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Willie Nelson
By Jay Dickman
Located in Mount Pleasant, SC
Willie Nelson
Willie Nelson performs at 48 Hours at Atoka. 1975
Signed by the photographer.
*Larger sizes available.
Category
20th Century Contemporary Black and White Photography
Materials
Archival Pigment
Willie Nelson
Located in Austin, TX
Willie Nelson, taken outside the Pedernales Studio's in 1983 by Austin Texas based photographer Scott Newton
Signed limited edition print, printed on hea...
Category
Late 20th Century Photorealist Portrait Photography
Materials
Archival Pigment
Willie Nelson, Drinking a Lone Star
By Jay Dickman
Located in Austin, TX
Signed limited edition print of Willie Nelson by Pulitzer Prize winning photographer, Jay Dickman, taken on the road in 1978
Signed limited edition prints, printed on Epson Heavywei...
Category
Late 20th Century Black and White Photography
Materials
Giclée
Willie Nelson playing chess
Located in Austin, TX
Willie Nelson, taken at Willie's WHQ, Luck TX 2001 by Austin based photographer Scott Newton
Signed limited edition print, printed on heavyweight cotton ...
Category
21st Century and Contemporary Photorealist Portrait Photography
Materials
Archival Pigment
Willie Nelson playing chess
Located in Austin, TX
Willie Nelson, taken at Willie's WHQ, Luck TX 2001 by Austin based photographer Scott Newton
Signed limited edition print, printed on heavyweight cotton photo rag with a matte finis...
Category
21st Century and Contemporary Photorealist Portrait Photography
Materials
Archival Pigment
Willie Nelson playing pool
Located in Austin, TX
Willie Nelson, taken playing pool at the Pedernales Studio's in 1983 by photographer Scott Newton
Signed limited edition print, printed on heavyweight co...
Category
21st Century and Contemporary Photorealist Portrait Photography
Materials
Archival Pigment
Willie Nelson running a marathon, Austin TX 1977
Located in Austin, TX
Willie Nelson, taken in 1977 during a running race in Austin Texas. Taken by photographer, Scott Newton
Scott Newton recalls, "Willie Running Race (For Stehlin Foundation Cancer Benefit-Run For Your Life) outside the Austin Opry House entrance on Academy Drive, Austin TX...
Category
21st Century and Contemporary Photorealist Portrait Photography
Materials
Archival Pigment
Willie Nelson, Spicewood, Texas
By Michael O
Brien
Located in Denton, TX
Signed, titled and dated in pencil on print verso.
Paper size: 20 x 16 in. Image size: 14 x 14 in.
Michael O’Brien is an American photographer noted for his compelling portraits of famous figures such as Willie Nelson, Larry McMurtry, George Strait, Tim Duncan, Kinky Friedman...
Category
20th Century Contemporary Portrait Photography
Materials
Inkjet
Willie Nelson by Ebet Roberts
By Ebet Roberts
Located in Austin, TX
Willie Nelson at The Palladium in NYC on December 11, 1980 by Ebet Roberts.
Signed limited edition, hand printed silver gelatin print.
Ebet Roberts began her career in 1977 when sh...
Category
Late 20th Century Photorealist Portrait Photography
Materials
Silver Gelatin
Willie Nelson at the 4th July Picnic 1979
Located in Austin, TX
Willie Nelson, taken at the 4th July Picnic in 1979 in Austin Texas by photographer Scott Newton
Signed limited edition print, printed on heavyweight cotton ...
Category
21st Century and Contemporary Photorealist Portrait Photography
Materials
Archival Pigment
Willie Nelson, Farm Aid
By Michael O
Brien
Located in Denton, TX
Paper size: 17 x 22 in., Image size: 18 x 12.8 in.
Signed, titled, and dated in pencil on print verso.
Michael O’Brien is an American photographer noted for his compelling portraits of famous figures such as Willie Nelson, Larry McMurtry, George Strait...
Category
20th Century Contemporary Portrait Photography
Materials
Archival Pigment
Willie Nelson, Spicewood, Texas - Country Musician, Singer, Celebrity Portrait
By Michael O
Brien
Located in Denton, TX
Willie Nelson, Spicewood, Texas by Michael O'Brien is a black and white portrait of the beloved country musician.
Archival Pigment Print
Paper size: 22 x 17 in.
Image size: 15 x 15 ...
Category
1980s Contemporary Black and White Photography
Materials
Archival Pigment
Willie Nelson, Spicewood, Texas - Black and White Portrait, Country Musician
By Michael O
Brien
Located in Denton, TX
Willie Nelson, Spicewood, Texas by Michael O'Brien is a black and white portrait of the adored country singer, songwriter and guitarist. This portrait features the side profile of Wi...
Category
20th Century Contemporary Portrait Photography
Materials
Archival Pigment
Tickets Please - Willie Nelson, Coliseum State Fairgrounds, Indianapolis 1976
Located in Austin, TX
Willie Nelson, Coliseum State Fairgrounds, Indianapolis, IN 1976
Signed limited edition photographic print by Blaise Hayward from his series “Tickets Please”
These editioned digita...
Category
2010s Color Photography
Materials
Archival Pigment
Kris Kristofferson and Willie Nelson, Farm Aid - Country Musicians, Concert
By Michael O
Brien
Located in Denton, TX
Paper size: 17 x 22 in., Image size: 18 x 12.8 in.
Signed, titled, and dated in pencil on print verso.
Michael O’Brien is an American photographer noted for his compelling portrait...
Category
20th Century Contemporary Portrait Photography
Materials
Archival Pigment
Willie Nelson, Drinking a Lone Star - first print of the edition #1/50
By Jay Dickman
Located in Austin, TX
Signed limited edition print of Willie Nelson by Pulitzer Prize winning photographer, Jay Dickman, taken on the road in 1978
Signed limited edition prints, printed on Epson Heavywei...
Category
Late 20th Century Black and White Photography
Materials
Giclée
Willie Nelson, Spicewood, Texas
By Michael O
Brien
Located in Denton, TX
Signed, titled, and dated in pencil on print verso.
Image size: 16 x 16 inches
Paper size: 20 x 20 inches
Category
20th Century Contemporary Portrait Photography
Materials
Archival Pigment
Willie Nelson portrait by Lynn Goldsmith signed limited edition 20x24" print
By Lynn Goldsmith
Located in Austin, TX
Signed limited edition 20x24"" print of Willie Nelson taken in 1978 by Lynn Goldsmith.
Limited edition number 5/20
Modern C-type print. Available for immediate shipping.
Lynn Gold...
Category
Late 20th Century Photorealist Portrait Photography
Materials
C Print
Waylon Jennings
By Jay Dickman
Located in Mount Pleasant, SC
Willie Nelson
Willie Nelson having a beer at rest stop on his 1976 tour.
Signed by the photographer.
*Larger sizes available.
Category
20th Century Contemporary Black and White Photography
Materials
Archival Pigment
Denis O
Regan - Willie Nelson , Photography 2007, Printed After
Located in Stamford, CT
American singer, songwriter, and guitarist Willie Nelson performing on stage at Coachella Festival in California, 2007
Printed to order on Hahnemühle Photo Rag 308gsm Fine Art Pape...
Category
2010s Contemporary Black and White Photography
Materials
Archival Pigment
Piano Solo
Located in San Francisco, CA
This artwork titled "Piano Solo" 2000 is original mixed media (oil paint on print) on canvas by American artist and musician Mark Keller, b.1955. It is ha...
Category
21st Century and Contemporary Realist Mixed Media
Materials
Mixed Media
Lady Bird Johnson, LBJ Ranch, Stonewall
By Michael O
Brien
Located in Denton, TX
Signed, titled, and dated.
Michael O’Brien is an American photographer noted for his compelling portraits of famous figures such as Willie Nelson, Larry McMurtry, George Strait, Tim Duncan, Kinky Friedman...
Category
20th Century Contemporary Color Photography
Materials
Digital
Urban Cowgirls, Austin, Texas
By Michael O
Brien
Located in Denton, TX
Signed, titled, and dated by Michael O'Brien
Paper size: 20 x 16 in., Image size: 14 x 14 in.
Michael O’Brien is an American photographer noted for his compelling portraits of famous figures such as Willie Nelson, Larry McMurtry, George Strait, Tim Duncan, Kinky Friedman...
Category
20th Century Contemporary Color Photography
Materials
Inkjet
Roosevelt Thomas Williams, Austin, Texas
By Michael O
Brien
Located in Denton, TX
Signed, titled and dated.
Michael O’Brien is an American photographer noted for his compelling portraits of famous figures such as Willie Nelson, Larry McMurtry, George Strait, Tim ...
Category
1980s Contemporary Portrait Photography
Materials
Inkjet
ZZ Top, Humble, Texas - Color Portrait, Musicians, Barber Shop, Photography
By Michael O
Brien
Located in Denton, TX
ZZ Top, Humble, Texas by Michael O'Brien is a color portrait of the members of the American rock band, ZZ Top. Formed in Houston, Texas, the band consisted of vocalist-guitarist Bill...
Category
1990s Contemporary Color Photography
Materials
Archival Pigment
Steven Spielberg - Black and White Portrait, Filmmaker, Celebrity, Jaws
By Michael O
Brien
Located in Denton, TX
Steven Spielberg by Michael O'Brien is a black and white portrait of the iconic film director, taken during the filming of his famous thriller, Jaws.
Archival Pigment Print
17 x 22 ...
Category
1970s Contemporary Black and White Photography
Materials
Archival Pigment
Kinky Friedman, Kerrville, Texas
By Michael O
Brien
Located in Denton, TX
Signed, titled, and dated.
Michael O’Brien is an American photographer noted for his compelling portraits of famous figures such as Willie Nelson, Larry McMurtry, George Strait, Tim Duncan, Kinky Friedman...
Category
1990s Contemporary Portrait Photography
Materials
Inkjet
"Solex Carburetor 1928", 2007
By Ian Gittler
Located in Hudson, NY
Ian Gittler’s Motor Art series-photographs of century-old engine parts, gears, sparkplugs, and brand tags-offers respite from the digital fetishism, overexposure and one-hundred-forty-character bursts of communication that seem to define our era. Gittler is no luddite, he loves his iPhone. But these images, often obscuring the objects beyond identification, take unsentimental pleasure in elements of weight, ground, volume and permanence that are more closely associated with a bygone heyday of industrialization.
These photographs are about a tangible physical experience, about moving parts. Gittler’s expert printing-his ability to see the potential in a frame and employ the techniques necessary to articulate that vision on paper-brings the work to life. There’s wit in the brand iconography and a documentary component, but Gittler resists prescribing interpretations, saying subtext isn’t the point. His use of extremely shallow depth of field, intense contrast and exploded grain is muscular and poetic. But subtext is relevant.
Although Robin Rice first approached Ian Gittler about his vector-based art on photo paper, the gallerist challenged him to create a series of photographs with that kind of machismo. As a native New Yorker who was marched through the halls of MOMA as a toddler, Gittler’s inspiration-his idea of macho-has less to do with cowboys and racecar drivers than with Franz Kline brushstrokes and modernist design. For Gittler, macho means the maximum amount of black ink that can lie across a sheet of photo paper. That kind of force. He narrowed his field of view for this series-often to a centimeter or two-in order to achieve a purely visual, visceral response.
Gittler titled the work Motor Art in tribute to the 1934 Museum of Modern Art exhibit, Machine Art. Upon its sixtieth anniversary, Phillip Johnson wrote of the show (and of his own essay for its original opening), “The thrust was clear: anti-handicraft, industrial methods alone satisfied our age; Platonic dreams of perfection were the ideal.”
Ian Gittler photographs, draws, writes, and makes music. He has created album covers for Willie Nelson, Roy Hargrove...
Category
21st Century and Contemporary Contemporary Black and White Photography
Materials
Archival Paper, Pigment
"Marston Excelsior", 2007
By Ian Gittler
Located in Hudson, NY
Ian Gittler’s Motor Art series-photographs of century-old engine parts, gears, sparkplugs, and brand tags-offers respite from the digital fetishism, overexpo...
Category
21st Century and Contemporary Contemporary Black and White Photography
Materials
Archival Paper, Pigment
"Lead Screw", 2010
By Ian Gittler
Located in Hudson, NY
Ian Gittler’s Motor Art series-photographs of century-old engine parts, gears, sparkplugs, and brand tags-offers respite from the digital fetishism, overexposure and one-hundred-forty-character bursts of communication that seem to define our era. Gittler is no luddite, he loves his iPhone. But these images, often obscuring the objects beyond identification, take unsentimental pleasure in elements of weight, ground, volume and permanence that are more closely associated with a bygone heyday of industrialization.
These photographs are about a tangible physical experience, about moving parts. Gittler’s expert printing-his ability to see the potential in a frame and employ the techniques necessary to articulate that vision on paper-brings the work to life. There’s wit in the brand iconography and a documentary component, but Gittler resists prescribing interpretations, saying subtext isn’t the point. His use of extremely shallow depth of field, intense contrast and exploded grain is muscular and poetic. But subtext is relevant.
Although Robin Rice first approached Ian Gittler about his vector-based art on photo paper, the gallerist challenged him to create a series of photographs with that kind of machismo. As a native New Yorker who was marched through the halls of MOMA as a toddler, Gittler’s inspiration-his idea of macho-has less to do with cowboys and racecar drivers than with Franz Kline brushstrokes and modernist design. For Gittler, macho means the maximum amount of black ink that can lie across a sheet of photo paper. That kind of force. He narrowed his field of view for this series-often to a centimeter or two-in order to achieve a purely visual, visceral response.
Gittler titled the work Motor Art in tribute to the 1934 Museum of Modern Art exhibit, Machine Art. Upon its sixtieth anniversary, Phillip Johnson wrote of the show (and of his own essay for its original opening), “The thrust was clear: anti-handicraft, industrial methods alone satisfied our age; Platonic dreams of perfection were the ideal.”
Ian Gittler photographs, draws, writes, and makes music. He has created album covers for Willie Nelson, Roy Hargrove...
Category
21st Century and Contemporary Contemporary Black and White Photography
Materials
Archival Paper, Pigment
"Trip Hammer", 2010
By Ian Gittler
Located in Hudson, NY
Ian Gittler’s Motor Art series-photographs of century-old engine parts, gears, sparkplugs, and brand tags-offers respite from the digital fetishism, overexposure and one-hundred-forty-character bursts of communication that seem to define our era. Gittler is no luddite, he loves his iPhone. But these images, often obscuring the objects beyond identification, take unsentimental pleasure in elements of weight, ground, volume and permanence that are more closely associated with a bygone heyday of industrialization.
These photographs are about a tangible physical experience, about moving parts. Gittler’s expert printing-his ability to see the potential in a frame and employ the techniques necessary to articulate that vision on paper-brings the work to life. There’s wit in the brand iconography and a documentary component, but Gittler resists prescribing interpretations, saying subtext isn’t the point. His use of extremely shallow depth of field, intense contrast and exploded grain is muscular and poetic. But subtext is relevant.
Although Robin Rice first approached Ian Gittler about his vector-based art on photo paper, the gallerist challenged him to create a series of photographs with that kind of machismo. As a native New Yorker who was marched through the halls of MOMA as a toddler, Gittler’s inspiration-his idea of macho-has less to do with cowboys and racecar drivers than with Franz Kline brushstrokes and modernist design. For Gittler, macho means the maximum amount of black ink that can lie across a sheet of photo paper. That kind of force. He narrowed his field of view for this series-often to a centimeter or two-in order to achieve a purely visual, visceral response.
Gittler titled the work Motor Art in tribute to the 1934 Museum of Modern Art exhibit, Machine Art. Upon its sixtieth anniversary, Phillip Johnson wrote of the show (and of his own essay for its original opening), “The thrust was clear: anti-handicraft, industrial methods alone satisfied our age; Platonic dreams of perfection were the ideal.”
Ian Gittler photographs, draws, writes, and makes music. He has created album covers for Willie Nelson, Roy Hargrove...
Category
21st Century and Contemporary Contemporary Black and White Photography
Materials
Archival Paper, Pigment
"Cutting Dies", 2010
By Ian Gittler
Located in Hudson, NY
Ian Gittler’s Motor Art series-photographs of century-old engine parts, gears, sparkplugs, and brand tags-offers respite from the digital fetishism, overexposure and one-hundred-forty-character bursts of communication that seem to define our era. Gittler is no luddite, he loves his iPhone. But these images, often obscuring the objects beyond identification, take unsentimental pleasure in elements of weight, ground, volume and permanence that are more closely associated with a bygone heyday of industrialization.
These photographs are about a tangible physical experience, about moving parts. Gittler’s expert printing-his ability to see the potential in a frame and employ the techniques necessary to articulate that vision on paper-brings the work to life. There’s wit in the brand iconography and a documentary component, but Gittler resists prescribing interpretations, saying subtext isn’t the point. His use of extremely shallow depth of field, intense contrast and exploded grain is muscular and poetic. But subtext is relevant.
Although Robin Rice first approached Ian Gittler about his vector-based art on photo paper, the gallerist challenged him to create a series of photographs with that kind of machismo. As a native New Yorker who was marched through the halls of MOMA as a toddler, Gittler’s inspiration-his idea of macho-has less to do with cowboys and racecar drivers than with Franz Kline brushstrokes and modernist design. For Gittler, macho means the maximum amount of black ink that can lie across a sheet of photo paper. That kind of force. He narrowed his field of view for this series-often to a centimeter or two-in order to achieve a purely visual, visceral response.
Gittler titled the work Motor Art in tribute to the 1934 Museum of Modern Art exhibit, Machine Art. Upon its sixtieth anniversary, Phillip Johnson wrote of the show (and of his own essay for its original opening), “The thrust was clear: anti-handicraft, industrial methods alone satisfied our age; Platonic dreams of perfection were the ideal.”
Ian Gittler photographs, draws, writes, and makes music. He has created album covers for Willie Nelson, Roy Hargrove...
Category
21st Century and Contemporary Contemporary Black and White Photography
Materials
Archival Paper, Pigment
"Oil Distribution Manifold", 2007
By Ian Gittler
Located in Hudson, NY
Ian Gittler’s Motor Art series-photographs of century-old engine parts, gears, sparkplugs, and brand tags-offers respite from the digital fetishism, overexp...
Category
21st Century and Contemporary Contemporary Black and White Photography
Materials
Archival Paper, Pigment
"Gas
Gasoline", 2007
By Ian Gittler
Located in Hudson, NY
Ian Gittler’s Motor Art series-photographs of century-old engine parts, gears, sparkplugs, and brand tags-offers respite from the digital fetishism, overexpo...
Category
21st Century and Contemporary Contemporary Still-life Photography
Materials
Archival Paper, Pigment
"Mianus Motor Works", 2007
By Ian Gittler
Located in Hudson, NY
Ian Gittler’s Motor Art series-photographs of century-old engine parts, gears, sparkplugs, and brand tags-offers respite from the digital fetishism, overexp...
Category
21st Century and Contemporary Contemporary Still-life Photography
Materials
Archival Paper, Pigment
"Ideal", 2007
By Ian Gittler
Located in Hudson, NY
“IDEAL" features a 1.5 horsepower lawnmower engine manufactured in 1924 that still works. And the brand name-Ideal-speaks to an attitude about fabrication and manufacture linking pri...
Category
21st Century and Contemporary Contemporary Black and White Photography
Materials
Archival Paper, Pigment
"Speed Lever", 2010
By Ian Gittler
Located in Hudson, NY
Ian Gittler’s Motor Art series-photographs of century-old engine parts, gears, sparkplugs, and brand tags-offers respite from the digital fetishism, overexposure and one-hundred-forty-character bursts of communication that seem to define our era. Gittler is no luddite, he loves his iPhone. But these images, often obscuring the objects beyond identification, take unsentimental pleasure in elements of weight, ground, volume and permanence that are more closely associated with a bygone heyday of industrialization.
These photographs are about a tangible physical experience, about moving parts. Gittler’s expert printing-his ability to see the potential in a frame and employ the techniques necessary to articulate that vision on paper-brings the work to life. There’s wit in the brand iconography and a documentary component, but Gittler resists prescribing interpretations, saying subtext isn’t the point. His use of extremely shallow depth of field, intense contrast and exploded grain is muscular and poetic. But subtext is relevant.
Although Robin Rice first approached Ian Gittler about his vector-based art on photo paper, the gallerist challenged him to create a series of photographs with that kind of machismo. As a native New Yorker who was marched through the halls of MOMA as a toddler, Gittler’s inspiration-his idea of macho-has less to do with cowboys and racecar drivers than with Franz Kline brushstrokes and modernist design. For Gittler, macho means the maximum amount of black ink that can lie across a sheet of photo paper. That kind of force. He narrowed his field of view for this series-often to a centimeter or two-in order to achieve a purely visual, visceral response.
Gittler titled the work Motor Art in tribute to the 1934 Museum of Modern Art exhibit, Machine Art. Upon its sixtieth anniversary, Phillip Johnson wrote of the show (and of his own essay for its original opening), “The thrust was clear: anti-handicraft, industrial methods alone satisfied our age; Platonic dreams of perfection were the ideal.”
Ian Gittler photographs, draws, writes, and makes music. He has created album covers for Willie Nelson, Roy Hargrove...
Category
21st Century and Contemporary Contemporary Black and White Photography
Materials
Archival Paper, Pigment
"Cummins Steam Pump", 2007
By Ian Gittler
Located in Hudson, NY
Ian Gittler’s Motor Art series-photographs of century-old engine parts, gears, sparkplugs, and brand tags-offers respite from the digital fetishism, overexposure and one-hundred-forty-character bursts of communication that seem to define our era. Gittler is no luddite, he loves his iPhone. But these images, often obscuring the objects beyond identification, take unsentimental pleasure in elements of weight, ground, volume and permanence that are more closely associated with a bygone heyday of industrialization.
These photographs are about a tangible physical experience, about moving parts. Gittler’s expert printing-his ability to see the potential in a frame and employ the techniques necessary to articulate that vision on paper-brings the work to life.
There’s wit in the brand iconography and a documentary component, but Gittler resists prescribing interpretations, saying subtext isn’t the point. His use of extremely shallow depth of field, intense contrast and exploded grain is muscular and poetic. But subtext is relevant.
Although Robin Rice first approached Ian Gittler about his vector-based art on photo paper, the gallerist challenged him to create a series of photographs with that kind of machismo. As a native New Yorker who was marched through the halls of MOMA as a toddler, Gittler’s inspiration-his idea of macho-has less to do with cowboys and racecar drivers than with Franz Kline brushstrokes and modernist design. For Gittler, macho means the maximum amount of black ink that can lie across a sheet of photo paper. That kind of force. He narrowed his field of view for this series-often to a centimeter or two-in order to achieve a purely visual, visceral response.
Gittler titled the work Motor Art in tribute to the 1934 Museum of Modern Art exhibit, Machine Art. Upon its sixtieth anniversary, Phillip Johnson wrote of the show (and of his own essay for its original opening), “The thrust was clear: anti-handicraft, industrial methods alone satisfied our age; Platonic dreams of perfection were the ideal.”
Ian Gittler photographs, draws, writes, and makes music. He has created album covers for Willie Nelson, Roy Hargrove...
Category
21st Century and Contemporary Contemporary Still-life Photography
Materials
Archival Paper, Pigment
"Champion Spark Plug", 2007
By Ian Gittler
Located in Hudson, NY
Ian Gittler’s Motor Art series-photographs of century-old engine parts, gears, sparkplugs, and brand tags-offers respite from the digital fetishism, overexp...
Category
21st Century and Contemporary Contemporary Black and White Photography
Materials
Archival Paper, Pigment
"Drive Chain", 2007
By Ian Gittler
Located in Hudson, NY
Ian Gittler’s Motor Art series-photographs of century-old engine parts, gears, sparkplugs, and brand tags-offers respite from the digital fetishism, overexposure and one-hundred-forty-character bursts of communication that seem to define our era. Gittler is no luddite, he loves his iPhone. But these images, often obscuring the objects beyond identification, take unsentimental pleasure in elements of weight, ground, volume and permanence that are more closely associated with a bygone heyday of industrialization.
These photographs are about a tangible physical experience, about moving parts. Gittler’s expert printing-his ability to see the potential in a frame and employ the techniques necessary to articulate that vision on paper-brings the work to life. There’s wit in the brand iconography and a documentary component, but Gittler resists prescribing interpretations, saying subtext isn’t the point. His use of extremely shallow depth of field, intense contrast and exploded grain is muscular and poetic. But subtext is relevant.
Although Robin Rice first approached Ian Gittler about his vector-based art on photo paper, the gallerist challenged him to create a series of photographs with that kind of machismo. As a native New Yorker who was marched through the halls of MOMA as a toddler, Gittler’s inspiration-his idea of macho-has less to do with cowboys and racecar drivers than with Franz Kline brushstrokes and modernist design. For Gittler, macho means the maximum amount of black ink that can lie across a sheet of photo paper. That kind of force. He narrowed his field of view for this series-often to a centimeter or two-in order to achieve a purely visual, visceral response.
Gittler titled the work Motor Art in tribute to the 1934 Museum of Modern Art exhibit, Machine Art. Upon its sixtieth anniversary, Phillip Johnson wrote of the show (and of his own essay for its original opening), “The thrust was clear: anti-handicraft, industrial methods alone satisfied our age; Platonic dreams of perfection were the ideal.”
Ian Gittler photographs, draws, writes, and makes music. He has created album covers for Willie Nelson, Roy Hargrove...
Category
21st Century and Contemporary Contemporary Black and White Photography
Materials
Archival Paper, Pigment
"Rope Starter", 2007
By Ian Gittler
Located in Hudson, NY
Ian Gittler’s Motor Art series-photographs of century-old engine parts, gears, sparkplugs, and brand tags-offers respite from the digital fetishism, overexp...
Category
21st Century and Contemporary Contemporary Abstract Photography
Materials
Archival Paper, Pigment
"Knotted Wire Brush", 2010
By Ian Gittler
Located in Hudson, NY
Ian Gittler’s Motor Art series-photographs of century-old engine parts, gears, sparkplugs, and brand tags-offers respite from the digital fetishism, overexposure and one-hundred-forty-character bursts of communication that seem to define our era. Gittler is no luddite, he loves his iPhone. But these images, often obscuring the objects beyond identification, take unsentimental pleasure in elements of weight, ground, volume and permanence that are more closely associated with a bygone heyday of industrialization.
These photographs are about a tangible physical experience, about moving parts. Gittler’s expert printing-his ability to see the potential in a frame and employ the techniques necessary to articulate that vision on paper-brings the work to life. There’s wit in the brand iconography and a documentary component, but Gittler resists prescribing interpretations, saying subtext isn’t the point. His use of extremely shallow depth of field, intense contrast and exploded grain is muscular and poetic. But subtext is relevant.
Although Robin Rice first approached Ian Gittler about his vector-based art on photo paper, the gallerist challenged him to create a series of photographs with that kind of machismo. As a native New Yorker who was marched through the halls of MOMA as a toddler, Gittler’s inspiration-his idea of macho-has less to do with cowboys and racecar drivers than with Franz Kline brushstrokes and modernist design. For Gittler, macho means the maximum amount of black ink that can lie across a sheet of photo paper. That kind of force. He narrowed his field of view for this series-often to a centimeter or two-in order to achieve a purely visual, visceral response.
Gittler titled the work Motor Art in tribute to the 1934 Museum of Modern Art exhibit, Machine Art. Upon its sixtieth anniversary, Phillip Johnson wrote of the show (and of his own essay for its original opening), “The thrust was clear: anti-handicraft, industrial methods alone satisfied our age; Platonic dreams of perfection were the ideal.”
Ian Gittler photographs, draws, writes, and makes music. He has created album covers for Willie Nelson, Roy Hargrove...
Category
21st Century and Contemporary Contemporary Black and White Photography
Materials
Archival Paper, Pigment
"Pressure Gauge", 2007
By Ian Gittler
Located in Hudson, NY
Ian Gittler’s Motor Art series-photographs of century-old engine parts, gears, sparkplugs, and brand tags-offers respite from the digital fetishism, overexposure and one-hundred-forty-character bursts of communication that seem to define our era. Gittler is no luddite, he loves his iPhone. But these images, often obscuring the objects beyond identification, take unsentimental pleasure in elements of weight, ground, volume and permanence that are more closely associated with a bygone heyday of industrialization.
These photographs are about a tangible physical experience, about moving parts. Gittler’s expert printing-his ability to see the potential in a frame and employ the techniques necessary to articulate that vision on paper-brings the work to life.
There’s wit in the brand iconography and a documentary component, but Gittler resists prescribing interpretations, saying subtext isn’t the point. His use of extremely shallow depth of field, intense contrast and exploded grain is muscular and poetic. But subtext is relevant.
Although Robin Rice first approached Ian Gittler about his vector-based art on photo paper, the gallerist challenged him to create a series of photographs with that kind of machismo. As a native New Yorker who was marched through the halls of MOMA as a toddler, Gittler’s inspiration-his idea of macho-has less to do with cowboys and racecar drivers than with Franz Kline brushstrokes and modernist design. For Gittler, macho means the maximum amount of black ink that can lie across a sheet of photo paper. That kind of force. He narrowed his field of view for this series-often to a centimeter or two-in order to achieve a purely visual, visceral response.
Gittler titled the work Motor Art in tribute to the 1934 Museum of Modern Art exhibit, Machine Art. Upon its sixtieth anniversary, Phillip Johnson wrote of the show (and of his own essay for its original opening), “The thrust was clear: anti-handicraft, industrial methods alone satisfied our age; Platonic dreams of perfection were the ideal.”
Ian Gittler photographs, draws, writes, and makes music. He has created album covers for Willie Nelson, Roy Hargrove...
Category
21st Century and Contemporary Contemporary Black and White Photography
Materials
Archival Paper, Pigment
The Million Dollar Cowboy Bar (Colour)
By David Yarrow
Located in Chicago, IL
The Million Dollar Cowboy Bar (Colour)
Jacksonhole, Wyoming - 2025
Archival Pigment Print on 315gsm Hahnemuhle Photo Rag Baryta Paper.
Available Sizes:
Standard
37" x 42" Unframed
52" x 57" Framed
Edition of 12
Large
56" x 64" Unframed
71" x 79" Framed
Edition of 12
"Established in 1937, the Million Dollar Cowboy bar in Jackson, Wyoming is one of America’s landmark honky tonks. Its authentic western vibe draws hundreds of visitors a day and yet despite this fame, the joint retains a folksy charm. That is quite a trick. It is the epicentre of the Jackson Hole community and probably always will be.
Clint Eastwood has acted in the bar (Any Which Way You Can), Willie Nelson and Hank Williams Jr have sung there and I thought it was high time we filmed there. I was drawn to the ageless facade of the bar, with its retro neon lighting and famous rotating cowboy on horseback sign on the roof. My creative pondering never departed much from the premise that this backdrop offered a definitive sense of place and had to be paid homage to.
Neon lights don’t do themselves justice during the day, but as the bar is busy until closing, 365 days a year, shooting at night offered challenges. The solution was to film at 5.30 am and, on the morning of the shoot, this offered some bonuses as there was fresh snow and a temperature of 0°F. This extreme cold allowed the exhaust fumes from the Ford Bronco to add more drama to the set.
I think a few cowboys were left a little disappointed with the manner of the cowgirl’s departure in this tableau. To leave the bar alone is one thing, but to leave with a wolf must have been distressing for all her courters.
We would like to acknowledge John Baxter...
Category
21st Century and Contemporary Contemporary Black and White Photography
Materials
Archival Pigment
Price Upon Request
The Million Dollar Cowboy Bar (B&W)
By David Yarrow
Located in Chicago, IL
The Million Dollar Cowboy Bar (B&W)
Jacksonhole, Wyoming - 2025
Archival Pigment Print on 315gsm Hahnemuhle Photo Rag Baryta Paper.
Available Sizes:
Standard
37" x 42" Unframed
52" x 57" Framed
Edition of 12
Large
56" x 64" Unframed
71" x 79" Framed
Edition of 12
"Established in 1937, the Million Dollar Cowboy bar in Jackson, Wyoming is one of America’s landmark honky tonks. Its authentic western vibe draws hundreds of visitors a day and yet despite this fame, the joint retains a folksy charm. That is quite a trick. It is the epicentre of the Jackson Hole community and probably always will be.
Clint Eastwood has acted in the bar (Any Which Way You Can), Willie Nelson and Hank Williams Jr have sung there and I thought it was high time we filmed there. I was drawn to the ageless facade of the bar, with its retro neon lighting and famous rotating cowboy on horseback sign on the roof. My creative pondering never departed much from the premise that this backdrop offered a definitive sense of place and had to be paid homage to.
Neon lights don’t do themselves justice during the day, but as the bar is busy until closing, 365 days a year, shooting at night offered challenges. The solution was to film at 5.30 am and, on the morning of the shoot, this offered some bonuses as there was fresh snow and a temperature of 0°F. This extreme cold allowed the exhaust fumes from the Ford Bronco to add more drama to the set.
I think a few cowboys were left a little disappointed with the manner of the cowgirl’s departure in this tableau. To leave the bar alone is one thing, but to leave with a wolf must have been distressing for all her courters.
We would like to acknowledge John Baxter...
Category
21st Century and Contemporary Contemporary Black and White Photography
Materials
Archival Pigment
Price Upon Request
The Million Dollar Cowboy Bar (Colour)
By David Yarrow
Located in Chicago, IL
"The Million Dollar Cowboy Bar (Colour)"
Jacksonhole, Wyoming - 2025
Archival Pigment Print on 315gsm Hahnemuhle Photo Rag Baryta Paper.
Available Sizes:
Standard
37" x 42" Unframed
52" x 57" Framed
Edition of 12
Large
56" x 64" Unframed
71" x 79" Framed
Edition of 12
"Established in 1937, the Million Dollar Cowboy bar in Jackson, Wyoming is one of America’s landmark honky tonks. Its authentic western vibe draws hundreds of visitors a day and yet despite this fame, the joint retains a folksy charm. That is quite a trick. It is the epicentre of the Jackson Hole community and probably always will be.
Clint Eastwood has acted in the bar (Any Which Way You Can), Willie Nelson and Hank Williams Jr have sung there and I thought it was high time we filmed there. I was drawn to the ageless facade of the bar, with its retro neon lighting and famous rotating cowboy on horseback sign on the roof. My creative pondering never departed much from the premise that this backdrop offered a definitive sense of place and had to be paid homage to.
Neon lights don’t do themselves justice during the day, but as the bar is busy until closing, 365 days a year, shooting at night offered challenges. The solution was to film at 5.30 am and, on the morning of the shoot, this offered some bonuses as there was fresh snow and a temperature of 0°F. This extreme cold allowed the exhaust fumes from the Ford Bronco to add more drama to the set.
I think a few cowboys were left a little disappointed with the manner of the cowgirl’s departure in this tableau. To leave the bar alone is one thing, but to leave with a wolf must have been distressing for all her courters.
We would like to acknowledge John Baxter...
Category
21st Century and Contemporary Contemporary Color Photography
Materials
Archival Pigment
Price Upon Request
The Million Dollar Cowboy Bar (B&W)
By David Yarrow
Located in Chicago, IL
The Million Dollar Cowboy Bar (B&W)
Jacksonhole, Wyoming - 2025
Archival Pigment Print on 315gsm Hahnemuhle Photo Rag Baryta Paper.
Available Sizes:
Standard
37" x 42" Unframed
52" x 57" Framed
Edition of 12
Large
56" x 64" Unframed
71" x 79" Framed
Edition of 12
"Established in 1937, the Million Dollar Cowboy bar in Jackson, Wyoming is one of America’s landmark honky tonks. Its authentic western vibe draws hundreds of visitors a day and yet despite this fame, the joint retains a folksy charm. That is quite a trick. It is the epicentre of the Jackson Hole community and probably always will be.
Clint Eastwood has acted in the bar (Any Which Way You Can), Willie Nelson and Hank Williams Jr have sung there and I thought it was high time we filmed there. I was drawn to the ageless facade of the bar, with its retro neon lighting and famous rotating cowboy on horseback sign on the roof. My creative pondering never departed much from the premise that this backdrop offered a definitive sense of place and had to be paid homage to.
Neon lights don’t do themselves justice during the day, but as the bar is busy until closing, 365 days a year, shooting at night offered challenges. The solution was to film at 5.30 am and, on the morning of the shoot, this offered some bonuses as there was fresh snow and a temperature of 0°F. This extreme cold allowed the exhaust fumes from the Ford Bronco to add more drama to the set.
I think a few cowboys were left a little disappointed with the manner of the cowgirl’s departure in this tableau. To leave the bar alone is one thing, but to leave with a wolf must have been distressing for all her courters.
We would like to acknowledge John Baxter...
Category
21st Century and Contemporary Contemporary Black and White Photography
Materials
Archival Pigment
Price Upon Request
Sin City
By David Yarrow
Located in Chicago, IL
Sin City
Joshua Tree, California - 2023
Edition Size: 20 + 3 APs
Available sizes:
52 X 71 inches
71 X 99 inches
All prints are on 315gsm Hahnemühle Photo Rag Baryta Paper an...
Category
21st Century and Contemporary Contemporary Black and White Photography
Materials
Archival Pigment
Price Upon Request
Sin City
By David Yarrow
Located in Chicago, IL
Sin City
Joshua Tree, California - 2023
Edition Size: 20 + 3 APs
Available sizes:
52 X 71 inches
71 X 99 inches
All prints are on 315gsm Hahnemühle Photo Rag Baryta Paper an...
Category
21st Century and Contemporary Contemporary Black and White Photography
Materials
Archival Pigment
Price Upon Request
On the Road Again
By David Yarrow
Located in Chicago, IL
On the Road Again
Archival Pigment Print on 315gsm Hahnemühle Photo Rag Baryta Paper
Each is signed, dated and numbered on the front.
Edition Size: ...
Category
21st Century and Contemporary Contemporary Black and White Photography
Materials
Archival Pigment
Price Upon Request
Bandera
By David Yarrow
Located in Chicago, IL
Bandera
Texas, USA - 2022
Archival Pigment Print on 315gsm Hahnemühle Photo Rag Baryta Paper
Each is signed, dated and numbered on the front.
Edition Size: 12
Available sizes:
46 x 71 inches
67 x 102 inches
All prints are on 315gsm Hahnemühle photo rag Baryta paper and varnished after processing to give both endurance and sheen. Each is signed, dated and numbered on the front. Price includes David Yarrow's custom black ash frame, white archival matting and protective UV acrylic. For unframed, $1,500 will be deducted from the price.
David Yarrow has built an unrivaled reputation for capturing the beauty of the planet’s remote landscapes, cultures and endangered animals. Born in Glasgow, Scotland in 1966, he is now an internationally acclaimed fine art photographer and Europe’s best selling wildlife photographer.
"I wanted this carefully composed Honky Tonk vignette to have real sense of place; that place being Texas. There are a few hints in the photograph: the Lone Star pool table lighting; the ten working cowboys; the neon guitar on the left and even the air conditioning unit (less common in more northerly cowboy states). Throw in a tall, bad ass women in the foreground and we know we are in Texas.
It is the lighting that makes the photograph and that is down to the big barn doors at Arkey’s that are open during the day. It was this ambient light on the far-left corner that allowed me to work with minimal artificial light and that made all the difference.
There is also a little bit of a ‘Red Dead Redemption” vibe as I am shooting with a wide-angle lens close to the lead, as often seems to be the perspective in the successful video game series. This allows the depth of Arkey Blue’s Silver Dollar saloon to be exploited rather than compressed. I avoid distance compression if at all possible, as a sense of space is often as critical as a sense of place.
Bandera, in the Hill Country of Texas, is quintessential cowboy territory and a country music stronghold. Behind my shooting position there is a stage that has been graced by Willie Nelson and Hank Williams...
Category
21st Century and Contemporary Contemporary Black and White Photography
Materials
Archival Pigment
Price Upon Request
Honky-Tonk Woman
By David Yarrow
Located in Chicago, IL
HONKY-TONK WOMAN
Texas, USA - 2022
Archival Pigment Print on 315gsm Hahnemühle Photo Rag Baryta Paper
Each is signed, dated and numbered on the front.
Edition Size: 12
Available sizes:
48 x 74 inches
67 x 107 inches
All prints are on 315gsm Hahnemühle photo rag Baryta paper and varnished after processing to give both endurance and sheen. Each is signed, dated and numbered on the front. Price includes David Yarrow's custom black ash frame, white archival matting and protective UV acrylic. For unframed, $1,500 will be deducted from the price.
David Yarrow has built an unrivaled reputation for capturing the beauty of the planet’s remote landscapes, cultures and endangered animals. Born in Glasgow, Scotland in 1966, he is now an internationally acclaimed fine art photographer and Europe’s best selling wildlife photographer.
"Bandera, Texas is the self-appointed home of the cowboy and a visitor is left in no doubt that this is the beating heart of Marlboro country and Marlboro men. This small town in the Hill Country also boasts a bar - Arkey Blue’s Silver Dollar - that is as good a honky-tonk bar to film in that I know of. It is also a firm fixture in the country music scene which is core to the culture of this part of the great state. Willie Nelson has sung here, as has Hank Williams...
Category
21st Century and Contemporary Contemporary Black and White Photography
Materials
Archival Pigment
Price Upon Request
Honky-Tonk Woman
By David Yarrow
Located in Chicago, IL
HONKY-TONK WOMAN
Texas, USA - 2022
Archival Pigment Print on 315gsm Hahnemühle Photo Rag Baryta Paper
Each is signed, dated and numbered on the front.
Edition Size: 12
Available sizes:
48 x 74 inches
67 x 107 inches
All prints are on 315gsm Hahnemühle photo rag Baryta paper and varnished after processing to give both endurance and sheen. Each is signed, dated and numbered on the front. Price includes David Yarrow's custom black ash frame, white archival matting and protective UV acrylic. For unframed, $1,500 will be deducted from the price.
David Yarrow has built an unrivaled reputation for capturing the beauty of the planet’s remote landscapes, cultures and endangered animals. Born in Glasgow, Scotland in 1966, he is now an internationally acclaimed fine art photographer and Europe’s best selling wildlife photographer.
"Bandera, Texas is the self-appointed home of the cowboy and a visitor is left in no doubt that this is the beating heart of Marlboro country and Marlboro men. This small town in the Hill Country also boasts a bar - Arkey Blue’s Silver Dollar - that is as good a honky-tonk bar to film in that I know of. It is also a firm fixture in the country music scene which is core to the culture of this part of the great state. Willie Nelson has sung here, as has Hank Williams...
Category
21st Century and Contemporary Contemporary Black and White Photography
Materials
Archival Pigment
Price Upon Request
Bandera
By David Yarrow
Located in Chicago, IL
Bandera
Texas, USA - 2022
Archival Pigment Print on 315gsm Hahnemühle Photo Rag Baryta Paper
Each is signed, dated and numbered on the front.
Edition Size: 12
Available sizes:
46 x 71 inches
67 x 102 inches
All prints are on 315gsm Hahnemühle photo rag Baryta paper and varnished after processing to give both endurance and sheen. Each is signed, dated and numbered on the front. Price includes David Yarrow's custom black ash frame, white archival matting and protective UV acrylic. For unframed, $1,500 will be deducted from the price.
David Yarrow has built an unrivaled reputation for capturing the beauty of the planet’s remote landscapes, cultures and endangered animals. Born in Glasgow, Scotland in 1966, he is now an internationally acclaimed fine art photographer and Europe’s best selling wildlife photographer.
"I wanted this carefully composed Honky Tonk vignette to have real sense of place; that place being Texas. There are a few hints in the photograph: the Lone Star pool table lighting; the ten working cowboys; the neon guitar on the left and even the air conditioning unit (less common in more northerly cowboy states). Throw in a tall, bad ass women in the foreground and we know we are in Texas.
It is the lighting that makes the photograph and that is down to the big barn doors at Arkey’s that are open during the day. It was this ambient light on the far-left corner that allowed me to work with minimal artificial light and that made all the difference.
There is also a little bit of a ‘Red Dead Redemption” vibe as I am shooting with a wide-angle lens close to the lead, as often seems to be the perspective in the successful video game series. This allows the depth of Arkey Blue’s Silver Dollar saloon to be exploited rather than compressed. I avoid distance compression if at all possible, as a sense of space is often as critical as a sense of place.
Bandera, in the Hill Country of Texas, is quintessential cowboy territory and a country music stronghold. Behind my shooting position there is a stage that has been graced by Willie Nelson and Hank Williams...
Category
21st Century and Contemporary Contemporary Black and White Photography
Materials
Archival Pigment
Price Upon Request
Honky-Tonk Woman
By David Yarrow
Located in Chicago, IL
HONKY-TONK WOMAN
Texas, USA - 2022
Archival Pigment Print on 315gsm Hahnemühle Photo Rag Baryta Paper
Each is signed, dated and numbered on the front.
Edition Size: 12
Available sizes:
48 x 74 inches
67 x 107 inches
All prints are on 315gsm Hahnemühle photo rag Baryta paper and varnished after processing to give both endurance and sheen. Each is signed, dated and numbered on the front. Price includes David Yarrow's custom black ash frame, white archival matting and protective UV acrylic. For unframed, $1,500 will be deducted from the price.
David Yarrow has built an unrivaled reputation for capturing the beauty of the planet’s remote landscapes, cultures and endangered animals. Born in Glasgow, Scotland in 1966, he is now an internationally acclaimed fine art photographer and Europe’s best selling wildlife photographer.
"Bandera, Texas is the self-appointed home of the cowboy and a visitor is left in no doubt that this is the beating heart of Marlboro country and Marlboro men. This small town in the Hill Country also boasts a bar - Arkey Blue’s Silver Dollar - that is as good a honky-tonk bar to film in that I know of. It is also a firm fixture in the country music scene which is core to the culture of this part of the great state. Willie Nelson has sung here, as has Hank Williams...
Category
21st Century and Contemporary Contemporary Black and White Photography
Materials
Archival Pigment
Price Upon Request
Bandera
By David Yarrow
Located in Chicago, IL
Bandera
Texas, USA - 2022
Archival Pigment Print on 315gsm Hahnemühle Photo Rag Baryta Paper
Each is signed, dated and numbered on the front.
Edition Size: 12
Available sizes:
46 x 71 inches
67 x 102 inches
All prints are on 315gsm Hahnemühle photo rag Baryta paper and varnished after processing to give both endurance and sheen. Each is signed, dated and numbered on the front. Price includes David Yarrow's custom black ash frame, white archival matting and protective UV acrylic. For unframed, $1,500 will be deducted from the price.
David Yarrow has built an unrivaled reputation for capturing the beauty of the planet’s remote landscapes, cultures and endangered animals. Born in Glasgow, Scotland in 1966, he is now an internationally acclaimed fine art photographer and Europe’s best selling wildlife photographer.
"I wanted this carefully composed Honky Tonk vignette to have real sense of place; that place being Texas. There are a few hints in the photograph: the Lone Star pool table lighting; the ten working cowboys; the neon guitar on the left and even the air conditioning unit (less common in more northerly cowboy states). Throw in a tall, bad ass women in the foreground and we know we are in Texas.
It is the lighting that makes the photograph and that is down to the big barn doors at Arkey’s that are open during the day. It was this ambient light on the far-left corner that allowed me to work with minimal artificial light and that made all the difference.
There is also a little bit of a ‘Red Dead Redemption” vibe as I am shooting with a wide-angle lens close to the lead, as often seems to be the perspective in the successful video game series. This allows the depth of Arkey Blue’s Silver Dollar saloon to be exploited rather than compressed. I avoid distance compression if at all possible, as a sense of space is often as critical as a sense of place.
Bandera, in the Hill Country of Texas, is quintessential cowboy territory and a country music stronghold. Behind my shooting position there is a stage that has been graced by Willie Nelson and Hank Williams...
Category
21st Century and Contemporary Contemporary Black and White Photography
Materials
Archival Pigment
Price Upon Request