Early 2000s Photography

Santa María, La Casa de Daniel and Condesa Triptych by Paola Dávila Photograph printed analogically on 255 gr baryta fiber photographic paper. turned to selenium. 1. Santa María 2. L...

Open and Limited Edition Silver Gelatin Prints Hand Signed by Richard Beland 8" x 10" Unframed Open Edition 11" x 14" Unframed Open Edition 16" x 20" Unframed Open Edition 20" x ...

RISAKU SUZUKI (*1963, Japan) WHITE 07,H-122 2007 Chromogenic print Sheet 120 x 155 cm (47 1/4 x 61 in.) Edition of 5; Ed. no. 3/5 Framed ‘Snowflakes are letters sent from heaven.’ ...

Can't take my Eyes off you (Till Death do us Part) - 2005 48x47cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signatu...

Daisy and Austen in Pool (Till Death Do Us Part) - 2005 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. ...

Richard Heeps photographed the Rockabilly scene in England, Europe and America over seven years culminating in his book, 'Man's Ruin'. 'Miss Shifty' captures the chic vintage fashion...

'Yellow Flower (Stranger than Paradise) - 2005 20x20cm, sold out Edition of 5, Artist Proof 1/2. Archival C-Print, based on the Polaroid. Signature label and certificate. Arti...

"Plane Into Cloud, AZ" is an original color photograph by Thomas Ferderbar. The artist signed the piece lower right. It depicts an airplane flying towards a large, fluffy cloud. 20 1/4" x 15" image 26" x 21" paper 29" x 24" frame I wanted to become a photographer at the age of 12, when my sister Grace gave me a Kodak Box Brownie camera for Christmas. (I still have that camera.) Since our family was quite poor, I built my first enlarger with an oatmeal box, while that same box camera was used as its lens. In 1947, just after graduation from high school, I had the opportunity to travel to California by car and house trailer with my uncle, aunt and mother, and in the process to shoot my first pictures along Route 66. Then, after graduation from college, a stint in the army followed by photography school, I opened an advertising photography studio in 1954. For over four decades my staff and I earned numerous local, regional and national awards for our achievements in photography, including several "best of show" honors. In 1958 I studied with renowned landscape photographer Ansel Adams at his Yosemite National Park workshop. In 1980, while still operating my advertising photography studio, I began a serious photographic study of the decaying artifacts along our country's former Mother Road, Route 66. The former national highway route from Chicago, Illinois to Santa Monica, California was not a popular subject at the time, and so I filed away my transparencies, not knowing what I might ever do with them. However, as time passed Route 66 did become a topic of national interest, and upon my retirement in 1997, I once again returned to record the Mother Road's artifacts. A number of my Yosemite series photographs are included in the Ansel and Virginia Adams collection at the Center for Creative Photography at the University of Arizona at Tucson, and several of my Route 66 photographs and other subjects have been acquired by the Milwaukee Art Museum. At this time I am preparing a book of my photographic experiences along Route 66, from 1947 to the present. --Tom Ferderbar

"Curio Shop Entrance, New Mexico" is a color photograph printed on canvas and signed lower right by the artist, Thomas Ferderbar. It depicts a gray wall with fading painted decorations. Artwork Size: 55" x 37 3/4" Frame Size: 56" x 38 1/2" Artist Statement: "I wanted to become a photographer at the age of 12, when my sister Grace gave me a Kodak Box...

Palm Trees on Wilcox (Stranger than Paradise) - 1999 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Arti...

Sam, Interior Hospital - featuring Ewan McGregor (Stay) - 2006, 38x36cm, Edition 1/10. Analog C-Print, hand-printed by the artist on Fuji Archive Crystal Paper, based on the ori...

Stunning museum quality fine art print of Chrissy Teigen by photographer Markus Klinko from a collection of contemporary nudes by the celebrated photographer, featuring amongst other...

Bill HENSON (*1955, Australia) Untitled #1 - CL SH655 N16B, 2009/2010 Archival pigment print Sheet 127 x 180 cm (50 x 70 7/8 in.) Edition of 5, plus 2 AP'...

Leaving II (Sidewinder) - 2005 48x46cm each, installed 110x215cm, Edition of 10. 8 archival C-Prints based on the 8 Polaroids. Signature label and Certificate. Artist Inventory No...

I'm over it (Till Death do us Part) - 2007 - 20x24cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label, artist Inventory No. 8509, not m...

Ed. 3/5, includes black frame. Alison Jackson is a British artist who explores celebrity culture as created by the media and publicity industries. Jackson makes works about celebrit...

"Markus Klinko is an award-winning, international fashion/celebrity photographer and director, who has worked with many of today's most iconic stars of film, music, and fashion. Kli...

Closer (Sidewinder) - 2005 Including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 192 pages, hardcover, published by Snap Collective, 2024. 100x60cm includin...

Dream Scene on Salt Lake - 2007 from the 29 Palms, CA project 50x65cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist Inventory #96...

Blue Lotus, 2003 is a contemporary color photograph by Japanese artist Tadayuki Naito. Naito created a series on the blue lotus, a flower of peace and hope. The artist’s desire was t...

"Women of the IDF" Large Exhibition color Photograph 30 x 40 inches, mounted on masonite and laminated. Edition of 4 + 2 artists proof. minor dings and bumps to edges Born in Tehran, Iran, Ashkan Sahihi moved with his family to West Germany at the age of seven. Although he began taking photographs as a teenager, Sahihi traces the beginning of his professional trajectory to New York in 1987, a thriving “pop culture metropolis” where he could do the kind of photography work that he wanted to do, exploring the underbelly of the society around him. Taking assignments from German publications such as the Süddeutsche Zeitung Magazine, Der Spiegel, Dummy and GEO, he photographed subjects like prisoners on death row, players in the hip-hop scene, and the downtown art scene of New York. Neither black nor white, an insider among outsiders, he found himself able to navigate spaces and dynamics that others might have had difficulty entering. He considered this both a privilege and an obligation – to visit these places and tell these stories. His success led to commissions from American publications as well, including the New York Times Magazine, the New Yorker, Rolling Stone, and Vogue. Put off by the limitations of photojournalism (the expectation that he would illustrate the writer’s perspective rather than author a narrative of his own), Sahihi began to embark on independent, highly compact conceptual series. His main goal in these series has been to drive forward public discourse on topics he believes have not provoked enough or the right kind of discussion: drugs, gender in the media, women in the military, etc. His portraits draw on a familiar visual language – often seated subjects before a neutral backdrop – but push the viewer to feel and think about entirely new things. Although he constantly challenges the comfort level of both the viewer and the subject, Sahihi never removes himself from the line of fire; all of his work requires the artist to immerse himself in uncomfortable situations and challenge his own emotional fortitude. Photographic Series In the “Face Series”, latex-gloved hands manipulate the subjects’ features, stretching, pushing, squeezing, pinching at the whim of external direction – from the artist? The customer? The public? The “Hypnosis Series” comprises 8 portraits of hypnotized subjects each experiencing a single emotion, e.g. helplessness, withholding/anger, or regret. In a society that rewards the suppression of such naked emotion, the purity of these depictions is arresting. In 2006, Sahihi photographed himself in the homes and with the families of six ex-girlfriends and one ex-wife, imposing himself more or less awkwardly on the constellations that emerged after he had exited their lives (“Exes Series”). For Sahihi’s most well-known work, the “Drug Series,” he convinced 11 non–drug users to consume a particular drug, then took their portraits over the course of their trips. The series was born out of Sahihi’s frustration with the hypocrisy of the political conversation about drugs in the United States. “By attempting to present an objective image of drug use, the artist addresses the cultural politics that allow our society to simultaneously glamorize the ‘drug look’ in fashion magazines and the entertainment industry and meanwhile turn a blind eye to the complicated, and vast, problem of drug abuse.” Sahihi has exhibited this series at MoMA PS1 New York in 2001, in Dresden in 2008, and alongside his installation “100 Million in Ready Cash." Sahihi’s dense explorations through small photographic series include “Women of the IDF," portraits of female Israeli soldiers...

A set of nine black and white photographs by Richard Heeps. They can be hung in a grid, or spaced out throughout your interior. Richard Heeps, primarily known as a colour photographe...

Moments in Time (Sidewinder) - 2008 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #3331 Not mounted. Stef...

"Deborah Harry and Chris Stein of Blondie on Their Roof in NYC 11/28/80" black and white photograph by Allan Tannenbaum. Image size: 9 x 13 inches. The text to the right of the photo...

The End (Sidewinder) - 2005 128x125cm, sold out Edition of 5, last Artist Proof 2/2, analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the Polaroid...

Stefanie Schneider's Mini Renée's Dream XV (Days of Heaven) - 2006 signed in front, not mounted. Digital Color Photographs based on a Polaroid. Polaroid sized open Editions 1999-20...

In Dubious Battle (Haley and the Birds) - 2013 Including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 192 pages, hardcover, published by Snap Collective, 2024...

Explosion- Limited edition pigment print - Limited Editions of 15 This is an Archival Pigment print on fiber based paper ( Hahnemühle Photo Rag® Baryta 315 gsm , Acid-free and li...

It Rains on Our Love (Till Death Do Us Part) - 2008 Including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 192 pages, hardcover, published by Snap Collective,...

Love Scene against the Wall - part 4 (Sidewinder) - 2005, 40x39cm, Edition 3/10. Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artist Inven...

Lovefight (The Princess and her Lover), 2009 including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 192 pages, hardcover, published by Snap Collective, 2024. ...

Open and Limited Edition C-Prints Hand Signed by Richard Beland 8" x 10" Unframed Open Edition 11" x 14" Unframed Limited Edition of 150 16" x 20" Unframed Limited Edition of 15...

Helicopter (The Last Picture Show) 2005 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and signature label. Artist in...

The Diva (Beachshoot) - 2005 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid Certificate and Signature label, artist Inventory # 1461. Not mounted. Beachshoot T...

Boy Running (Point Dume) - 2000 60x80cm, Edition of 10. Archival C-Print based on a Polaroid. Signature label and Certificate. Artist Inventory # 500. Not mounted. published in ...

RINKO KAWAUCHI (*1972, Japan) Untitled, from the series 'Hanabi' 2001 C–type print Sheet 101.6 x 101.6 cm (40 x 40 in.) Edition of 6; Ed. no. 2/6 print only Reminiscent of Japanese...

MICHAEL WOLF (*1954, Germany) Architecture of Density #101 2008 C-print Sheet 177,8 x 266,7 cm (70 x 105 in.) Edition of 3, plus 1 AP; Ed. no. 2/3 print ...

The Kiss (Till Death do us Part) - 2005 20x24cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print print, based on the Polaroid, Certificate and Signature label artist Invent...

Seeside (Zuma Beach) - 2004 48x47cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #20430. Not...

Fernando Natalici: "Mali Dust" location: Gao, Mali, Africa - 2003 Resin Coated photo paper. Hand Toned Sepia; shot with TRIX film 11x14 inches Some minor surface dimples; otherwise ...

"A native of Los Angeles, California, Sean Lotman (b. California) grew up frequenting the movie theaters of southern California, dazzled by their stories, sets, and vivid colors. Ini...

A young boy is looking for coins that has fallen down between the grid bars. Edition of 25 signed and numbered by the artist JJK is a pseudonym for one of the world's most successfu...

Labyrinth (Haley and the Birds) - 2013 20x25cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #...

Signed Silver gelatin print Available in two sizes: 11 x 14 inches 16 x 20 inches Also available as an editioned archival pigment print in two larger sizes and a platinum print, please enquire for details. Flor Garduño...

"Sid Vicious Arrest" black and white photograph by Allan Tannenbaum. Image size: 9 x 13 inches. The text to the right of the photo reads: "Sid Vicious New York City 1978. At about 11 a.m. on October 12, 1978, the desk clerk at the Chelsea Hotel in New York City received a call from outside the hotel. A man, who did not identify himself, told the clerk, 'There's trouble in room 100.' The desk clerk called for an ambulance which arrived with a police escort. After the paramedics confirmed the woman was dead, police checked the room and found drugs and drug paraphernalia as well as a blood-stained Jaguar K-11 folding knife with a five-inch blade and a black jaguar carved into the handle. The couple had registered as Mr. and Mrs. John Ritchie, though they were not married. Simon John Ritchie was the man's real name, better known as Sid Vicious, punk superstar and former bass player for the infamous British band, The Sex Pistols. His deceased companion's name was Nancy Spungen. 'I stabbed her, but I didn't mean to kill her!' He was also heard muttering through his tears, 'She must have fallen...

Print Date 2009 Edition 12/40 Limted Edition of 40 total images. Hand printed by the artist

Maria Passarotti graduated in 2000 with a BFA from the Cooper Union for the Advancement of Science and Art in New York. Her most recent photographs are inspired by the intersection o...

Smoke Jumper Ballet (29 Palms, CA) - 2007 50 x 60 cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certificate. Artist I...

Bernhard Quad Sicily Syracuse, Italy, 2007 Archival Pigment Print 49 x 75 cm Edition of 7 85 x 130 cm Edition of 5 128 x 195 cm Edition of 3

Boy Running (Point Dume) - 2000 60x80cm, Edition of 10. Archival C-Print based on a Polaroid. Signature label and Certificate. Artist Inventory # 500. Not mounted. published in ...

"Karl Lagerfeld in Times Square, Editorial for Harper's Bazaar 2006, NYC" color C-print by fine art fashion photographer Simon Procter depicts Karl Lagerfeld and models. Shot for a "...

After All (Cyndi Lauper) from the 'Bring Ya to the Brink' Cyndi Lauper record Album) - 2009 48x46cm, Edition of 5, plus 2 Artists Proofs. Archival C-Print based on the Polaroid....

3 Stefanie Schneider Polaroid sized unlimited Minis 'Stay' - 2006 - triptych signed in front, not mounted. 3 Digital Color Photographs based on 3 Polaroids. Polaroid sized open E...

Martini Corner, with the Kodak film rebate, vintage interior photograph from Richard Heeps Dream in Colour series. An interior vignette from Bisbee, Arizona, the saturated colours an...

Organza dream - Signed limited edition archival pigment print, Edition of 5 This is an Archival Pigment print on fiber based paper ( Hahnemühle Photo Rag® Baryta 315 gsm , Acid-f...

'Primary Colors' (Stranger than Paradise) - 2001 each 20x20cm plus 5 cm in between each print together, 70x70cm, sold out Edition of 10, Artist Proof 2/2, Archival C-Print print,...

Her Eyes, the Color of the Sky (Till Death Do Us Part), - 2005 Including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 192 pages, hardcover, published by Snap ...

Okurimono Pigment Print About the work : Shibari I is a work by contemporary photographer Christian Houge, from the Okurimono series. In this series, Houge has, through five trips to Japan (Tokyo, Osaka and Kyoto), explored Japans otherworldly subculture and its ritualistic perfection. In this personal art documentary he has ventured into delicate themes such as personal identity, sexuality, longing and gender dysphoria. In this particular series, he uses staging as a method to create a story within a story. The viewers associations are important in meeting this work and ambiguity plays an important role. The images from the Okurimono- series is available in 3 different formats : Images from the Okurimono series is available in 3 different formats : * 50 x 75 cm : edition of 10 + (+2ap) * 80 x 120 cm : edition of 7 + (+2ap) * 113 x 170 cm : edition of 7 + (+2ap) Each print is numbered and signed More work will be sent from the artistry request. christian at soulfood no In this series, Houge has, through five trips to Japan (Tokyo, Osaka and Kyoto), explored Japans otherworldly subculture and its ritualistic perfection. In this personal art documentary he has ventured into delicate themes such as personal identity, sexuality, longing and gender dysphoria. In this particular series, he uses staging as a method to create a story within a story. The viewers associations are important in meeting this work and ambiguity plays a Okurimono (meaning both “gift” and “that which is in-between” in Japanese) - is a word that binds together this comprehensive project developed over five trips to Japan between 2007 and 2018. The series explores the personal pursuit of identity, at times with an underlying darkness as Houge had the chance to be introduced to Tokyo’s subculture. In exploring this theme, Houge has ventured into delicate matters such as sexuality, longing and gender dysphoria. In this particular series, he uses staging as a method to create a story within a story. The artist wishes to question the viewer and provoke a reflection on topics that are often seen as taboos in our contemporary societies. The viewer’s own associations are important in appreciating this work where ambiguity plays an important role. The project started in the Harajuku district of Tokyo which is known as a center of Japanese youth culture and where Houge found some of his first motifs: teenage girls dressing up in post-Victorian dresses or ‘cosplay’ costumes to identify with a character of their favorite comics. Here, the desire to express one’s uniqueness is central and the photographer explores the tension between personal identity and aesthetics shared by all (or at least by the same youth group). In many of his carefully staged photographs, Houge’s models are masked, so as to echo the many social masks we wear in our day-to-day lives. In our post-modern information society, drained of wonder, these enigmatic masked characters also evoke the world of shamans and pagan rituals, therefore injecting a sense of mystery and spirituality that many people are longing for. Symbolism and the many references to ritual and identity in an otherwise suppressed society, may at times create a sense of unease among viewers. The Okurimono project also explores the topic of identity and sexuality in gender dysphoria with Japan’s nyūhāfu (the transsexual ‘new halfs’). Here, the quest for identity coincides with a search of femininity and body image which results in complex physical transformations. Viewers may look at these portraits not having any clue that models are nyūhāfu. Yet, the photographs are staged so that viewers are placed in a disconcerting voyeuristic role while looking at otherwise closed world. Shibari (the art of tying), which originates from the Edo period (1600s), is another territory explored by Houge in his Okurimono series. His striking photographs of female models tied with red rope on a white background take us into this powerful journey into vulnerability and surrender, power and freedom. Through tradition, symbolism and technology, Okurimono also explores the hugely potent symbols that help define parts of Japanese culture and national identity, between old and new. As Art historian Erling Bugge put it: “Christian Houge guides us into a mystery. It resides between the ritualized shapes of the traditional and withdrawn Zen garden in Kyoto and the equally ritualized spaces of futuristic, urban Tokyo. For a westerner, Japan might look familiar, since what is held up for us looks like a futuristic spectacle somehow grounded in a western imagination. This judgment, however, is too easy. In Houge’s photographs, the sense of sameness withdraws and a very different feeling of strangeness creeps up on us. In fact, what this series registers is a remarkable place of alterity in today’s global order, a radical difference bang in the middle of the familiar.” The images of the Okurimono series share a ghostly, otherworldly quality. In reality and dream, ritual and play merge while the boundaries between the known and the unknown dissolve. Christian Houge – Now – Okurimono Christian Houge guides us into a mystery. It resides between the ritualized shapes of the traditional and withdrawn Zen garden in Kyoto and the equally ritualized spaces of futuristic, urban Tokyo. For a westerner, Japan might look familiar, since what is held up for us looks like a futuristic spectacle somehow grounded in a western imagination. This judgment, however, is too easy. In Houge’s photographs, the sense of sameness withdraws and a very different feeling of strangeness creeps up on us. In fact, what this series registers is a remarkable place of alterity in today’s global order, a radical difference bang in the middle of the familiar. This is pushed to the limit in the technological and virtual wonderland of Akihabara in Tokyo, where shop after shop trade in electronic products and computer games, while a weird costume play...