Contemporary Color Photography

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. ...

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...

Museum quality fine art print of the original, 1991 color film slides from Kirk Weddle's photo shoot with Nirvana laid out on a light box in Kirk's studio, from our collection of out...

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...

TABACCHI at Day, one of a sequence of photographs from Richard Heeps series, 'A Short History of Milan' which began in November 2018 for a special project featuring at the Affordable...

Bonanza Café, iconic photograph from Richard Heeps Dream in Colour series, it was the cover artwork on his book Man's Ruin. The photo takes you back to small town Americana with the ...

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...

Mist and Ice, Greenland, 2019 by Jean-Michel (JM) Voge captures the beauty of an eco-friendly natural world, an image split in two (diptych), drawing our attention to climate change ...

Paranoia is the first chapter of a larger work that explores some of the recurring themes in the artist's work: disenchantment, melancholy, and his own personal idea of ​​beauty. The...

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 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...

For this series, he used elements such as water (emotions) to narrate a story. He worked with the color Blanco in the fabrics to communicate clarity and rebirth. Cohete frequently p...

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...

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...

Vicki McKenna's "Beach Afternoon" is a 13 x 17 inch color photograph that captures the feeling of the late afternoon on a summer’s day at the beach. Clothes, wet from playing in the ...

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

Blackmons's images offer fantastic and surreal commentary on contemporary American family life while referencing a 19th Century Flemish aesthetic. Peggy's Beauty Shop is an outstandi...

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 angel is a being that religion has bequeathed us as a sign of purity, innocence, and goodness, from the same source, we have been sold to the devil as the form that represents ev...

Rebecca Skinner’s “Walk This Way” is part of her "On and Off the Trail" series documenting the beautiful landscapes of New England. A foggy boardwalk through tall green marsh grasses...

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 ...

Harvey Edwards Leg Warmers Oversized dye bleach print (Cibachrome print) 1978, printed in 1981 Hand signed in ink by the artist Numbered 103/299 from the edition of 299 Sheet: 39.5 x...

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...

"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 ...

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...

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 ...

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...

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 ...

DEJAVU Trailer, captured on a frosty winter morning, on one of Richard's many visits, capturing the trailer in the fen landscape as it changes with the seasons. This artwork is a li...

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 ...

from a series of large scale photographs capturing a mesmerizing color palette of classic blue ocean SEASCAPE XVII by Frank Schott 60 x 48 inches / 152cm x 122cm signed edition of...

Another Space Archival Pigment Print Available Sizes: 16” x 20” Edition of 25 with 3 Artist Proofs 20” x 24” Edition of 10 with 3 Artist Proofs 30” x 40” Edition of 7 with 3 Artis...

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...

Wild West I by Frank Schott from a series of photographic observances around Monument Valley 48 x 71 inches / 122cm x 180cm signed edition of 7 27 x 40 inches / 68cm x 102cm signed...

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...

American Muslim minister and human rights activist Malcolm X in Chicago, Illinois in 1961. All available sizes and editions: 24" x 20", Edition of 25 + 3 Artist Proofs 34" x 24", Ed...

"Shannon", Edition 1/10, 20x30cm, 2017, digital Print, printed on Velvet Watercolor, 310gsm, Bright White, Acid Free, Signature label and Certificate. Published in Tao Ruspoli's Mon...

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...

The Games we played (Till Death do us Part) - 2005 20x20cm, Edition of 10, plus 2 artist proofs. Archival C-Print print, based on the Polaroid. Certificate and Signature label, a...

DIALOGUE 09 is a work by contemporary French photographer Matthieu Venot. In this series, he roams the city of Miami looking for deco architecture. With his camera, he cuts up the ur...

Blue Fingernails (29 Palms, CA) - 1999 50x50cm, Edition of 10. digital C-Print, based on the Polaroid. Signature label and Certificate. Artist inventory number: 21083. Not mou...

Untitled (Nr. 0732) Nude Photography 36" x 44" Edition 1/12 by Ben Cope Signed and numbered by the artist. Comes with COA issued by the artist. Unframed - ships rolled in a tube B...

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...

image size: 8 5/8 x 7 7/8 inches William Wegman is a renowned photographer famous for his unique and artistic photographs of Weimaraner puppies. His approach to is far from convent...

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...

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 ...

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

Breakdown (Bombay Beach) - 2019 50x50cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Signed on the back and with certificate. Artist inventory PL...

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...

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...

'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...

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...

My Girl (Till Death do us Part) - 2005 48x46cm, Edition of 10, plus 2 Artist Proofs, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #92...

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...

'Foreverly' (The Girl behind the White Picket Fence) - 2013 20x24cm, Edition of 10, Archival C-Print, based on the Polaroid Certificate and Signature label artist Inventory Nr. 11...

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...

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

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...

"Lo" Nude Photography 47" x 36" in Edition of 15 by Yevgeniy Repiashenko Year photo was taken: 2013 Art Print Limited Edition of 15 Picture size: Height: 47" inch Width: 36" inch ...

The artist inspiration is deeply rooted in the notion of discovery through visual reflections and a strong passion for symmetry and linear structure. Her architectural works of Refle...