321 results for ""magnifying glass""

14K White Gold & Diamonds Victorian Brooch set with 1 Diamonds European cut weighing .78 Ct , Purity SI 2 - I 1, Color H, and 8 small diamonds. Brooch is Stamped On the side , unclea...

Vintage paper management complete set is an original decorative object realized in the half of the 20th Century. Made in Italy. The set includes a paperweight, a magnifying gla...

Unique painting with city view probably Stobwasser. Oil on metal. Magnifying glass. A masterpiece. To the smallest detail, finely painted. Unfortunately, the images can not reflect ...

This French ring, from around 1780, is crafted in 18 carat gold. Under the glass we see the god Bacchus, the god of wine and merriment. It is a signed work by Jacques-Joseph de Gault...

Listing is for UNFRAMED print. Inquire within for framing. Edition of 22. If the exhibition piece is sold or the customer orders a different print size, the photograph is produced upon purchase. Please allow two weeks for production. Shipping time depends on method of shipping. Price is subject to availability. The Robin Rice Gallery reserves the right to adjust this price depending on the current edition of the photograph. ABOUT: Victoria Goldman’s twenty-year-long fascination with Tarot has created a series of photographs based on the imagery and the mythology behind the ancient Tarot cards. Each image in the collection is inspired by and named after one of the 22 major archetypes of the Tarot. While photographing and teaching yoga and meditation in India, Hawaii, and throughout Europe, Goldman always made sure to carry a Tarot deck in her backpack. She views Tarot as a tool for personal elevation, helping her direct her focus and better understand her psyche. The collection’s soft focus and figurative emphasis is reminiscent of the work of Francesca Woodman or Julia Margaret Cameron, whom Goldman cites as personal artistic inspirations. The concept behind the exhibition was long thought-out; while some pieces date as recently as two months prior to the exhibition opening, others date as far back as 1999 or 2000. Shot primarily with vintage Polaroid and film with a twin lens Rolleiflex camera, the dark, moody, mythological images recall a classical tone that mirrors the timelessness of the cards themselves. The invitational image, entitled “Wheel of Fortune”, depicts a young woman in a glittering gown, her backside facing the viewer and her body positioned to spin a large carnival wheel hidden in the darkness of the photograph. The high-contrast nature of the image abstracts the gown, morphing the glitter on the dress into drops of light that shine through the dark air. The slender young woman in “Fortune” can be found in several of the collection’s photographs, depicting not just Lady Luck, as in the invitational image, but also the Emperor, the Devil, and even the World. Says Goldman, “I chose to use one main model for this show to speak to the fact that all of the characters that Tarot contains are within each one of us.” This model appears again as the inspiration for “Judgement”, a color portrait portraying the woman surrounded by furs, with a brass crown on her head and a large magnifying glass held against her face. The magnifying glass distorts the model’s delicate features, expanding her nose and bright blue eyes, while sky and tree branches reflect brightly upon the glass itself. Victoria Goldman has been exhibiting her photography on both a national and international scale for over 25 years. Goldman was born in New York City, attended Sarah Lawrence College in Bronxville, and has lived in Santa Fe, NM for the last 15 years. Her work has been featured on numerous book and CD covers, and has been published in editorials such as Healthy Living Magazine, Yoga Journal, and The Magazine. Goldman likes to describe her photography as “visual poetry”, referencing Mary Oliver...

Listing is for UNFRAMED print. Inquire within for framing. Edition of 22. If the exhibition piece is sold or the customer orders a different print size, the photograph is prod...

Listing is for UNFRAMED print. Inquire within for framing. Edition of 22. If the exhibition piece is sold or the customer orders a different print size, the photograph is prod...

Fusion Bench by Secondome Edizioni Designer: Millim Studio. Dimensions: D 45 x W 45 x H 40 cm. Materials: Marquina marble and plexiglass Collection / Production: Secondome. This pie...

Brooch in 18 karat yellow gold, eagle head hallmark. This retro jewel comes from the region of Limoges in France. It is decorated with an oval enamel representing a young woman. On e...

Fusion Bench by Secondome Edizioni Limited Edition Of 9 pieces + 3 A.P. Designer: Millim Studio. Dimensions: D 45 x W 120 x H 40 cm. Materials: Marquina marble and plexiglass Collec...

Set of 2 Helice vase by Studio Cúze Dimensions: W 7 x H 21.5 cm Materials: ceramic This handmade vase has a finely structured surface and is finished with a white paint. With th...

Unique desk or tabletop hand magnifying glass featuring a large round looking glass mounted to a fabulous burl wood handle, circa 1950s. A strang...

"Bindu" by Jay McCafferty, 1981 Solar burns on paper, framed behind glass, 3' x 5' A singular work of quiet intensity, Bindu by Jay McCafferty reveals the meditative force behind his...

Inspired by Yoko Ono. John Lennon apparently met Yoko Ono in 1966, at a London gallery, where she was installing a show. Lennon adored Ono's ceiling piece: a ladder with a magnify...

Inspired by Yoko Ono. John Lennon apparently met Yoko Ono in 1966, at a London gallery, where she was installing a show. Lennon adored Ono's ceiling piece: a ladder with a magnify...

Text by Nancy Webb It’s Saturday night and Karine Payette is in her studio. We meander into a conversation about the dog she used to have and her soft spot for German shepherds, an intensely obedient and loyal breed in a deceivingly wolf-like package. Payette’s most recent series of photographs, sculptures and video work seem to speak directly to this preoccupation with the multifaceted nature of human-animal relationships—the dialogues of control, intimacy, violence and domestication that subtly take place on an interspecies level. Her workspace is part laboratory, part prop closet—a bowl of fur sits not far from her computer. Somehow in this bright, open, chemical-clean scented room, Payette conjures wildness. We are taken to a strange place, the borderlands of interspecies mingling. At one extreme of the animal-human dynamics scale is the stalwart compliance of a professionally trained German shepherd who responds to commands with robotic precision. Here, power is comfortably held by an off-screen voice, animality pacified by a set of linguistic prompts. At the other end of the scale is a sculpture of a human figure clad in red, sharing a languorous kiss with a wolf. The story of Little Red Riding Hood is immediately called to mind, except that here our hooded protagonist seems to have bailed on grandmother’s orders, instead opting for a forest floor make-out with her canine stalker. This taboo mise-en-scène is a brazen inquiry into the boundaries we maintain with our animal counterparts. Its scale and three-dimensionality contribute to a feeling of immersion that the artist has been courting with her work for the past several years. It feels as though you’ve just walked in on something: you are implicated and your discomfort is like an invisible mist that coats these inanimate beings. Elsewhere in Payette’s suite of anthropomorphic works, the demarcation between species grows even fainter. A photographic series depicts the slow encroachment of fur, scales and feathers on human skin—a striking process of contamination facilitated by touch. The fusion of flesh, charcoal cat fur and a pale silky dress...

Text by Nancy Webb It’s Saturday night and Karine Payette is in her studio. We meander into a conversation about the dog she used to have and her soft spot for German shepherds, an intensely obedient and loyal breed in a deceivingly wolf-like package. Payette’s most recent series of photographs, sculptures and video work seem to speak directly to this preoccupation with the multifaceted nature of human-animal relationships—the dialogues of control, intimacy, violence and domestication that subtly take place on an interspecies level. Her workspace is part laboratory, part prop closet—a bowl of fur sits not far from her computer. Somehow in this bright, open, chemical-clean scented room, Payette conjures wildness. We are taken to a strange place, the borderlands of interspecies mingling. At one extreme of the animal-human dynamics scale is the stalwart compliance of a professionally trained German shepherd who responds to commands with robotic precision. Here, power is comfortably held by an off-screen voice, animality pacified by a set of linguistic prompts. At the other end of the scale is a sculpture of a human figure clad in red, sharing a languorous kiss with a wolf. The story of Little Red Riding Hood is immediately called to mind, except that here our hooded protagonist seems to have bailed on grandmother’s orders, instead opting for a forest floor make-out with her canine stalker. This taboo mise-en-scène is a brazen inquiry into the boundaries we maintain with our animal counterparts. Its scale and three-dimensionality contribute to a feeling of immersion that the artist has been courting with her work for the past several years. It feels as though you’ve just walked in on something: you are implicated and your discomfort is like an invisible mist that coats these inanimate beings. Elsewhere in Payette’s suite of anthropomorphic works, the demarcation between species grows even fainter. A photographic series depicts the slow encroachment of fur, scales and feathers on human skin—a striking process of contamination facilitated by touch. The fusion of flesh, charcoal cat fur and a pale silky dress...

Text by Nancy Webb It’s Saturday night and Karine Payette is in her studio. We meander into a conversation about the dog she used to have and her soft spot for German shepherds, an intensely obedient and loyal breed in a deceivingly wolf-like package. Payette’s most recent series of photographs, sculptures and video work seem to speak directly to this preoccupation with the multifaceted nature of human-animal relationships—the dialogues of control, intimacy, violence and domestication that subtly take place on an interspecies level. Her workspace is part laboratory, part prop closet—a bowl of fur sits not far from her computer. Somehow in this bright, open, chemical-clean scented room, Payette conjures wildness. We are taken to a strange place, the borderlands of interspecies mingling. At one extreme of the animal-human dynamics scale is the stalwart compliance of a professionally trained German shepherd who responds to commands with robotic precision. Here, power is comfortably held by an off-screen voice, animality pacified by a set of linguistic prompts. At the other end of the scale is a sculpture of a human figure clad in red, sharing a languorous kiss with a wolf. The story of Little Red Riding Hood is immediately called to mind, except that here our hooded protagonist seems to have bailed on grandmother’s orders, instead opting for a forest floor make-out with her canine stalker. This taboo mise-en-scène is a brazen inquiry into the boundaries we maintain with our animal counterparts. Its scale and three-dimensionality contribute to a feeling of immersion that the artist has been courting with her work for the past several years. It feels as though you’ve just walked in on something: you are implicated and your discomfort is like an invisible mist that coats these inanimate beings. Elsewhere in Payette’s suite of anthropomorphic works, the demarcation between species grows even fainter. A photographic series depicts the slow encroachment of fur, scales and feathers on human skin—a striking process of contamination facilitated by touch. The fusion of flesh, charcoal cat fur and a pale silky dress...

The marble becomes an embracing “mother”. The matter withdraws to leave space for another matter. As a magnifying glass, huge transparent cylinders, cross and reveal the heart of mar...

Text by Nancy Webb It’s Saturday night and Karine Payette is in her studio. We meander into a conversation about the dog she used to have and her soft spot for German shepherds, an intensely obedient and loyal breed in a deceivingly wolf-like package. Payette’s most recent series of photographs, sculptures and video work seem to speak directly to this preoccupation with the multifaceted nature of human-animal relationships—the dialogues of control, intimacy, violence and domestication that subtly take place on an interspecies level. Her workspace is part laboratory, part prop closet—a bowl of fur sits not far from her computer. Somehow in this bright, open, chemical-clean scented room, Payette conjures wildness. We are taken to a strange place, the borderlands of interspecies mingling. At one extreme of the animal-human dynamics scale is the stalwart compliance of a professionally trained German shepherd who responds to commands with robotic precision. Here, power is comfortably held by an off-screen voice, animality pacified by a set of linguistic prompts. At the other end of the scale is a sculpture of a human figure clad in red, sharing a languorous kiss with a wolf. The story of Little Red Riding Hood is immediately called to mind, except that here our hooded protagonist seems to have bailed on grandmother’s orders, instead opting for a forest floor make-out with her canine stalker. This taboo mise-en-scène is a brazen inquiry into the boundaries we maintain with our animal counterparts. Its scale and three-dimensionality contribute to a feeling of immersion that the artist has been courting with her work for the past several years. It feels as though you’ve just walked in on something: you are implicated and your discomfort is like an invisible mist that coats these inanimate beings. Elsewhere in Payette’s suite of anthropomorphic works, the demarcation between species grows even fainter. A photographic series depicts the slow encroachment of fur, scales and feathers on human skin—a striking process of contamination facilitated by touch. The fusion of flesh, charcoal cat fur and a pale silky dress...

For your consideration, a STAR Floor Art sculpture in patinated mixed metal Industrial Modern Art Designer Pablo Romo for AMBIANIC Stainless Steel Brass Bronze and Magnifying Glass ...