21st Century and Contemporary Color Photography

Color fine art long landscape photography. Archival pigment ink print as part of a limited edition of 8. All Gerald Berghammer prints are made to order in limited editions on Hahnemu...

The cover shot of A Man Alone, 1969. This was recorded between March 19-21 in a Hollywood studio by American singer Frank Sinatra, arranged by Don Costa. In ...

News Stand, photograph from Richard Heeps series, 'A Short History of Milan' which began in November 2018 for a special project at the Affordable Art Fair Milan 2019 and the series i...

"Unfolding Heart" Nude Photography 30" x 30" inch Edition 1/7 by Aaron Mcpolin Medium: Archival Giclee Print Signed and numbered by the artist. Comes with COA issued by the artist ...

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...

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 ...

Maggie Taylor's digital creations are emblematic, afterimages that invite, transport and are unforgettable. Taylor's images are built, layer by layer and object by object, through a ...

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...

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....

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...

Ancient Laurisilva Forest Study 10, Portugal - no. 21034 // Black and white fine art landscape photography. Old Laurisilva tree in the fairy forest at foggy mystical mood, Fanal, Ma...

Rebecca Skinner’s “Succession” was photographed at an abandoned hospital and is part of her “Forgotten” series raising mental health awareness. Seemingly endless doorways open to sof...

Gerald Berghammer - Color fine art waterscape photography. Two pine trees growing on a rocky island surrounded by calm water under a cloudy sky. Archival pigment ink print as part o...

'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 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...

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...

'Sky' is a colour field abstract artwork, focusing on the interplay of form and tone within a monochromatic composition. The deep blue hue creates a sense of depth and fluidity, emph...

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

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....

The first encounter I had with the abyss, was arriving to a place that does not exist, a point suspended in time where I am without being. An unreal world expands in front of me, eve...

All my life I have held a fascination with the animal kingdom, which began in my childhood growing up on a farm and extended into my adult years. On some inexplicable level I feel a ...

Mother India, photograph from Richard Heeps series 'The Ambassador's Window', a pilgrimage from Kerala in the South to Meerut in the North, the birthplace of his Grandfather. As boo...

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...

The hovering installations featured in this ongoing series of photographs are inspired by self-organizing, "emergent" systems in nature such as termite mounds, swarming locusts, scho...

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...

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...

'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,...

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

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...

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 ...

ADDITIONAL SIZES AND FRAMING: Additional sizes are available. Please inquire for more information on larger sizes. We offer fully archival professional framing for all prints for an ...

In 1981 Maggie Taylor (b. 1961) began to photograph while she was a student at Yale University majoring in philosophy. She primarily took photographs of suburban landscapes and stran...

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. ...

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 ...

Puppy Love (Till Death do us Part) - 2005 30x40cm, Edition of 10, plus 2 Artist Proofs, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory ...

Slim Aarons' Saint-Tropez Beach, an Estate Edition photograph, is a vintage scene of sunbathers on the French Riviera, August 1971. Colorful coral red and mint green umbrellas shelte...

Lackadaisy (Till Death do us Part) - 2005 40x30cm, Edition of 10, plus 2 Artist Proofs, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory ...

"The Turn" represents a pivotal moment in contemporary underwater fine art photography, where sculptural form meets fluid dynamics. In this arresting composition, a figure in vibrant...

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...

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...

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...

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

Utopian Foyer II, from Richard Heeps series A Short History of Milan, which began as a special project for the 2018 Affordable Art Fair Milan. It was well received and the artwork ha...

ABOUT THIS ARTIST: Ezequiel Montero Swinnen is a visual artist from La Pampa, Argentina. His work is based across photography, video and installation. His favorite subjects are time,...

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...

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...

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...

Michael James O’Brien draws inspiration from his diverse roles as a photographer, poet, and activist. His work often intersects with themes of identity, social justice, and cultural ...

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...

The artist was enchanted by some images he had a relationship with since childhood, working them into iconographies, such as the image of the fisherman carrying on his back a cod alm...

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 ...

ABOUT THIS ARTIST: Niall Staines is a digital artist based in Ireland. His work is graphic, vibrant and visually arresting. Nature is a consistent theme in his work, often turning se...

The artist was enchanted by some images he had a relationship with since childhood, working them into iconographies, such as the image of the fisherman carrying on his back a cod alm...

66 x 88 inches – edition of 10 (diptych) 66 x 44 inches each Archival Pigment Print - MOUNTED AND FRAMED - Signed by the artist. Ask us for custom framing options. Available in o...

On the Road, reimagines classic Richard Heeps artworks presented with full film rebate almost like a blown up contact sheet. This set of six framed ready to hang artworks feature: Lone Pine, California, 2000 Honeymoon Hideaway, Palm Springs, California, 2002 Space Age Lodge, Gila Bend, Arizona, 2001 Anita, Lade Fen, Welney, 1993 Dot's Diner, Bisbee, Arizona, 2001 Sun Kissed Wendy, Las Vegas, 2001 Each individual framed artwork measures 23.5" x 27.5". They can be hung together as a set or spaced out throughout your interior. Each artwork is a limited edition of 25 gloss photographic print, dry-mounted to aluminium, presented in a museum board white window mount and a choice of black or white box frame fitted with anti-reflective UV70% glass, signed and numbered on reverse accompanied by a certificate of authenticity. Handmade to order. They make take more than 10 days to frame. They are available in other sizes and can be purchased individually and in other combinations. “Richard Heeps' seductive, highly-saturated colours and sophisticated pictorial structures demonstrate a true love and empathy for this subject matter – be it cool, descriptive interiors, still life or landscape.” His distinctive style pushes the limits of photography. The collectable and affordable, hand-printed colour photographs combine the best in traditional processing with the latest archival products – from photographic paper to mounting with a 100% cotton museum board. His artwork has been bought by many international collectors. Exhibitions Include: Royal Academy of Arts London, Photoville Brooklyn, The Photographers Gallery London, The Spitz Gallery London, Kettle's Yard Cambridge, Norwich Arts Centre. The Civic Centre Thurrock, 20-21 Visual Arts Centre Scunthorpe, Rochester Art Gallery, Preston Hall...

In 1981 Maggie Taylor (b. 1961) began to photograph while she was a student at Yale University majoring in philosophy. She primarily took photographs of suburban landscapes and stran...

The first encounter I had with the abyss, was arriving to a place that does not exist, a point suspended in time where I am without being. An unreal world expands in front of me, eve...

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

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 ...

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...