Missouri - Portrait Photography

Lord Fauntleroy Ahmedabad 151209-582 Pigment Print Year: 2015 Visible Size: 9.25 x 9.25 inches Framed: 10.6 x 10.6 inches Signed: On Label Edition: 8 COA provided *White frame with...

Lord Fauntleroy Ahmedabad 151209-427 Pigment Print Year: 2015 Visible Size: 9.25 x 9.25 inches Framed: 10.6 x 10.6 inches Signed: On Label Edition: 8 COA provided *White frame with...

Lord Fauntleroy Ahmedabad 151213-42 High Gloss Metal Print with Float Mount Hanger Year: 2015 Size: 12 inches diameter Signed: On Label Edition: 7 COA provided Lord Fauntleroy is a ...

Lord Fauntleroy Ahmedabad 151213-18 High Gloss Metal Print with Float Mount Hanger Year: 2015 Size: 12 inches diameter Signed: On Label Edition: 7 COA provided Lord Fauntleroy is a ...

Lord Fauntleroy Set of Hands 2015 3 x Archival Pigment Prints on Matte Paper Size: 24 x 24 inches (60.96 x 60.96cm) (each) Edition: 9 Signed, titled and dated on label COA provided ...

Lord Fauntleroy Ahmedabad 150306-17 2015 Archival Pigment Print on Matte Paper Size: 24 x 24 inches (60.96 x 60.96cm) Edition: 9 Signed, titled and dated on label COA provided Lord...

Lord Fauntleroy Ahmedabad 150306-33 2015 Archival Pigment Print on Matte Paper Size: 24 x 24 inches (60.96 x 60.96cm) Edition: 9 Signed, titled and dated on label COA provided Lord...

Thekla Ehling Girl on Train, 2008 Chromogenic print 24 x 31 inches (61 x 78.7 cm) Edition 2/10

Lord Fauntleroy Sir Barksalot - Beagle 2023 Archival Pigment Print on Hahnemuehle Baryta Rag 315gsm Size: 24 x 24 inches (60.96 x 60.96cm) Edition: 15 ...

David Pugh Skin and Flower Archival Pigment Print on Hahnemühle Photo Rag Baryta, 100% Cotton Fibre, 315 gsm, Acid and Lignin free, ISO 9706 conform / museum quality for highest age ...

Diane Arbus Girl in a Shiny Dress, NYC, 1967 Gelatin silver print Image Dimensions: 14.5 x 14.5 inches (36.8 x 36.8 cm) Paper Dimensions: 20 x 16 inches ...

Nick Vedros Tim (Portrait) Archival Pigment Print on Epson Legacy Platine 100% Cotton Fibre, 314 gsm, Acid and Lignin free Year: 2000s Size: 12x12in Edition: 15 Signed, dated and nu...

Nick Vedros Contemplating Pin-Ups Archival Pigment Print on Epson Legacy Platine 100% Cotton Fibre, 314 gsm, Acid and Lignin free Year: 1990s Size: 12x10in Edition: 15 Signed, dated...

Nick Vedros Towner (Portrait) Archival Pigment Print on Epson Legacy Platine 100% Cotton Fibre, 314 gsm, Acid and Lignin free Year: 2000s Size: 10x10in Edition: 15 Signed, dated and...

Nick Vedros Hoop Girl Archival Pigment Print on Epson Legacy Platine 100% Cotton Fibre, 314 gsm, Acid and Lignin free Year: 2000s Size: 11x11.2in Edition: 1...

Nick Vedros Brian (Portrait) Archival Pigment Print on Epson Legacy Platine 100% Cotton Fibre, 314 gsm, Acid and Lignin free Year: 1980s Size: 12x8in Edition: 12 Signed, dated and n...

Nick Vedros Homeless Archival Pigment Print on Epson Legacy Platine 100% Cotton Fibre, 314 gsm, Acid and Lignin free Year: 1990s Size: 10x13in Edition: 12 Signed, dated and numbered...

Nick Vedros Dancer Study Archival Pigment Print on Epson Legacy Platine 100% Cotton Fibre, 314 gsm, Acid and Lignin free Year: 2000s Size: 8x14in Edition: 15 Signed, dated and numbe...

Nick Vedros Dales Bait Archival Pigment Print on Epson Legacy Platine 100% Cotton Fibre, 314 gsm, Acid and Lignin free Year: 1990s Size: 8x11in Edition: 12 Signed, dated and numbere...

Nick Vedros Snowman Archival Pigment Print Hahnemühle FineArt Baryta 325 gsm Year: 1990s Size: 10x8in Edition: 12 Signed, dated and numbered by hand on label Stamped COA provided Ref...

Nick Vedros Dancing Dog Archival Pigment Print Hahnemühle FineArt Baryta 325 gsm Year: 1990s Size: 10x12in Edition: 10 Signed, dated and numbered by hand ...

Nick Vedros Gnome Journey Archival Pigment Print Hahnemühle FineArt Baryta 325 gsm Year: 2000s Size: 11x17in Edition: 12 Signed, dated and numbered by han...

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...

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 ...

Untitled, 1985 Chromogenic print Framed Dimensions: 22 1/2 x 22 1/2 inches (57.2 x 57.2 cm) Edition of 125

Horace Bristol Untitled , c. 1940s Black White Photograph Image Dimensions: 10 x 9 3/4 inches (25.4 x 24.8 cm) Paper Dimensions: 14 x 11 inches M...

Miles Aldridge Kristen, Painting by Chantal Joffe (from Kristen series), 2010 Lambda print on photographic wove paper Framed Dimensions: 23.62 x 19.69 x ...

Hassan Hajjaj Abdel Legs, 2014/1435 Metallic lambda print on 3mm dibond with acrylic painted tire frame Framed Dimensions: 36 3/4 x 27 inches (93.3 x 68.6 cm) Image Dimensions: 29.5...

Phyllis Galembo Deer and Bull, Mexico, 2012 Fujiflex 19 x 19 inches (48.3 x 48.3 cm) Edition 2/6

Marilyn Minter Nail Biter, 2010 Color photograph 20 x 24 inches (50.8 x 61 cm) Edition 12/20

Gavin Bond Untitled 6, 2009 Chromogenic print 60 x 40 inches (152.4 x 101.6 cm) 1 AP

Cornell Capa Marilyn Monroe on the set of 'The Misfits', 1960 Gelatin silver print Framed Dimensions: 16.5 x 20.25 inches (41.9 x 51.4 cm) Image Dimensions: 12.25 x 8.25 inches (31...

Gerard Malanga Mick Jagger, 1970 Gelatin silver print 19.8 x 15.8 inches (50.2 x 40 cm) Edition 7/10

Justin Solomon "Wrestling Under the Sunset," sounds very romantic, 2018 Archival pigment print 26 1/2 x 40 inches (67.3 x 101.6 cm) Edition 1/5

With his multimedia portraits, Moroccan artist Hassan Hajjaj thrives in a space between cultures, traditions, mediums, and artistic movements. The subjects of his photography range f...

Dario Calmese no. 126., 2014 Archival pigment print Framed Dimensions: 41 1/2 x 41 1/2 inches (105.4 x 105.4 cm) Image Dimensions: 36 x 36 inches (91.4 x 91.4 cm) Edition 1/3, 2

Ginny Ganong Nichols Bathing Beauty (enlarged) Black and white photograph Image Dimensions: 27 1/2 x 33 1/2 inches (69.9 x 85.1 cm) Edition 4/200

Dario Calmese no. 83., 2014 Archival pigment print Framed Dimensions: 41 1/2 x 41 1/2 inches (105.4 x 105.4 cm) Image Dimensions: 36 x 36 inches (61 x 61 cm) Edition 1/3, 2

Ann Ray Popcorn & Roses, 2006 Silver gelatin print Image Dimensions: 15.75 x 11.75 inches (40 x 29.8 cm) Framed Dimensions: 22 1/8 x 17 1/8 inches (56.2 x 43.5 cm) Edition 2/50

Ann Ray Blast Off Silver gelatin print 11.81 x 15.75 inches (30 x 40 cm) Edition 3/50

Robert Adler Untitled - Troc Burlesque Theater #3 Gelatin silver print Image Dimensions: 12 7/8 x 8 5/8 inches (32.7 x 21.9 cm) Paper Dimensions: 20 x 16 inches (50.8 x 40.6 cm)

Nick Decker Take 5 (Platinotype), 2000, printed 2006 platinum print Image Dimensions: 9 x 11 inches (22.9 x 27.9 cm) Mounted Dimensions: 11 x 14 inches (27.9 x 35.6 cm) signed, dat...

Neil Leifer Clay vs Jones Post Fight "Knockout", 1963 Black and white photograph 16 x 20 inches (40.6 x 50.8 cm) Edition 14/150

Barbara Crane Private Views, 1980-4 Polaroid type 59 Framed Dimensions: 14 1/4 x 12 1/4 inches (36.2 x 31.1 cm) Image Dimensions: 4 1/2 x 5 1/5 inches (11.4 x 13.2 cm) Edition 1/1

Renell Medrano Untitled, 2019 Archival pigment print 30 x 24 1/4 inches (76.2 x 61.6 cm) Edition 2/5

Tahir Carl Karmali Untitled (from the Jua Kali series), 2014 Archival pigment print Framed Dimensions: 35 x 23 2/5 inches (88.9 x 59.4 cm) Edition 1/7, 2 APs

Dario Calmese no. 29., 2012 Archival pigment print Framed Dimensions: 41 1/2 x 41 1/2 inches (105.4 x 105.4 cm) Image Dimensions: 36 x 36 inches (91.4 x 91.4 cm) Edition 1/3, 2 APs

Katherine Simone Reynolds Ask Her How She's Doing: Cynnamon in the Bushes, 2015 Film photography 30 x 40 inches (76.2 x 101.6 cm) Edition 1/6

Robert Adler Untitled - Troc Burlesque Theater #6 Gelatin silver print Image Dimensions: 8 7/8 x 12 7/8 inches (22.5 x 32.7 cm) Paper Dimensions: 15 7/8 x 20 inches (40.3 x 50.8 cm)

Robert Adler Untitled - Troc Burlesque Theater #2 Gelatin silver print Image Dimensions: 8.5 x 12.75 inches (21.6 x 32.4 cm) Paper Dimensions: 16 x 20 inches (40.6 x 50.8 cm)

Heather Bennett Jeanne On the Road, 2013 Digital print on premium luster 28 x 42 inches (71.1 x 106.7 cm) Edition of 3

With his multimedia portraits, Moroccan artist Hassan Hajjaj thrives in a space between cultures, traditions, mediums, and artistic movements. The subjects of his photography range f...

With his multimedia portraits, Moroccan artist Hassan Hajjaj thrives in a space between cultures, traditions, mediums, and artistic movements. The subjects of his photography range f...

Horace Bristol Woman Vendor, 1940s Black White Photograph Image Dimensions: 9 3/4 x 9 3/4 inches (24.8 x 24.8 cm) Mounted Dimensions: 20 x 16 inc...

Xaviera Simmons Overlay (Image One), 2017 Color dye sublimation on aluminum 60 x 45 inches (152.4 x 114.3 cm) Edition 1/3

Joshua Kissi Gerewol , 2019 Archival pigment print 24 x 14 3/4 inches (61 x 37.5 cm) Edition 1/5

Chen Man Nao Nao: 12 Chinese Colors: Vermilion, 2016 Acrylic print 59 x 39 inches (149.9 x 99.1 cm)

S. Vincent Dillard Wading Pool Girl - Greenwich Village, New York City, 1968 Gelatin Silver Print 11 x 14 inches (27.9 x 35.6 cm)