Archival Paper Color Photography

From a series of photographic observances capturing the antics of urban gardening and striking art of topiaries' green minimalism TOPIARY III by Frank Schott 40 x 32 inches (102 x...

Happy Days (Till Death do Us part) - 2005 20x20cm, sold out Edition of 10, this is Artist Proof 2/2. Archival C-Print based on the Polaroid. Certificate and signature label. Arti...

Whisky and Water (Sidewinder) - 2005 - diptych 30x50cm including the white border, Edition of 10, plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Signature label an...

The exploration of the concept of play as an artistic impulse presents playful, almost "baroque-written"photographs that are the result of a repeated (recycled) notion of play. Start...

The way we were (Till Death do us Part) - 2005 48x58cm, Edition of 10, Archival C-Print print, based on the Polaroid Certificate and Signature label artist Inventory No. 9088. No...

mesmerizing light reflections of glistening sunlight on turquoise aquamarine water surface, an homage to the iconic pool reflections paintings by artist David Hockney H2O l by Erik ...

Wild Things (Till Death Do Us Part) - 2005, 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inven...

From The series Guerreros One-of-a-kind Photomontage on archival paper Unframed The root of these unique photographic works by the artist Celso Castro occurred when the artist retur...

Silkscreen - 2021 20x20cm, Edition of 7 plus 2 Artist Proofs, Archival C-Print based on the Polaroid, Signed on the back and with certificate. Artist inventory PL2021-1070. Not m...

The photos from the series Let Me Tell You a Story show, each one individually, certain themes through strongly narrative visual units. Each photograph is dedicated to a specific rep...

Déjà vu - 2020 50x50cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. Artist inventory - PL2020-881. K...

large format original photograph of the iconic Mediterranean white beaches of Rosignano in Tuscany by iconic Italian photographer Massimo Vitali, renowned for his grand scale topographical observations of beach rites and rituals of modern leisure From Massimo Vitali's body of works captured along Italy's (almost deserted) beaches in the pandemic summer of 2020 Spiagge Bianche...

'Oblivion' part of the series 'The crazy Adventures of David C.' - 2019 50x50cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on a Polaroid. Signed on the back and...

large format abstract photograph of water color clouds and horizon from a series of photographic works capturing the sea blue color palette of the ocean SEASCAPE I Diptych by Frank...

Frontwards - 2020 20x20cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2020-903. Not mo...

Purple Yellow Light (Journey to the Center of the Earth) - 2019 100x82cm, Edition of 5 plus 2 Artist Proofs. Photograph printed in Canson Barita Fiber Rag 340gr, based on the recl...

Forgiveness Then (Sidewinder) - 2005 24x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Signature label and certificate. Artist Inventory 3364....

Male Nude (29 Palms,CA) - 2008 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #293 Not mounted. Stefanie S...

Known for her photographic portraits of interior spaces, Shani Mootoo reveals the curious and often emotive personal narratives of her subjects.  This giclee print on archival paper ...

Large format observation of a California Redwoods grove, capturing the colors and lush flora of the iconic biosphere in mesmerizing details Redwoods (2010) by Erik Pawassar is offer...

observation of a Mediterranean beach scene in Nice, France, on a hazy summer day Nizza by Frank Schott 48 x 75.5 inches (122 x 192cm) signed edition of 7 44 x 69 inches (122 x 17...

Silence and their words (Till Death do us Part) - 2007 20x24cm, Edition of 10, digital C-Print print, based on a Polaroid. Certificate and Signature label. Artist Inventory No. 8...

'Changing every Day' part of the series 'A girl called N.' 2019 50x50cm, Edition of 7 plus 2 Artist Proofs. Digital C-Print based on a Polaroid,...

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. ...

large-scale framed original art photography from a series of mesmerizing cloud atlas observations and abstract skyscapes above the horizon line of the Medi...

Aspen Study III by Frank Schott a series of images capturing the yellow golden Indian summer foliage palette of aspen trees in California's Sierra Nevada...

'And also the Trees’ - 2017 - 21 x 20 cm, Edition 3/10, digital C-Print based on a reclaimed Polaroid negative. Numbered and signed on the back by the artist. Not mounted. Art...

large scale photograph of iconic summer beach scene in Southern Italy's Puglia by Italian photographer Massimo Vitali, renowned for his grand s...

Henry watching Athena Dance (128x126cm) & Sam, Interior Hospital (37x36cm) (Stay), diptych, 2006, Artist Proof 1/2, analog C-Print, hand-printed by the artist, based on the Polaroid...

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...

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...

Nadine Rovner orchestrates lush cinematic scenes, exploring a visual world of heightened tension, anticipation, anxiety, longing and desire. These carefu...

This ethereal underwater fine art photograph captures a figure suspended above submerged pool steps, rendered in soft aquamarine and pearl tones. The crystalline water creates a drea...

Male Nude in Bathroom (29 Palms, CA), - 1999, Edition 1/10, plus 2 Artist Proofs, 20x20cm, digital C-Print, Not mounted, based on a Polaroid, Signature label and Certificate, Art...

The root of these unique photographic works by the artist Celso Castro occurred when the artist returned from Italy to live back in Colombia in 1987. Castro wanted to produce from t...

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 ...

Color fine art landscape photography. Archival pigment ink print as part of a limited edition of 7. All Gerald Berghammer prints are made to order in limited editions on Hahnemuehle ...

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...

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...

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...

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. ...

GOLDEN GATE by Frank Schott an epic scale photograph of iconic Golden Gate Bridge and San Francisco skyline in Northern California's atmospheric morning light 58 x 110 inches ( 147 ...

Colosseo Quadrato by Frank Schott, from a series of photographic observances capturing urban textures and color palettes of Roman architecture 30 x ...

Mesmerizing large scale photograph from artist's Seascape series, a body of works capturing the tactile surfaces and monochromatic nature of oceanic water and cloudscapes Seascape ...

The photos from the series Let Me Tell You a Story show, each one individually, certain themes through strongly narrative visual units. Each photograph is dedicated to a specific rep...

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...

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 ...

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...

The exploration of the concept of play as an artistic impulse presents playful, almost "baroque-written"photographs that are the result of a repeated (recycled) notion of play. Start...

Extra large scale photograph of lush tropical rainforest botanical tableau, from a series of highly detailed large format nature observations, an homage to the fantastical jungle pai...

Aditya Dicky Singh Untitled Infrared photograph on fine-art Hahnemuhle archival paper 44 x 65" unframed (91cm x 135cm) 2022 Edition 5/8 *Should you wish the photograph to be pr...

Cedars - A dense stand of western red cedar guard the path into the darkness beyond the lamplight. A gap in the foliage creates a void, an invitation to enter into an unknown and unc...

SEASCAPE I Diptych ( framed ) by Frank Schott from a series of photographic works capturing the sea blue color palette of the ocean 2 Panels 86.75 x 58 inches / 220.35cm x 147.3cm ...

'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...

Crack in the Wall (Till Death do us Part), - 2005, LAST EDITION 24x20cm, sold out Edition of 10, Artist Proof 2/2, Archival C-Print, based on the Polaroid, Certificate and Signatu...

Illusions (Till Death Do Us Part) - 2005 20x24cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artist ...

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...

The Receiving End - 2018, 20x24cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. Artist inventory PL2018...

Max, smoking in Car (29 Palms, CA) - 1999 58x56cm, Edition of 10, plus 2 Artist Proofs. analog C-Print, hand-printed by the artist, printed on Fuji Crystal Archive Paper, matte su...

Girl with Silver Bra (29 Palms, CA) - 1999 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Signature label and Certificate. Artist...