Continental US - Photography

large scale photography of mesmerizing color compositions of liquid cloudscape painting in water, hypnotizing abstract liquidscapes from the body of works titled 'Stratosphere' STRA...

Warhol superstar Ultra Violet, art dealer Jason McCoy and art historian Ron Caran photographed nude for 'After Dark' magazine in 1971. This is a vintage gelatin silver print, made b...

ABOUT THIS ARTIST: Photographer Dewey Nicks was born in St. Louis, Missouri. Nicks studied photography at the Art Center College of Design in Pasadena. He has been a professional fas...

Untitled (The Last Picture Show), 2005 38x36cm, Edition 2/5. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the original SX-70 Polaroid. Inventory No. 781.02. Signature label and Certificate. Not mounted. LIFE’S A DREAM (The Personal World of Stefanie Schneider) by Mark Gisbourne Projection is a form of apparition that is characteristic of our human nature, for what we imagine almost invariably transcends the reality of what we live. And, an apparition, as the word suggests, is quite literally ‘an appearing’, for what we appear to imagine is largely shaped by the imagination of its appearance. If this sounds tautological then so be it. But the work of Stefanie Schneider is almost invariably about chance and apparition. And, it is through the means of photography, the most apparitional of image-based media, that her pictorial narratives or photo-novels are generated. Indeed, traditional photography (as distinct from new digital technology) is literally an ‘awaiting’ for an appearance to take place, in line with the imagined image as executed in the camera and later developed in the dark room. The fact that Schneider uses out-of-date Polaroid film stock to take her pictures only intensifies the sense of their apparitional contents when they are realised. The stability comes only at such time when the images are re-shot and developed in the studio, and thereby fixed or arrested temporarily in space and time. The unpredictable and at times unstable film she adopts for her works also creates a sense of chance within the outcome that can be imagined or potentially envisaged by the artist Schneider. But this chance manifestation is a loosely controlled, or, better called existential sense of chance, which becomes pre-disposed by the immediate circumstances of her life and the project she is undertaking at the time. Hence the choices she makes are largely open-ended choices, driven by a personal nature and disposition allowing for a second appearing of things whose eventual outcome remains undefined. And, it is the alliance of the chance-directed material apparition of Polaroid film, in turn explicitly allied to the experiences of her personal life circumstances, that provokes the potential to create Stefanie Schneider’s open-ended narratives. Therefore they are stories based on a degenerate set of conditions that are both material and human, with an inherent pessimism and a feeling for the sense of sublime ridicule being seemingly exposed. This in turn echoes and doubles the meaning of the verb ‘to expose’. To expose being embedded in the technical photographic process, just as much as it is in the narrative contents of Schneider’s photo-novel exposés. The former being the unstable point of departure, and the latter being the uncertain ends or meanings that are generated through the photographs doubled exposure. The large number of speculative theories of apparition, literally read as that which appears, and/or creative visions in filmmaking and photography are self-evident, and need not detain us here. But from the earliest inception of photography artists have been concerned with manipulated and/or chance effects, be they directed towards deceiving the viewer, or the alchemical investigations pursued by someone like Sigmar Polke. None of these are the real concern of the artist-photographer Stefanie Schneider, however, but rather she is more interested with what the chance-directed appearances in her photographs portend. For Schneider’s works are concerned with the opaque and porous contents of human relations and events, the material means are largely the mechanism to achieving and exposing the ‘ridiculous sublime’ that has come increasingly to dominate the contemporary affect(s) of our world. The uncertain conditions of today’s struggles as people attempt to relate to each other - and to themselves - are made manifest throughout her work. And, that she does this against the backdrop of the so-called ‘American Dream’, of a purportedly advanced culture that is Modern America, makes them all the more incisive and critical as acts of photographic exposure. From her earliest works of the late nineties one might be inclined to see her photographs as if they were a concerted attempt at an investigative or analytic serialisation, or, better still, a psychoanalytic dissection of the different and particular genres of American subculture. But this is to miss the point for the series though they have dates and subsequent publications remain in a certain sense unfinished. Schneider’s work has little or nothing to do with reportage as such, but with recording human culture in a state of fragmentation and slippage. And, if a photographer like Diane Arbus dealt specifically with the anomalous and peculiar that made up American suburban life, the work of Schneider touches upon the alienation of the commonplace. That is to say how the banal stereotypes of Western Americana have been emptied out, and claims as to any inherent meaning they formerly possessed has become strangely displaced. Her photographs constantly fathom the familiar, often closely connected to traditional American film genre, and make it completely unfamiliar. Of course Freud would have called this simply the unheimlich or uncanny. But here again Schneider almost never plays the role of the psychologist, or, for that matter, seeks to impart any specific meanings to the photographic contents of her images. The works possess an edited behavioural narrative (she has made choices), but there is never a sense of there being a clearly defined story. Indeed, the uncertainty of my reading here presented, acts as a caveat to the very condition that Schneider’s photographs provoke. Invariably the settings of her pictorial narratives are the South West of the United States, most often the desert and its periphery in Southern California. The desert is a not easily identifiable space, with the suburban boundaries where habitation meets the desert even more so. There are certain sub-themes common to Schneider’s work, not least that of journeying, on the road, a feeling of wandering and itinerancy, or simply aimlessness. Alongside this subsidiary structural characters continually appear, the gas station, the automobile, the motel, the highway, the revolver, logos and signage, the wasteland...

Plane (Vegas) - 2000 Edition 4/10, 44x59cm. Analog C-Print, hand-printed and enlarged by the artist, based on the Polaroid. Certificate and Signature label. Artist Inventory #54...

"Figure 3" (2022) by Matthew Alfonso Durante is an original handmade mixed media painting that depicts a nude female model in front of a greyscale landscape. This piece measures 10 x...

Led Zeppelin, The Kingdome, Seattle, WA 1977 Signed limited edition photographic print by Blaise Hayward from his series “Tickets Please” These editioned digital pigment prints are...

CREATURE II by Christian Stoll from a series of still life photographs capturing fantastical creatures made of found objects and organic materials ( 48 x 68" / 122 x 173cm ) editio...

Giacomo and Stefania Mantegazza welcome guests arriving by boat at their villa, La Casinella, on Lake Como. Slim Aarons Giacomo Mantegazza, Villa La Casinella, Lake Como Slim Aarons...

"Cradle the Sun" Nude Photography 24" x 32" inch Edition 1/7 by Aaron Mcpolin Medium: Archival Giclee Print Signed and numbered by the artist. Available sizes: Edition of 15 24" x ...

Exploring color in the darkness, inspired by the Italian and Dutch renaissance. He brings hints of the fauna of his native South American vibrant and passionate colors. Bringing them...

Alexandre Manuel’s work captures landscapes at the delicate intersection of absence and presence, where nature unfolds with quiet drama. Through refined long-exposure techniques, eac...

Adult film star Cal Culver (AKA Casey Donovan) 'After Dark' magazine nude study, photographed in 1972. This is a vintage gelatin silver print, selenium t...

Second Edition 1/10 Printed to Order Also available in 20"x30" . Photo taken in Amagansett NY *Photography: U Wash Truck, Death Valley and Mulford Lane, Amagansett 2012 have been...

*22x30" editions and 24x36" editions are platinum prints. Editions with a width of 60" or greater are archival pigment prints* Baobabs are one of Africa’s natural wonders: they can live more than 2,500 years, and their massive, water-storing trunks can grow to more than one hundred feet in circumference. They also serve as a renewable source of food, fiber, and fuel, as well as a focus of spiritual life. But now, suddenly, the largest baobabs are dying off , literally collapsing under their own weight. Scientists believe these ancient giants are being dehydrated by drought and higher temperatures, likely the result of climate change. Photographer Beth Moon, already responsible for some of the most indelible images of Africa’s oldest and largest baobabs, has undertaken a new photographic pilgrimage to bear witness to this environmental catastrophe and document the baobabs that still survive. In this oversize volume, she presents breathtaking new duotone tree portraits of the baobabs of Madagascar, Senegal, and South Africa. She also recounts her eventful journey to visit these fantastic trees in a moving diaristic text studded with color travel photos.

California Dreaming by Frank Schott from a series of photographs capturing the Golden State's vast desert landscapes 27 x 40 inches / 68cm x 102cm edition of 25 signed 48 x 72 inches / 122cm x 183cm edition of 7 signed archival quality fine art pigment print limited art edition published by Edition EKTAlux artist signed + numbered certificate of authenticity ________________________ Frank Schott grew up in Germany and attended the prestigious Academy of Arts in Cologne, studying under Professor Arno Jansen, who was an early influence. Moving to California in 1998, Schott's work has evolved to include the epic landscapes and deserts of the American West as well as architectural, conceptual and more formal environments from both home and his travels. Influenced by a number of photographic peers and precursors such as Candida Höfer, Andreas Gursky, Thomas Struth, Jeff Wall, Michael Wolf, Gregory Crewdson, William Eggleston and Joel Sternfeld, Schott's images successfully blend technical, conceptual and formal rigor with a decisive sense of composition and color. Schott's images have an iconic sensibility and give us a bird's eye view onto humanity and its constructs. The specific is edged towards the abstract, often revealing the compelling and disjunctive moment where nature meets man. Frank Schott was born in Cologne, Germany in 1962. He currently lives and works in San Francisco...

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...

Digital C-print Stamped and numbered, verso 24 x 20 inches (Edition of 10) 40 x 30 inches (Edition of 5) 60 x 50 inches (Edition of 3) This photograph is offered by ClampArt, located in New York City. Please note that prices increase as editions sell. Luke Smalley was an American artist known for his photographic work, which pairs a coolly minimalist aesthetic with a retro nostalgia. Images from his early in his career were inspired by fitness manuals and yearbooks c. 1910. This is not surprising since Smalley graduated with a degree in sports medicine from Pepperdine University and worked for a number of years as a model and personal trainer. Smalley shot the bulk of his photographs in his home state of Pennsylvania, using real high school athletes as models. “Exercise at Home” is Luke Smalley’s second major body of work. Shot in and around the tiny Pennsylvania town the artist called home, Smalley revisits themes of adolescent growing pains acted out under the guise of earnest athleticism. Teenagers engage in simple yet strange competitions meant to establish their standings amongst one another. Two youths practice boating safety...

Digital C-print Stamped and numbered, verso 20 x 24 inches (Edition of 10) 30 x 40 inches (Edition of 5) This photograph is offered by ClampArt, located in New York City. Please n...

THIS PIECE IS AVAILABLE FRAMED. Please reach out to the gallery for additional information. ABOUT THIS PIECE: French photographer Ludwig Favre recently visited La Muralla Roja in ...

George Tice was born in 1938 in Newark, NJ, the state in which his ancestors had lived for generations earlier. He joined a camera club when he was fourteen, and is largely a self ta...

Modena by Frank Schott 30 x 40 inches / 76cm x 102cm edition of 25 signed 48 x 64 inches / 122cm x 163cm edition of 7 signed archival quality fine art pigment print limited art ed...

Artist: Bert Stern, American (1929 - 2013) Title: Marilyn Monroe: The Last Sitting Year: 1962 Medium: Chromogenic C-Print Photograph, signed and numbered in marker Edition: 209/250 ...

Hand signed, dated and numbered by the artist. Published by Hatje Cantz Verlag, Berlin. Image: 21.75 x 15.75 in. Sheet: 23.875 x 17.875 in. Frame: 32.5 x 26.5 in. Artwork is in exce...

Signed by the artist on the front. Taken in 1967; 1991 print.

Underwater black and white photograph of a naked young woman in a pool. Original print on aluminum plate with solid black backboard. The artwork needs no additional framing: it can...

Victor Arimondi (1942-2001). Portrait, ca. 1975. Period print measures 11 x 14 inches. Artist studio stamp on verso. Victor Arimondi (November 8, 1942 – July 24, 2001) was an Italian American photographer and model who lived and worked in Europe before moving to the United States in the late 1970s. His early fashion photography, his portraits of Grace Jones and other artists, and his male nudes photographed in New York and San Francisco captured the pre-AIDS culture of the 1970s and early 1980s. Arimondi's nudes were collected in several books, including David Leddick's award-winning[1] The Male Nude, (New York: Taschen 1998, 2005 and 2015). The photographer's later work documented homeless individuals in San Francisco's Tenderloin neighborhood and the toll of the AIDS epidemic on the city. His photographs, featured in several posthumous exhibitions, also are in the collections of Sweden's museum of modern art, Moderna Museet, and San Francisco's GLBT Historical Society. Biography Arimondi was born Vittorio Maria Tevitti to his unwed mother, Alessandra Calligaris, in Bologna, Italy on November 8, 1942. His mother struggled financially, which left an impression on her only child. In 1948, she temporarily left him at a children's boarding school and orphanage in Italy to move to Sweden for a job. There she met and married Bruno Arimondi, who adopted her son. The family returned to Naples, Italy in 1952 where Victor graduated from high school.[1] In 1960, Arimondi returned to Sweden to study at the University College of Arts, Crafts and Design in Stockholm, although he did not graduate. Meanwhile, he worked at several blue collar jobs, including as a mailman, before he gave up on traditional full-time work to pursue what he considered more essential— a life of creative expression. He created costume-like clothing for himself and friends and at age 19 became a fashion model. Even as a teenager, the Italian born photographer who spent his 20s and 30s primarily based in Sweden, noted that he preferred fantasy to the trials of real life.[1] That conflict, and his passion for beauty as well as his sexual energy, were major factors in his life and his work.[2] From 1965 through 1972 Arimondi worked as model in London, Milan, Germany, New York and Stockholm, appearing in catalogs and fashion magazines including Vogue , Harper's Bazaar and Esquire and on the runway in several Valentino fashion shows. In 1972 he decided to try working on the other side of the lens as a photographer to better express his creativity.[2] Arimondi moved to New York in 1979 and continued to build his photography portfolio. Portrait of Bearded Man, New York City, 1979 Two years later, in 1981, he moved to San Francisco where he lived and worked for twenty years until his death of AIDS at age 58 on July 24, 2001. The year he moved to San Francisco, Arimondi opened a photo gallery in the Haight-Ashbury neighborhood for a short time. When he struggled financially, he gave up on trying to earn a living through commercial fashion photography and closed the gallery.[3] Arimondi returned to modeling for the financial benefits, though he did so on less of an international scale than in his early years. He continued to create photographic portraits of the denizens of the San Francisco gay and arts cultures, to shoot male nudes and publish his work in magazines, and he began to compose and photograph evocative still lifes using his own photographic images. Many of them touched on the death of dozens of his former photography models from AIDS. Arimondi was in the midst of a new photography project that brought together his background as a fashion photographer and his more recent social documentary work when he died several months after he learned he was HIV-positive.[4] The project featured his former colleague, haute couture cover model Ivy Nicholson,[5] who he found living homeless in San Francisco. Several of the haunting portraits he took of her were later included in a noted group exhibit at SF Camerawork. Art Arimondi's early photography in the 1970s in Stockholm included portraits of the stars of Sweden's fashion, theater and dance worlds. His first two photography exhibits were in Stockholm and met with mixed reviews. But as he matured as a photographer and tapped into his fashion world contacts, Arimondi landed a number of commercial fashion jobs, including shooting for the Italian designer Salvatore Ferragamo S.p.A.'s I.Magnin department store ad that ran in Vogue. Marlboro Man Nude, New York City,1980. He also shot other artists and models for his own portfolio, including Grace Jones, the Norwegian actress, Liv Ullmann, and the American writer, Norman Mailer. Arimondi's aesthetic vision was focused on fantasy and drama, and he prided himself on pushing limits.[6] Although less well-known than his San Francisco contemporary...

Fly Away Home, 2019, Edition 1/10 plus 2 Artist Proof, 20x20cm. Art Print based on an original Polaroid on Hahnemuhle photo rag paper. Signature label and certificate. Not mounted....

This iconic image of David Bowie as The Thin White Duke was taken by renowned Rock photographer, John Rowlands, on February 26th, 1976, at Maple Leaf Gar...

Born in 1961 in Singen, Germany, Béatrice Hug has developed a distinctive visual language that merges the precision of photography with the expressive sensibility of painting. Now ba...

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...

M (Immaculate Springs) - 1998 - 20x20cm, Edition of 5, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Signature Label and Certificate. Artist inventory...

Let it be (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 Inventory #...

Snow Silence (Stranger than Paradise) - 2003 57x56cm, Edition 4/5. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the Polaroid. Artist invento...

ABOUT THIS ARTIST: Erin Summer is an artist and graphic designer from Toronto, Canada. Her passion is creating colourful and whimsical images that communicate visual optimism, regard...

Signed limited edition photographic print of Kurt Cobain, Dave Grohl and Krist Novoselic of Nirvana by photographer Kirk Weddle from the famous 1991 swimmi...

pink cadillac by Frank Schott 40 x 32 inches ( 132 x 81cm ) edition of 25 signed 60 x 48 inches ( 152 x 122 cm ) edition of 7 signed 72.5 x 58 inche...

" I took this picture when New York was the epicenter of the Covid pandemic in the U.S., to reflect the idea that the nights are always darkest before they turn bright. As it turned ...

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...

16 x 20" vintage silver gelatin photograph, multiple exposure male nude. Titled, numbered, dated, and signed by Jack Mitchell on the recto. Comes directly from the Jack Mitchell Arch...

Jeff Robb Threshold IV Lenticular Photograph 20" x 20" Edition of 15 + 2AP $6500 Provenance: From the artist's studio Additional Information: Available in additional sizes, please...

This albumen silver print is signed and numbered in the negative. Printed c. 1880s.

My fascination with birds of prey began eight years ago. There have been nesting owls on my family’s land in the United Kingdom as far as I can remember. I have heard them calling to...

From a series of large scale abstract photographs of muted color monochromatic water surfaces SEASCAPE IV by Frank Schott available in two edition sizes ...

An underwater photograph of a topless dancer diving in red tutu skirt on black background. Original gallery quality digital archival pigment print on archival paper signed by the ar...

This photograph of diva Patti LuPone, choreographer Michael Smuin and the cast of Broadway hit 'Anything Goes' was taken in 1987 for the cover of Dance Ma...

This striking monochromatic underwater photograph of two naked women showcases Sher's innovative approach to aquatic nudity through dramatic contrast and reflection. The high-contras...

Winter Fishing by Alex Sher presents a striking underwater nude photograph featuring a young naked woman entangled in fishing nets beneath dark waters. The monochromatic palette crea...

White Paint Splatters - Large Scale Textural Photograph Detailed macro photo by Bill Clark (American, 20th Century). Clark has taken a photograph of heavily painted concrete, with w...

"Monolith" Two peaks against a dune of snow with a flat-white backdrop. The limited edition print series Northern Dreams is a tribute to one of the most spectacular places Drew ha...

Surf Wagon, St. Petersburg Beach by Al Satterwhite is a black and white photograph featuring a group of teenagers sitting on top of a car filled with surfboards. Archival Pigment P...

These extraordinary photographs are part of the the Hotel Chelsea series. The Hotel Chelsea closed its doors for the first time in its iconic history of over one hundred years. Amer...

This is a pop art print of the original Yoda toy from Kenner "The Toys" by LA based Pop Artists DESTRO. Star Wars Empire Strikes Back Return of the Jedi They encapsulate an era...

Artist: Bert Stern Title: Marilyn Monroe -The Last Sitting Year: 1962 (printed 2009) Medium: Color Photograph, signed and numbered in red crayon Edition: 12...

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...

In this hyper-detailed archival pigment print on watercolor paper, a green moth with white spots is dramatic against a white background. Price shown is the unframed price. Edition ...

Untitled (Alan in the Barn), New Hampshire 1975 Signed, dated, and numbered in pencil, verso Vintage gelatin silver print (Edition of 2) 14 x 11 inches, sheet This work is offere...

"Impressions of the High Sierras", a Lithobrome Photograph by Sigismund Blumann (American, 1872-1956). Signed "Sigismund Blumann" lower right. Titled "Impressions of the High Sierras" and signed "Sigismund Blumann" on verso. Unframed. Image size, 10.25"H x 13.25"W. Sigismund Blumann (1872–1956) (figure 1) was a prominent tastemaker in Californian photography during the 1920s and 1930s. Based in the San Francisco Bay Area for his entire career, he edited magazines, wrote books, and made creative photographs. From 1924 to 1933 Blumann edited Camera Craft, the leading West Coast photographic monthly. Subsequently he established his own periodical, Photo Art Monthly, which he published until 1940. In these two magazines — for over fifteen years — Blumann found a large audience of mainstream pictorial photographers. In addition, he wrote five instructional books on photography...

a series of images capturing the epic scale of the iconic landscapes of the American West Desert Daze by Frank Schott 30 x 40 inches / 76cm x 102cm signed edition of 25 48 x 72...

Anonymous Women: Domestic Demise In the latest narratives, “Domestic Demise,” the woman becomes the victim of domestic disasters. Her activities, obsessions and objects are overwhel...