Missouri - Figurative Photography

Archival Pigment Print Year: 2015 Signed, dated and numbered in ink on label affixed verso Other sizes available upon request COA provided arita, aritaware, bones, ceramic Sculpture, ceramics, china paint, chinapaint, chris anteman, contemporary ceramics, contemporary porcelain, death, decal, deer, ephemerality, etagere, excess, futility of pleasure, georg flegel, glaze, gold luster, Herend, ilona romule, imari, imariware, jingdezhen, limoges, meissen porcelain, memento mori, Mortality salience, old masters, pattern, photography, porcelain, sevres, Sic transit gloria mundi, skull, still life painting, Ubi sunt, underglaze, vanitas, vanitatum, vera mercer...

Edition: 25 Signed, dated and numbered in ink on label affixed verso Other sizes available upon request COA provided In Sherman's photographs she is experimenting with groupings of ...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition M (Edition of 6) 35.4 x 23.6 inches (90 x 60 cm) - Edition L (Edition of 6) 47.2 x 31.5 inches (120 x 80 cm) - Edition XL (Edition of 3) 88.8 x 58.8 inches (225 x 150 cm) PUR - Price Upon Request -------------- Since 1979 Christian Rothmann had more than 40 solo and 80 group exhibitions worldwide. Christian Rothmann had guest lectures, residencies, art fairs and biennials in Europe, Japan, USA, Australia and Korea. Christian Rothmann (born 1954 in Kędzierzyn, Poland ) is a painter, photographer, and graphic artist.⁠ ⁠ In 1976 he first studied at the “Hochschule für Gestaltung” in Offenbach, Germany and moved to Berlin in 1977, where he graduated in 1983 at the “Hochschule der Künste”. From 1983 to 1995 he taught at the university as a lecturer and as an artist with a focus on screenprinting and American art history. To date, a versatile body of work has been created, which includes not only paintings but also long-standing photo projects, videos, and public art.⁠ ⁠ Guest lectures, teaching assignments, scholarships and exhibitions regularly lead Rothmann to travel home and abroad.⁠ ------------------------ Rothmann's Robots These creatures date back to another era, and they connect the past and the future. They were found by Christian Rothmann, a Berlin artist, collector and traveler through time and the world: In shops in Germany and Japan, Israel and America, his keen eye picks out objects cast aside by previous generations, but which lend themselves to his own work. In a similar way, he came across a stash of historic toy robots of varied provenance collected by a Berlin gallery owner many years ago. Most of them were screwed and riveted together in the 1960s and 70s by Metal House, a Japanese company that still exists today. In systematically photographing these humanoids made of tin - and later plastic - Rothmann is paraphrasing the idea of appropriation art. Unknown names designed and made the toys, which some five decades on, Rothmann depicts and emblematizes in his extensive photo sequence. In their photographs of Selim Varol's vast toy collection, his German colleagues Daniel and Geo Fuchs captured both the stereotypical and individual in plastic figures that imitate superheroes which were and still are generally manufactured somewhere in Asia. Christian Rothmann looks his robots deep in their artificially stylized, painted or corrugated eyes - or more aptly, their eye slits - and although each has a certain degree of individuality, the little figures remain unknown to us; they project nothing and are not alter egos. Rothmann trains his lens on their faces and expressions, and thus, his portraits are born. Up extremely close, dust, dents, and rust become visible. In other words, what we see is time-traces of time that has passed since the figures were made, or during their period in a Berlin attic, and - considering that he robots date back to Rothmann's childhood - time lived by the photographer and recipients of his pictures. But unlike dolls, these mechanical robots bear no reference to the ideal of beauty at the time of their manufacture, and their features are in no way modeled on a concrete child's face. In this art project the robots appear as figures without a context, photographed face-on, cropped in front of a neutral background and reduced to their qualities of form. But beyond the reproduction and documentation a game with surfaces is going on; our view lingers on the outer skin of the object, or on the layer over it. The inside - which can be found beneath - is to an extent metaphysical, occurring inside the observer's mind. Only rarely is there anything to see behind the robot's helmet. When an occasional human face does peer out, it turns the figure into a robot-like protective casing for an astronaut of the future. If we really stop and think about modern toys, let's say those produced from the mid 20th century, when Disney and Marvel films were already stimulating a massive appetite for merchandising, the question must be: do such fantasy and hybrid creatures belong, does something like artificial intelligence already belong to the broader community of humans and animals? It is already a decade or two since the wave of Tamagotchis washed in from Japan, moved children to feed and entertain their newly born electronic chicks in the way they would a real pet, or to run the risk of seeing them die. It was a new form of artificial life, but the relationship between people and machines becomes problematic when the machines or humanoid robots have excellent fine motor skills and artificial intelligence and sensitivity on a par with, or even greater than that of humans. Luckily we have not reached that point yet, even if Hollywood adaptations would have us believe we are not far away. Rothmann's robots are initially sweet toys, and each toy is known to have a different effect on children and adults. They are conceived by (adult) designers as a means of translating or retelling history or reality through miniature animals, knights, and soldiers. In the case of monsters, mythical creatures, and robots, it is more about creating visions of the future and parallel worlds. Certainly, since the success of fantasy books and films such as Lord of the Rings or The Hobbit, we see the potential for vast enthusiasm for such parallel worlds. Successful computer and online games such as World of Warcraft, or the creation of avatars are also interesting worldwide phenomena of virtual realities that are not only relevant for children and teens. So when a middle-aged Berlin photographic artist (like Christian Rothmann) chooses to study 120 toy robots with great difference in form, it represents a journey back to his own childhood - even if at the time, he played with a steam engine rather than a robot. Once batteries had been inserted, some of the largely male or gender-neutral robots, could flash, shoot, turn around and even do more complicated things. Some can even still do it today - albeit clumsily. This, of course, can only be seen on film, but the artist intends to document that as well; to feature the robots in filmic works of art. The positioning of the figures in the studio is the same as the tableau of pictures in the exhibition room. In this way, one could say Rothmann deploys one robot after the other. This systematic approach enables a comparative view; the extreme enlargement of what are actually small and manageable figures is like the macro vision of insects whose fascinating, sometimes monster-like appearance only becomes visible when they are blown up a hundredfold. The same thing goes for the robots; in miniature form, they seem harmless and cute, but if they were larger than humans and made noises to match, they would seem more threatening. Some of the tin figures...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition ...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition ...

Christine Gerhard The Wall Design C-Print on Aluminum Substrate Year: 1999 Signed, numbered, dated and titled by hand Edition: 5 Size: 32.0 × 25.7 inches COA provided

Albrecht Fuchs Title: Factory Workshop Medium: Color Photograph mounted on Di-bond Year: 2006/2007 Signed and dated by hand Size: 14.8 × 18.5 on 17.2 × 20.9 inches Albrecht Fuchs wa...

Wolff Buchholz Title: Untitled Medium: Photograph Year: 1980s Size: 11.9 × 17.9 inches Wolff Buchholz was born in 1935 in Hamburg, Germany. From 1955 to 1957 he studied at the "Hoc...

Fabrice Monteiro The Missing Link, Joe, 2014 Chromogenic print mounted on dibond 33.46 x 47.24 inches (85 x 120 cm) Edition 9/10

Charles Martin Handsome, Sao Paulo, 1992 Gelatin silver print 20 x 16 inches (50.8 x 40.6 cm) Edition 2/5

Ginny Ganong Nichols Waiting Black and white photograph Image Dimensions: 7 1/4 x 10 1/4 inches (18.4 x 26 cm) Mounted Dimensions 12 x 16 inches (30.5 x 40.6 cm) Edition 3/250

Ginny Ganong Nichols Rainy Day Black and white photograph Image Dimensions: 6 3/4 x 9 1/2 inches (17.1 x 24.1 cm) Mounted Dimensions: 12 x 16 inches (30.5 x 40.6 cm) Edition 15/250

Ann Ray Blast Off Silver gelatin print Framed Dimensions: 22 1/8 x 17 1/8 inches (56.2 x 43.5 cm) Image Dimensions: 11.81 x 15.75 inches (30 x 40 cm) Edition 3/50

Nick Decker Lily #1 (Platinotype), 1980, printed 2006 Black and white photograph Image Dimensions: 12 x 9 .75 inches (30.5 x 24.8 cm) Mounted Dimensions: 20 x 16 inches (50.8 x 40....

Ruth Ossai Akatakpa and Ozor masquerade. Ovoko-Nsukka, Nigeria, 2019 Archival pigment print 26 1/2 x 40 inches (67.3 x 101.6 cm) Edition 1/5, 2

Ray Hartl Equine Photograph #849 Color photograph Framed Dimensions: 20 x 20 inches (50.8 x 50.8 cm)

Ann Ray The Girls Who... Silver gelatin print Framed Dimensions: 22.13 x 17.13 inches (30 x 40 cm) Image Dimensions: 11.81 x 15.75 inches (30 x 40 cm) Edition 2/50

Paul Liebhardt Cow on Wall Photograph Framed Dimensions: 33 1/4 x 27 1/4 inches (84.5 x 69.2 cm) Image Dimensions: 21 x 14 1/4 inches (53.3 x 36.2 cm)

Susan Sterner Mama ya se fue, 2009 Archival pigment print Framed Dimensions: 14 3/4 x 17 3/4 inches (37.5 x 45.1 cm) Image Dimensions: 7 x 10 inches (17.8 x 25.4 cm) Edition 1/10

Jarmo Pikkujamsa Deep IX - Babacar, 2019 Photograph on Hahnemuhle Gloss Baryta archival paper 35.04 x 19.69 inches (89 x 50 cm) Edition 1/10

Jarmo Pikkujamsa Deep I - Isalee, 2018 Photograph on Hahnemuhle Gloss Baryta archival paper 19.69 x 19.69 inches (50 x 50 cm) Edition 1/10

Marilyn Minter Swell, 2010 Chromogenic print Framed Dimensions: 32 x 42 inches (81.3 x 106.7 cm) Edition of 5

William Wegman Pawns, 2015 Pigment print 30 x 23 inches (76.2 x 58.4 cm) Edition 4/7

Coney Island Threesome, 1947, 1947, printed 2015 Silver gelatin print 14 x 11 inches (35.6 x 27.9 cm)