Horizontal Abstract Photography

The artists computer-generated paintings merge craftsmanship and technology, creating an eclectic and unique style. Through her art, she aims to illuminate the world. Tcherassi's wo...

In Kings Road (2022) Mona Kuhn lyrically reconsiders the realms of time and space within the midcentury architectural elements of the iconic Schindler House in Los Angeles. Built by Austrian architect Rudolph M. Schindler in 1922, the house was both a social and design experiment and an avant-garde hub for intellectuals and artists in the 1920s and ’30s. The body of works incorporates chromogenic color prints, reflecting vignettes and materials of the building's emotional architecture, juxtaposition with unique solarized gelatin silver prints capturing traces of an ethereal human presence. Entrance (2022) Kings Road: A Rudolph Schindler House 45" x 60" / 114cm x 152cm / edition of 3 30" x 40" / 76cm x 102cm /edition of 12 limited edition photograph printed under artist supervision + accompanied by signed artist certificate: artist signature label (8x10") signed/editioned/dated/titled by the artist + stamped for authenticity label is placed centered on verso of the mounted print __________________ About the artist Acclaimed for her contemporary depictions, Kuhn is considered a leading artist in the world of figurative discourse. Throughout a career spanning more than twenty years, the underlying theme of her work is her reflection on humanity’s longing for spiritual connection and solidarity. As she solidified her photographic style, Kuhn created a notable approach to the nude by developing friendships with her subjects, and employing a range of playful visual strategies that use natural light and minimalist settings to evoke a sublime sense of comfort between the human figure and its environment. Her work is natural, restful, and a reinterpretation of the nude in the canon of contemporary art. For the past two decades, the Los-Angeles based artist's works have been shown steadily, revealing an astonishing consistency in technique, of subject and of purpose. In 2001, Kuhn’s photographs were first seen by an influential audience during the exhibition at Charles Cowles Gallery in Chelsea, New York. Kuhn’s distinct aesthetic has propelled her as one of the most collectible contemporary art photographers—her work is in private and public collections worldwide and she is represented by galleries across the United States, Europe and Asia. Kuhn was born in São Paulo, Brazil, in 1969, of German descent. In 1989, Kuhn moved to the US and earned her BA from The Ohio State University, before furthering her studies at the San Francisco Art Institute. She is currently an independent scholar at The Getty Research Institute in Los Angeles. Occasionally, Mona teaches at UCLA and the Art Center College of Design in Pasadena. Kuhn’s first monograph, Photographs, was debuted by Steidl in 2004; followed by Evidence (2007), Native (2010), Bordeaux Series (2011), Private (2014), and She Disappeared into Complete Silence (2018/19). In addition, Stanley/Barker Editions published Kuhn's Bushes & Succulents in 2018. In 2021, Thames & Hudson published a career retrospective titled Works. Kuhn's most recent publication Kings Road (2022) with Steidl accompanies a multi-dimensional museum traveling exhibition shown in Europe and the US. Mona Kuhn’s work is in private and public collections worldwide, including The J. Paul Getty Museum, Los Angeles County Museum of Art, The Hammer Museum, Perez Art Museum Miami, Museum of Fine Arts, Houston, and the Kiyosato Museum in Japan. Kuhn's work has been exhibited at The Louvre Museum and Le Bal in Paris; The Whitechapel Gallery and Royal Academy of Arts in London; Musée de l’Elysée in Switzerland; Leopold Museum in Vienna Austria, The Polygon Gallery in Vancouver Canada, Taipei Fine Arts Museum in Taiwan and Australian Centre for Photography. Mona Kuhn lives and works in Los Angeles. __________________ Solo Exhibitions 2025 Mona Kuhn: Y Tu Desnudo será Un Gran Poema, Museum of Contemporary Art, Malaga, Spain Mona Kuhn: Kings Road, Lianzhou Museum of Photography, China 2024 Mona Kuhn: The Schindler House, A Love Affair, Galerie XII...

Series: ORGANIC LANDSCAPE AERIAL All available sizes and editions: 40" x 30" editions of 10 60" x 45" editions of 5 80" x 60" editions of 3 Archival Pigment Print on Fine Art Baryt...

an homage to Caspar David Friedrich, towering thunder clouds over the Mediterranean Sea, captured with a large format camera to allow epic scale photograph...

Deep Mirroring Forest 011 is a limited-edition photograph by German contemporary artist Bernhard Lang. This photograph is sold unframed as a print only. It is available in 5 dimens...

Underwater photograph of a topless model dressed in tulle and air bubbles. Original gallery quality archival pigment print on archival paper signed by the artist. Paper size: 18x24"...

“To the Moon and Back” captures the fleeting beauty of a plane gliding across the sky at dusk, set against a vast and atmospheric gradient of soft, muted tones. This minimalist compo...

From Eduardo Rezende’s new series Rilievo, this photograph treats the skin of architecture as a sculptural field. Curved partitions fold into one another, casting measured shadows th...

'Spring Couplet' ('Mono No Aware' Series) 24 x 36" edition Limited edition archival photograph, hand signed and numbered. Unframed _________________ The dance of the cherry blossoms ...

"Anomalous" is a part of Christopher Kennedy's "Surrealism" series that uses his abstract PhotoLuminism technique combined in this case with a boat and a puffin from the real world t...

Stars 3, 2014 - Stars and Trees in Ancient English Woodland and Forest Landscape by Ellie Davies Stars 3 by Ellie Davies is a stunning Digital C-Type Print on Fuji Maxima Matte pape...

Unique piece in this size More sizes and an Essay from Lyle Rexer about this series on request. Joachim Schmeisser’s work rescues photography from the centuries-old straightjacket ...

Black and White Fine Art Panorama Landscape. Archival pigment ink print, edition of 7. Signed, titled, dated and numbered by artist. Certificate of authenticity included. Printed wit...

Hong Kong Apartments II 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 sold unframed. Thi...

Original black-and-white lobby card for the film "The Hunchback of Notre Dame" (1939) featuring Charles Laughton and Maureen O'Hara. This vintage cinema memorabilia piece captures a ...

Guggenheim Museum - American Architecture Museum Black and White Photograph The recognisable Guggenheim Museum was designed by American architect Frank Lloyd Wright, and is now a UN...

Christopher Colville is an American artist working to push the boundaries of the photographic medium in both experimental and traditional forms. His images are created outdoors by ig...

from a series of works capturing conceptual signs in iconic landscapes captured with a large format camera to allow epic scale print sizes with incredible image details CLOUD STUD...

Stars 6, 2014 - Stars and Trees in Ancient English Woodland and Forest Landscape by Ellie Davies Stars 6 by Ellie Davies is a stunning Digital C-Type Print on Fuji Maxima Matte pape...

"Autumn Magnolia No. 1" Abstract still life photograph of deep plum Magnolia petals and green leaves against a white sky background Photograph printed on Japanese Kozo paper infused ...

Though it resembles a giant abstract watercolor painting owing to its soft gradations and luminous quality, this is a form of photography called a cyano...

Stars 5, 2014 - Stars and Trees in Ancient English Woodland and Forest Landscape by Ellie Davies Stars 5 by Ellie Davies is a stunning Digital C-Type Print on Fuji Maxima Matte pape...

'10000 blue days' Mesr Desert, Iran 2016. Limited edition of 20.

Baltic Ice, Kloogaranna 021 is a limited-edition photograph by German contemporary artist Bernhard Lang. This photograph is sold unframed as a print only. It is available in 4 dime...

'Cicatrices (5)' Limited edition archival photograph. Unframed, hand signed and numbered _________________ Scars of birthing in the unfolding leaf pattern of the giant graceful Agav...

Between the Trees 12, 2014 - Misty and Fog Natural Landscape in Ancient Woodland by Ellie Davies Between the Trees 12 is a stunning Digital C-Type Print on Fuji Maxima Matte paper, ...

Edition: 1/3 Work can be hung with either the WallCleat system (support bar supplied) or the screw-eye system if it needs support from wire or above. Available in 4-5 weeks turnaro...

This is an exclusive handprinted unique cyanotype that takes its inspiration from the mid-century modern shapes. It's made by layering paper cutouts and d...

Signed and editioned on front of print. Edition of 10. Made by Robert Weingarten in the artist, Jackson Pollock's studio.

CREATURE II by Christian Stoll from a series of still life photographs capturing fantastical creatures made of found objects and organic materials 28 x 40 inches (71 x 102cm) editi...

The galaxy like silver particles scattered on the giant black circle which floating in the square frame. That is a complexity of artist’s concept formation and culture practicing. In...

Stefanie created the art for both main actors Naomi Watts and Ryan Gosling in the movie 'Stay' directed by Marc Forster. She also created the art for several dream sequences and the ...

Original black-and-white lobby card for the TV show "I Love Lucy" (1951) featuring Lucille Ball and Desi Arnaz. This vintage cinema memorabilia piece captures a charming domestic sce...

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...

ATARI Imperatore by Frank Schott from a series of photographic observances capturing urban textures and color palettes 30 x 46.25 inches / 76cm x 118cm edition of 25 signed 48 x ...

A beautiful and sophisticated underwater photograph of a young naked woman swimming in the pool. This is a monochrome photograph close to black and white with reach aquatic tint. T...

Streets of Kowloon Navy, part of Richard Heeps series photographing on the streets of Hong Kong in Kowloon in 2016 this stunning abstract piece is so striking in a room. The whole 20...

Wallscape II by Frank Schott from a series of photographic observances capturing urban textures and color palettes 48 x 60 inches / 122cm x 152cm edition of 7 signed 32 x 40 inches...

The nude girl of Sher’s “Siesta” drifts to sleep as her dreams encroach upon her. As her naked body begins to shimmer into an aqueous form of its own, the bubbles of air transform in...

An underwater photograph of a naked young woman swimming in dense bubbles. Memories of the Russian model Katerina Potapkina. Original gallery quality archival pigment print on pape...

From Eduardo Rezende’s Lavori in Corso series, this work contemplates the quiet intervals within construction—those suspended moments when form is still becoming. Shadow, texture, an...

' Rain II ' SIGNED Limited Edition Oversize print by Stuart Möller Beautiful large print of rain falling onto water. 30 x 20" inches / 76 x 51 cm paper size - signed and numbere...

This unique cyanotype monotype transforms organic, river-like forms into a serene field of flowing blues. Soft, undulating shapes echo water, canyon horizons, and desert calm, giving...

Horizonte (Journey to the Center of the Earth) - 2019 Edition of 10. Photograph printed in Canson Barita Fiber Rag 340gr, based on a reclaimed Fuji Instant Film Negative (not mount...

Stars 15, 2015 - Stars and Trees in Ancient English Woodland Forest Landscape by Ellie Davies Stars 15 by Ellie Davies is a stunning Digital C-Type Print on Fuji Maxima Matte paper,...

Stars 10, 2015 - Stars and Trees in Ancient English Woodland Forest Landscape by Ellie Davies Stars 10 by Ellie Davies is a stunning Digital C-Type Print on Fuji Maxima Matte paper,...

' Istan Petal ' Oversize Archival Pigment print Framed in white A Bougenvillia petal floats on the surface of a swimming pool. (photo Stuart Möller) Archival Pigment Print sign...

Edward Burtynsky (b. 1955) is Canada's most successful photographer. Through masterful technique and frequently dizzying compositions, Burtynsky presents thought-provoking inquiries...

"TV 1" is an atmospheric C-Type print by Samuel Hicks. It is available in this size of 16" x 20" in a Limited Edition of 25. The pale blue glow of the analogue television stands o...

Bernd and Hilla Becher (German, 1931-2007 and 1934-2015) Preparation Plants (Aufbereitungsanlagen), 2009 Series: Image VI from Typologies Medium: Digital pigment print (Ditone) on ph...

Underwater nude photograph of a young woman processed in an abstract black and white symmetrical composition. Original gallery quality archival pigment print on archival paper sig...

Encaustic Print – Encaustic printing employs the addition of heated beeswax, and occasionally pigment, to the prepared surface of a photographic print, giving the object a unique to...

“Anesthesia” is a part of Alex Sher’s popular series REFLECTIONS - underwater photographs that could be almost mistaken for abstract paintings as ...

Psychiatric Observation (Abstract Photography) Archival Pigment Print on Ilford Smooth Pearl paper. Unframed. Edition 6 + 2 AP - Edition 1/6 This new series titled Neurosis bring...

In a delicate smear of faded blues intermingled with the curves and lines of the pale colors of the skin, Alex Sher’s “Brushstroke” uncovers his phenomenal ability to capture the tr...

Daniel Mansur Abstract Landscape #24 Canvas Fine Art - Framed Archival Pigment Print

This crystalline underwater nude photograph from the series "Four Seasons" captures the quiet of winter with cool blues ranging from icy cyan to deep midnight, contrasted against pri...

Dondi White, Zephyr & Charlie Ahearn ‘Heroin Kills' Subway Art Photograph 1981. A rare, historic, early 1980s Bronx, New York graffiti photograph by Charlie Ahearn of Wild Style fame...

GERHARD RICHTER b. 1932 Born in Dresden 1932 (German) Title: Abstract Photo Abstraktes Foto, 1989 Technique: Hand Signed, Dated and Numbered Black an...

Marie Craig’s “Rising 3” is a 10 x 13 inch color photograph, a part of the artist’s “Natural Consequences” series. Rich blues dominate this photo, which is surrounded by a white matt...