour negative with a large format camera before the addition of a dash of pink! – The Spaces in Between series devel...

Radha Mind Screen (29 Palms, CA) - 2016 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory ...

'Keep Your Cool' Slim Aarons Limited Estate Edition Carmen Alvarez enjoying a game of backgammon with Frank 'Brandy' Brandstetter in a swimming pool at Acapulco, 1978. Fashionable Alvarez wearing a white bikini and 'Brandy' sporting a sun hat are seated in the swimming pool playing backgammon in the heat of the Mexican sun. Typically 'Slim Poolside...

Vice - 2024 - 50x50cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. inventory PL2024-046. Not mounted....

Venaria Reale VII, 2016 C print Edition of 5 180 x 225 cm mounted on aluminum (production, framing, and shipping takes approximately 4 weeks) Total edi...

This is an exclusive handprinted limited edition cyanotype. "Miami Art Deco Pool" shows the movements of water over a tiled swimming pool floor. Details: + Title: Miami Art Deco Poo...

Daydream believer - 2021 - 20x20cm, Edition of 7 plus 2 Artist Proofs, digital C-Print based on a Polaroid, Signed on the back and with certificate. Artist inventory PL2021-1029....

All that Glitters ain't Gold - 2017, 20x20cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. Artist inven...

California Dreaming (Bombay Beach) 2019, 50x50cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the Polaroid, not mounted. Signed on the back and with certificat...

Stefanie Schneider Polaroid sized unlimited Mini 'Planes' - 2001 - signed in front, not mounted. 1 Digital Color Photograph based on the Polaroid. Polaroid sized open Editions 19...

Wicca - 2019 20x24cm. Edition of 7, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid, not mounted. Signature label and certificate. Artist inventory PL2019-460. K...

Cyd Fontaine (Lausanne, 1992) is a contemporary artist renowned for her captivating use of dreamy atmospheric gradients, which has helped her carve a distinctive niche in the world o...

'Cars and Girls' part of the series 'Hands down' - 2019 50x50cm, Edition of 7 plus 2 Artist Proofs, Archival C-Print based on the Polaroid, Not mounted. Certificate and signatur...

Memory of a Dream (29 Palms, CA) - 2006 38x36cm, Edition 2/10. Archival C-Print, based on the Polaroid. Certificate and Signature Label. Artist inventory Number 3602. Not mounted....

Divine Nude No.13 is a limited-edition photograph by French contemporary artist Ronald Martinez. This photograph is sold unframed as a print only. It is available in 2 dimensions: ...

Faye Dunaway The Morning After, 1977 Co-Signed Edition Print by Terry O'Neill and Faye Dunaway Mint condition C print hand numbered 37 / 50 and hand signed by both photographer ...

The Morning After - 2017 20x20cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. Artist inventory PL2017-4...

Cosmosis Collages 4A57F Comp no 85 Blue black (Abstract Photography) Photographic C Prints, printed on Canson Platinè fiber Rag 310g - Unframed "Edition of 6 + 2Ap Turnaround ti...

'Sunbathing On Capri' by Slim Aarons Huge Oversize 72 x 48 inches / 183 x 122 cm paper size Catherine Wilke joins the topless sunbathers - along with Elisabetta Catalano, Charlotte...

Chrome Tutti Frutti, from the Heidler & Heeps Tape Collection - The B Sides. The Heidler & Heeps collaborations are creative representations of Natasha Heidler and Richard Heeps’, pe...

Divine Nude No.39 is a limited-edition photograph by French contemporary artist Ronald Martinez. This photograph is sold unframed as a print only. It is available in 2 dimensions: ...

The Juncture (Till Death do us Part) - 2005 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Certificate and Signature label. Artist Inventor...

'Hot Tub' (Heavenly Falls) 2016, 20x20cm, Edition 1/10, digital C-Print based on the Polaroid, Certificate and signature label, artist inventory number: 19715.01, unmounted. M...