Continental US - Abstract Photography

Liberace I by Christian Stoll an epic scale photograph of mesmerizing texture details ( 60 x 48" / 152.25 x 122cm ) edition of 7 signed 40 x 32 inches / 122cm x 81.25cm edition of...

Works of Fire When I look into the night sky I am awestruck by the darkness that is the universe. As the sparse light of the stars descends, I am entangled in a state of wonder, sea...

Christopher Colville is an American artist working to push the boundaries of the photographic medium in both experimental and traditional forms. His images are created outdoors by ig...

Christopher Colville is an American artist working to push the boundaries of the photographic medium in both experimental and traditional forms. His images are created outdoors by ig...

large scale monochromatic abstract observation of mesmerizing atmospheric color palette, from Raymond Meier's series Renderings Sky (Rendings 04) by Ray...

Marie Craig's 'Knotweed’ is an original deep blue photograph of leaves and branches of the Japanese Knotweed plant. This piece was created using cyanotype, an early photographic proc...

ABOUT THIS ARTIST: Jordan Tiberio is a photographic artist based in Brooklyn, NY. Long fascinated by the genre of hyperrealism painting, she began to explore the idea of creating the...

Underwater photograph of a topless model dressed in tulle and air bubbles. Original gallery quality archival pigment print on archival paper signed by the artist. Paper size: 18x24"...

Series: ORGANIC LANDSCAPE AERIAL All available sizes and editions: 40" x 30" editions of 10 60" x 45" editions of 5 80" x 60" editions of 3 Archival Pigment Print on Fine Art Baryt...

from a series of works capturing conceptual signs in iconic landscapes captured with a large format camera to allow epic scale print sizes with incredible image details CLOUD STUD...

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...

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...

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...

Eduardo Rezende’s 2024 series Lavori in Corso revisits one of the artist’s most enduring themes: the urban and architectural landscape — this time focused on construction sites, scaf...

Underwater nude photograph of a young woman processed in an abstract black and white symmetrical composition. Original gallery quality archival pigment print on archival paper sig...

Liberace II by Christian Stoll an epic scale photograph of mesmerizing texture details ( 60 x 48" / 152.25 x 122cm ) edition of 7 signed 40 x 32 inches / 122cm x 81.25cm edition o...

ABOUT THIS ARTIST: Igor Vitomirov has over 15 years experience of working in photography. He loves nature and people and expressing their interactions with different emotions. Igor's...

Summer Interlude II (Deconstructivism) - 2020 - about the narrative potential of images. 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid, Art...

Signed and editioned on front of print. Edition of 10. Made by Robert Weingarten in the artist, Jackson Pollock's studio.

ABOUT THIS ARTIST: Igor Vitomirov has over 15 years experience of working in photography. He loves nature and people and expressing their interactions with different emotions. Igor's...

The galaxy like silver particles scattered on the giant black circle which floating in the square frame. That is a complexity of artist’s concept formation and culture practicing. In...

Wallscape VI (Il Famoso) by Frank Schott from a series of photographic observances capturing urban textures and palimpsest color palettes in Italy 48 x 60 inches / 122cm x 152cm edi...

ABOUT THIS ARTIST: Igor Vitomirov has over 15 years experience of working in photography. He loves nature and people and expressing their interactions with different emotions. Igor's...

Mesmerizing abstract color play of muted tones and surreal shapes, from a series of still life works created entirely in camera Caleidoscope II by Christian Stoll 67 x 48 inches (1...

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...

ABOUT THIS ARTIST: Igor Vitomirov has over 15 years experience of working in photography. He loves nature and people and expressing their interactions w...

WAVE II by Christian Stoll large scale abstract photograph of soothing mesmerizing fluid liquid waterscape 58 x 58 inches (147 x 147cm) edition of 7 signed 48 x 48 inches (122 ...

Christopher Colville is an American artist working to push the boundaries of the photographic medium in both experimental and traditional forms. His images are created outdoors by ig...

ABOUT THIS ARTIST: Igor Vitomirov has over 15 years experience of working in photography. He loves nature and people and expressing their interactions with different emotions. Igor's...

ABOUT THIS ARTIST: Andrew Zhao is a student of his experiences. Hailing from Washington to Suzhou, China to Washington again, his fascination with art blossomed under the quaint mini...

Stefanie created the art for both main actors Naomi Watts and Ryan Gosling in the movie 'Stay' directed by Marc Forster. She also created the art for several dream sequences and the ...

Shine Huang uses everyday objects to create mysterious and impressive images. Huang focuses on adapting historical photographic processes into contemporary art. Many of his images ar...

ABOUT THIS ARTIST: Igor Vitomirov has over 15 years experience of working in photography. He loves nature and people and expressing their interactions w...

Wallscape II by Frank Schott from a series of photographic observances capturing urban textures and color palettes 48 x 60 inches / 122cm x 152cm edition of 7 signed 32 x 40 inches...

ABOUT THIS PIECE: Freeforms : Exploring form and color combinations in a series of freestanding paper foil sculptures. Using natural light I arranged foiled shapes in different posit...

Empire in Green / From the series of Lights of New York / Photograph Creator: Hatice Besun Creation year: 2021 Dimension: 48 x 32" External Dimension( with white border) Height: 48....

Type-C print Signed, titled, dated, and numbered, verso 20 x 20 inches (Edition of 10) 30 x 30 inches (Edition of 5) 40 x 40 inches (Edition of 5) This artwork is offered by Clam...

Stilbon Stilbon in the ancient Greek religion, is the sky god of Hermaon, the planet Mercury, and one of the Astra Planeta. The word, Stilbon, means shining. All works are contact p...

Works of Fire When I look into the night sky I am awestruck by the darkness that is the universe. As the sparse light of the stars descends, I am entangled in a state of wonder, sea...

Works of Fire When I look into the night sky I am awestruck by the darkness that is the universe. As the sparse light of the stars descends, I am entangled in a state of wonder, sea...

Works of Fire When I look into the night sky I am awestruck by the darkness that is the universe. As the sparse light of the stars descends, I am entangled in a state of wonder, sea...

Works of Fire When I look into the night sky I am awestruck by the darkness that is the universe. As the sparse light of the stars descends, I am entangled in a state of wonder, sea...

The nude girl of Sher’s “Siesta” drifts to sleep as her dreams encroach upon her. As her naked body begins to shimmer into an aqueous form of its own, the bubbles of air transform in...

A rhythmic play of light and geometry, Checkers captures the subtle dialogue between reflection and structure. The alternating planes of glass and shadow evoke movement and depth, tr...

ABOUT THIS ARTIST: Studio Mierswa-Kluska looks back on almost 20 years of creative collaboration between two photographers, Andreas Mierswa, Markus Kluska, and their team. From the v...

Christopher Colville is an American artist working to push the boundaries of the photographic medium in both experimental and traditional forms. His images are created outdoors by ig...

Christopher Colville is an American artist working to push the boundaries of the photographic medium in both experimental and traditional forms. His images are created outdoors by ig...

A beautiful and sophisticated underwater photograph of a young naked woman swimming in the pool. This is a monochrome photograph close to black and white with reach aquatic tint. T...

Adolph Studly, Swiss born American photographer. His work is kept in the Photographic Archive at The Museum of Modern Art Archives, New York. He was known for his gallery photograp...

Vintage Mint Condition Platinum Photograph Fabulous image in the true style of Uelsmann

Christopher Colville is an American artist working to push the boundaries of the photographic medium in both experimental and traditional forms. His images are created outdoors by ig...

Christopher Colville is an American artist working to push the boundaries of the photographic medium in both experimental and traditional forms. His images are created outdoors by ig...

Jose Bassit Kepha, Catimbau Valley I, Brazil, 2012 Kepha series 72 x 48 inches Edition of 5 Archival Pigment Print UNFRAMED Ask us for framing options

Geister or 'Ghost Ship' series from Nina Dietzel. Stunning on own, or paired with other images from the series. Surface mounted to polished plexiglass so that the photograph appears ...

Rebecca Skinner’s “Rough Terrain” is part of a her texture series taking an up-close look rusted and/or weathered metal. This abstract image is mostly earth tones with a touch of blu...

An underwater photograph of a naked young woman swimming in dense bubbles. Memories of the Russian model Katerina Potapkina. Original gallery quality archival pigment print on pape...

Though it resembles a giant abstract watercolor painting owing to its soft gradations and luminous quality, this is a form of photography called a cyano...

Encaustic Print – Encaustic printing employs the addition of heated beeswax, and occasionally pigment, to the prepared surface of a photographic print, giving the object a unique to...

Abstract digital print on black/white photo paper 25.5 x 21.5 inches in custom black stained wood frame with black 8 ply mat and AR non glare glass Pairs well with Ref: LU2272395053 These energetic prints are digital copies of original handmade monoprints by photographer Birgit Blyth. Without the use of a camera, the artist produced the original chromoskedasic image by painting with the photographic chemicals directly onto black and white photo pager and exposing it to light. The rich black, faded gold, and crisp white tones are determined by the different chemicals used and the amount of time they are exposed to light. In this piece, Blyth painted gestural, intersecting lines to create a grid-like pattern that falls back in space. About the artist and work: Birgit Blyth is one of our most innovative and prolific photographers who works in a darkroom yet uses no camera! Blyth has been experimenting with a technique known as Chromoskedasic painting since the early ‘90s and variations on this concept have been shown at the gallery for the last 20 years. The unusual process involves the use of silver particles in black and white photographic paper to scatter light at different wavelengths when exposed. A chemist of sorts, Blyth demonstrates a thorough knowledge of how the various photographic chemicals will react when applied to paper and exposed. Each work is unique with palettes that resonate brilliant tonalities of brown, green, black, and purple. Using this technique, Blyth creates abstract crosshatching grids and most recently has developed a more gestural series of 20 x 16 inch chromoskedasic paintings that explores the ethereal qualities made possible by the unconventional material. Birgit Blyth succeeds at keeping her work fresh and cutting-edge using analog methods that are being quickly replaced elsewhere with digital technology. Artist Resume: Born: Kousted, Denmark Resident in U.S.A. since 1963 Education: Denmark and U.S.A. Project, Inc., Cambridge MA (Photography) DeCordova Museum School, Lincoln MA (Printmaking) Maine Photography...

Colorful, Maximalist style floral still life photograph of pink, green, yellow, and cream colored flowers and succulents Archival digital print, made to order 24 x 24 inches, editio...