Archival Paper Still-life Photography
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Medium: Archival Paper
Rope and Side Table (Contemporary Still Life Diptych in Custom Frame )
Located in Hudson, NY
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...
Category
2010s Contemporary Archival Paper Still-life Photography
Materials
Archival Paper, Silver Gelatin
Letter H ( 27 x 40" / 68 x 102cm )
Located in San Francisco, CA
LETTER H by Christian Stoll
large scale conceptual photography playing with viewer's perspective
incredible details in this body of work, a series of environmental stills playing w...
Category
21st Century and Contemporary Conceptual Archival Paper Still-life Photography
Materials
Giclée, Archival Ink, Archival Pigment, Archival Paper, Photographic Paper
Persephone V ( 40 x 31" / 102 x 79cm )
Located in San Francisco, CA
Persephone V by Erik Pawassar
40 x 31 inches (102 x 79cm)
edition of 25
signed
62 x 48 inches (157 x 122cm)
edition of 7
signed
archival fine art pigment print
signed & numbered...
Category
21st Century and Contemporary Contemporary Archival Paper Still-life Photography
Materials
Photographic Paper, Archival Pigment, Archival Paper, Giclée, Archival Ink
Persephone IV ( 40 x 31" / 102 x 79cm )
Located in San Francisco, CA
Persephone IV by Erik Pawassar
40 x 31 inches (102 x 79cm)
edition of 25
signed
62 x 48 inches (157 x 122cm)
edition of 7
signed
archival fine art pigment print
signed & numbere...
Category
21st Century and Contemporary Contemporary Archival Paper Still-life Photography
Materials
Archival Pigment, Photographic Paper, Archival Ink, Archival Paper, Giclée
"Untitled #5", France, 2015
By Bill Phelps
Located in Hudson, NY
Robin Rice Gallery from New York and Bridgehampton comes to Beacon, NY. This year, as part of the Beacon Open Studios 10th Anniversary event, Robin Rice Gallery is proud to present a...
Category
2010s Contemporary Archival Paper Still-life Photography
Materials
Archival Ink, Archival Paper
Automobili I (Ferrari) - details at iconic Italian race car performance garage
By Frank Schott
Located in San Francisco, CA
Automobili I by Frank Schott
27 x 40 inches / 69cm x 102cm
edition of 25
signed
48 x 72inches / 122cm x 183cm
edition of 7
signed
archival quality fine art pigment print
limited a...
Category
21st Century and Contemporary Contemporary Archival Paper Still-life Photography
Materials
Photographic Paper, Archival Pigment, Archival Paper
Platanos en Tentación. From The Vendedores series. Still life Photo Collage
Located in Miami Beach, FL
Platanos en Tentación by Celso Castro Daza
From The Vendedores series
One-of-a-kind photo collage
Sheet size: 26 in. H x 20 in. W
1995
Unframed
The root of these unique photographic...
Category
1990s Contemporary Archival Paper Still-life Photography
Materials
Archival Pigment, Photographic Paper, Archival Paper
Persephone VII ( 62 x 48"157 x 122cm )
Located in San Francisco, CA
Persephone VIII by Erik Pawassar
62 x 48 inches (157 x 122cm)
edition of 7
signed
40 x 31 inches (102 x 79cm)
edition of 25
signed
archival fine art pigment print
signed & number...
Category
21st Century and Contemporary Contemporary Archival Paper Still-life Photography
Materials
Archival Paper, Photographic Paper, Archival Pigment, Archival Ink, Giclée
Persephone IV - muted still life of a timeless environmental interior vignette
Located in San Francisco, CA
Persephone IV by Erik Pawassar
62 x 48 inches (157 x 122cm)
signed edition of 7
40 x 31 inches (102 x 79cm)
signed edition of 25
archival fine art pigment print
signed & numbere...
Category
21st Century and Contemporary Contemporary Archival Paper Still-life Photography
Materials
Archival Ink, Photographic Paper, Archival Pigment, Archival Paper, Giclée
Persephone V ( 62 x 48" / 157 x 122cm )
Located in San Francisco, CA
Persephone V by Erik Pawassar
62 x 48 inches (157 x 122cm)
edition of 7
signed
40 x 31 inches (102 x 79cm)
edition of 25
signed
archival fine art pigment print
signed & numbered...
Category
21st Century and Contemporary Contemporary Archival Paper Still-life Photography
Materials
Archival Ink, Photographic Paper, Archival Pigment, Archival Paper, Giclée
Persephone I ( 40 x 31" / 102 x 79cm )
Located in San Francisco, CA
Persephone I by Erik Pawassar
40 x 31 inches (102 x 79cm)
edition of 25
signed
62 x 48 inches (157 x 122cm)
edition of 7
signed
archival fine art pigment print
signed & numbered...
Category
21st Century and Contemporary Contemporary Archival Paper Still-life Photography
Materials
Archival Pigment, Photographic Paper, Archival Ink, Archival Paper, Giclée
Persephone VIII ( 40 x 31" / 102 x 79cm )
Located in San Francisco, CA
Persephone VIII by Erik Pawassar
40 x 31 inches (102 x 79cm)
edition of 25
signed
62 x 48 inches (157 x 122cm)
edition of 7
signed
archival fine art pigment print
signed & numbe...
Category
21st Century and Contemporary Contemporary Archival Paper Still-life Photography
Materials
Photographic Paper, Archival Pigment, Archival Ink, Archival Paper, Giclée
Gray Magnolia (Elegant Sepia Toned Photograph with Mixed Media of Single Flower)
By David Seiler
Located in Hudson, NY
archival pigment print on archival paper with mixed media (acrylic, pencil, ink, tar, shellac, lacquer)
artwork measures 17 x 16 inches, edition of 3
Framed in blonde wood frame wit...
Category
2010s Contemporary Archival Paper Still-life Photography
Materials
Archival Paper, Mixed Media, Lacquer, Charcoal, Ink, Archival Ink, Tar, ...
Poppy Flower #4 (Modern, Sepia Toned Photograph with Mixed Media)
By David Seiler
Located in Hudson, NY
archival pigment print photograph on paper with mixed media
print measures 18 x 15 inches
Framed in blonde wood frame with 8 ply white mat, 25.5 x 22.5 x 1 inches
This contemporary...
Category
2010s Contemporary Archival Paper Still-life Photography
Materials
Photographic Paper, Archival Paper, Mixed Media, Archival Ink
Persephone VIII ( 62 x 48" / 157 x 122cm )
Located in San Francisco, CA
Persephone VIII by Erik Pawassar
62 x 48 inches (157 x 122cm)
edition of 7
signed
40 x 31 inches (102 x 79cm)
edition of 25
signed
archival fine art pigment print
signed & numbe...
Category
21st Century and Contemporary Contemporary Archival Paper Still-life Photography
Materials
Archival Ink, Photographic Paper, Archival Pigment, Archival Paper, Giclée
For Scout A, Very Good Dog: Modern Baroque Style Floral Still Life Digital Print
Located in Hudson, NY
Archival digital print, edition of 50
34 x 29.5 inches unframed
Lisa Frank’s new body of work produces complex arrangements of flowers and dark vegetation reminiscent of Baroque still lifes and tapestry. Frank stages, duplicates and then layers photographic elements to create work that keeps the viewer fixated in her realm of digitally manipulated imagination. In this piece, the artist has digitally collaged twisted vines, dried leaves, pink, yellow, and purple flowers, and turtle shells in intricate patterns to resemble a Baroque tapestry. The contemporary vertical digital print is available in additional sizes.
Artist's Statement:
I make large scale photographs that depict complex patterns. These patterns are composed from elements of nature and are presented in the form of traditional wallpaper...
Category
2010s Contemporary Archival Paper Still-life Photography
Materials
Digital, Archival Paper
Persephone II ( 40 x 31" / 102 x 79cm )
Located in San Francisco, CA
Persephone II by Erik Pawassar
40 x 31 inches (102 x 79cm)
edition of 25
signed
62 x 48 inches (157 x 122cm)
edition of 7
signed
archival fine art pigment print
signed & numbered...
Category
21st Century and Contemporary Contemporary Archival Paper Still-life Photography
Materials
Archival Pigment, Photographic Paper, Archival Ink, Archival Paper, Giclée
Mara van Rüdipuss - Ernie, Portraits of a Studiodog
Located in Kansas City, MO
Monogrammed by hand
Publisher: Griffelkunst Hamburg
Condition: in mint condition
Size: 11.5 × 8.6 on 15.4 × 12.5 inches
Thorsten Brinkmann was born in Herne, Germany in 1971. He studied Visual Communication at Kunsthochschule Kassel and Fine Arts at Hochschule für Bildende Künste, Hamburg. Brinkmann is known internationally for his unconventional photographic portraits and still lifes, featured recently in T: The New York Times Style Magazine article, “Witty Photos That Play With Centuries-Old Artistic Tradition” (September 2015).
Brinkmann has had solo exhibitions in Belgium, Germany, and Mexico. His work is represented in museums throughout Europe and was included in Beyond Borders, The Fifth Beaufort Triennial, Belgium (2015); and Dress Codes: The Third ICP Triennial of Photography and Video, International Center for Photography, New York (2009). Following his 2012 residency at The Andy Warhol Museum, Pittsburgh, Pennsylvania, Brinkmann undertook La Hütte Royal, a yearlong installation project of transforming a dilapidated house in the Troy Hill area of Pittsburgh into a permanent artwork.
A self-proclaimed serialsammler (“serial collector”), Thorsten Brinkmann keeps whatever catches his eye as he sifts through the broken and discarded items sitting in purgatory on thrift store shelves...
Category
2010s Contemporary Archival Paper Still-life Photography
Materials
Archival Paper, Photographic Paper
Minimal Dog - Ernie, Portraits of a Studiodog
Located in Kansas City, MO
Monogrammed by hand
Publisher: Griffelkunst Hamburg
Condition: in mint condition
Size: 11.5 × 8.6 on 15.4 × 12.5 inches
Thorsten Brinkmann was born in Herne, Germany in 1971. He studied Visual Communication at Kunsthochschule Kassel and Fine Arts at Hochschule für Bildende Künste, Hamburg. Brinkmann is known internationally for his unconventional photographic portraits and still lifes, featured recently in T: The New York Times Style Magazine article, “Witty Photos That Play With Centuries-Old Artistic Tradition” (September 2015).
Brinkmann has had solo exhibitions in Belgium, Germany, and Mexico. His work is represented in museums throughout Europe and was included in Beyond Borders, The Fifth Beaufort Triennial, Belgium (2015); and Dress Codes: The Third ICP Triennial of Photography and Video, International Center for Photography, New York (2009). Following his 2012 residency at The Andy Warhol Museum, Pittsburgh, Pennsylvania, Brinkmann undertook La Hütte Royal, a yearlong installation project of transforming a dilapidated house in the Troy Hill area of Pittsburgh into a permanent artwork.
A self-proclaimed serialsammler (“serial collector”), Thorsten Brinkmann keeps whatever catches his eye as he sifts through the broken and discarded items sitting in purgatory on thrift store shelves...
Category
2010s Contemporary Archival Paper Still-life Photography
Materials
Archival Paper, Photographic Paper
Number 66, Black Series: Contemporary Blue Hydrangea Still Life on Black
Located in Hudson, NY
10 x 10 inch image on 11 x 17 inch paper, $900 unframed
All editions are printed on Hahnemuhle Photo Rag Matte Paper with Epson archival quality inks
available in editions of 25 in...
Category
Early 2000s Modern Archival Paper Still-life Photography
Materials
Archival Paper, Archival Ink
Gold Azzedine Alaia Dress
By Peter Sorel
Located in Chicago, IL
Taken at the Galleria Borghese, Rome.
Archival chromogenic print on Hahnemüle Photo Rag Paper. Edition of 12.
Category
21st Century and Contemporary Contemporary Archival Paper Still-life Photography
Materials
Archival Paper, Archival Ink, Inkjet
Number 11 (Black Series) (Off-White Rose on Black Background, Floral Still Life)
Located in Hudson, NY
All editions are printed on Hahnemuhle Photo Rag Matte Paper with Epson archival quality inks
Contemporary close-up view of a cream colored rose with on a crisp black background. P...
Category
21st Century and Contemporary Archival Paper Still-life Photography
Materials
Archival Paper, Archival Ink
Untitled, Number 6, Black Series (Contemporary White Dandelion Flower on Black)
Located in Hudson, NY
10 x 10 inch image on 11 X 17 inch paper, $900 unframed
All editions are printed on Hahnemuhle Photo Rag Matte Paper with Epson archival quality inks
available in editions of 25 in...
Category
Early 2000s Modern Archival Paper Still-life Photography
Materials
Archival Paper, Archival Ink
Untitled, Number 42, Black Series (Contemporary Pink Peony on Black Background)
Located in Hudson, NY
Untitled, Number 42, Black Series (Contemporary Pink Peony Blossom on Black Background) by Chad Kleitsch
10 x 10 inch image on 17 x 11 inch paper, $900 unframed
All editions are pri...
Category
Early 2000s Contemporary Archival Paper Still-life Photography
Materials
Archival Paper, Archival Ink
Number 84, Black Series: Contemporary Purple Flower on Black Background
Located in Hudson, NY
10 x 10 inch image on 11 x 17 inch paper, $900 unframed
All editions are printed on Hahnemuhle Photo Rag Matte Paper with Epson archival quality inks
available in editions of 25 in...
Category
Early 2000s Modern Archival Paper Still-life Photography
Materials
Archival Paper, Archival Ink
Untitled Number 30, Black Series (Contemporary White Flower on Black Background)
Located in Hudson, NY
Untitled Number 30, Black Series (Contemporary Photograph of White Flower on Black Background) by Chad Kleitsch
30 x 30 inches unframed
Fra...
Category
Early 2000s Contemporary Archival Paper Still-life Photography
Materials
Archival Paper, Archival Ink
Cucumbers and Peppers
Located in Hudson, NY
Cucumbers and Peppers, 2007
32" X 32"
archival pigment print, edition of 25
About the Artist:
David Halliday's photographs are about beauty, pure and simple. His primary subjects ...
Category
Early 2000s Contemporary Archival Paper Still-life Photography
Materials
Archival Paper, Archival Ink
"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 Archival Paper 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 Archival Paper Still-life 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 Archival Paper Still-life Photography
Materials
Archival Paper, Pigment
Dark Flower
By Ron Hamad
Located in Hudson, NY
Listing is for UNFRAMED print. Inquire within for framing. Price and size range (Custom mural sizes available). All the photographs are in a limited edition.
Edition 2 of 25.
If the...
Category
21st Century and Contemporary Contemporary Archival Paper Still-life Photography
Materials
Archival Paper
Light Flower
By Ron Hamad
Located in Hudson, NY
Listing is for UNFRAMED print. Inquire within for framing. Price and size range (Custom mural sizes available). All the photographs are in a limited edition.
Edition 1 of 15.
Price ...
Category
21st Century and Contemporary Contemporary Archival Paper Still-life Photography
Materials
Archival Paper
"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 Archival Paper Still-life 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 Archival Paper Still-life 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 Archival Paper Still-life 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 Archival Paper Still-life 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 Archival Paper Still-life Photography
Materials
Archival Paper, Pigment
"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 Archival Paper Still-life 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 Archival Paper Still-life 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 Archival Paper Still-life 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 Archival Paper Still-life Photography
Materials
Archival Paper, Pigment
Patrol
Located in New York, NY
Inspired by her love for nature, Griet Van Malderen (Belgium, 1970), a self-taught wildlife photographer from Flanders in Belgium, has been exploring Africa’s wild places for the pas...
Category
2010s Photorealist Archival Paper Still-life Photography
Materials
Pigment, Archival Pigment, Photographic Film, Archival Paper, Photograph...
Dominance
Located in New York, NY
Inspired by her love for nature, Griet Van Malderen (Belgium, 1970), a self-taught wildlife photographer from Flanders in Belgium, has been exploring Africa’s wild places for the pas...
Category
2010s Archival Paper Still-life Photography
Materials
Pigment, Archival Pigment, Photographic Film, Archival Paper, Photograph...
Too Close
Located in New York, NY
Inspired by her love for nature, Griet Van Malderen (Belgium, 1970), a self-taught wildlife photographer from Flanders in Belgium, has been exploring Africa’s wild places for the pas...
Category
2010s Photorealist Archival Paper Still-life Photography
Materials
Pigment, Archival Pigment, Photographic Film, Archival Paper, Photograph...
From the darkness - A Lioness gaze in the wilderness of Africa
Located in New York, NY
Inspired by her love for nature, Griet Van Malderen (Belgium, 1970), a self-taught wildlife photographer from Flanders in Belgium, has been exploring Africa’s wild places for the pas...
Category
2010s Other Art Style Archival Paper Still-life Photography
Materials
Paper, Black and White, Photographic Film, Pigment, Archival Paper, Arch...
Boys Band
Located in New York, NY
Inspired by her love for nature, Griet Van Malderen (Belgium, 1970), a self-taught wildlife photographer from Flanders in Belgium, has been exploring Africa’s wild places for the pas...
Category
2010s Photorealist Archival Paper Still-life Photography
Materials
Photographic Film, Archival Paper, Photographic Paper, Pigment, Archival...
Zebra Kili
Located in New York, NY
Inspired by her love for nature, Griet Van Malderen (Belgium, 1970), a self-taught wildlife photographer from Flanders in Belgium, has been exploring Africa’s wild places for the pas...
Category
2010s Contemporary Archival Paper Still-life Photography
Materials
Pigment, Archival Pigment, Photographic Film, Archival Paper, Photograph...
"Study in White", color photograph, still-life, texture, kitchen, window
Located in Natick, MA
Vicki McKenna's "Study in White" is a still-life color photograph that celebrates the subtlety of color, form, and texture of everyday kitchen items in shades of white on a window si...
Category
2010s Contemporary Archival Paper Still-life Photography
Materials
Archival Paper, Color, Archival Pigment
"Lace Designs", black and white, photograph, platinum, palladium, industry
Located in Natick, MA
"Lace Designs" by Vicki McKenna is a black and white photographic print. As part of her Resilience series the image evocates the spirit of early 20th century industry...
Category
2010s Contemporary Archival Paper Still-life Photography
Materials
Archival Paper, Black and White, Platinum
Untitled (from the "Provincetown" portfolio)
By Jack Pierson
Located in New York, NY
Chromogenic print on Fujiflex Super Gloss Crystal Archive paper (Edition of 25)
Signed, dated, and numbered in black ink, verso
This artwork is offered by ClampArt, located in New York City.
Jack Pierson was born in 1960 in Plymouth, Massachusetts, and educated at the Massachusetts College of Art in Boston. Pierson's work spans an array of media, including photographs, collages, word sculptures, installations, drawings, and artist's books. He is considered to be part of a group of photographers known as the Boston School, which includes David Armstrong, Philip-Lorca diCorcia, Nan Goldin, Mark Morrisroe, and Doug and Mike Starn...
Category
Early 2000s Contemporary Archival Paper Still-life Photography
Materials
C Print, Archival Paper
Further Away
Located in Kansas City, MO
Angie Jennings
“Further Away", 2010
Archival Pigment Print
Year: 2019
Dimensions: 23" x 34" inches
Unframed
“Shanghai Blue” is a chapter in Angie Jennings’ series “Modern Streets of an Ancient Empire...
Category
2010s Post-Modern Archival Paper Still-life Photography
Materials
Archival Pigment, Archival Paper
The Dating Game
By Helen Graham
Located in Kansas City, MO
Helen Graham
"The Dating Game", 2018
Inkjet Print on Museo Silver Rag
Year: 2019
Dimensions: 20" x 13" inches
Unframed
Photography has always been a way for Helen Graham to express ...
Category
2010s Contemporary Archival Paper Still-life Photography
Materials
Archival Pigment, Archival Paper
Arrow Motel
By Gary Hodson
Located in Kansas City, MO
Gary Hodson
"Arrow Motel", 2016
Archival Pigment Print
Year: 2019
Dimensions: 10" x 18" inches
Unframed
Gary Hodson’s subject matter remains diverse and includes humor, irony, cont...
Category
2010s Art Nouveau Archival Paper Still-life Photography
Materials
Archival Pigment, Archival Paper
“Untitled” (from Body Series)
By David Pugh
Located in Kansas City, MO
David Pugh
“Untitled” (from Body Series), 2018
Year: 2019
Archival Inkjet Print on Museo Silver Rag
Dimensions: 20 x 15 inches
Unframed
David Pugh’s photographic work tends to pull ...
Category
2010s American Modern Archival Paper Still-life Photography
Materials
Archival Pigment, Archival Paper
“Untitled” (from Body Series)
By David Pugh
Located in Kansas City, MO
David Pugh
“Untitled” (from Body Series), 2018
Year: 2019
Archival Inkjet Print on Museo Silver Rag
Dimensions: 20 x 15 inches
Unframed
David Pugh’s photographic work tends to pull ...
Category
2010s Conceptual Archival Paper Still-life Photography
Materials
Archival Pigment, Archival Paper
Untitled #22 (from Unfocused Series)
By Anne K Smith
Located in Kansas City, MO
Anne K Smith
Title: Untitled #22 (from Unfocused Series)
Medium: Archival Inkjet Print on Museo Silver Rag
Size: 16 x 10.5 inches
Available in sets of 3 (mix and match)
Entire "Unfo...
Category
2010s Feminist Archival Paper Still-life Photography
Materials
Archival Paper, Archival Ink, Inkjet
Untitled #13 (from Unfocused Series)
By Anne K Smith
Located in Kansas City, MO
Anne K Smith
Title: Untitled #13 (from Unfocused Series)
Medium: Archival Inkjet Print on Museo Silver Rag
Size: 10.5 x 16 inches
Available in sets of 3 (mix and match)
Entire "Unfo...
Category
2010s American Modern Archival Paper Still-life Photography
Materials
Archival Paper, Archival Ink, Inkjet
Untitled #8 (from Unfocused Series)
By Anne K Smith
Located in Kansas City, MO
Anne K Smith
Title: Untitled #8 (from Unfocused Series)
Medium: Archival Inkjet Print on Museo Silver Rag
Size: 10.5 x 16 inches
Available in sets of 3 (mix and match)
Entire "Unfoc...
Category
2010s Surrealist Archival Paper Still-life Photography
Materials
Archival Paper, Archival Ink, Inkjet
Archival Paper still-life photography for sale on 1stDibs.
Find a wide variety of authentic Archival Paper still-life photography available on 1stDibs. While artists have worked in this medium across a range of time periods, art made with this material during the 21st Century is especially popular. If you’re looking to add still-life photography created with this material to introduce a provocative pop of color and texture to an otherwise neutral space in your home, the works available on 1stDibs include elements of red, purple, orange, blue and other colors. There are many well-known artists whose body of work includes ceramic sculptures. Popular artists on 1stDibs associated with pieces like this include Chad Kleitsch, Tyler Shields, Ian Sanderson, and Stefanie Schneider. Frequently made by artists working in the Contemporary, Modern, all of these pieces for sale are unique and many will draw the attention of guests in your home. Not every interior allows for large Archival Paper still-life photography, so small editions measuring 0.5 inches across are also available Prices for still-life photography made by famous or emerging artists can differ depending on medium, time period and other attributes. On 1stDibs, the price for these items starts at $48 and tops out at $185,000, while the average work can sell for $2,200.
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