Irie Wata

Clean Air - Oversize Signed

2024

Dark Wave I A single wave at night. by Stuart Möller Born in Kabul, part German and Anglo-Indian and having grown up all over the world, Stuart Möller is a fine art photographer ...

Organica by Stuart Möller 2022 signed limited Oversize Print Limited to 10 only this size Archival pigment print Other Edition Sizes paper sizes ...

'Blue' by Stuart Möller A landscape seeped in blues is reflected in a swimming pool filled with water in Marbella, Spain. An exquisite signed Limited Edition Archival Pigment Prin...

'Blue' by Stuart Möller A landscape seeped in blues is reflected in a swimming pool filled with water in Marbella, Spain. An exquisite signed Limited Edition Archival Pigment Print...

Vanessa Marsh is an American artist living and working in California. Her series The Sun Beneath the Sky reflects upon the nature of light, atmosphere, geology and time. Layers of pa...

Vanessa Marsh is an American artist living and working in California. Her series The Sun Beneath the Sky reflects upon the nature of light, atmosphere, geology and time. Layers of pa...

Historically , newsstand magazines have used a standard set of practices when it came to choosing their cover image. Their goal was to use an image that people could instantly relate to. The idea being, if an image pops off the page it will attract more attention and then generate more newsstand sales. For editors, choosing a cover was first a marketing decision and then an aesthetic one. That is why most magazine covers and (that includes art magazines) pretty much looked the same. They used familiar images, mostly of celebrities, beauty people or news items of that would beckon and aggressively reach out to the prospect. In this Modern Photography Cover of August 1983, they chose a radical departure. They used an image that was the opposite of the norm. Mitchell Funk’s Graphic Surreal Landscape breaks the rules of formula magazine cover art...

Historically , newsstand magazines have used a standard set of practices when it came to choosing their cover image. Their goal was to use a image that people could instantly relate to. The idea being, if an image pops off the page it will attract more attention and then generate more newsstand sales. For editors, choosing a cover was first a marketing decision and then an aesthetic one. That is why most magazine covers and (that includes art magazines) pretty much looked the same. They used familiar images, mostly of celebrities, beauty people or news items of that would beckon and aggressively reach out to the prospect. In this Modern Photography Cover of August 1983, they chose a radical departure. Their cover image that was the opposite of the norm. Mitchell Funk’s Graphic Surreal Landscape...