Baby Still-life Photography

The inspiration and story behind this painting. Inspiration came from how two empires clashed, The Aztec Triple Alliance Empire and the Spanish crown. The first painting I did of thi...

Humorous subject matter. Face mounted Plexi. Aluminum Braced. Archival Print. ABOUT THE ARTIST Marco studied fine art at Pratt Institute and the Art Students League in New York. New York Times photography critic Gene Thornton called Marco “a Minimalist, whose images are sensual, whimsical, often surreal, always strong, and deceptively simple.” “I’ve had the pleasure of working with Phil Marco on a number of my films. Phil is a man of extraordinary talents. It seems that his passion is to take an everyday object or event, and show it in an entirely new and exciting way.” Martin Scorsese. Phil’s work is represented in MOMA, The Museum of the Moving Image, and The George Eastman Museum of Photography. His first photographs were studies for his paintings, before he launched a career in print advertising. He eventually became a Director / DP for film and television for a vast base of national and international clients with his wife Patricia as Partner and Producer. In the 1980’s and 90’s Phil was the go to person for Special Effects in Television and Cinema, also best known for his graphic conceptual still lives, and his consummate mastery of lighting, and design. He’s won many awards for his work, including numerous Cannes Lions, Cleo’s, a Grammy for his print work on the legendary “Tommy the Who...

Max Grant's floral macro photography series, aptly titled "(Floral)," serves as a mesmerizing exploration of botanical beauty reminiscent of the legendary artist Georgia O'Keeffe. Th...

Archival inks on rag paper Signed, titled, dated, and numbered, verso 14 x 20 inches (Edition of 15) 20 x 28 inches (Edition of 7) This artwork is offered by ClampArt, located in N...

Chromogenic color print Artist's blind stamp, l.r. This photograph is offered by ClampArt, located in New York City. About the artist: Marion Faller photographed...

Taking inspiration from Robert Mapplethorpe, Max Grant's Catacomb images look at the macabre beauty of the human anatomy, recollecting his time in the Paris Catacombs. This collectio...

Through memory, metaphor, and imagined destinies, “There’s No Other Like Your Mother” seeks to explore the complexities and constructs of female identity and the maternal subject as I reconceive my fertile state of being. The sudden death of my mother prompted the (re)birth of my artistic self at the age of 29 and the emergence of this series which contemplates my own shifting identity, once firmly rooted in the domestic tradition but now seemingly unmoored. Brandy Trigueros is a Los Angeles based artist who uses the narrative space of the camera to playfully create staged inquisitions of femininity, memoir, and the on-going transformation of self. After years of working in publishing at the Los Angeles Times and animation at Nickelodeon, she began pursuing her artistic practice full-time and received her BFA in Photography and Media from California Institute of the Arts. Her work has been exhibited nationally and internationally in venues such as the Griffin Museum of Photography, Foto Forum Santa Fe, Candela Gallery, Museo de la Naturaleza de Cantabria, Center for Photographic Art, Building Bridges Art Exchange, Center for Fine Art Photography, Berlin Foto Biennale, Los Angeles Center of Photography, and New Orleans Photo...

From the series Fragile Land

Black and white, Still life, Flower, Botanical, Rose, Abstract, flower, still life, photograph, black and white photograph, abstraction, b&w All the photographs in a limited edition. If the exhibition piece is sold or the customer orders a different print size, the photograph is produced upon purchase. Please allow two weeks for production. Shipping time depends on method of shipping. Price is subject to availability. The Robin Rice Gallery reserves the right to adjust this price depending on the current edition of the photograph.” ABOUT In 2008, Andrew Arrick and Michael Hofeman first came across The Robin Rice Gallery and immediately fell in love with the fine art photography becoming fans and collectors of the work. On a visit to the gallery this past winter, Michael and Andrew had a brilliant idea to join forces with Robin to curate an exhibition in tune with the aesthetic of their vintage lifestyle boutique, FINCH hudson...

Listing is for UNFRAMED print. Inquire within for framing. Edition of 25. If the exhibition piece is sold or the customer orders a different print size, the photograph is produced upon purchase. Please allow two weeks for production. Shipping time depends on method of shipping. Price is subject to availability. The Robin Rice Gallery reserves the right to adjust this price depending on the current edition of the photograph. Ted Adams’ first solo show at the Robin Rice Gallery juxtaposes surrealism with the documentary art form. What differentiates Mr. Adams’ work from traditional photojournalism is his keen eye for capturing the irony in the events that unfold before our eyes. It is the found objects in everyday life to which Adams is most attuned. He creates a subtle mood and visual mystery that conveys meaning not only from the image itself but also through imagining what exists just beyond the frame. "I see photography as a way of cropping the world—selectively taking things out of context—which often results in stripping the meaning out of the original subject matter, or at least making the image open to interpretation. It’s the opposite of traditional photojournalism whose intention is to create ‘narrative’ and context rather than discard them." While he has exhibited artistic photography in a variety of genres, in the past five years he turned his artistic eye inward to reflect a more autobiographical tone. While some people compare his work to that of Robert Frank, Adams finds himself more and more influenced by Larry Clark whose career was built on pictures drawn from his own life and drug-addled friends rather than a specific documentary mission. The unique presentation of this collection of twenty-three silver gelatin prints enhances the voyeuristic sensibility of Mr. Adams’ work. Each photograph is jewel box in size, measuring 4" x 6" to invite the viewer in to make an intimate appraisal. The craftsmanship of the wide, dark wood frames hearkens back to late 19th-century Shaker design—yet the aesthetic is boldly contemporary, providing a strong backdrop to draw the viewer’s gaze directly to the subject matter. This artisanship extends to the printing where Adams exhibits his skills in traditional darkroom processes. He shoots mostly with Leica and Nikon 35mm film cameras...

Framing charges includes As if developed from memory, West’s latest collection channels imagery from a familiar past life. Just as the DaDa artists utilized art objects in unconven...

Ian Gittler’s Motor Art series-photographs of century-old engine parts, gears, sparkplugs, and brand tags-offers respite from the digital fetishism, overexposure and one-hundred-forty-character bursts of communication that seem to define our era. Gittler is no luddite, he loves his iPhone. But these images, often obscuring the objects beyond identification, take unsentimental pleasure in elements of weight, ground, volume and permanence that are more closely associated with a bygone heyday of industrialization. These photographs are about a tangible physical experience, about moving parts. Gittler’s expert printing-his ability to see the potential in a frame and employ the techniques necessary to articulate that vision on paper-brings the work to life. There’s wit in the brand iconography and a documentary component, but Gittler resists prescribing interpretations, saying subtext isn’t the point. His use of extremely shallow depth of field, intense contrast and exploded grain is muscular and poetic. But subtext is relevant. Although Robin Rice first approached Ian Gittler about his vector-based art on photo paper, the gallerist challenged him to create a series of photographs with that kind of machismo. As a native New Yorker who was marched through the halls of MOMA as a toddler, Gittler’s inspiration-his idea of macho-has less to do with cowboys and racecar drivers than with Franz Kline brushstrokes and modernist design. For Gittler, macho means the maximum amount of black ink that can lie across a sheet of photo paper. That kind of force. He narrowed his field of view for this series-often to a centimeter or two-in order to achieve a purely visual, visceral response. Gittler titled the work Motor Art in tribute to the 1934 Museum of Modern Art exhibit, Machine Art. Upon its sixtieth anniversary, Phillip Johnson wrote of the show (and of his own essay for its original opening), “The thrust was clear: anti-handicraft, industrial methods alone satisfied our age; Platonic dreams of perfection were the ideal.” Ian Gittler photographs, draws, writes, and makes music. He has created album covers for Willie Nelson, Roy Hargrove...

Ian Gittler’s Motor Art series-photographs of century-old engine parts, gears, sparkplugs, and brand tags-offers respite from the digital fetishism, overexposure and one-hundred-forty-character bursts of communication that seem to define our era. Gittler is no luddite, he loves his iPhone. But these images, often obscuring the objects beyond identification, take unsentimental pleasure in elements of weight, ground, volume and permanence that are more closely associated with a bygone heyday of industrialization. These photographs are about a tangible physical experience, about moving parts. Gittler’s expert printing-his ability to see the potential in a frame and employ the techniques necessary to articulate that vision on paper-brings the work to life. There’s wit in the brand iconography and a documentary component, but Gittler resists prescribing interpretations, saying subtext isn’t the point. His use of extremely shallow depth of field, intense contrast and exploded grain is muscular and poetic. But subtext is relevant. Although Robin Rice first approached Ian Gittler about his vector-based art on photo paper, the gallerist challenged him to create a series of photographs with that kind of machismo. As a native New Yorker who was marched through the halls of MOMA as a toddler, Gittler’s inspiration-his idea of macho-has less to do with cowboys and racecar drivers than with Franz Kline brushstrokes and modernist design. For Gittler, macho means the maximum amount of black ink that can lie across a sheet of photo paper. That kind of force. He narrowed his field of view for this series-often to a centimeter or two-in order to achieve a purely visual, visceral response. Gittler titled the work Motor Art in tribute to the 1934 Museum of Modern Art exhibit, Machine Art. Upon its sixtieth anniversary, Phillip Johnson wrote of the show (and of his own essay for its original opening), “The thrust was clear: anti-handicraft, industrial methods alone satisfied our age; Platonic dreams of perfection were the ideal.” Ian Gittler photographs, draws, writes, and makes music. He has created album covers for Willie Nelson, Roy Hargrove...

Listing is for UNFRAMED print. Inquire within for framing. Price and size range (Custom mural sizes available). All the photographs are in a limited edition. Edition 1 of 15. Price ...

Snails Hedera X-Ray Photography Lambda Print on Dibond Still Life Nature Animals - Perspex Front UV Resistant More sizes available The photography of Arie van ’t Riet is a merger of his scientific background, being an engineer and physicist, and his passion and love for flora and fauna. His focus is on the essence of nature. This process takes a sense of beauty, but also technical knowledge and insight. The animals (found dead) he uses, are placed in an optimal position together with plants and other crops. This setup, called a Biorama, is placed for a X-ray and by radiation fixated on film. For this work van ’t Riet received a special permit. Because he is specialised in working with this equipment he is able to make a picture in just one take. This is complicated because, for example, a thin leaf needs another approach than a fat...

Max Grant's floral macro photography series, aptly titled "(Floral)," serves as a mesmerizing exploration of botanical beauty reminiscent of the legendary artist Georgia O'Keeffe. Th...

Taking inspiration from Irving Penn and Robert Mapplethorpe, Max Grant's Cigarette Photographs find beauty in the mundane, raising the banal to elegance. ...

Signed, dated, numbered lower right, recto. Edition 3 of 15, Unframed. Other size available , Printed later Still life of cheap boose bottle created by a homeless person in the Bowe...

MAX STEVEN GROSSMAN RAFF SQ LM Trans Mounted Metallic Print 40 x 44 in. Ed 1 of 5 Please note, there is a 3 week printing lead time** Certificate of Authenticity Included Exploring...

Signed by the photographer

Signed and dated on mount in pencil, l.r. Mounted vintage gelatin silver print 13.25 x 10 inches (33.7 x 25.4 cm), sheet This artwork is offered by ClampArt, located in New York City.

Signed and numbered on the front of the print. Edition of 25. Available in two sizes (16 x 20 inches and 20 x 30 inches approximately) so please contact the gallery for information a...

Signed and numbered on the front of the print. Edition of 25. Available in two sizes (16 x 20 inches and 20 x 30 inches approximately) so please contact the gallery for information a...

Signed, stamped, dated and numbered on the back of the print.

The Day the Dam Collapses is the new detailed yet quietly poetic series from the California-based Japanese photographer. Working for the first time with digital capture, Watanabe col...

From the 50th Anniversary Portfolio (1902 - 1952). Printed 1950s by Brett Weston under Edward's supervision.

All editions signed by the photographer.

Signed on the front. Contact gallery for prices and available sizes.

from the series "Ill Form and Void Full" Ed. of 9