USA - Still-life Photography

'Traces' 2016, Edition 1/10 plus 2 Artist Proofs. 27 × 36 × 0.8 cm. Digital Print based on a Multiple exposure Polaroid, mounted under Plexi. Signed on verso with Certificate. Urize...

Title: Japanese Lanterns Medium: Custom Archival Pigment Print on Archival Paper Date: 2019 Dimensions: 8 x 10 in. Signed, dated and inscribed on lab...

Though this may look like a woodcut or screen print, it is a kind of photography. Cyanotypes are a 19th century alternative (cameraless) photographic process. This monotype was print...

The Blue Hour, 2016, Edition 1/10 plus 2 Artist Proof, 20x43cm, digital C-Print based on a diptych of 2 original Polaroids on Hahnemuhle photo rag paper, not mounted . Signature labe...

Framed flower still life photograph of a pale pink peony on a solid black background “Untitled 47” by Chad Kleitsch, this image is part of th...

THIS PIECE IS AVAILABLE FRAMED. Please reach out to the gallery for additional information. ABOUT THIS ARTIST: Dan Saelinger hails from a rural town of about 50 people in central Pennsylvania. At the age of 15 he received a Hasselblad camera and decided he would very much like to take pictures for magazines. Twenty-two years later Dan has applied his colorfully graphic style for wide range of national magazines and advertising campaigns. He currently resides on the West Coast working out of both New York City and his studio in Portland, Oregon. Dan holds an MFA in photography from The Savannah College of Art and Design. Dan Saelinger is part of our ongoing collaboration with Trunk Archive...

The past year afforded more time than normal for stillness and observation. I am thrilled to be alive and sentient. I love making things, whether it be building a guitar, cooking a m...

ABOUT THIS PIECE: Let's not pretend that we don't enjoy 80's music. ABOUT THIS ARTIST: Floyd P. Stanley is an LA based photographer creating product shot photographs of mixed tapes....

The past year afforded more time than normal for stillness and observation. I am thrilled to be alive and sentient. I love making things, whether it be building a guitar, cooking a m...

Covid Vanitas: The Pandemic Still Lifes On the first day of quarantine I began photographing the people-less quiet of a home and studio in isolation. The still lifes are a visual j...

In Bloom - 2020 15x20cm, Edition of 10 plus 2 Artist Proof. Archival Print based on an original Polaroid on Hahnemühle photo rag paper. Signature label and certificate. Not moun...

For me, an artistic process is an act of investigation – a passionate attempt to establish an understanding of the natural world – a version that incorporates both intellectual and e...

Untitled - 2018 50x50cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print based a Polaroid Collage. Hand-signed and numbered by the artist with...

Although I spent 10 years as a traditional printmaker using a press, my botanical cyanotypes are each one-of-a-kind slow cameraless photographs made outdoors using natural light. The...

The bodegones are a pictorial interpretation based on a research project of the famous chef Juan Carlos Franco, on old food recipes of different periods in history. The photographer ...

SUSANNAH HAYS approaches her photographic practice as a philosopher experiences poetic material renderings of our phenomenological world. Investigating tangible objects, each of her ...

Today's Heros - close-up (Suburbia) - 2004, 28x37cm, Edition of 10, digital C-Print based on an expired Polaroid. Artist Inventory #20959. Signature label with Certificate, unmount...

Sepia-tone still life photograph of a fern forest pigment print on watercolor paper, signed and editioned The photograph is unframed and made to order (print lead time is typically 2...

O'brian's staged photographs masterfully balance organic forms with the geometric structure of books, vases, and other objects. The simplicity of the setting highlights the vibrant subtleties of the flowers, creating an appealing tension. These compositions invite the viewer to explore themes of balance and contrast, through a delicate but imposing presentation. Michael James O’Brien draws inspiration from his diverse roles as a photographer, poet, and activist. His work often intersects with themes of identity, social justice, and cultural commentary. O'Brien produced a diverse body of photographic work, from still lifes and portraits to art documentation. He still uses film and works in medium and large formats. His themes are not classical, the artist prefers to portray extraordiary beuty, transgender people and still lifes. The artist's images have a sense of discovery and loss; absence and presence. From the Series Opalina Archival Pigment prints Printed on Hahnemuhle Photo Rag paper Dimension for each print is 22 in. H x 17 in. W (The overall size composition of the entire portfolio is: 66 in. H x 51 in. W) Limited Edition of 20 + 2AP All these photos are digital Still Life Photographs 1. Still life with Two Opalina Vases and Two Tulips, Antwerp, 2013 2. Still life with a Turquoise Opalina Vase and a Tulip Bulb, Antwerp, 2011 3. Still life with a White Tulip and a Green Opalina Vase, Antwerp, 2012 4. Still Life with Tulips and 5 Opalina Vases, Antwerp, 2012 5. Still life with Books...

The past year afforded more time than normal for stillness and observation. I am thrilled to be alive and sentient. I love making things, whether it be building a guitar, cooking a m...

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...

"Covid Vanitas: The Pandemic Still Lifes" On the first day of quarantine I began photographing the people-less quiet of a home and studio in isolation. The still lifes are a visual ...

Wallace Nutting Antique Hand Colored Photograph Photo dimensions 75" wide x 9.5" high The frame measures 14" wide x 18" high The pho...

ABOUT THIS PIECE: Let's not pretend that we don't enjoy 80's music. ABOUT THIS ARTIST: Floyd P. Stanley is an LA based photographer creating product shot photographs of mixed tapes....

ABOUT THIS PIECE: Let's not pretend that we don't enjoy 80's music. ABOUT THIS ARTIST: Floyd P. Stanley is an LA based photographer creating product shot photographs of mixed tapes....

Rope and Side Table, 2017 31 1/2" X 21" framed sepia toned silver gelatin print, edition of 10 Top 17 x 21 inches, Bottom 14.5 x 11.75 inches This sepia toned silver gelatin dip...

"Covid Vanitas: The Pandemic Still Lifes" On the first day of quarantine I began photographing the people-less quiet of a home and studio in isolation. The still lifes are a visual ...

In Bloom - 2021 Archival C-Print based on a mixed-media collage of an original Polaroid on Hahnemuhle photo rag paper, not mounted. Edition of 10 plus 2 Artist Proofs. Signature ...

9 x 12 inch images, matted at 16 x 20 inches, limited edition of 5, starting at $1,200 12 x 16 inch images matted at 20 x 24 inches, limited edition of 5, starting at $1,600 Each suc...

"Covid Vanitas: The Pandemic Still Lifes" On the first day of quarantine I began photographing the people-less quiet of a home and studio in isolation. The still lifes are a visual ...

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...

"The Beauty of the Uncommon Tools" is from Tony Chirinos' project entitled, "The Precipice", - also released as a book project by Gnomic Book in 2021 - which serves as a photographic...

Contemporary food still life photograph of bread with assorted vegetables on a wood table Archival pigment print, ed. 9 of 25 Image size: 11 x 14 inches 17 x 21 inches with dark wood frame with non-glare glass and 8-ply white mat Halliday captures the beauty of a traditional still life with a contemporary spin. Here three loaves of bread are balanced on one another, beside blueberries, stones, squash, tomatoes, and legumes against a black background. The entwined green legumes and the bread's rough surface provides intriguing texture, while the delicately positioned white stones and blueberries lend brilliant color and shape. The contemporary still life is placed against a solid black background. The print #9 a limited edition of 25, is currently framed in a dark wood frame with non-glare glass and an 8-ply white mat. The artist's signature is located on the back and front. About the Artist: David Halliday's photographs are about beauty, pure and simple. His primary subjects are carefully composed still lifes, portraits and landscapes which he shoots in black and white film with only natural light. He is a purist behind the lens, rarely manipulating his negatives in any way, and a master in the darkroom. His work has an ethereal quality that's translated not only through the subject, but also by the warm colors and sepia tones he uses in his printing. More about the work: A master of light, David Halliday produces lush and elegant images that are both classical and modern. Celebrated for his ‘purist’ eye, he poetically captures the nude male body in a selection of sepia-toned prints from 1996. Rarely revealing the model's face, Halliday prefers to focus on the natural drape of limbs, soft folds of flawless skin, and curvature of the spine. Overall, a stunningly intimate portrayal of the male form done with elegance and charm. Resume: Born 1958, Glen Cove, New York Lives in Schodack Landing, NY EDUCATION 1998 Penland School of Crafts, Penland, North Carolina 1988 The Maine Photographic Workshops, Rockport, Maine 1976-79 Syracuse University, New York 1974-76 Wooster School Community Art Center, Danbury, Connecticut SELECTED SOLO EXHIBITIONS 2013 Threadbare/New Photographs, Arthur Roger Galley, New Orleans, LA McMurtrey Gallery, Houston, TX 2012 The Past Still Present, Ogden Museum of Southern Art, New Orleans, LA 2010 Arthur Roger Gallery, New Orleans, LA Wessel+O’Connor Fine Art, Lambertville, NJ Julie Heller Gallery, Provincetown, MA Graficas Gallery, Nantucket, MA 2009 Culinary Delights, San Antonio Museum of Art, San Antonio, TX Two Decades: David Halliday, Carrie Haddad Photographs, Hudson, NY 2008 Arthur Roger Gallery, New Orleans, LA Still-Life, Stephen Cohen Gallery, Los Angeles, CA Carrie Haddad Gallery, Hudson, NY Watermark Gallery, Houston TX Strange Fruit: David Halliday and Greg Kuharic...

This vintage black-and-white photograph by Harold E. Malde (1923–2007) beautifully captures the timeless architecture of an adobe church set against a striking Southwestern landscape...

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...

"The Beauty of the Uncommon Tools" is from Tony Chirinos' project entitled, "The Precipice", - also released as a book project by Gnomic Book in 2021 - which serves as a photographic...

"Covid Vanitas: The Pandemic Still Lifes" On the first day of quarantine I began photographing the people-less quiet of a home and studio in isolation. The still lifes are a visual ...

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...

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...

"Covid Vanitas: The Pandemic Still Lifes" On the first day of quarantine I began photographing the people-less quiet of a home and studio in isolation. The still lifes are a visual ...

Covid Vanitas: The Pandemic Still Lifes On the first day of quarantine I began photographing the people-less quiet of a home and studio in isolation. The still lifes are a visual j...

"Covid Vanitas: The Pandemic Still Lifes" On the first day of quarantine I began photographing the people-less quiet of a home and studio in isolation. The still lifes are a visual ...

60 x 61.3 inches ed. of 7 $9,000 70 x 71.6 inches ed. of 5 $11,000

9 x 12 inch images, matted at 16 x 20 inches, limited edition of 5, starting at $1,200 12 x 16 inch images matted at 20 x 24 inches, limited edition of 5, starting at $1,600 Each suc...

Covid Vanitas: The Pandemic Still Lifes On the first day of quarantine I began photographing the people-less quiet of a home and studio in isolation. The still lifes are a visual j...

Fireplace Farm Sign Springs, East Hampton NY, Archival Pigment Print, $550, Ed. 1/5, 2014 Printed to Order Also available in 20"x30" Edition of 10 $725 *Photography: U Wash Truck...

The bodegones are a pictorial interpretation based on a research project of the famous chef Juan Carlos Franco, on old food recipes of different periods ...

Covid Vanitas: The Pandemic Still Lifes On the first day of quarantine I began photographing the people-less quiet of a home and studio in isolation. The still lifes are a visual j...

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...

"The Beauty of the Uncommon Tools" is from Tony Chirinos' project entitled, "The Precipice", - also released as a book project by Gnomic Book in 2021 - which serves as a photographic...

"Covid Vanitas: The Pandemic Still Lifes" On the first day of quarantine I began photographing the people-less quiet of a home and studio in isolation. The still lifes are a visual ...

"The Beauty of the Uncommon Tools" is from Tony Chirinos' project entitled, "The Precipice", - also released as a book project by Gnomic Book in 2021 - which serves as a photographic...

O'brian's staged photographs masterfully balance organic forms with the geometric structure of books, vases, and other objects. The simplicity of the setting highlights the vibrant s...

"Covid Vanitas: The Pandemic Still Lifes" On the first day of quarantine I began photographing the people-less quiet of a home and studio in isolation. The still lifes are a visual ...

O'brian's staged photographs masterfully balance organic forms with the geometric structure of books, vases, and other objects. The simplicity of the setting highlights the vibrant s...

"Covid Vanitas: The Pandemic Still Lifes" On the first day of quarantine I began photographing the people-less quiet of a home and studio in isolation. The still lifes are a visual ...

"Covid Vanitas: The Pandemic Still Lifes" On the first day of quarantine I began photographing the people-less quiet of a home and studio in isolation. The still lifes are a visual ...

"Covid Vanitas: The Pandemic Still Lifes" On the first day of quarantine I began photographing the people-less quiet of a home and studio in isolation. The still lifes are a visual ...

Maggie Taylor creates evocative single-scene narratives in her whimsical and elaborate photomontages. Working intuitively, Taylor combines 19th Century photographs, found objects, an...

This is a photograph of a stack of playing cards by Ralph Gibson. This image, produced as a chromogenic print, is offered by CLAMP in New York City.